window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13992199": {
"type": "attachments",
"id": "arts_13992199",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13992199",
"found": true
},
"title": "AP26210736189528",
"publishDate": 1785431547,
"status": "inherit",
"parent": 13992187,
"modified": 1785431604,
"caption": "Too Short poses for a portrait on Tuesday, July 28, 2026, in Los Angeles.",
"credit": "AP Photo/Jae C. Hong",
"altTag": "A close-up portrait of a Black man, bald with a chain necklace and blue shirt, looking into the camera",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AP26210736189528-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AP26210736189528-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AP26210736189528-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AP26210736189528-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AP26210736189528-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AP26210736189528-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"npr-cds-square": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AP26210736189528-600x600.jpg",
"width": 600,
"height": 600,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/AP26210736189528.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13987147": {
"type": "attachments",
"id": "arts_13987147",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13987147",
"found": true
},
"title": "GettyImages-2155222078",
"publishDate": 1772066355,
"status": "inherit",
"parent": 13987115,
"modified": 1772066521,
"caption": "Too Short (right) with ‘Blow the Whistle’ producer Lil Jon at Rick Ross' birthday party at Bongo's on Feb. 3, 2007 in Miami, Florida. ",
"credit": "Julia Beverly/Getty Images",
"altTag": "Two Black men, one in white with dreadlocks and one in brown and bald, embrace and smile for the camera",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-160x106.jpg",
"width": 160,
"height": 106,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-768x510.jpg",
"width": 768,
"height": 510,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-1536x1021.jpg",
"width": 1536,
"height": 1021,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078.jpg",
"width": 2000,
"height": 1329
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13986268": {
"type": "attachments",
"id": "arts_13986268",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13986268",
"found": true
},
"title": "nfl honors",
"publishDate": 1770167642,
"status": "inherit",
"parent": 13986267,
"modified": 1770167776,
"caption": "Too Short and E-40 speak during a Bay Area Host Committee news conference for the Super Bowl, San Francisco, Feb. 2, 2026. ",
"credit": "AP Photo/Jeff Chiu",
"altTag": "A bald Black man cheers with one fist in the air while at a podium on stage at a press conference. To his left is a Black man wearing a grey overcoat and matching hat. Both are smiling.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/nfl-honors-160x103.png",
"width": 160,
"height": 103,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/nfl-honors-768x493.png",
"width": 768,
"height": 493,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/nfl-honors-1536x987.png",
"width": 1536,
"height": 987,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/nfl-honors-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/nfl-honors-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/nfl-honors-1200x675.png",
"width": 1200,
"height": 675,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/nfl-honors.png",
"width": 2000,
"height": 1285
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13975005": {
"type": "attachments",
"id": "arts_13975005",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13975005",
"found": true
},
"title": "Screenshot-2025-04-21-at-4.07.56 PM",
"publishDate": 1745277211,
"status": "inherit",
"parent": 13974977,
"modified": 1745277264,
"caption": "‘History of the Bay’ host Dregs One interviews Bay Area rap icon Too Short for the podcast's 100th episode. ",
"credit": "History of the Bay/EMPIRE",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-21-at-4.07.56 PM-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-21-at-4.07.56 PM-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-21-at-4.07.56 PM-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-21-at-4.07.56 PM-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-21-at-4.07.56 PM-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-21-at-4.07.56 PM-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-21-at-4.07.56 PM-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-21-at-4.07.56 PM-1920x1080.jpg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Screenshot-2025-04-21-at-4.07.56 PM.jpg",
"width": 2000,
"height": 1125
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13973843": {
"type": "attachments",
"id": "arts_13973843",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13973843",
"found": true
},
"title": "20250319_FREAKYTALES_GC-114-KQED",
"publishDate": 1743450248,
"status": "inherit",
"parent": 0,
"modified": 1743745789,
"caption": "Fans crowd the sidewalk for the ‘Freaky Tales’ special screening at the Grand Lake Theatre in Oakland on March 19, 2025. The Grand Lake is one of many local sites used in the film. ",
"credit": "Gina Castro/KQED",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13973912": {
"type": "attachments",
"id": "arts_13973912",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13973912",
"found": true
},
"title": "freaky-tales-illustration_3",
"publishDate": 1743541686,
"status": "inherit",
"parent": 13973907,
"modified": 1743544297,
"caption": "The Oakland movie ‘Freaky Tales’ is based on actual events and people from 1987, including (L–R) Kamala Parks, George Stephens, Bailey Brown, ‘Sleepy’ Floyd, Tamra Goins, Too Short, Freddy B and Dave Dictor. ",
"credit": "Murray Bowles/Gary Reyes via Getty Images/Dangerous Music/75 Girls Records/Manic D Press; Illustration by Darren Tu/KQED",
"altTag": "Green lightning strikes from above onto a collage of rappers, punk rockers and basketball players.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/freaky-tales-illustration_3-800x517.jpg",
"width": 800,
"height": 517,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/freaky-tales-illustration_3-1020x659.jpg",
"width": 1020,
"height": 659,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/freaky-tales-illustration_3-160x103.jpg",
"width": 160,
"height": 103,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/freaky-tales-illustration_3-768x496.jpg",
"width": 768,
"height": 496,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/freaky-tales-illustration_3-1536x992.jpg",
"width": 1536,
"height": 992,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/freaky-tales-illustration_3-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/freaky-tales-illustration_3-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/freaky-tales-illustration_3.jpg",
"width": 1920,
"height": 1240
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13972647": {
"type": "attachments",
"id": "arts_13972647",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13972647",
"found": true
},
"title": "GettyImages-489406330",
"publishDate": 1741205629,
"status": "inherit",
"parent": 13972636,
"modified": 1741205685,
"caption": "Billie Joe Armstrong of Green Day stands on field before a game between the Seattle Mariners and the Oakland Athletics at the Oakland Coliseum on Sept. 5, 2015 in Oakland, California.",
"credit": "Michael Zagaris/Oakland Athletics/Getty Images",
"altTag": "A man in a baseball jersey and cap holds a baseball glove in his hand",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330-1920x1080.jpg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330.jpg",
"width": 2000,
"height": 1125
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13972037": {
"type": "attachments",
"id": "arts_13972037",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13972037",
"found": true
},
"title": "freaky-tales-movies-about-01",
"publishDate": 1739920960,
"status": "inherit",
"parent": 13972017,
"modified": 1739921049,
"caption": "Pedro Pascal stars in 'Freaky Tales,' which takes place in Oakland in 1987.",
"credit": "Courtesy of Lionsgate Films",
"altTag": "Actor Pedro Pascal holds a burning piece of paper while seated inside a diner.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/freaky-tales-movies-about-01-160x180.jpg",
"width": 160,
"height": 180,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/freaky-tales-movies-about-01-625x372.jpg",
"width": 625,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/freaky-tales-movies-about-01-625x576.jpg",
"width": 625,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/freaky-tales-movies-about-01.jpg",
"width": 625,
"height": 702
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13971955": {
"type": "attachments",
"id": "arts_13971955",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13971955",
"found": true
},
"title": "NBAAllStar.larussell",
"publishDate": 1739815529,
"status": "inherit",
"parent": 13971948,
"modified": 1739815617,
"caption": "Rapper LaRussell performs during the 2025 NBA All-Star Rising Stars Game at Chase Center on Feb. 14, 2025 in San Francisco.",
"credit": "Ezra Shaw/Getty Images",
"altTag": "A young Black man in an oversized athletic suit branded with Nike logos smiles and raps into a microphone on a basketball court, with dancers in the background",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.larussell-800x534.jpg",
"width": 800,
"height": 534,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.larussell-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.larussell-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.larussell-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.larussell-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.larussell-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.larussell-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.larussell-1920x1281.jpg",
"width": 1920,
"height": 1281,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.larussell.jpg",
"width": 2000,
"height": 1334
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13959581": {
"type": "attachments",
"id": "arts_13959581",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959581",
"found": true
},
"title": "Too Short by Loryan",
"publishDate": 1718120492,
"status": "inherit",
"parent": 13959579,
"modified": 1718126492,
"caption": "Short Dog is in the house: seen here rocking the stage at Urban Peace Movement's 'Town Up Tuesday' event in May 2024. Short will be on the stage again this week discussing music, community, culture and more at the 'That's Oakland, Baby!' event.",
"credit": "Loryan Boyette-Tindall",
"altTag": "Man on stage wearing a black shirt with a gold chain around his neck and a microphone in his left hand as he smiles.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Too-Short-by-Loryan-800x535.png",
"width": 800,
"height": 535,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Too-Short-by-Loryan-1020x682.png",
"width": 1020,
"height": 682,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Too-Short-by-Loryan-160x107.png",
"width": 160,
"height": 107,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Too-Short-by-Loryan-768x513.png",
"width": 768,
"height": 513,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Too-Short-by-Loryan-1536x1027.png",
"width": 1536,
"height": 1027,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Too-Short-by-Loryan-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Too-Short-by-Loryan-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Too-Short-by-Loryan.png",
"width": 1610,
"height": 1076
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13922549": {
"type": "attachments",
"id": "arts_13922549",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13922549",
"found": true
},
"parent": 13922548,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1143940667-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1143940667-1-160x109.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 109
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1143940667-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1143940667-1-scaled.jpg",
"width": 2560,
"height": 1744
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1143940667-1-2048x1395.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1395
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1143940667-1-1020x695.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 695
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1143940667-1-1536x1047.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1047
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1143940667-1-1920x1308.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1308
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1143940667-1-800x545.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 545
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1143940667-1-768x523.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 523
}
},
"publishDate": 1670551482,
"modified": 1691445300,
"caption": "Too Short performs during the ‘25th Anniversary of Doggystyle’ tour at Oracle Arena, Oakland.",
"description": null,
"title": "Too Short performs during the ‘25th Anniversary of Doggystyle’ tour at Oracle Arena, Oakland.",
"credit": "Tim Mosenfelder/Getty Images",
"status": "inherit",
"altTag": "a Black man raps into a microphone on a stage with the words 'Too $hort' behind him in blue lights",
"isLoading": false,
"fetchFailed": false
},
"arts_13956152": {
"type": "attachments",
"id": "arts_13956152",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13956152",
"found": true
},
"parent": 13955802,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/RapperFood_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/RapperFood_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/RapperFood_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/RapperFood_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/RapperFood_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/RapperFood_COVER-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/RapperFood_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/RapperFood_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1713389846,
"modified": 1713390313,
"caption": "In the history of Bay Area rap, food has always been a strong reference point — a metaphorical kitchen for creative exchange.",
"description": null,
"title": "RapperFood_COVER",
"credit": "Torre / @torre.pentel",
"status": "inherit",
"altTag": "Illustration of the rapper Larry June in an SF Giants cap, holding a crab cracker in one hand and a fork in the other. In front of him is a whole lobster on a plate.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13992187": {
"type": "authors",
"id": "byline_arts_13992187",
"meta": {
"override": true
},
"slug": "byline_arts_13992187",
"name": "Johnathan Landrum Jr., Associated Press",
"isLoading": false
},
"byline_arts_13986267": {
"type": "authors",
"id": "byline_arts_13986267",
"meta": {
"override": true
},
"slug": "byline_arts_13986267",
"name": "Jonathan Landrum, Jr., Associated Press",
"isLoading": false
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"tamarapalmer": {
"type": "authors",
"id": "5111",
"meta": {
"index": "authors_1716337520",
"id": "5111",
"found": true
},
"name": "Tamara Palmer",
"firstName": "Tamara",
"lastName": "Palmer",
"slug": "tamarapalmer",
"email": "countryfriedsoul@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "I'm a professional DJ, freelance writer, recipe developer and independent publisher of zines about music and food. You'll find my byline in a wide range of news, tech and entertainment publications. My first book \u003ci>Country Fried Soul: Adventures in Dirty South Hip-Hop\u003c/i> was published in 2005, and a more personal West Coast anthology called \u003ci>California Love\u003c/i> is planned for 2023.",
"avatar": "https://secure.gravatar.com/avatar/c8befc278d4c9854b7bbbaa2b9b37a3acb2a834e69d071b638644f0a1739362d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Tamara Palmer | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/c8befc278d4c9854b7bbbaa2b9b37a3acb2a834e69d071b638644f0a1739362d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/c8befc278d4c9854b7bbbaa2b9b37a3acb2a834e69d071b638644f0a1739362d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/tamarapalmer"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
},
"ltsai": {
"type": "authors",
"id": "11743",
"meta": {
"index": "authors_1716337520",
"id": "11743",
"found": true
},
"name": "Luke Tsai",
"firstName": "Luke",
"lastName": "Tsai",
"slug": "ltsai",
"email": "ltsai@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Food Editor",
"bio": "Luke Tsai is KQED's food editor and resident stinky tofu connoisseur. Prior to KQED, he was an editor at Eater SF, \u003cem>San Francisco \u003c/em>magazine, and the \u003cem>East Bay Express\u003c/em>, and his work has also appeared in TASTE, the \u003cem>San Francisco Chronicle\u003c/em>, and the \u003cem>Best Food Writing\u003c/em> anthology. When he isn't writing or editing, you'll find him eating most everything he can get his hands on.",
"avatar": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g",
"twitter": "theluketsai",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor",
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Luke Tsai | KQED",
"description": "Food Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/1e59b45bf191526e7339d6ba46e33a57b2030d25c27660ecc64ea3cb863e34f7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ltsai"
},
"achazaro": {
"type": "authors",
"id": "11748",
"meta": {
"index": "authors_1716337520",
"id": "11748",
"found": true
},
"name": "Alan Chazaro",
"firstName": "Alan",
"lastName": "Chazaro",
"slug": "achazaro",
"email": "agchazaro@gmail.com",
"display_author_email": true,
"staff_mastheads": [],
"title": "Food Writer and Reporter",
"bio": "Alan Chazaro is the author of \u003cem>This Is Not a Frank Ocean Cover Album\u003c/em> (Black Lawrence Press, 2019), \u003cem>Piñata Theory\u003c/em> (Black Lawrence Press, 2020), and \u003cem>Notes from the Eastern Span of the Bay Bridge\u003c/em> (Ghost City Press, 2021). He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.",
"avatar": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g",
"twitter": "alan_chazaro",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "news",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Alan Chazaro | KQED",
"description": "Food Writer and Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/achazaro"
}
},
"pagesReducer": {
"arts_tag_too-short": {
"type": "terms",
"id": "arts_3478",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3478",
"score": 9.894284
},
"featImg": null,
"name": "Too Short",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Too Short Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3490,
"slug": "too-short",
"isLoading": false,
"title": "Too Short",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 1
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=too-short",
"seeMore": false,
"paginated": true,
"page": 1
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13992187": {
"type": "posts",
"id": "arts_13992187",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13992187",
"score": null,
"sort": [
1785432164000
]
},
"guestAuthors": [],
"slug": "too-short-at-60-senior-citizen-rappers-new-album-lil-jon",
"title": "Too Short, Going Strong at 60, Makes the Case for ‘Senior Citizen Rappers’",
"publishDate": 1785432164,
"format": "standard",
"headTitle": "Too Short, Going Strong at 60, Makes the Case for ‘Senior Citizen Rappers’ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>At 60, \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> is helping usher hip-hop into what he calls its senior citizen era. Just don’t expect him to rap like one.\u003c/p>\n\n\n\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a> hip-hop pioneer is still recording, touring and talking slick more than four decades after he began \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">selling homemade tapes\u003c/a> on the streets of the Bay Area. While the genre has long treated aging like an unwritten career-ending offense, Too Short is breaking the rule and challenging the culture’s elder statesmen to keep going with him.\u003c/p>\n\n\n\n\u003cp>His latest proof is “Sir Too $hort Vol. 2: Drink & Smoke,” his 23rd studio album, produced entirely by longtime collaborator \u003ca href=\"https://apnews.com/article/dnc-roll-call-lil-jon-dj-cassidy-35c00f31ebddf664cbfaa4b4b9eb370d\">Lil Jon\u003c/a>. It arrives Friday, exactly 20 years after the release of his enduring hit “\u003ca href=\"https://www.kqed.org/arts/13987115/too-short-blow-the-whistle-20-year-anniversary\">Blow the Whistle\u003c/a>.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1989\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_.jpg\" alt=\"\" class=\"wp-image-13992201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_-1536x1528.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">‘Sir Too $hort Vol. 2: Drink & Smoke,’ Too Short’s 23rd album, is produced by longtime Atlanta collaborator Lil Jon. (EMPIRE)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Too Short, whose catalog also includes classics like “The Ghetto” and “Life Is… Too $hort,” and who last year produced the Hollywood feature film \u003cem>\u003ca href=\"https://www.kqed.org/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland\">Freaky Tales\u003c/a>\u003c/em>, says he isn’t interested in slowing down anytime soon. That was certainly evident when \u003ca href=\"https://apnews.com/article/nfl-honors-e40-too-short-bf1003db47c2c7bbda175a2c4b926106\">he and E-40 performed at the NFL Honors\u003c/a> in February.\u003c/p>\n\n\n\n\u003cp>In an interview this week, Too Short reflected on turning 60, challenging hip-hop’s age limits, preserving the legacy of Lil Jon’s late son, DJ Young Slade, the staying power of “Blow the Whistle” and why he has no plans to stop until “the wheels fall off.”\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n\n\n\u003ch4 class=\"wp-block-heading\">You recently turned 60, but you’re still releasing albums, touring and influencing the culture. When you first started selling homemade tapes on the streets of Oakland, did you ever imagine you’d still be doing this more than four decades later?\u003c/h4>\n\n\n\n\u003cp>At the age of 14 or 15, my mentality was, “Let people hear this music. We’re going to rock some house parties and high school dances and sell some tapes to fans in the streets.” When I got my foot in the door, I knew this was going to be my job. It was always “till the wheels fall off.” It was never, “Let’s do this for 30 or 40 years.”\u003c/p>\n\n\n\n\n\n\u003cp>I’ve always said the day hip-hop is no longer my job is probably the day I’ll stop. But the love I have for hip-hop won’t allow me to stop recording. I’ve never taken a long break. I’ve continuously been in the studio, continuously doing shows. I just keep it going because it’s my job.\u003c/p>\n\n\n\n\u003ch4 class=\"wp-block-heading\">Why do you think you’ve remained relevant when so many careers have come and gone?\u003c/h4>\n\n\n\n\u003cp>I truly love making music. It’s never felt like work. I could have stopped after “Blow the Whistle” and been like, “Story told.” But somebody’s got to go out into these uncharted waters and blaze the trail. Look at \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a>, Snoop Dogg, Fat Joe and the other guys who kept going after the kids were grown and the grandkids were on the way.\u003c/p>\n\n\n\n\u003cp>Who laid the rule down that in hip-hop you gotta stop at 40? Every milestone they said was old. First it was 30, then it was 40, then it was 50. Now we got senior citizen rappers, and this … is real. Hip-hop is entering the place where jazz, blues and R&B have older artists who are still performing and recording. We should too.\u003c/p>\n\n\n\n\u003ch4 class=\"wp-block-heading\">Twenty years after its release, “Blow the Whistle” is still played everywhere from NBA arenas to the Olympics. Why do you think that record has endured?\u003c/h4>\n\n\n\n\u003cp>I don’t know if you could give me the ingredients and tell me how to do it again; I don’t think I could. It had to happen organically. I give Lil Jon a lot of credit because he’s made a lot of songs we’ve loved since the day they came out. We make good music together, and that’s why I’m excited for people to hear what we’re still doing 30 years after we first worked together.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1329\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078.jpg\" alt=\"Two Black men, one in white with dreadlocks and one in brown and bald, embrace and smile for the camera\" class=\"wp-image-13987147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-1536x1021.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Too Short (right) with ‘Blow the Whistle’ producer Lil Jon at Rick Ross’ birthday party at Bongo’s on Feb. 3, 2007 in Miami, Florida. (Julia Beverly/Getty Images)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch4 class=\"wp-block-heading\">This album reunites you with Lil Jon, but it also features work from his late son, Slade, \u003ca href=\"https://apnews.com/article/lil-jon-music-artist-pond-georgia-9293200dd9936bffe5359c85314fa5dd\">who died in February.\u003c/a> What did that collaboration mean to you?\u003c/h4>\n\n\n\n\u003cp>His son passed away after we finished recording. We had actually done about twice as many songs as ended up on this project. I saw how it affected Jon, and I had recently lost my brother, so I knew that feeling of loss. The whole time, Slade was producing or co-producing a lot of the tracks I was working on. The first thing that came to me was that I’d be more than proud to be part of his son’s legacy and give something to the world that would help him live forever. Jon keeps saying, “Slade’s legacy,” and I’m just trying to be a part of that and show the world we lost another good, talented person.\u003c/p>\n\n\n\n\u003ch4 class=\"wp-block-heading\">You and E-40 celebrated Bay Area hip-hop together during your 2020 Verzuz appearance. Fans still love seeing you two together. Would you ever team up again, whether for another Verzuz, a tour or something else?\u003c/h4>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>We did one in 2020, but it wasn’t a battle. We had a good time. We did a lot of laughing, a lot of togetherness. I didn’t want to battle 40 then, and I don’t want to battle him now. That’s my best friend in hip-hop. I’d sign up for me and 40 against anybody. That’d be fun. They haven’t had two groups. … I put that out there: Who wants to battle Too Short and E-40 in Verzuz?\u003c/p>\n\n",
"blocks": [
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>At 60, \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> is helping usher hip-hop into what he calls its senior citizen era. Just don’t expect him to rap like one.\u003c/p>\n",
"innerContent": [
"\n\u003cp>At 60, \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> is helping usher hip-hop into what he calls its senior citizen era. Just don’t expect him to rap like one.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a> hip-hop pioneer is still recording, touring and talking slick more than four decades after he began \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">selling homemade tapes\u003c/a> on the streets of the Bay Area. While the genre has long treated aging like an unwritten career-ending offense, Too Short is breaking the rule and challenging the culture’s elder statesmen to keep going with him.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a> hip-hop pioneer is still recording, touring and talking slick more than four decades after he began \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">selling homemade tapes\u003c/a> on the streets of the Bay Area. While the genre has long treated aging like an unwritten career-ending offense, Too Short is breaking the rule and challenging the culture’s elder statesmen to keep going with him.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>His latest proof is “Sir Too $hort Vol. 2: Drink & Smoke,” his 23rd studio album, produced entirely by longtime collaborator \u003ca href=\"https://apnews.com/article/dnc-roll-call-lil-jon-dj-cassidy-35c00f31ebddf664cbfaa4b4b9eb370d\">Lil Jon\u003c/a>. It arrives Friday, exactly 20 years after the release of his enduring hit “\u003ca href=\"https://www.kqed.org/arts/13987115/too-short-blow-the-whistle-20-year-anniversary\">Blow the Whistle\u003c/a>.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>His latest proof is “Sir Too $hort Vol. 2: Drink & Smoke,” his 23rd studio album, produced entirely by longtime collaborator \u003ca href=\"https://apnews.com/article/dnc-roll-call-lil-jon-dj-cassidy-35c00f31ebddf664cbfaa4b4b9eb370d\">Lil Jon\u003c/a>. It arrives Friday, exactly 20 years after the release of his enduring hit “\u003ca href=\"https://www.kqed.org/arts/13987115/too-short-blow-the-whistle-20-year-anniversary\">Blow the Whistle\u003c/a>.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13992201,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "EMPIRE",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_-1536x1528.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_.jpg\" alt=\"\" class=\"wp-image-13992201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_-1536x1528.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">‘Sir Too $hort Vol. 2: Drink & Smoke,’ Too Short’s 23rd album, is produced by longtime Atlanta collaborator Lil Jon.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_.jpg\" alt=\"\" class=\"wp-image-13992201\"/>\u003cfigcaption class=\"wp-element-caption\">‘Sir Too $hort Vol. 2: Drink & Smoke,’ Too Short’s 23rd album, is produced by longtime Atlanta collaborator Lil Jon.\u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Too Short, whose catalog also includes classics like “The Ghetto” and “Life Is… Too $hort,” and who last year produced the Hollywood feature film \u003cem>\u003ca href=\"https://www.kqed.org/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland\">Freaky Tales\u003c/a>\u003c/em>, says he isn’t interested in slowing down anytime soon. That was certainly evident when \u003ca href=\"https://apnews.com/article/nfl-honors-e40-too-short-bf1003db47c2c7bbda175a2c4b926106\">he and E-40 performed at the NFL Honors\u003c/a> in February.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Too Short, whose catalog also includes classics like “The Ghetto” and “Life Is… Too $hort,” and who last year produced the Hollywood feature film \u003cem>\u003ca href=\"https://www.kqed.org/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland\">Freaky Tales\u003c/a>\u003c/em>, says he isn’t interested in slowing down anytime soon. That was certainly evident when \u003ca href=\"https://apnews.com/article/nfl-honors-e40-too-short-bf1003db47c2c7bbda175a2c4b926106\">he and E-40 performed at the NFL Honors\u003c/a> in February.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>In an interview this week, Too Short reflected on turning 60, challenging hip-hop’s age limits, preserving the legacy of Lil Jon’s late son, DJ Young Slade, the staying power of “Blow the Whistle” and why he has no plans to stop until “the wheels fall off.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>In an interview this week, Too Short reflected on turning 60, challenging hip-hop’s age limits, preserving the legacy of Lil Jon’s late son, DJ Young Slade, the staying power of “Blow the Whistle” and why he has no plans to stop until “the wheels fall off.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "fullwidth"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"level": 4,
"text": "You recently turned 60, but you’re still releasing albums, touring and influencing the culture. When you first started selling homemade tapes on the streets of Oakland, did you ever imagine you’d still be doing this more than four decades later?"
},
"innerHTML": "\n\u003ch4 class=\"wp-block-heading\">You recently turned 60, but you’re still releasing albums, touring and influencing the culture. When you first started selling homemade tapes on the streets of Oakland, did you ever imagine you’d still be doing this more than four decades later?\u003c/h4>\n",
"innerContent": [
"\n\u003ch4 class=\"wp-block-heading\">You recently turned 60, but you’re still releasing albums, touring and influencing the culture. When you first started selling homemade tapes on the streets of Oakland, did you ever imagine you’d still be doing this more than four decades later?\u003c/h4>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>At the age of 14 or 15, my mentality was, “Let people hear this music. We’re going to rock some house parties and high school dances and sell some tapes to fans in the streets.” When I got my foot in the door, I knew this was going to be my job. It was always “till the wheels fall off.” It was never, “Let’s do this for 30 or 40 years.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>At the age of 14 or 15, my mentality was, “Let people hear this music. We’re going to rock some house parties and high school dances and sell some tapes to fans in the streets.” When I got my foot in the door, I knew this was going to be my job. It was always “till the wheels fall off.” It was never, “Let’s do this for 30 or 40 years.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed-v2/related-articles",
"attrs": {
"labelWasCleared": true,
"maxPosts": 1,
"heroImage": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_.png",
"heroImageAlt": "A collage of 1980s hip-hop figures",
"heroImageLink": "https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s",
"manualLinks": [
{
"url": "https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s",
"title": "How Bay Area Hip-Hop Found Its Sound in the 1980s"
}
]
},
"innerHTML": "",
"innerContent": [],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>I’ve always said the day hip-hop is no longer my job is probably the day I’ll stop. But the love I have for hip-hop won’t allow me to stop recording. I’ve never taken a long break. I’ve continuously been in the studio, continuously doing shows. I just keep it going because it’s my job.\u003c/p>\n",
"innerContent": [
"\n\u003cp>I’ve always said the day hip-hop is no longer my job is probably the day I’ll stop. But the love I have for hip-hop won’t allow me to stop recording. I’ve never taken a long break. I’ve continuously been in the studio, continuously doing shows. I just keep it going because it’s my job.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"level": 4,
"text": "Why do you think you’ve remained relevant when so many careers have come and gone?"
},
"innerHTML": "\n\u003ch4 class=\"wp-block-heading\">Why do you think you’ve remained relevant when so many careers have come and gone?\u003c/h4>\n",
"innerContent": [
"\n\u003ch4 class=\"wp-block-heading\">Why do you think you’ve remained relevant when so many careers have come and gone?\u003c/h4>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>I truly love making music. It’s never felt like work. I could have stopped after “Blow the Whistle” and been like, “Story told.” But somebody’s got to go out into these uncharted waters and blaze the trail. Look at \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a>, Snoop Dogg, Fat Joe and the other guys who kept going after the kids were grown and the grandkids were on the way.\u003c/p>\n",
"innerContent": [
"\n\u003cp>I truly love making music. It’s never felt like work. I could have stopped after “Blow the Whistle” and been like, “Story told.” But somebody’s got to go out into these uncharted waters and blaze the trail. Look at \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a>, Snoop Dogg, Fat Joe and the other guys who kept going after the kids were grown and the grandkids were on the way.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Who laid the rule down that in hip-hop you gotta stop at 40? Every milestone they said was old. First it was 30, then it was 40, then it was 50. Now we got senior citizen rappers, and this … is real. Hip-hop is entering the place where jazz, blues and R&B have older artists who are still performing and recording. We should too.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Who laid the rule down that in hip-hop you gotta stop at 40? Every milestone they said was old. First it was 30, then it was 40, then it was 50. Now we got senior citizen rappers, and this … is real. Hip-hop is entering the place where jazz, blues and R&B have older artists who are still performing and recording. We should too.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"level": 4,
"text": "Twenty years after its release, “Blow the Whistle” is still played everywhere from NBA arenas to the Olympics. Why do you think that record has endured?"
},
"innerHTML": "\n\u003ch4 class=\"wp-block-heading\">Twenty years after its release, “Blow the Whistle” is still played everywhere from NBA arenas to the Olympics. Why do you think that record has endured?\u003c/h4>\n",
"innerContent": [
"\n\u003ch4 class=\"wp-block-heading\">Twenty years after its release, “Blow the Whistle” is still played everywhere from NBA arenas to the Olympics. Why do you think that record has endured?\u003c/h4>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>I don’t know if you could give me the ingredients and tell me how to do it again; I don’t think I could. It had to happen organically. I give Lil Jon a lot of credit because he’s made a lot of songs we’ve loved since the day they came out. We make good music together, and that’s why I’m excited for people to hear what we’re still doing 30 years after we first worked together.\u003c/p>\n",
"innerContent": [
"\n\u003cp>I don’t know if you could give me the ingredients and tell me how to do it again; I don’t think I could. It had to happen organically. I give Lil Jon a lot of credit because he’s made a lot of songs we’ve loved since the day they came out. We make good music together, and that’s why I’m excited for people to hear what we’re still doing 30 years after we first worked together.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 13987147,
"sizeSlug": "full",
"linkDestination": "none",
"imageCredit": "Julia Beverly/Getty Images",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-1536x1021.jpg 1536w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078.jpg\" alt=\"Two Black men, one in white with dreadlocks and one in brown and bald, embrace and smile for the camera\" class=\"wp-image-13987147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-1536x1021.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Too Short (right) with ‘Blow the Whistle’ producer Lil Jon at Rick Ross’ birthday party at Bongo’s on Feb. 3, 2007 in Miami, Florida. \u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078.jpg\" alt=\"Two Black men, one in white with dreadlocks and one in brown and bald, embrace and smile for the camera\" class=\"wp-image-13987147\"/>\u003cfigcaption class=\"wp-element-caption\">Too Short (right) with ‘Blow the Whistle’ producer Lil Jon at Rick Ross’ birthday party at Bongo’s on Feb. 3, 2007 in Miami, Florida. \u003c/figcaption>\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"level": 4,
"text": "This album reunites you with Lil Jon, but it also features work from his late son, Slade, who died in February. What did that collaboration mean to you?"
},
"innerHTML": "\n\u003ch4 class=\"wp-block-heading\">This album reunites you with Lil Jon, but it also features work from his late son, Slade, \u003ca href=\"https://apnews.com/article/lil-jon-music-artist-pond-georgia-9293200dd9936bffe5359c85314fa5dd\">who died in February.\u003c/a> What did that collaboration mean to you?\u003c/h4>\n",
"innerContent": [
"\n\u003ch4 class=\"wp-block-heading\">This album reunites you with Lil Jon, but it also features work from his late son, Slade, \u003ca href=\"https://apnews.com/article/lil-jon-music-artist-pond-georgia-9293200dd9936bffe5359c85314fa5dd\">who died in February.\u003c/a> What did that collaboration mean to you?\u003c/h4>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>His son passed away after we finished recording. We had actually done about twice as many songs as ended up on this project. I saw how it affected Jon, and I had recently lost my brother, so I knew that feeling of loss. The whole time, Slade was producing or co-producing a lot of the tracks I was working on. The first thing that came to me was that I’d be more than proud to be part of his son’s legacy and give something to the world that would help him live forever. Jon keeps saying, “Slade’s legacy,” and I’m just trying to be a part of that and show the world we lost another good, talented person.\u003c/p>\n",
"innerContent": [
"\n\u003cp>His son passed away after we finished recording. We had actually done about twice as many songs as ended up on this project. I saw how it affected Jon, and I had recently lost my brother, so I knew that feeling of loss. The whole time, Slade was producing or co-producing a lot of the tracks I was working on. The first thing that came to me was that I’d be more than proud to be part of his son’s legacy and give something to the world that would help him live forever. Jon keeps saying, “Slade’s legacy,” and I’m just trying to be a part of that and show the world we lost another good, talented person.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/heading",
"attrs": {
"level": 4,
"text": "You and E-40 celebrated Bay Area hip-hop together during your 2020 Verzuz appearance. Fans still love seeing you two together. Would you ever team up again, whether for another Verzuz, a tour or something else?"
},
"innerHTML": "\n\u003ch4 class=\"wp-block-heading\">You and E-40 celebrated Bay Area hip-hop together during your 2020 Verzuz appearance. Fans still love seeing you two together. Would you ever team up again, whether for another Verzuz, a tour or something else?\u003c/h4>\n",
"innerContent": [
"\n\u003ch4 class=\"wp-block-heading\">You and E-40 celebrated Bay Area hip-hop together during your 2020 Verzuz appearance. Fans still love seeing you two together. Would you ever team up again, whether for another Verzuz, a tour or something else?\u003c/h4>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "floatright"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>We did one in 2020, but it wasn’t a battle. We had a good time. We did a lot of laughing, a lot of togetherness. I didn’t want to battle 40 then, and I don’t want to battle him now. That’s my best friend in hip-hop. I’d sign up for me and 40 against anybody. That’d be fun. They haven’t had two groups. … I put that out there: Who wants to battle Too Short and E-40 in Verzuz?\u003c/p>\n",
"innerContent": [
"\n\u003cp>We did one in 2020, but it wasn’t a battle. We had a good time. We did a lot of laughing, a lot of togetherness. I didn’t want to battle 40 then, and I don’t want to battle him now. That’s my best friend in hip-hop. I’d sign up for me and 40 against anybody. That’d be fun. They haven’t had two groups. … I put that out there: Who wants to battle Too Short and E-40 in Verzuz?\u003c/p>\n"
],
"innerBlocks": []
}
],
"excerpt": "‘Who laid the rule down that in hip-hop you gotta stop at 40?’ asks Short, whose 23rd album drops Friday.",
"status": "publish",
"parent": 0,
"modified": 1785432172,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 1075
},
"headData": {
"title": "Too Short, Going Strong at 60, Makes the Case for ‘Senior Citizen Rappers’ | KQED",
"description": "‘Who laid the rule down that in hip-hop you gotta stop at 40?’ asks Short, whose 23rd album drops Friday.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Too Short, Going Strong at 60, Makes the Case for ‘Senior Citizen Rappers’",
"datePublished": "2026-07-30T10:22:44-07:00",
"dateModified": "2026-07-30T10:22:52-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprByline": "Johnathan Landrum Jr., Associated Press",
"nprStoryId": "kqed-13992187",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13992187/too-short-at-60-senior-citizen-rappers-new-album-lil-jon",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 60, \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> is helping usher hip-hop into what he calls its senior citizen era. Just don’t expect him to rap like one.\u003c/p>\n\n\n\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a> hip-hop pioneer is still recording, touring and talking slick more than four decades after he began \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">selling homemade tapes\u003c/a> on the streets of the Bay Area. While the genre has long treated aging like an unwritten career-ending offense, Too Short is breaking the rule and challenging the culture’s elder statesmen to keep going with him.\u003c/p>\n\n\n\n\u003cp>His latest proof is “Sir Too $hort Vol. 2: Drink & Smoke,” his 23rd studio album, produced entirely by longtime collaborator \u003ca href=\"https://apnews.com/article/dnc-roll-call-lil-jon-dj-cassidy-35c00f31ebddf664cbfaa4b4b9eb370d\">Lil Jon\u003c/a>. It arrives Friday, exactly 20 years after the release of his enduring hit “\u003ca href=\"https://www.kqed.org/arts/13987115/too-short-blow-the-whistle-20-year-anniversary\">Blow the Whistle\u003c/a>.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1989\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_.jpg\" alt=\"\" class=\"wp-image-13992201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Short.VOl2_-1536x1528.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">‘Sir Too $hort Vol. 2: Drink & Smoke,’ Too Short’s 23rd album, is produced by longtime Atlanta collaborator Lil Jon. (EMPIRE)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Too Short, whose catalog also includes classics like “The Ghetto” and “Life Is… Too $hort,” and who last year produced the Hollywood feature film \u003cem>\u003ca href=\"https://www.kqed.org/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland\">Freaky Tales\u003c/a>\u003c/em>, says he isn’t interested in slowing down anytime soon. That was certainly evident when \u003ca href=\"https://apnews.com/article/nfl-honors-e40-too-short-bf1003db47c2c7bbda175a2c4b926106\">he and E-40 performed at the NFL Honors\u003c/a> in February.\u003c/p>\n\n\n\n\u003cp>In an interview this week, Too Short reflected on turning 60, challenging hip-hop’s age limits, preserving the legacy of Lil Jon’s late son, DJ Young Slade, the staying power of “Blow the Whistle” and why he has no plans to stop until “the wheels fall off.”\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n\n\n\u003ch4 class=\"wp-block-heading\">You recently turned 60, but you’re still releasing albums, touring and influencing the culture. When you first started selling homemade tapes on the streets of Oakland, did you ever imagine you’d still be doing this more than four decades later?\u003c/h4>\n\n\n\n\u003cp>At the age of 14 or 15, my mentality was, “Let people hear this music. We’re going to rock some house parties and high school dances and sell some tapes to fans in the streets.” When I got my foot in the door, I knew this was going to be my job. It was always “till the wheels fall off.” It was never, “Let’s do this for 30 or 40 years.”\u003c/p>\n\n\n\n\n\n\u003cp>I’ve always said the day hip-hop is no longer my job is probably the day I’ll stop. But the love I have for hip-hop won’t allow me to stop recording. I’ve never taken a long break. I’ve continuously been in the studio, continuously doing shows. I just keep it going because it’s my job.\u003c/p>\n\n\n\n\u003ch4 class=\"wp-block-heading\">Why do you think you’ve remained relevant when so many careers have come and gone?\u003c/h4>\n\n\n\n\u003cp>I truly love making music. It’s never felt like work. I could have stopped after “Blow the Whistle” and been like, “Story told.” But somebody’s got to go out into these uncharted waters and blaze the trail. Look at \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a>, Snoop Dogg, Fat Joe and the other guys who kept going after the kids were grown and the grandkids were on the way.\u003c/p>\n\n\n\n\u003cp>Who laid the rule down that in hip-hop you gotta stop at 40? Every milestone they said was old. First it was 30, then it was 40, then it was 50. Now we got senior citizen rappers, and this … is real. Hip-hop is entering the place where jazz, blues and R&B have older artists who are still performing and recording. We should too.\u003c/p>\n\n\n\n\u003ch4 class=\"wp-block-heading\">Twenty years after its release, “Blow the Whistle” is still played everywhere from NBA arenas to the Olympics. Why do you think that record has endured?\u003c/h4>\n\n\n\n\u003cp>I don’t know if you could give me the ingredients and tell me how to do it again; I don’t think I could. It had to happen organically. I give Lil Jon a lot of credit because he’s made a lot of songs we’ve loved since the day they came out. We make good music together, and that’s why I’m excited for people to hear what we’re still doing 30 years after we first worked together.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1329\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078.jpg\" alt=\"Two Black men, one in white with dreadlocks and one in brown and bald, embrace and smile for the camera\" class=\"wp-image-13987147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/GettyImages-2155222078-1536x1021.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Too Short (right) with ‘Blow the Whistle’ producer Lil Jon at Rick Ross’ birthday party at Bongo’s on Feb. 3, 2007 in Miami, Florida. (Julia Beverly/Getty Images)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch4 class=\"wp-block-heading\">This album reunites you with Lil Jon, but it also features work from his late son, Slade, \u003ca href=\"https://apnews.com/article/lil-jon-music-artist-pond-georgia-9293200dd9936bffe5359c85314fa5dd\">who died in February.\u003c/a> What did that collaboration mean to you?\u003c/h4>\n\n\n\n\u003cp>His son passed away after we finished recording. We had actually done about twice as many songs as ended up on this project. I saw how it affected Jon, and I had recently lost my brother, so I knew that feeling of loss. The whole time, Slade was producing or co-producing a lot of the tracks I was working on. The first thing that came to me was that I’d be more than proud to be part of his son’s legacy and give something to the world that would help him live forever. Jon keeps saying, “Slade’s legacy,” and I’m just trying to be a part of that and show the world we lost another good, talented person.\u003c/p>\n\n\n\n\u003ch4 class=\"wp-block-heading\">You and E-40 celebrated Bay Area hip-hop together during your 2020 Verzuz appearance. Fans still love seeing you two together. Would you ever team up again, whether for another Verzuz, a tour or something else?\u003c/h4>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>We did one in 2020, but it wasn’t a battle. We had a good time. We did a lot of laughing, a lot of togetherness. I didn’t want to battle 40 then, and I don’t want to battle him now. That’s my best friend in hip-hop. I’d sign up for me and 40 against anybody. That’d be fun. They haven’t had two groups. … I put that out there: Who wants to battle Too Short and E-40 in Verzuz?\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13992187/too-short-at-60-senior-citizen-rappers-new-album-lil-jon",
"authors": [
"byline_arts_13992187"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_10278",
"arts_22664",
"arts_1143",
"arts_22382",
"arts_19347",
"arts_3478"
],
"featImg": "arts_13992199",
"label": "arts"
},
"arts_13987115": {
"type": "posts",
"id": "arts_13987115",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13987115",
"score": null,
"sort": [
1772068738000
]
},
"guestAuthors": [],
"slug": "too-short-blow-the-whistle-20-year-anniversary",
"title": "‘Blow the Whistle’ is 20 Years Old — and Keeps Going On and On",
"publishDate": 1772068738,
"format": "standard",
"headTitle": "‘Blow the Whistle’ is 20 Years Old — and Keeps Going On and On | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cem>On March 3, 2006, \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> dropped “Blow The Whistle,” an addictive comeback single from the Oakland legend that to this day is played at nearly every block party and club night in the Bay Area. Despite never cracking the Billboard Hot 100 chart, it’s had enough staying power to become a nationwide classic.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Here, in an excerpt from her upcoming book \u003c/em>\u003ca href=\"https://sf-music-week.squarespace.com/calendar/music-book-club-studio-aurora-and-fault-radio-present-tamara-palmers-bay-area-rap-mixtape-book-release-party-and-movie-night\">Bay Area Rap Mixtape\u003c/a>\u003cem>, music writer \u003ca href=\"https://www.thetamarapalmer.com/\">Tamara Palmer\u003c/a> recalls the song’s video shoot in Oakland, and the new world it heralded. \u003c/em>\u003c/p>\n\u003cp>https://youtu.be/CBJtzEKetBM?si=NWSzz8Z7cLKoeCKS\u003c/p>\n\u003cp>[dropcap]F[/dropcap]our days after a riotous visit to San Quentin with KMEL and Messy Marv, I was on the phone with Too Short, conducting an interview about the Black Panthers for MTV News. At the end of the call, he invited me to the “Blow the Whistle” video shoot, taking place the next day in Oakland.\u003c/p>\n\u003cp>I’d like to say that I responded with cool nonchalance. But according to the blog post I wrote when I got home, I said, “REALLY? CAN I?!?!?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, 20 years since its release in March 2006, “Blow The Whistle” is a beloved and iconic Bay Area party and sports anthem. Short’s catalog is deep, but “Blow The Whistle” is the song of his that most people know.\u003c/p>\n\u003cp>Produced by Lil Jon, who once told me about bumping Too Short tracks while driving around in high school, “Blow The Whistle” was recorded in Atlanta and Miami and landed as part of a multi-year crunk hitmaking streak.\u003c/p>\n\u003cfigure id=\"attachment_13987149\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_208.jpg\" alt=\"\" width=\"1024\" height=\"766\" class=\"size-full wp-image-13987149\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_208.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_208-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_208-768x575.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A clapperboard at the video shoot for Too Short’s ‘Blow the Whistle’ at Mingles nightclub in Oakland in 2006. \u003ccite>(Tamara Palmer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first day of the video shoot took place at Mingles Martini & Champagne Lounge, a nightclub near Jack London Square. As I stood in line and stared at the train tracks across the street, two kids behind me recalled witnessing a graphic killing outside the club.\u003c/p>\n\u003cp>The environment outside Mingles on that early afternoon included a van of youngsters who pulled up, filmed a video to a short but rowdy song — something about “Dead! Beat! Dead! Beat!” — and then peeled off as fast as they came. The Team’s Clyde Carson passed out cans of his new Grapple (grape-apple) flavored Hyphy energy drink. \u003c/p>\n\u003cp>When I finally got inside, I quickly met two women who I felt immediate care from, and for: legendary \u003ca href=\"https://www.kqed.org/arts/13951122/d-ray-bay-area-hip-hop-photographer\">Bay Area rap photographer D-Ray\u003c/a> and rapper OOO (Omolara Odofin). The energy in the room was very masculine, to put it mildly, yet they both clocked my awkwardness and took me under their wings.\u003c/p>\n\u003cfigure id=\"attachment_13987152\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_192.1.jpg\" alt=\"\" width=\"1024\" height=\"766\" class=\"size-full wp-image-13987152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_192.1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_192.1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_192.1-768x575.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Too Short (center) at the video shoot for ‘Blow the Whistle’ at Mingles nightclub in Oakland in 2006. \u003ccite>(Tamara Palmer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Bernard Gourley was fresh off of directing his childhood friend E-40’s brilliant “Tell Me When to Go” video, which was shot in black and white. The Turf Feinz were there, ready to dance. \u003c/p>\n\u003cp>I spent nine and a half hours inside Mingles, allowed to take photos without a flash. It was one of the most enjoyable observational experiences ever. At one point, I sat directly behind the camera, on the floor, as the main dance scenes were filmed.\u003c/p>\n\u003cp>Here are three secrets from the “Blow The Whistle” music video: Short wore a “Love Is for Suckers” shirt, the nightclub scene was filmed during the afternoon, and the “DJ” didn’t actually have any equipment in front of him — he was air DJing.\u003c/p>\n\u003cp>[aside postID=arts_13927349 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-1536x864.png']So much has changed since that night in 2006. Following an accidental fatal shooting of a pregnant woman outside the club, and two additional incidents of gun violence in 2006, Mingles would permanently close six months later. Sadly, Gourley, the video’s director, died in a car accident in 2022.\u003c/p>\n\u003cp>And yet “Blow the Whistle” has endured, as well as some of its video’s stars. Last year, Kendrick Lamar incorporated the Turf Feinz into his 2025 Super Bowl performance in New Orleans — a true moment of Bay Area pride.\u003c/p>\n\u003cp>[dropcap]B[/dropcap]y May of 2006, Short was sensitive to criticism that he’d co-opted hyphy culture, but he insisted that he had a more important goal.\u003c/p>\n\u003cp>“I’m trying to be a guiding light to these youngsters,” he told me, during an interview about the crunk and hyphy movements for Atlanta’s weekly paper \u003cem>Creative Loafing\u003c/em>.\u003c/p>\n\u003cp>“I’m like, ‘Man, don’t make the wrong decisions,’” he said. “‘Don’t sign stupid contracts, don’t let nobody else get your money and jack it off.’ I’m thinking like that. Don’t turn the hyphy into a dance that comes and goes. Turn this into a business that supports families and kids and generations. It’s somebody’s kids going to go to college because of crunk music. Somebody’s kids are gonna get a trust fund because of crunk, you know what I’m saying? Let’s do that with the hyphy.”\u003c/p>\n\u003cfigure id=\"attachment_13987150\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_254.jpg\" alt=\"\" width=\"1024\" height=\"766\" class=\"size-full wp-image-13987150\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_254.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_254-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_254-768x575.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A young attendee at Too Short’s ‘Blow the Whistle’ video shoot at Mingles nightclub in Oakland in 2006. \u003ccite>(Tamara Palmer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the next five years — until Messy Marv leaked his number and it changed — I annoyed Short by texting him every time I reviewed a concert where the DJ played “Blow the Whistle” — Janet Jackson, say, or Bell Biv DeVoe. It’s still an out-of-town DJ’s way of checking in with the Bay and paying respect. \u003c/p>\n\u003cp>In May 2013, I was visiting NYC when \u003ca href=\"https://www.kqed.org/news/10517260/growing-up-deprived-in-east-oakland\">Youth Uprising\u003c/a>’s Jacky Johnson invited me to Short’s guest appearance on \u003cem>Late Night with Jimmy Fallon\u003c/em>.\u003c/p>\n\u003cp>Short had a five-minute rehearsal of the song with The Roots before the show. Tuba Gooding Jr. took care of the bassline, and Black Thought freestyled over the top. Though the rehearsal was brief, Short and The Roots performed with the ease of longtime collaborators. “I never practice before the show,” Short said.\u003c/p>\n\u003cp>“You’re really not that short!” Fallon said to Short, as the show began.\u003c/p>\n\u003cp>The song brought the TV audience to its feet, a full seven years after “Blow the Whistle” dropped. And now, 20 years later, its relevance keeps going on and on. \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book release party for Tamara Palmer’s ‘Bay Area Rap Mixtape’ takes place Sunday, March 1 at Studio Aurora (302 Valencia St., San Francisco). Admission is free; \u003ca href=\"https://sf-music-week.squarespace.com/calendar/music-book-club-studio-aurora-and-fault-radio-present-tamara-palmers-bay-area-rap-mixtape-book-release-party-and-movie-night\">more event details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Tamara Palmer recalls Too Short's video shoot in Oakland, and the makings of a Bay Area classic.",
"status": "publish",
"parent": 0,
"modified": 1772733360,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 25,
"wordCount": 1175
},
"headData": {
"title": "Too Short's ‘Blow the Whistle’ Is 20 Years Old — and Keeps Going On and On | KQED",
"description": "Tamara Palmer recalls Too Short's video shoot in Oakland, and the makings of a Bay Area classic.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"socialTitle": "Too Short's ‘Blow the Whistle’ Is 20 Years Old — and Keeps Going On and On %%page%% %%sep%% KQED",
"socialDescription": "Tamara Palmer recalls Too Short's video shoot in Oakland, and the makings of a Bay Area classic.",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Blow the Whistle’ is 20 Years Old — and Keeps Going On and On",
"datePublished": "2026-02-25T17:18:58-08:00",
"dateModified": "2026-03-05T09:56:00-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13987115",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13987115/too-short-blow-the-whistle-20-year-anniversary",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>On March 3, 2006, \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> dropped “Blow The Whistle,” an addictive comeback single from the Oakland legend that to this day is played at nearly every block party and club night in the Bay Area. Despite never cracking the Billboard Hot 100 chart, it’s had enough staying power to become a nationwide classic.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Here, in an excerpt from her upcoming book \u003c/em>\u003ca href=\"https://sf-music-week.squarespace.com/calendar/music-book-club-studio-aurora-and-fault-radio-present-tamara-palmers-bay-area-rap-mixtape-book-release-party-and-movie-night\">Bay Area Rap Mixtape\u003c/a>\u003cem>, music writer \u003ca href=\"https://www.thetamarapalmer.com/\">Tamara Palmer\u003c/a> recalls the song’s video shoot in Oakland, and the new world it heralded. \u003c/em>\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/CBJtzEKetBM'\n title='//www.youtube.com/embed/CBJtzEKetBM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>our days after a riotous visit to San Quentin with KMEL and Messy Marv, I was on the phone with Too Short, conducting an interview about the Black Panthers for MTV News. At the end of the call, he invited me to the “Blow the Whistle” video shoot, taking place the next day in Oakland.\u003c/p>\n\u003cp>I’d like to say that I responded with cool nonchalance. But according to the blog post I wrote when I got home, I said, “REALLY? CAN I?!?!?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, 20 years since its release in March 2006, “Blow The Whistle” is a beloved and iconic Bay Area party and sports anthem. Short’s catalog is deep, but “Blow The Whistle” is the song of his that most people know.\u003c/p>\n\u003cp>Produced by Lil Jon, who once told me about bumping Too Short tracks while driving around in high school, “Blow The Whistle” was recorded in Atlanta and Miami and landed as part of a multi-year crunk hitmaking streak.\u003c/p>\n\u003cfigure id=\"attachment_13987149\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_208.jpg\" alt=\"\" width=\"1024\" height=\"766\" class=\"size-full wp-image-13987149\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_208.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_208-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_208-768x575.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A clapperboard at the video shoot for Too Short’s ‘Blow the Whistle’ at Mingles nightclub in Oakland in 2006. \u003ccite>(Tamara Palmer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first day of the video shoot took place at Mingles Martini & Champagne Lounge, a nightclub near Jack London Square. As I stood in line and stared at the train tracks across the street, two kids behind me recalled witnessing a graphic killing outside the club.\u003c/p>\n\u003cp>The environment outside Mingles on that early afternoon included a van of youngsters who pulled up, filmed a video to a short but rowdy song — something about “Dead! Beat! Dead! Beat!” — and then peeled off as fast as they came. The Team’s Clyde Carson passed out cans of his new Grapple (grape-apple) flavored Hyphy energy drink. \u003c/p>\n\u003cp>When I finally got inside, I quickly met two women who I felt immediate care from, and for: legendary \u003ca href=\"https://www.kqed.org/arts/13951122/d-ray-bay-area-hip-hop-photographer\">Bay Area rap photographer D-Ray\u003c/a> and rapper OOO (Omolara Odofin). The energy in the room was very masculine, to put it mildly, yet they both clocked my awkwardness and took me under their wings.\u003c/p>\n\u003cfigure id=\"attachment_13987152\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_192.1.jpg\" alt=\"\" width=\"1024\" height=\"766\" class=\"size-full wp-image-13987152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_192.1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_192.1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_192.1-768x575.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Too Short (center) at the video shoot for ‘Blow the Whistle’ at Mingles nightclub in Oakland in 2006. \u003ccite>(Tamara Palmer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Bernard Gourley was fresh off of directing his childhood friend E-40’s brilliant “Tell Me When to Go” video, which was shot in black and white. The Turf Feinz were there, ready to dance. \u003c/p>\n\u003cp>I spent nine and a half hours inside Mingles, allowed to take photos without a flash. It was one of the most enjoyable observational experiences ever. At one point, I sat directly behind the camera, on the floor, as the main dance scenes were filmed.\u003c/p>\n\u003cp>Here are three secrets from the “Blow The Whistle” music video: Short wore a “Love Is for Suckers” shirt, the nightclub scene was filmed during the afternoon, and the “DJ” didn’t actually have any equipment in front of him — he was air DJing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13927349",
"hero": "https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/that_s_my_word_____featured_image__3_-1536x864.png",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>So much has changed since that night in 2006. Following an accidental fatal shooting of a pregnant woman outside the club, and two additional incidents of gun violence in 2006, Mingles would permanently close six months later. Sadly, Gourley, the video’s director, died in a car accident in 2022.\u003c/p>\n\u003cp>And yet “Blow the Whistle” has endured, as well as some of its video’s stars. Last year, Kendrick Lamar incorporated the Turf Feinz into his 2025 Super Bowl performance in New Orleans — a true moment of Bay Area pride.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>y May of 2006, Short was sensitive to criticism that he’d co-opted hyphy culture, but he insisted that he had a more important goal.\u003c/p>\n\u003cp>“I’m trying to be a guiding light to these youngsters,” he told me, during an interview about the crunk and hyphy movements for Atlanta’s weekly paper \u003cem>Creative Loafing\u003c/em>.\u003c/p>\n\u003cp>“I’m like, ‘Man, don’t make the wrong decisions,’” he said. “‘Don’t sign stupid contracts, don’t let nobody else get your money and jack it off.’ I’m thinking like that. Don’t turn the hyphy into a dance that comes and goes. Turn this into a business that supports families and kids and generations. It’s somebody’s kids going to go to college because of crunk music. Somebody’s kids are gonna get a trust fund because of crunk, you know what I’m saying? Let’s do that with the hyphy.”\u003c/p>\n\u003cfigure id=\"attachment_13987150\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_254.jpg\" alt=\"\" width=\"1024\" height=\"766\" class=\"size-full wp-image-13987150\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_254.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_254-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NY_254-768x575.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A young attendee at Too Short’s ‘Blow the Whistle’ video shoot at Mingles nightclub in Oakland in 2006. \u003ccite>(Tamara Palmer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the next five years — until Messy Marv leaked his number and it changed — I annoyed Short by texting him every time I reviewed a concert where the DJ played “Blow the Whistle” — Janet Jackson, say, or Bell Biv DeVoe. It’s still an out-of-town DJ’s way of checking in with the Bay and paying respect. \u003c/p>\n\u003cp>In May 2013, I was visiting NYC when \u003ca href=\"https://www.kqed.org/news/10517260/growing-up-deprived-in-east-oakland\">Youth Uprising\u003c/a>’s Jacky Johnson invited me to Short’s guest appearance on \u003cem>Late Night with Jimmy Fallon\u003c/em>.\u003c/p>\n\u003cp>Short had a five-minute rehearsal of the song with The Roots before the show. Tuba Gooding Jr. took care of the bassline, and Black Thought freestyled over the top. Though the rehearsal was brief, Short and The Roots performed with the ease of longtime collaborators. “I never practice before the show,” Short said.\u003c/p>\n\u003cp>“You’re really not that short!” Fallon said to Short, as the show began.\u003c/p>\n\u003cp>The song brought the TV audience to its feet, a full seven years after “Blow the Whistle” dropped. And now, 20 years later, its relevance keeps going on and on. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book release party for Tamara Palmer’s ‘Bay Area Rap Mixtape’ takes place Sunday, March 1 at Studio Aurora (302 Valencia St., San Francisco). Admission is free; \u003ca href=\"https://sf-music-week.squarespace.com/calendar/music-book-club-studio-aurora-and-fault-radio-present-tamara-palmers-bay-area-rap-mixtape-book-release-party-and-movie-night\">more event details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13987115/too-short-blow-the-whistle-20-year-anniversary",
"authors": [
"5111"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_8505",
"arts_10342",
"arts_10278",
"arts_6975",
"arts_19347",
"arts_3478"
],
"featImg": "arts_13987147",
"label": "arts"
},
"arts_13986267": {
"type": "posts",
"id": "arts_13986267",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13986267",
"score": null,
"sort": [
1770167929000
]
},
"guestAuthors": [],
"slug": "e-40-too-short-nfl-honors-how-to-watch-palace-of-fine-arts-sf",
"title": "E-40 and Too $hort to Bring Bay Area Hip-Hop to NFL Honors Stage",
"publishDate": 1770167929,
"format": "standard",
"headTitle": "E-40 and Too $hort to Bring Bay Area Hip-Hop to NFL Honors Stage | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Rap legends \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/too-hort\">Too $hort\u003c/a> will bring Bay Area hip-hop flavor to the NFL Honors stage, performing during the league’s annual awards show Thursday night in San Francisco.\u003c/p>\n\u003cp>NFL Honors will be held at the Palace of Fine Arts and air at 6 p.m. PT on NBC and NFL Network, with streaming available on Peacock.\u003c/p>\n\u003cp>[aside postid='arts_13986188']Actor Jon Hamm will host the NFL Honors, which will celebrate the league’s top performances from the 2025 season and announce the Pro Football Hall of Fame Class of 2026 and the Walter Payton NFL Man of the Year Award.\u003c/p>\n\u003cp>Presenters include Tiffany Haddish, Tracy Morgan, Druski, Rich Eisen and Madelyn Cline along with current and former NFL players such as Michael Strahan, Steve Young, Micah Parsons and Kurt Warner.\u003c/p>\n\u003cp>Too $hort and E-40’s performance adds a distinct Bay Area presence to Super Bowl week festivities, bringing hometown hip-hop legends to one of the NFL’s most high-profile stages.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With a three decade-plus career, E-40 is known for his unorthodox rap flow, schooling listeners with life lessons through his street-wise perspective.\u003c/p>\n\u003cp>Too $hort has solidified himself as a rap icon with hit songs like “Blow the Whistle,” “Shake That Monkey” and “The Ghetto.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Super Bowl, which is being held at Levi’s Stadium in Santa Clara on Sunday, features the Seattle Seahawks and the New England Patriots. \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> is the halftime performer.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Everything you need to know about the celebration, including where to watch.",
"status": "publish",
"parent": 0,
"modified": 1770249241,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 258
},
"headData": {
"title": "How to Watch E-40 and Too $hort at the NFL Honors | KQED",
"description": "Everything you need to know about the celebration, including where to watch.",
"ogTitle": "E-40 and Too $hort to Bring Bay Area Hip-Hop to NFL Honors Stage",
"ogDescription": "",
"ogImgId": "",
"twTitle": "E-40 and Too $hort to Bring Bay Area Hip-Hop to NFL Honors Stage",
"twDescription": "",
"twImgId": "",
"socialTitle": "How to Watch E-40 and Too $hort at the NFL Honors %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "E-40 and Too $hort to Bring Bay Area Hip-Hop to NFL Honors Stage",
"datePublished": "2026-02-03T17:18:49-08:00",
"dateModified": "2026-02-04T15:54:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 69,
"slug": "music",
"name": "Music"
},
"sticky": false,
"nprByline": "Jonathan Landrum, Jr., Associated Press",
"nprStoryId": "kqed-13986267",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13986267/e-40-too-short-nfl-honors-how-to-watch-palace-of-fine-arts-sf",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rap legends \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/too-hort\">Too $hort\u003c/a> will bring Bay Area hip-hop flavor to the NFL Honors stage, performing during the league’s annual awards show Thursday night in San Francisco.\u003c/p>\n\u003cp>NFL Honors will be held at the Palace of Fine Arts and air at 6 p.m. PT on NBC and NFL Network, with streaming available on Peacock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13986188",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Actor Jon Hamm will host the NFL Honors, which will celebrate the league’s top performances from the 2025 season and announce the Pro Football Hall of Fame Class of 2026 and the Walter Payton NFL Man of the Year Award.\u003c/p>\n\u003cp>Presenters include Tiffany Haddish, Tracy Morgan, Druski, Rich Eisen and Madelyn Cline along with current and former NFL players such as Michael Strahan, Steve Young, Micah Parsons and Kurt Warner.\u003c/p>\n\u003cp>Too $hort and E-40’s performance adds a distinct Bay Area presence to Super Bowl week festivities, bringing hometown hip-hop legends to one of the NFL’s most high-profile stages.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With a three decade-plus career, E-40 is known for his unorthodox rap flow, schooling listeners with life lessons through his street-wise perspective.\u003c/p>\n\u003cp>Too $hort has solidified himself as a rap icon with hit songs like “Blow the Whistle,” “Shake That Monkey” and “The Ghetto.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Super Bowl, which is being held at Levi’s Stadium in Santa Clara on Sunday, features the Seattle Seahawks and the New England Patriots. \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a> is the halftime performer.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13986267/e-40-too-short-nfl-honors-how-to-watch-palace-of-fine-arts-sf",
"authors": [
"byline_arts_13986267"
],
"categories": [
"arts_1",
"arts_69",
"arts_75",
"arts_13238"
],
"tags": [
"arts_8505",
"arts_1601",
"arts_2565",
"arts_3842",
"arts_3478"
],
"featImg": "arts_13986268",
"label": "arts"
},
"arts_13974977": {
"type": "posts",
"id": "arts_13974977",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13974977",
"score": null,
"sort": [
1745278905000
]
},
"guestAuthors": [],
"slug": "history-of-the-bay-podcast-100-episodes-too-short-bay-area",
"title": "After 100 Episodes, ‘History of the Bay’ Expands Its Horizons",
"publishDate": 1745278905,
"format": "standard",
"headTitle": "After 100 Episodes, ‘History of the Bay’ Expands Its Horizons | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>When \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">Dregs One\u003c/a> finally met \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> face-to-face this past February, during NBA All-Star weekend in San Francisco, the two weren’t exactly strangers. Short, of course, is a Bay Area rap icon, now 22 albums deep in the game — and he’d definitely noticed Dregs’ work to tell the stories of the region’s hip-hop producers, graffiti artists and rap pioneers on his \u003cem>\u003ca href=\"https://creators.spotify.com/pod/profile/historyofthebay/\">History of the Bay\u003c/a>\u003c/em> podcast.\u003c/p>\n\u003cp>It was only fitting, then, that Too Short be the guest on the landmark 100th episode of \u003cem>History of the Bay\u003c/em> — an appearance that Dregs tells KQED has been a longtime goal. Short’s been “very supportive since the beginning, in terms of commenting, sharing and engaging on social media,” allowing for what’s usually an hour- or hour-and-a-half-long conversation on the podcast to last for more than two hours.\u003c/p>\n\u003cp>[aside postID='arts_13916721']It’s the culmination of a long road for \u003cem>History of the Bay\u003c/em>, which began in early 2022 as short TikToks. Onscreen, Dregs would summarize entire careers or scenes in in 60 seconds or less. (The first two? Graffiti spot Psycho City and Tupac Shakur.) Some blew up with as many as half a million views, and six months later, the podcast was born — a way to stretch out beyond TikTok’s time limitations and hear from the artists themselves.\u003c/p>\n\u003cp>Now, Dregs is expanding yet again. Episode No. 101 will feature actor Danny Glover, and Dregs wants to host more actors, activists, journalists and musicians of different genres on \u003cem>History of the Bay\u003c/em>.\u003c/p>\n\u003cp>“I’d actually be interested in like, regular people. School teachers!” Dregs says. “I want to get this podcast to where it doesn’t really matter who I have on, the audience is strong enough to trust me to know that whatever story gets told will be interesting.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13973907']It’s also been a time of literal expansion for the podcast, which recently moved to the office of record label EMPIRE, whose sponsorship comes with a small production team, including videographer Trevor Potter and production manager Jazmin Ontiveros. Having the support of EMPIRE’s CEO Ghazi Shami “really means a lot to me,” Dregs says. “This culture is important to him.”\u003c/p>\n\u003cp>And while reporting on said culture can involve egos, beef and grudges, Dregs has enough street knowledge to sidestep them (“it’s really served me well by going out of my way to not be messy,” he says). He intersperses interviews of rappers like Philthy Rich, Messy Marv and LaRussell with graphic designers like \u003ca href=\"https://www.youtube.com/watch?v=ZErUFFA8SR0\">Shemp\u003c/a> or personal injury billboard queen \u003ca href=\"https://www.youtube.com/watch?v=xc531VHZUN4\">Anh Phoong\u003c/a>. And, for October, he’s already planning a return of the \u003ca href=\"https://www.kqed.org/arts/13931387/photos-history-of-the-bay-day-party-dregs-one-review\">\u003cem>History of the Bay\u003c/em> live event\u003c/a> at the Midway in San Francisco.\u003c/p>\n\u003cp>As for what the podcast might look like another 100 episodes from now, Dregs says he just wants to continue pushing Bay Area culture to an international audience, “so they learn about the Bay and start appreciating it more.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘History of the Bay’ drops new episodes weekly, and can be found on \u003ca href=\"https://creators.spotify.com/pod/profile/historyofthebay/\">podcast platforms\u003c/a> and \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\">YouTube\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "With a new studio and broader focus, Dregs One is committed to bringing Bay Area street culture to the world.",
"status": "publish",
"parent": 0,
"modified": 1745278975,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 552
},
"headData": {
"title": "After 100 Episodes, ‘History of the Bay’ Expands Its Horizons | KQED",
"description": "With a new studio and broader focus, Dregs One is committed to bringing Bay Area street culture to the world.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "After 100 Episodes, ‘History of the Bay’ Expands Its Horizons",
"datePublished": "2025-04-21T16:41:45-07:00",
"dateModified": "2025-04-21T16:42:55-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13974977",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13974977/history-of-the-bay-podcast-100-episodes-too-short-bay-area",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">Dregs One\u003c/a> finally met \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> face-to-face this past February, during NBA All-Star weekend in San Francisco, the two weren’t exactly strangers. Short, of course, is a Bay Area rap icon, now 22 albums deep in the game — and he’d definitely noticed Dregs’ work to tell the stories of the region’s hip-hop producers, graffiti artists and rap pioneers on his \u003cem>\u003ca href=\"https://creators.spotify.com/pod/profile/historyofthebay/\">History of the Bay\u003c/a>\u003c/em> podcast.\u003c/p>\n\u003cp>It was only fitting, then, that Too Short be the guest on the landmark 100th episode of \u003cem>History of the Bay\u003c/em> — an appearance that Dregs tells KQED has been a longtime goal. Short’s been “very supportive since the beginning, in terms of commenting, sharing and engaging on social media,” allowing for what’s usually an hour- or hour-and-a-half-long conversation on the podcast to last for more than two hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13916721",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It’s the culmination of a long road for \u003cem>History of the Bay\u003c/em>, which began in early 2022 as short TikToks. Onscreen, Dregs would summarize entire careers or scenes in in 60 seconds or less. (The first two? Graffiti spot Psycho City and Tupac Shakur.) Some blew up with as many as half a million views, and six months later, the podcast was born — a way to stretch out beyond TikTok’s time limitations and hear from the artists themselves.\u003c/p>\n\u003cp>Now, Dregs is expanding yet again. Episode No. 101 will feature actor Danny Glover, and Dregs wants to host more actors, activists, journalists and musicians of different genres on \u003cem>History of the Bay\u003c/em>.\u003c/p>\n\u003cp>“I’d actually be interested in like, regular people. School teachers!” Dregs says. “I want to get this podcast to where it doesn’t really matter who I have on, the audience is strong enough to trust me to know that whatever story gets told will be interesting.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13973907",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It’s also been a time of literal expansion for the podcast, which recently moved to the office of record label EMPIRE, whose sponsorship comes with a small production team, including videographer Trevor Potter and production manager Jazmin Ontiveros. Having the support of EMPIRE’s CEO Ghazi Shami “really means a lot to me,” Dregs says. “This culture is important to him.”\u003c/p>\n\u003cp>And while reporting on said culture can involve egos, beef and grudges, Dregs has enough street knowledge to sidestep them (“it’s really served me well by going out of my way to not be messy,” he says). He intersperses interviews of rappers like Philthy Rich, Messy Marv and LaRussell with graphic designers like \u003ca href=\"https://www.youtube.com/watch?v=ZErUFFA8SR0\">Shemp\u003c/a> or personal injury billboard queen \u003ca href=\"https://www.youtube.com/watch?v=xc531VHZUN4\">Anh Phoong\u003c/a>. And, for October, he’s already planning a return of the \u003ca href=\"https://www.kqed.org/arts/13931387/photos-history-of-the-bay-day-party-dregs-one-review\">\u003cem>History of the Bay\u003c/em> live event\u003c/a> at the Midway in San Francisco.\u003c/p>\n\u003cp>As for what the podcast might look like another 100 episodes from now, Dregs says he just wants to continue pushing Bay Area culture to an international audience, “so they learn about the Bay and start appreciating it more.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘History of the Bay’ drops new episodes weekly, and can be found on \u003ca href=\"https://creators.spotify.com/pod/profile/historyofthebay/\">podcast platforms\u003c/a> and \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\">YouTube\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13974977/history-of-the-bay-podcast-100-episodes-too-short-bay-area",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_76",
"arts_7862",
"arts_69"
],
"tags": [
"arts_2457",
"arts_831",
"arts_3837",
"arts_974",
"arts_1146",
"arts_19347",
"arts_3478"
],
"featImg": "arts_13975005",
"label": "arts"
},
"arts_13974034": {
"type": "posts",
"id": "arts_13974034",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13974034",
"score": null,
"sort": [
1743775240000
]
},
"guestAuthors": [],
"slug": "freaky-tales-movie-easter-eggs-locations-cameos-oakland",
"title": "The 27 Best ‘Freaky Tales’ Easter Eggs and Cameos for Oakland Locals",
"publishDate": 1743775240,
"format": "standard",
"headTitle": "The 27 Best ‘Freaky Tales’ Easter Eggs and Cameos for Oakland Locals | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The new Pedro Pascal movie \u003cem>\u003ca href=\"https://www.kqed.org/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland\">Freaky Tales\u003c/a>\u003c/em> is a wild, over-the-top love letter to Oakland. It involves four interconnected stories, \u003ca href=\"https://www.kqed.org/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland\">most of which actually happened in the East Bay in 1987\u003c/a>. And it’s packed with landmarks, cameos and easter eggs for Oakland locals.\u003c/p>\n\u003cp>Here, then, are 27 local references and hidden details in \u003cem>Freaky Tales\u003c/em>, listed from A to Z.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Be warned: This glossary contains spoilers!\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13973918\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973918\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/TinaEtAl-EXT-Theater.jpg\" alt=\"\" width=\"2000\" height=\"1496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/TinaEtAl-EXT-Theater.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/TinaEtAl-EXT-Theater-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/TinaEtAl-EXT-Theater-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/TinaEtAl-EXT-Theater-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/TinaEtAl-EXT-Theater-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/TinaEtAl-EXT-Theater-1536x1149.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/TinaEtAl-EXT-Theater-1920x1436.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ji-young Yoo, as Tina, stares down Nazi skinheads outside the Grand Lake Theatre in a scene from ‘Freaky Tales.’ Co-star Jack Champion wears a T-shirt for Corrupted Morals, the underground East Bay punk band which counted Primus’ Larry LaLonde and Green Day’s Billie Joe Armstrong as onetime members. \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.youtube.com/watch?v=WxriXHNuLcg\">Bitch Fight\u003c/a>\u003c/h2>\n\u003cp>The character Tina can be seen wearing a T-shirt of this all-women punk band, which \u003ca href=\"https://razorcake.org/bitch-fight-all-we-wanted-was-everything-part-3-by-michelle-cruz-gonzales/\">moved from Tuolumne\u003c/a> to the Bay Area in 1987. Drummer Michelle Cruz Gonzales would later join Kamala & the Karnivores, drum for Spitboy and \u003ca href=\"https://www.pmpress.org/index.php?l=product_detail&p=777\">write a memoir\u003c/a>.\u003c/p>\n\u003ch2>\u003cem>\u003ca href=\"https://www.kqed.org/forum/2010101908540/remembering-la-filmmaker-david-lynch-and-his-lynchian-legacy\">Blue Velvet\u003c/a>\u003c/em>\u003c/h2>\n\u003cp>Not so much a local reference, but filmmakers Ryan Fleck and Anna Boden like to honor this David Lynch classic by \u003ca href=\"https://www.instagram.com/p/DFEy3kWJ01B/?img_index=1\">sneaking references to it in their films\u003c/a>. It’s mentioned in passing in \u003cem>Freaky Tales\u003c/em> twice.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.instagram.com/colonialdonuts/\">Colonial Donuts\u003c/a>\u003c/h2>\n\u003cp>Seen on the clerk’s T-shirt in the video rental store, Colonial Donuts is an Oakland institution that abides by the three magic words: Open 24 Hours. With multiple locations, the beloved donut shop is just about the only thing “colonial” that Bay Area folks agree on.\u003c/p>\n\u003cfigure id=\"attachment_13973921\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Dominique Thorne and Normani as Danger Zone’s Barbie and Entice in a scene from ‘Freaky Tales.’ \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland\">Danger Zone\u003c/a>\u003c/h2>\n\u003cp>The stars of \u003cem>Freaky Tales\u003c/em>’ second chapter are Danger Zone, who perform “Don’t Fight the Feelin’” onstage with Too Short at Oakland hotspot Sweet Jimmie’s. The female rap duo of Barbie and Entice made their debut with “\u003ca href=\"https://www.youtube.com/watch?v=SvMjOBASvbc\">Jailbait\u003c/a>,” a warning to underage girls about predatory men. Too Short then brought them in the studio for “\u003ca href=\"https://www.youtube.com/watch?v=MfSYngzHOsY\">Don’t Fight the Feelin’\u003c/a>,” and history was made. \u003ca href=\"https://www.kqed.org/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland\">Read the full backstory on Danger Zone here\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.mercurynews.com/2013/07/12/dicks-restaurant-gets-a-fresh-start-from-son-of-loyal-customer/\">Dick’s Restaurant\u003c/a>\u003c/h2>\n\u003cp>A handful of scenes in \u003cem>Freaky Tales\u003c/em> were filmed at this now-boarded up San Leandro diner and adjoining sports lounge, which originally opened in 1969. This is not the restaurant’s first starring role — it also provided the setting for \u003ca href=\"https://www.youtube.com/watch?v=rt8AdNwTTUI\">Radiohead’s “High & Dry” U.S. music video\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/tag/el-cerrito\">The El Cerrito Hills\u003c/a>\u003c/h2>\n\u003cp>Where evil lives. In \u003cem>Freaky Tales\u003c/em>, the house of the Nazis is also where multiple scenes take place with Angus Cloud, Oakland’s son, in his final role. In real life, the house where filming took place is in the hills of El Cerrito.\u003c/p>\n\u003cfigure id=\"attachment_13973916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyGiantBurger.jpg\" alt=\"\" width=\"2000\" height=\"830\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyGiantBurger.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyGiantBurger-800x332.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyGiantBurger-1020x423.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyGiantBurger-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyGiantBurger-768x319.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyGiantBurger-1536x637.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyGiantBurger-1920x797.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jay Ellis, as Sleepy Floyd, celebrates after his 29-point quarter at Giant Burger in Oakland in a scene from ‘Freaky Tales.’ \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.youtube.com/watch?v=u1sVoWIhUKg\">Sleepy Floyd\u003c/a>\u003c/h2>\n\u003cp>The Warriors point guard is played by Jay Ellis in \u003cem>Freaky Tales\u003c/em>, but watch closely and you’ll see the real Sleepy Floyd make a cameo at a post-game hangout. (There’s \u003ca href=\"https://youtu.be/u1sVoWIhUKg?feature=shared&t=140\">a famous call by announcer Greg Papa\u003c/a> that shows up later in the film, too.)\u003c/p>\n\u003ch2>\u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">Freddy B\u003c/a>\u003c/h2>\n\u003cp>Too Short’s early rap partner is represented in \u003cem>Freaky Tales\u003c/em> as the character “Lenny G.” The rapper Stunnaman02, who plays Lenny, says that he tried to find Freddy B to get pointers for the role, but was unsuccessful. Too Short and Freddy B \u003ca href=\"https://web.archive.org/web/20160610000914/https://eastbayexpress.com/CultureSpyBlog/archives/2016/03/28/too-horts-30th-anniversary-show-couldnt-have-been-long-enough\">last appeared together onstage in 2016\u003c/a>, and according to reports, Freddy B is \u003ca href=\"https://www.dailyrepublic.com/lifestyle/from-drugs-prison-to-christian-missionary/article_fe8f3629-9338-5159-9b6c-22d9b247a425.html\">now a mission director\u003c/a> at Mount Calvary Baptist Church in Fairfield.\u003c/p>\n\u003ch2>\u003ca href=\"https://localwiki.org/oakland/Giant_Burger\">1/4 lb. Giant Burger\u003c/a>\u003c/h2>\n\u003cp>This Oakland institution — the one at Dimond and Macarthur — provides the after-hours meetup spot where Sleepy Floyd celebrates his record-breaking playoff performance with fans. (Hanging out among the people after a game \u003ca href=\"https://www.youtube.com/watch?v=epIVF0KkEOU\">is a thing\u003c/a> for pro athletes from the Town.)\u003c/p>\n\u003cfigure id=\"attachment_13973949\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973949\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-09-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-09-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-09-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-09-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-09-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">924 Gilman St. in Berkeley on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a>\u003c/h2>\n\u003cp>The venerable all-ages, all-volunteer punk club in Berkeley is the star of \u003cem>Freaky Tales\u003c/em>’ first chapter. And, because the filmmakers worked with Gilman volunteers past and present, they got a lot of details right: the basketball hoop, Big Wheels in the pit, the “Animal Liberation” graffiti, the “Meese is a Pig” poster. Gilman regulars like \u003ca href=\"https://www.kqed.org/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland\">George Hated\u003c/a> are portrayed in the film, and logos of bands like Soup, Christ on Parade, Crummy Musicians, MDC and Sewer Trout can be seen. The set re-creation of the club was filmed in \u003ca href=\"https://maps.app.goo.gl/d5hGHvyxTieJZD4H9\">a warehouse in East Oakland\u003c/a>, not actually at Gilman — but the \u003cem>feeling\u003c/em> is accurate, which is hard to do when depicting a regional punk scene in a Hollywood film. \u003ca href=\"https://www.kqed.org/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland\">Read about the real-life Nazi beatdown at Gilman here\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>\u003c/h2>\n\u003cp>Seen in several scenes, with the marquee advertising 1987 films \u003cem>The Lost Boys\u003c/em> and Elaine May’s famous flop \u003cem>Ishtar\u003c/em>. Host to the local premiere in March of \u003cem>Freaky Tales\u003c/em>, the Grand Lake needs no introduction — it’s part of every Oaklander’s formative memories and serves as one of the Bay’s last remaining movie palaces.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13973907']\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">Gulch\u003c/a>\u003c/h2>\n\u003cp>The Santa Cruz hardcore band, now broken up, portrays the headlining band at Gilman after the Nazi brawl. (In reality, the band that played after the fight was \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_.jpg\">MDC\u003c/a>.) Credited as “924 Gilman Band,” Gulch is shown playing songs by Black Flag and Negative Approach.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13812623/tom-hanks-talks-trump-weinstein-and-america-at-city-arts-lectures\">Tom Hanks\u003c/a>\u003c/h2>\n\u003cp>The filmmakers have been trying to keep this cameo quiet, but the cat is out of the bag. Hanks, who \u003ca href=\"https://youtu.be/mYjw3B6K9qw?feature=shared&t=471\">worked as a concession vendor at the Oakland Coliseum when he was 14\u003c/a>, goes deep on nerdy film knowledge for a scene in \u003cem>Freaky Tales\u003c/em> involving VHS rentals, and that’s all we’ll say.\u003c/p>\n\u003cfigure id=\"attachment_13972041\" class=\"wp-caption aligncenter\" style=\"max-width: 2880px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972041\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30%E2%80%AFPM.png\" alt=\"Still shot from the 'Freaky Tales' trailer shows a "Late Night Video" storefront next to a braiding salon.\" width=\"2880\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM.png 2880w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-800x417.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1020x531.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-160x83.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-768x400.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1536x800.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-2048x1067.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1920x1000.png 1920w\" sizes=\"auto, (max-width: 2880px) 100vw, 2880px\">\u003cfigcaption class=\"wp-caption-text\">A view of Telegraph Avenue, as seen in the ‘Freaky Tales’ trailer. \u003ccite>(Courtesy of Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13972017/freaky-tales-trailer-oakland-too-short-pedro-pascal\">Jasmine African Hair Braiding\u003c/a>\u003c/h2>\n\u003cp>This Telegraph Avenue standby is seen adjacent to a video rental store in \u003cem>Freaky Tales\u003c/em>. The video store itself is in the former location of \u003ca href=\"https://hillsshoes1724.weebly.com/\">Hill’s Shoes\u003c/a>, which sold fine footwear to generations of Oakland residents for nearly 100 years before closing in 2020. (Also seen is the nearby sex shop \u003ca href=\"https://www.kqed.org/arts/13858579/rightnowish-nenna-joiners-inclusive-sex-toys-at-feelmore-adult-gallery-in-oakland\">Feelmore Adult Gallery\u003c/a>, which — oops — didn’t exist in 1987.)\u003c/p>\n\u003ch2>\u003ca href=\"https://www.youtube.com/watch?v=GWnHz8_BoUg\">Jewdriver\u003c/a>\u003c/h2>\n\u003cp>In \u003cem>Freaky Tales\u003c/em>, as the skinheads are getting ready to go out on the town, music reminiscent of the Nazi punk band Skrewdriver plays. But it’s not Skrewdriver — hilariously, it’s Jewdriver, the parody band from Oakland that wrote Jewish-themed lyrics to Skrewdriver’s racist songs. (Nazis getting beaten up \u003cem>and\u003c/em> denied sync royalties? Right on.)\u003c/p>\n\u003ch2>\u003ca href=\"https://www.youtube.com/watch?v=Y3trBd6nsZ4\">Kamala and the Karnivores\u003c/a>\u003c/h2>\n\u003cp>This band’s logo is seen on the back of Tina’s jacket in a diner scene. The band’s namesake, \u003ca href=\"https://newnoisemagazine.com/column/east-bay-punk-kamala-lyn-parks/\">Kamala Parks\u003c/a>, cofounded 924 Gilman, drummed for several bands, booked many other bands’ tours and \u003ca href=\"https://www.youtube.com/watch?v=EjlhlqcCTjM\">is too nice\u003c/a>. Kamala, drummer Michelle and singer Ivy all met with the \u003cem>Freaky Tales\u003c/em> film crew and actors on set.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13959712/a-place-to-call-home-documentary-la-pena-cultural-center-murals\">La Peña Cultural Center\u003c/a>\u003c/h2>\n\u003cp>It’s not pictured in \u003cem>Freaky Tales\u003c/em>, but it’s mentioned in one scene as the host of a hip-hop open mic, which have been a staple of the long-running community space. La Peña \u003ca href=\"https://www.instagram.com/lapenaculturalcenter/\">celebrates its 50th anniversary\u003c/a> this year.\u003c/p>\n\u003cfigure id=\"attachment_13974106\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Loards.jpg\" alt=\"\" width=\"1024\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Loards.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Loards-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Loards-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Loards-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Loards-768x576.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Loard’s ice cream parlor on Coolidge and Macarthur. \u003ccite>(Flickr/Anomalous A)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.loards.com/\">Loard’s Ice Cream Parlor\u003c/a>\u003c/h2>\n\u003cp>Sure, there are other Loard’s locations. But the film crew restored the classic look of the now-shuttered Dimond location on Coolidge and MacArthur for \u003cem>Freaky Tales\u003c/em>, to great effect. When it appeared onscreen at its Grand Lake premiere, it elicited gasps and cheers from the audience.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13836150/the-power-of-taking-up-space-at-marshawn-lynchs-oakland-rideout\">Marshawn Lynch\u003c/a>\u003c/h2>\n\u003cp>Yep, that’s Beastmode driving an AC Transit bus in a quick cameo for \u003cem>Freaky Tales\u003c/em>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11966077/inside-the-trial-that-overturned-californias-same-sex-marriage-ban-proposition-8-mike-johnson-lgbtq-rights\">The Mormon Temple\u003c/a>\u003c/h2>\n\u003cp>Seen on the hill in a quick cut to Lake Merritt, this East Oakland landmark has been a shining beacon (and \u003ca href=\"https://www.discogs.com/master/1289408-Capital-Tax-Capital-Tax/image/SW1hZ2U6MjIwMTI5ODQ=\">photo shoot location\u003c/a>) to generations. Notably, the Mormon church excluded its Black members from priesthood ordinances in the temple until a 1978 reversal.\u003c/p>\n\u003cfigure id=\"attachment_13973913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973913\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jay Ellis as Sleepy Floyd in ‘Freaky Tales,’ surrounded by other actors in a scene filmed at the Oakland Coliseum. \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13965624/oakland-as-last-game-songs-played-coliseum\">The Oakland Coliseum\u003c/a>\u003c/h2>\n\u003cp>The glorious concrete landmark provides the backdrop to a TV commercial for a new age mind-healing program called Psytopics. Director Ryan Fleck explained that Psytopics was based on “these weird spiritual centers that were all over the Bay Area” in 1987. “I just remember lo-fi commercials selling you this kind of spiritual wish fulfillment on television,” he said. The Oakland Arena, next door, can be seen in certain scenes as well.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">Operation Ivy\u003c/a>\u003c/h2>\n\u003cp>The band that all but defined Gilman in the late 1980s is shown playing two songs in \u003cem>Freaky Tales\u003c/em>, and guitarist Lint has a cameo in the film. The members of Operation Ivy also had some say in who got to portray them: the L.A. band \u003ca href=\"https://www.instagram.com/aphidsmusic\">Aphids\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.corbettredford.com/\">Corbett Redford\u003c/a>\u003c/h2>\n\u003cp>The mustachioed director of the East Bay punk documentary \u003cem>\u003ca href=\"https://eastbaypunk.com/\">Turn It Around\u003c/a>\u003c/em> is seen briefly in the movie’s opening scene — a nice nod, considering his documentary provided a roadmap for the Nazi brawl depicted in \u003cem>Freaky Tales\u003c/em>’ first chapter.\u003c/p>\n\u003cfigure id=\"attachment_13973909\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973909\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/230401-VARIOUS-FREAKY-TALES-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/230401-VARIOUS-FREAKY-TALES-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/230401-VARIOUS-FREAKY-TALES-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/230401-VARIOUS-FREAKY-TALES-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/230401-VARIOUS-FREAKY-TALES-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/230401-VARIOUS-FREAKY-TALES-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/230401-VARIOUS-FREAKY-TALES-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/230401-VARIOUS-FREAKY-TALES-01-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The New Parish in downtown Oakland on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#mc-hammer-shoots-lets-get-it-started-at-sweet-jimmies\">Sweet Jimmie’s\u003c/a>\u003c/h2>\n\u003cp>The site of the thrilling scene where Too Short and Danger Zone perform “Don’t Fight the Feelin’,” and \u003cem>the\u003c/em> place to be in Oakland in the ’80s and ’90s. As Luenell put it at the \u003cem>Freaky Tales\u003c/em> premiere, “Sweet Jimmie’s was the hub — the music, the dancing, the food, the fellowship. It was \u003cem>everything\u003c/em>.” Now known as the New Parish, the nightclub on San Pablo Avenue actually didn’t host rap shows in 1987, and certainly not Too Short shows. David “Sweets” Ward, the son of owner “Sweet Jimmie” Ward, says his dad was opposed to the profanity common in rap. (\u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#mc-hammer-shoots-lets-get-it-started-at-sweet-jimmies\">MC Hammer recorded a music video at the club in 1988\u003c/a>, but of course, Hammer never swore in his songs.) Fun fact: because Saturday nights at Sweet Jimmie’s were broadcast live on \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\">Soul Beat\u003c/a>, kids at home could watch their parents on TV, partying in real time. The club closed in 2006.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a>\u003c/h2>\n\u003cp>He narrates the movie. He’s portrayed by the rapper Symba. He’s an executive producer, and his nearly 10-minute song from 1987 provided the movie’s title. The day of \u003cem>Freaky Tales\u003c/em>’ release, he \u003ca href=\"https://www.kqed.org/forum/2010101909460/movie-freaky-tales-is-a-love-letter-to-1980s-oakland\">came onto KQED Forum to discuss the film\u003c/a>. And yes, he’s got a cameo.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/tag/tower-of-power\">Tower of Power\u003c/a>\u003c/h2>\n\u003cp>There’s music from Bay Area icons (Sly Stone, Metallica), punk bands (the Avengers, Black Flag) and ’80s freestyle artists (Stevie B, Pebbles) in \u003cem>Freaky Tales\u003c/em>. This one’s special, though. How can you be mad when you hear “So Very Hard to Go” in the movie theater?\u003c/p>\n\u003ch2>\u003ca href=\"https://www.yeastiegirlz.com/our-story\">Yeastie Girlz\u003c/a>\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The character Tina wears a T-shirt of this Berkeley-based feminist acapella rap group, whose 7” made such an underground splash that Pearl Jam’s \u003ca href=\"https://www.youtube.com/clip/UgkxVpql6_JxrwEdAnCU5GUc1y87dwKcroda\">Eddie Vedder sang one of its songs onstage\u003c/a>; their song “You Suck” was also \u003ca href=\"https://www.youtube.com/watch?v=r0xTqwKMOyk\">sampled by TV Girl\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Your ultimate guide to the movie's locations, cameos and hidden details for East Bay moviegoers.",
"status": "publish",
"parent": 0,
"modified": 1752042304,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 33,
"wordCount": 1975
},
"headData": {
"title": "The 27 Best ‘Freaky Tales’ Easter Eggs and Cameos for Oakland Locals | KQED",
"description": "Your ultimate guide to the movie's locations, cameos and hidden details for East Bay moviegoers.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The 27 Best ‘Freaky Tales’ Easter Eggs and Cameos for Oakland Locals",
"datePublished": "2025-04-04T07:00:40-07:00",
"dateModified": "2025-07-08T23:25:04-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13974034",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13974034/freaky-tales-movie-easter-eggs-locations-cameos-oakland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new Pedro Pascal movie \u003cem>\u003ca href=\"https://www.kqed.org/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland\">Freaky Tales\u003c/a>\u003c/em> is a wild, over-the-top love letter to Oakland. It involves four interconnected stories, \u003ca href=\"https://www.kqed.org/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland\">most of which actually happened in the East Bay in 1987\u003c/a>. And it’s packed with landmarks, cameos and easter eggs for Oakland locals.\u003c/p>\n\u003cp>Here, then, are 27 local references and hidden details in \u003cem>Freaky Tales\u003c/em>, listed from A to Z.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Be warned: This glossary contains spoilers!\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13973918\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973918\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/TinaEtAl-EXT-Theater.jpg\" alt=\"\" width=\"2000\" height=\"1496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/TinaEtAl-EXT-Theater.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/TinaEtAl-EXT-Theater-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/TinaEtAl-EXT-Theater-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/TinaEtAl-EXT-Theater-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/TinaEtAl-EXT-Theater-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/TinaEtAl-EXT-Theater-1536x1149.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/TinaEtAl-EXT-Theater-1920x1436.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ji-young Yoo, as Tina, stares down Nazi skinheads outside the Grand Lake Theatre in a scene from ‘Freaky Tales.’ Co-star Jack Champion wears a T-shirt for Corrupted Morals, the underground East Bay punk band which counted Primus’ Larry LaLonde and Green Day’s Billie Joe Armstrong as onetime members. \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.youtube.com/watch?v=WxriXHNuLcg\">Bitch Fight\u003c/a>\u003c/h2>\n\u003cp>The character Tina can be seen wearing a T-shirt of this all-women punk band, which \u003ca href=\"https://razorcake.org/bitch-fight-all-we-wanted-was-everything-part-3-by-michelle-cruz-gonzales/\">moved from Tuolumne\u003c/a> to the Bay Area in 1987. Drummer Michelle Cruz Gonzales would later join Kamala & the Karnivores, drum for Spitboy and \u003ca href=\"https://www.pmpress.org/index.php?l=product_detail&p=777\">write a memoir\u003c/a>.\u003c/p>\n\u003ch2>\u003cem>\u003ca href=\"https://www.kqed.org/forum/2010101908540/remembering-la-filmmaker-david-lynch-and-his-lynchian-legacy\">Blue Velvet\u003c/a>\u003c/em>\u003c/h2>\n\u003cp>Not so much a local reference, but filmmakers Ryan Fleck and Anna Boden like to honor this David Lynch classic by \u003ca href=\"https://www.instagram.com/p/DFEy3kWJ01B/?img_index=1\">sneaking references to it in their films\u003c/a>. It’s mentioned in passing in \u003cem>Freaky Tales\u003c/em> twice.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.instagram.com/colonialdonuts/\">Colonial Donuts\u003c/a>\u003c/h2>\n\u003cp>Seen on the clerk’s T-shirt in the video rental store, Colonial Donuts is an Oakland institution that abides by the three magic words: Open 24 Hours. With multiple locations, the beloved donut shop is just about the only thing “colonial” that Bay Area folks agree on.\u003c/p>\n\u003cfigure id=\"attachment_13973921\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Dominique Thorne and Normani as Danger Zone’s Barbie and Entice in a scene from ‘Freaky Tales.’ \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland\">Danger Zone\u003c/a>\u003c/h2>\n\u003cp>The stars of \u003cem>Freaky Tales\u003c/em>’ second chapter are Danger Zone, who perform “Don’t Fight the Feelin’” onstage with Too Short at Oakland hotspot Sweet Jimmie’s. The female rap duo of Barbie and Entice made their debut with “\u003ca href=\"https://www.youtube.com/watch?v=SvMjOBASvbc\">Jailbait\u003c/a>,” a warning to underage girls about predatory men. Too Short then brought them in the studio for “\u003ca href=\"https://www.youtube.com/watch?v=MfSYngzHOsY\">Don’t Fight the Feelin’\u003c/a>,” and history was made. \u003ca href=\"https://www.kqed.org/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland\">Read the full backstory on Danger Zone here\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.mercurynews.com/2013/07/12/dicks-restaurant-gets-a-fresh-start-from-son-of-loyal-customer/\">Dick’s Restaurant\u003c/a>\u003c/h2>\n\u003cp>A handful of scenes in \u003cem>Freaky Tales\u003c/em> were filmed at this now-boarded up San Leandro diner and adjoining sports lounge, which originally opened in 1969. This is not the restaurant’s first starring role — it also provided the setting for \u003ca href=\"https://www.youtube.com/watch?v=rt8AdNwTTUI\">Radiohead’s “High & Dry” U.S. music video\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/tag/el-cerrito\">The El Cerrito Hills\u003c/a>\u003c/h2>\n\u003cp>Where evil lives. In \u003cem>Freaky Tales\u003c/em>, the house of the Nazis is also where multiple scenes take place with Angus Cloud, Oakland’s son, in his final role. In real life, the house where filming took place is in the hills of El Cerrito.\u003c/p>\n\u003cfigure id=\"attachment_13973916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyGiantBurger.jpg\" alt=\"\" width=\"2000\" height=\"830\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyGiantBurger.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyGiantBurger-800x332.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyGiantBurger-1020x423.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyGiantBurger-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyGiantBurger-768x319.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyGiantBurger-1536x637.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyGiantBurger-1920x797.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jay Ellis, as Sleepy Floyd, celebrates after his 29-point quarter at Giant Burger in Oakland in a scene from ‘Freaky Tales.’ \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.youtube.com/watch?v=u1sVoWIhUKg\">Sleepy Floyd\u003c/a>\u003c/h2>\n\u003cp>The Warriors point guard is played by Jay Ellis in \u003cem>Freaky Tales\u003c/em>, but watch closely and you’ll see the real Sleepy Floyd make a cameo at a post-game hangout. (There’s \u003ca href=\"https://youtu.be/u1sVoWIhUKg?feature=shared&t=140\">a famous call by announcer Greg Papa\u003c/a> that shows up later in the film, too.)\u003c/p>\n\u003ch2>\u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">Freddy B\u003c/a>\u003c/h2>\n\u003cp>Too Short’s early rap partner is represented in \u003cem>Freaky Tales\u003c/em> as the character “Lenny G.” The rapper Stunnaman02, who plays Lenny, says that he tried to find Freddy B to get pointers for the role, but was unsuccessful. Too Short and Freddy B \u003ca href=\"https://web.archive.org/web/20160610000914/https://eastbayexpress.com/CultureSpyBlog/archives/2016/03/28/too-horts-30th-anniversary-show-couldnt-have-been-long-enough\">last appeared together onstage in 2016\u003c/a>, and according to reports, Freddy B is \u003ca href=\"https://www.dailyrepublic.com/lifestyle/from-drugs-prison-to-christian-missionary/article_fe8f3629-9338-5159-9b6c-22d9b247a425.html\">now a mission director\u003c/a> at Mount Calvary Baptist Church in Fairfield.\u003c/p>\n\u003ch2>\u003ca href=\"https://localwiki.org/oakland/Giant_Burger\">1/4 lb. Giant Burger\u003c/a>\u003c/h2>\n\u003cp>This Oakland institution — the one at Dimond and Macarthur — provides the after-hours meetup spot where Sleepy Floyd celebrates his record-breaking playoff performance with fans. (Hanging out among the people after a game \u003ca href=\"https://www.youtube.com/watch?v=epIVF0KkEOU\">is a thing\u003c/a> for pro athletes from the Town.)\u003c/p>\n\u003cfigure id=\"attachment_13973949\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973949\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-09-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-09-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-09-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-09-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-09-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">924 Gilman St. in Berkeley on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a>\u003c/h2>\n\u003cp>The venerable all-ages, all-volunteer punk club in Berkeley is the star of \u003cem>Freaky Tales\u003c/em>’ first chapter. And, because the filmmakers worked with Gilman volunteers past and present, they got a lot of details right: the basketball hoop, Big Wheels in the pit, the “Animal Liberation” graffiti, the “Meese is a Pig” poster. Gilman regulars like \u003ca href=\"https://www.kqed.org/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland\">George Hated\u003c/a> are portrayed in the film, and logos of bands like Soup, Christ on Parade, Crummy Musicians, MDC and Sewer Trout can be seen. The set re-creation of the club was filmed in \u003ca href=\"https://maps.app.goo.gl/d5hGHvyxTieJZD4H9\">a warehouse in East Oakland\u003c/a>, not actually at Gilman — but the \u003cem>feeling\u003c/em> is accurate, which is hard to do when depicting a regional punk scene in a Hollywood film. \u003ca href=\"https://www.kqed.org/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland\">Read about the real-life Nazi beatdown at Gilman here\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>\u003c/h2>\n\u003cp>Seen in several scenes, with the marquee advertising 1987 films \u003cem>The Lost Boys\u003c/em> and Elaine May’s famous flop \u003cem>Ishtar\u003c/em>. Host to the local premiere in March of \u003cem>Freaky Tales\u003c/em>, the Grand Lake needs no introduction — it’s part of every Oaklander’s formative memories and serves as one of the Bay’s last remaining movie palaces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13973907",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">Gulch\u003c/a>\u003c/h2>\n\u003cp>The Santa Cruz hardcore band, now broken up, portrays the headlining band at Gilman after the Nazi brawl. (In reality, the band that played after the fight was \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_.jpg\">MDC\u003c/a>.) Credited as “924 Gilman Band,” Gulch is shown playing songs by Black Flag and Negative Approach.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13812623/tom-hanks-talks-trump-weinstein-and-america-at-city-arts-lectures\">Tom Hanks\u003c/a>\u003c/h2>\n\u003cp>The filmmakers have been trying to keep this cameo quiet, but the cat is out of the bag. Hanks, who \u003ca href=\"https://youtu.be/mYjw3B6K9qw?feature=shared&t=471\">worked as a concession vendor at the Oakland Coliseum when he was 14\u003c/a>, goes deep on nerdy film knowledge for a scene in \u003cem>Freaky Tales\u003c/em> involving VHS rentals, and that’s all we’ll say.\u003c/p>\n\u003cfigure id=\"attachment_13972041\" class=\"wp-caption aligncenter\" style=\"max-width: 2880px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972041\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30%E2%80%AFPM.png\" alt=\"Still shot from the 'Freaky Tales' trailer shows a "Late Night Video" storefront next to a braiding salon.\" width=\"2880\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM.png 2880w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-800x417.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1020x531.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-160x83.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-768x400.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1536x800.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-2048x1067.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1920x1000.png 1920w\" sizes=\"auto, (max-width: 2880px) 100vw, 2880px\">\u003cfigcaption class=\"wp-caption-text\">A view of Telegraph Avenue, as seen in the ‘Freaky Tales’ trailer. \u003ccite>(Courtesy of Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13972017/freaky-tales-trailer-oakland-too-short-pedro-pascal\">Jasmine African Hair Braiding\u003c/a>\u003c/h2>\n\u003cp>This Telegraph Avenue standby is seen adjacent to a video rental store in \u003cem>Freaky Tales\u003c/em>. The video store itself is in the former location of \u003ca href=\"https://hillsshoes1724.weebly.com/\">Hill’s Shoes\u003c/a>, which sold fine footwear to generations of Oakland residents for nearly 100 years before closing in 2020. (Also seen is the nearby sex shop \u003ca href=\"https://www.kqed.org/arts/13858579/rightnowish-nenna-joiners-inclusive-sex-toys-at-feelmore-adult-gallery-in-oakland\">Feelmore Adult Gallery\u003c/a>, which — oops — didn’t exist in 1987.)\u003c/p>\n\u003ch2>\u003ca href=\"https://www.youtube.com/watch?v=GWnHz8_BoUg\">Jewdriver\u003c/a>\u003c/h2>\n\u003cp>In \u003cem>Freaky Tales\u003c/em>, as the skinheads are getting ready to go out on the town, music reminiscent of the Nazi punk band Skrewdriver plays. But it’s not Skrewdriver — hilariously, it’s Jewdriver, the parody band from Oakland that wrote Jewish-themed lyrics to Skrewdriver’s racist songs. (Nazis getting beaten up \u003cem>and\u003c/em> denied sync royalties? Right on.)\u003c/p>\n\u003ch2>\u003ca href=\"https://www.youtube.com/watch?v=Y3trBd6nsZ4\">Kamala and the Karnivores\u003c/a>\u003c/h2>\n\u003cp>This band’s logo is seen on the back of Tina’s jacket in a diner scene. The band’s namesake, \u003ca href=\"https://newnoisemagazine.com/column/east-bay-punk-kamala-lyn-parks/\">Kamala Parks\u003c/a>, cofounded 924 Gilman, drummed for several bands, booked many other bands’ tours and \u003ca href=\"https://www.youtube.com/watch?v=EjlhlqcCTjM\">is too nice\u003c/a>. Kamala, drummer Michelle and singer Ivy all met with the \u003cem>Freaky Tales\u003c/em> film crew and actors on set.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13959712/a-place-to-call-home-documentary-la-pena-cultural-center-murals\">La Peña Cultural Center\u003c/a>\u003c/h2>\n\u003cp>It’s not pictured in \u003cem>Freaky Tales\u003c/em>, but it’s mentioned in one scene as the host of a hip-hop open mic, which have been a staple of the long-running community space. La Peña \u003ca href=\"https://www.instagram.com/lapenaculturalcenter/\">celebrates its 50th anniversary\u003c/a> this year.\u003c/p>\n\u003cfigure id=\"attachment_13974106\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Loards.jpg\" alt=\"\" width=\"1024\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Loards.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Loards-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Loards-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Loards-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Loards-768x576.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Loard’s ice cream parlor on Coolidge and Macarthur. \u003ccite>(Flickr/Anomalous A)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.loards.com/\">Loard’s Ice Cream Parlor\u003c/a>\u003c/h2>\n\u003cp>Sure, there are other Loard’s locations. But the film crew restored the classic look of the now-shuttered Dimond location on Coolidge and MacArthur for \u003cem>Freaky Tales\u003c/em>, to great effect. When it appeared onscreen at its Grand Lake premiere, it elicited gasps and cheers from the audience.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13836150/the-power-of-taking-up-space-at-marshawn-lynchs-oakland-rideout\">Marshawn Lynch\u003c/a>\u003c/h2>\n\u003cp>Yep, that’s Beastmode driving an AC Transit bus in a quick cameo for \u003cem>Freaky Tales\u003c/em>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11966077/inside-the-trial-that-overturned-californias-same-sex-marriage-ban-proposition-8-mike-johnson-lgbtq-rights\">The Mormon Temple\u003c/a>\u003c/h2>\n\u003cp>Seen on the hill in a quick cut to Lake Merritt, this East Oakland landmark has been a shining beacon (and \u003ca href=\"https://www.discogs.com/master/1289408-Capital-Tax-Capital-Tax/image/SW1hZ2U6MjIwMTI5ODQ=\">photo shoot location\u003c/a>) to generations. Notably, the Mormon church excluded its Black members from priesthood ordinances in the temple until a 1978 reversal.\u003c/p>\n\u003cfigure id=\"attachment_13973913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973913\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jay Ellis as Sleepy Floyd in ‘Freaky Tales,’ surrounded by other actors in a scene filmed at the Oakland Coliseum. \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13965624/oakland-as-last-game-songs-played-coliseum\">The Oakland Coliseum\u003c/a>\u003c/h2>\n\u003cp>The glorious concrete landmark provides the backdrop to a TV commercial for a new age mind-healing program called Psytopics. Director Ryan Fleck explained that Psytopics was based on “these weird spiritual centers that were all over the Bay Area” in 1987. “I just remember lo-fi commercials selling you this kind of spiritual wish fulfillment on television,” he said. The Oakland Arena, next door, can be seen in certain scenes as well.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">Operation Ivy\u003c/a>\u003c/h2>\n\u003cp>The band that all but defined Gilman in the late 1980s is shown playing two songs in \u003cem>Freaky Tales\u003c/em>, and guitarist Lint has a cameo in the film. The members of Operation Ivy also had some say in who got to portray them: the L.A. band \u003ca href=\"https://www.instagram.com/aphidsmusic\">Aphids\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.corbettredford.com/\">Corbett Redford\u003c/a>\u003c/h2>\n\u003cp>The mustachioed director of the East Bay punk documentary \u003cem>\u003ca href=\"https://eastbaypunk.com/\">Turn It Around\u003c/a>\u003c/em> is seen briefly in the movie’s opening scene — a nice nod, considering his documentary provided a roadmap for the Nazi brawl depicted in \u003cem>Freaky Tales\u003c/em>’ first chapter.\u003c/p>\n\u003cfigure id=\"attachment_13973909\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973909\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/230401-VARIOUS-FREAKY-TALES-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/230401-VARIOUS-FREAKY-TALES-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/230401-VARIOUS-FREAKY-TALES-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/230401-VARIOUS-FREAKY-TALES-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/230401-VARIOUS-FREAKY-TALES-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/230401-VARIOUS-FREAKY-TALES-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/230401-VARIOUS-FREAKY-TALES-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/230401-VARIOUS-FREAKY-TALES-01-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The New Parish in downtown Oakland on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#mc-hammer-shoots-lets-get-it-started-at-sweet-jimmies\">Sweet Jimmie’s\u003c/a>\u003c/h2>\n\u003cp>The site of the thrilling scene where Too Short and Danger Zone perform “Don’t Fight the Feelin’,” and \u003cem>the\u003c/em> place to be in Oakland in the ’80s and ’90s. As Luenell put it at the \u003cem>Freaky Tales\u003c/em> premiere, “Sweet Jimmie’s was the hub — the music, the dancing, the food, the fellowship. It was \u003cem>everything\u003c/em>.” Now known as the New Parish, the nightclub on San Pablo Avenue actually didn’t host rap shows in 1987, and certainly not Too Short shows. David “Sweets” Ward, the son of owner “Sweet Jimmie” Ward, says his dad was opposed to the profanity common in rap. (\u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#mc-hammer-shoots-lets-get-it-started-at-sweet-jimmies\">MC Hammer recorded a music video at the club in 1988\u003c/a>, but of course, Hammer never swore in his songs.) Fun fact: because Saturday nights at Sweet Jimmie’s were broadcast live on \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\">Soul Beat\u003c/a>, kids at home could watch their parents on TV, partying in real time. The club closed in 2006.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a>\u003c/h2>\n\u003cp>He narrates the movie. He’s portrayed by the rapper Symba. He’s an executive producer, and his nearly 10-minute song from 1987 provided the movie’s title. The day of \u003cem>Freaky Tales\u003c/em>’ release, he \u003ca href=\"https://www.kqed.org/forum/2010101909460/movie-freaky-tales-is-a-love-letter-to-1980s-oakland\">came onto KQED Forum to discuss the film\u003c/a>. And yes, he’s got a cameo.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/tag/tower-of-power\">Tower of Power\u003c/a>\u003c/h2>\n\u003cp>There’s music from Bay Area icons (Sly Stone, Metallica), punk bands (the Avengers, Black Flag) and ’80s freestyle artists (Stevie B, Pebbles) in \u003cem>Freaky Tales\u003c/em>. This one’s special, though. How can you be mad when you hear “So Very Hard to Go” in the movie theater?\u003c/p>\n\u003ch2>\u003ca href=\"https://www.yeastiegirlz.com/our-story\">Yeastie Girlz\u003c/a>\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The character Tina wears a T-shirt of this Berkeley-based feminist acapella rap group, whose 7” made such an underground splash that Pearl Jam’s \u003ca href=\"https://www.youtube.com/clip/UgkxVpql6_JxrwEdAnCU5GUc1y87dwKcroda\">Eddie Vedder sang one of its songs onstage\u003c/a>; their song “You Suck” was also \u003ca href=\"https://www.youtube.com/watch?v=r0xTqwKMOyk\">sampled by TV Girl\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13974034/freaky-tales-movie-easter-eggs-locations-cameos-oakland",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_21795",
"arts_10278",
"arts_10422",
"arts_22117",
"arts_1143",
"arts_5489",
"arts_22382",
"arts_3478"
],
"featImg": "arts_13973843",
"label": "arts"
},
"arts_13973907": {
"type": "posts",
"id": "arts_13973907",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13973907",
"score": null,
"sort": [
1743602453000
]
},
"guestAuthors": [],
"slug": "freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland",
"title": "The Real-Life Tales Behind ‘Freaky Tales’",
"publishDate": 1743602453,
"format": "standard",
"headTitle": "The Real-Life Tales Behind ‘Freaky Tales’ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It was not your usual Wednesday night at the \u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>.\u003c/p>\n\u003cp>Outside Oakland’s movie palace in March, Hollywood actors made their way down the red carpet. Rap legends and punk OGs mingled beneath the marquee. Fans got on their tiptoes behind the line of TV cameras, jockeying for a glimpse of the film’s star, Pedro Pascal.\u003c/p>\n\u003cp>Premieres at the Grand Lake are always exciting, but they’re extra special when the movie is \u003ca href=\"https://www.kqed.org/arts/13974034/freaky-tales-movie-easter-eggs-locations-cameos-oakland\">filmed and set in Oakland\u003c/a>. \u003cem>Freaky Tales\u003c/em>, from screenwriting and directing team Ryan Fleck and Anna Boden (\u003cem>Half Nelson, Captain Marvel\u003c/em>), is a revenge-fantasy flick that takes place in the year 1987. It’s filmed at Oakland landmarks, including the Oakland Coliseum, Giant Burger and the old Loard’s ice cream parlor on Coolidge and MacArthur. Marshawn Lynch and Rancid’s Tim Armstrong make cameos, as does Oakland rap icon \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a>, who narrates and helped produce the film.\u003c/p>\n\u003cfigure id=\"attachment_13973843\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973843\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans crowd the sidewalk for the ‘Freaky Tales’ special screening at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13973838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pedro Pascal poses on the red carpet before the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s full, in other words, of \u003ca href=\"https://www.kqed.org/arts/13974034/freaky-tales-movie-easter-eggs-locations-cameos-oakland\">people and locations that carry name recognition for locals\u003c/a>. But nationally, Oakland has never quite received proper credit for its contributions to American culture at large. As rapper \u003ca href=\"https://www.kqed.org/arts/13921058/watch-rising-oakland-rap-star-symbas-tiny-desk-concert\">Symba\u003c/a>, who plays Too Short in the film, remarked on the red carpet, “People get their curations, their whole make-up, from things that we created here.”\u003c/p>\n\u003cp>\u003cem>Freaky Tales\u003c/em>, then, is a movie about a town with a permanent underdog complex — and, fittingly, it’s told through different chapters, interconnected by Pascal’s performance as a hitman, that have underdogs as their heroes. A ragtag bunch of pacifist punk rockers beats up a crew of Nazi skinheads. Two teenage girls in a rap battle rip to shreds a rapper known for objectifying women. A basketball point guard comes alive for a mind-blowing fourth quarter in a historic comeback win.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The freakiest thing of all? These are events that really happened.\u003c/p>\n\u003cfigure id=\"attachment_13973913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973913\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jay Ellis as Sleepy Floyd in ‘Freaky Tales,’ surrounded by other actors in a scene outside the Oakland Coliseum. \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thankfully, the events depicted in \u003cem>Freaky Tales\u003c/em> involved people who are still around to witness what likely seemed impossible 38 years ago: a Hollywood movie with Oakland as its true star. Here are some of their real-life tales.\u003c/p>\n\u003ch2>Punching Nazis: A punk love story\u003c/h2>\n\u003cp>The first chapter of \u003cem>Freaky Tales\u003c/em> follows young couple Tina (Ji-young Yoo) and Lucid (Jack Champion) as they navigate an increasing menace to their home-base punk collective of \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a>: neo-Nazi skinheads, who barge into shows, knock people to the ground, assault girls and women and destroy band equipment.\u003c/p>\n\u003cp>After taking a vote led by security guard Greg (LeQuan Antonio Bennett), the punks decide to fight back. During an Operation Ivy show at the Berkeley club, the Nazi skinheads return, but this time they’re met by a wall of punks armed with bats, chains and trash can lids. Battered in the ensuing brawl, the defeated Nazis pile into their smashed and dented pickup truck and drive away to the El Cerrito hills.\u003c/p>\n\u003cfigure id=\"attachment_13973920\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973920\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1920x1439.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A group of Nazi skinheads approaches punk club 924 Gilman in a scene from ‘Freaky Tales.’ \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13973928\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973928\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In 1987, skinheads caused trouble at punk shows around the country, including at 924 Gilman in Berkeley, pictured. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minus a few details, the chapter is remarkably true to real-life events. Fleck and Boden had a good roadmap: the fight is recalled at length in \u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">the East Bay punk documentary \u003cem>Turn It Around\u003c/em>\u003c/a>, directed by Gilman alum Corbett Redford, who came on as a technical advisor for the film.\u003c/p>\n\u003cp>“Greg” in the film is based on George Stephens, a.k.a. George Hated, who in 1987 lived in West Oakland, sang in the band The Hated and served as head of security at Gilman. In an interview, Stephens, now 57, recalled walking out to the sidewalk that night and seeing Nondo, his friend who was also working security, lying in the gutter outside the front door.\u003c/p>\n\u003cp>[aside postID='arts_13974034']“And there were three Nazis standing over him, one holding a bat. So I grabbed the bat out of the guy’s hands and hit the three of them, got Nondo up, and got him inside,” Stephens said.\u003c/p>\n\u003cp>On any other night, that might have been the end of it. But just like in the film, the punks at Gilman had vowed to fight, and emptied into the street. Even Dave Dictor, the singer of “peace-punk” band MDC, who were headlining that night, joined in wielding an aluminum crutch.\u003c/p>\n\u003cp>“More people came out, and it turned into an absolute mess,” said Stephens.\u003c/p>\n\u003cfigure id=\"attachment_13973959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">George Stephens today, pictured in Alameda on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kamala Parks, who co-founded Gilman and drummed in several bands, remembered the nuanced deliberations about retaliating against Nazis among volunteers at the club, whose door rules stated “No Fighting.”\u003c/p>\n\u003cp>“A lot of folks who had previously taken a more pacifist standpoint had been convinced to fight back, mainly because skinhead violence had gotten more pronounced,” she said. (Parks herself had been punched in the face by a skinhead during a previous melee across town.)\u003c/p>\n\u003cp>By the end of the brawl outside Gilman, the punks had won. They even chased the Nazis across the street and smashed up their pickup truck before the skinheads sped away, fleeing.\u003c/p>\n\u003cfigure id=\"attachment_13973986\" class=\"wp-caption aligncenter\" style=\"max-width: 1025px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973986\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_.jpg\" alt=\"\" width=\"1025\" height=\"1319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-800x1029.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-1020x1313.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-768x988.jpg 768w\" sizes=\"auto, (max-width: 1025px) 100vw, 1025px\">\u003cfigcaption class=\"wp-caption-text\">(Clockwise from upper left) Kamala Parks drums with Cringer at 924 Gilman in 1990; the flyer for the show at Gilman on the night of the Nazi brawl, May 17, 1987; George Hated sings with the Hated at Gilman in 1992; rules posted at Gilman’s front door. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My heart was pounding right out of my chest,” Dave Dictor, MDC’s singer, recalled in \u003ca href=\"https://www.goodreads.com/book/show/29363293-mdc\">his 2016 autobiography\u003c/a>. “Right after the battle it was time to get on stage and sing, but I was too numb to be able to change gears to talk about it from the stage. As I remember, we just plowed through the set.”\u003c/p>\n\u003cp>Those mixed emotions were real, Parks said. “There was euphoria, but there’s dread, because you don’t know what’s going to happen next. You don’t know if they’re going to come back with a bigger group of people.”\u003c/p>\n\u003cfigure id=\"attachment_13973991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13973991 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kamala Parks today, pictured in downtown Oakland on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parks stayed on edge for a few weeks afterward. Amazingly, the Nazis never came back to Gilman.\u003c/p>\n\u003cp>As Stephens points out, though, they never went away for good.\u003c/p>\n\u003cp>“I mean, we live in America,” Stephens said. “It’s not surprising that the Proud Boys are back. That fringe has never really gone away in America.”\u003c/p>\n\u003cfigure id=\"attachment_13973946\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973946\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">924 Gilman St. in Berkeley on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>You want a bit of danger, step into my zone\u003c/h2>\n\u003cp>“Ryan will tell you, he’s been pitching me a version of \u003cem>Freaky Tales\u003c/em> for literally 15 years,” said Anna Boden, the film’s co-writer and co-director, in an interview. Her filmmaking partner, Ryan Fleck, grew up in Oakland; Boden in Massachusetts.\u003c/p>\n\u003cp>“And he grew up listening to Too Short’s music and I did not. And so I was listening to Too Short’s music for the first time as a grown woman. And it was, like, a \u003cem>very\u003c/em> different experience for me than it was for Ryan,” she said of Short’s explicit and often misogynist subject material.\u003c/p>\n\u003cfigure id=\"attachment_13973969\" class=\"wp-caption aligncenter\" style=\"max-width: 1208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973969\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB.jpg\" alt=\"\" width=\"1208\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB.jpg 1208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-768x380.jpg 768w\" sizes=\"auto, (max-width: 1208px) 100vw, 1208px\">\u003cfigcaption class=\"wp-caption-text\">Too Short on the cover of his single ‘Freaky Tales,’ circa 1988; at right, Short’s early rap partner Freddy B in 1992. \u003ccite>(Dangerous Music/Serious Sounds)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But one song stuck out for Boden. In “\u003ca href=\"https://www.youtube.com/watch?v=MfSYngzHOsY\">Don’t Fight the Feelin’\u003c/a>” from the 1989 album \u003cem>Life Is… Too Short\u003c/em>, Short trades verses with a female rap duo called Danger Zone, who insult his bankroll, poke fun at his bad breath and make repeated references to his size below the belt: “Do they call you Short because of your height or your width? / Diss me boy, I’ll hang your balls from a cliff.”\u003c/p>\n\u003cp>Boden knew she had found her entry to the story. “Hearing him allow himself to be taken down by these young women was kind of mind-blowing to me,” she said.\u003c/p>\n\u003cp>In the film, Barbie and Entice from Danger Zone are approached by Lenny G (the rapper Stunnaman02, in a role based on Short’s early rap partner \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">Freddy B\u003c/a>) to battle Short onstage at the Town’s hottest nightclub, Sweet Jimmie’s. Dubious of the proposition, but tired of being mistreated at their day job scooping ice cream, they accept.\u003c/p>\n\u003cfigure id=\"attachment_13973921\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Dominique Thorne and Normani as Danger Zone’s Barbie and Entice in a scene from ‘Freaky Tales.’ \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song unfolds in a thrilling scene, verse for verse, with actor and rapper Symba portraying Short’s hunched gait and coy taunting. (Symba asked Short for pointers, “and he sent me four videos, and was like, ‘Just embody this, and you’ll be alright,’” he said.) Danger Zone, meanwhile, keep coming back with heat, and win over the crowd. By the end, Short daps up the girls, conceding a draw, if not defeat.\u003c/p>\n\u003cp>In reality, “Don’t Fight the Feelin’” came together in the studio, not on stage.\u003c/p>\n\u003cp>Today, Tamra Goins is a talent agent in L.A. But in 1987, she was Entice — the 15-year-old East Oakland girl who linked up with her cousin, Bailey Brown, to form Danger Zone. They’d met Short through \u003ca href=\"https://www.kqed.org/arts/13934715/kimmie-fresh-real-freaky-tales-oakland\">the female rap pioneer Kimmie Fresh\u003c/a> years before recording “Don’t Fight the Feelin’,” she said in an interview. Danger Zone had even been signed to Short’s Dangerous Music label, which released their song “\u003ca href=\"https://www.youtube.com/watch?v=SvMjOBASvbc\">Jailbait\u003c/a>,” a blunt warning to underage girls about predatory men.\u003c/p>\n\u003cfigure id=\"attachment_13973922\" class=\"wp-caption aligncenter\" style=\"max-width: 944px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone.jpg\" alt=\"\" width=\"944\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone.jpg 944w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-800x685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-768x657.jpg 768w\" sizes=\"auto, (max-width: 944px) 100vw, 944px\">\u003cfigcaption class=\"wp-caption-text\">Fifteen-year-old cousins Bailey Brown and Tamra Goins, a.k.a. Barbie and Entice of Danger Zone, pictured in 1988. \u003ccite>(Dangerous Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Short’s manager, Randy Austin, pitched the concept for “Don’t Fight the Feelin’” to be included on Short’s next full-length album, Goins was hesitant, just like her character in the movie.\u003c/p>\n\u003cp>“We’re terrified, right? Because one, we’re kids. Two, Short was known to call people head doctors. I think I was still a virgin! So we just were terrified of what he could possibly say,” Goins said.\u003c/p>\n\u003cp>Laying down the track at engineer Al Eaton’s One Little Indian studio in Richmond — essentially Eaton’s living room — Goins and Brown came for Short so viciously that the men present, like rappers Spice 1 and Rappin’ 4-Tay, kept laughing and ruining the take. “They’re running out of the house, cracking up, laughing,” said Goins. “We can’t even get through it!”\u003c/p>\n\u003cfigure id=\"attachment_13973836\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973836\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Co-director Ryan Fleck high-fives Tamra Goins, a.k.a. Entice from Danger Zone, ahead of the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Short was similarly unprepared for Danger Zone’s verses.\u003c/p>\n\u003cp>“We made the song, I did my two verses. And it was supposed to be about an old dude pullin’ up in his car flirting with these young girls,” Short explained on Nick Cannon’s \u003cem>We Playin’ Spades\u003c/em> podcast. “My verse was kinda nice. And they came back rippin’ me to shreds!”\u003c/p>\n\u003cp>[aside postID='arts_13934715']Short was rattled, but “I went home and listened to it, and I was like, ‘Damn, this is kind of cool … let me go back and talk a lotta shit about \u003cem>them\u003c/em>, and it’ll be a crazy song!’’\u003c/p>\n\u003cp>After redoing his verses to match Danger Zone’s venom and adding Rappin’ 4-Tay to the track, the song grew to a ridiculous length of over 8 minutes. \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#kimmie-fresh-answers-too-shorts-freaky-tales-with-the-girls-story\">Kimmie Fresh had released her own eight-minute diss track to Short\u003c/a>, but this was men and women on the same song, a battle of the sexes on wax. Short knew it was gold.\u003c/p>\n\u003cfigure id=\"attachment_13973963\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116.jpg\" alt=\"\" width=\"2000\" height=\"1213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1536x932.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1920x1164.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Danger Zone’s Tamra Goins (Entice) at far left, and Bailey Brown (Barbie) third from left, in a group photo of the cast and crew of ‘Freaky Tales’ at the Sundance Film Festival in January 2024. \u003ccite>(Dia Dipasupil/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the song’s legendary status, Danger Zone never performed “Don’t Fight the Feelin’” live onstage with Short, as depicted in \u003cem>Freaky Tales\u003c/em>. (Goins and Short have done the song without Brown a handful of times at cruises and sorority events.) Brown, who later traveled the world as a dancer for MC Hammer, \u003ca href=\"https://www.tiktok.com/@getaroundwithbaileybrown\">currently lives in Ghana\u003c/a> most of the year, scriptwriting and producing.\u003c/p>\n\u003cp>Now 53, Goins is proud of the song’s longevity among fans like Shaquille O’Neal, who lovingly \u003ca href=\"https://youtu.be/APrhXcftYPs?feature=shared&t=204\">goaded her into performing it on \u003cem>Sway’s Universe\u003c/em> in 2011\u003c/a>. But it comes with a dash of concern for her former 15-year-old self, rapping so brazenly amid the older pimps and players that inspired “Jailbait.”\u003c/p>\n\u003cp>“Sometimes I’ll look back at the lyrics and I go, ‘Oh!’” she said. “I’m a mom now. I’ll be like, ‘And why was your name \u003cem>Entice\u003c/em>?’”\u003c/p>\n\u003cfigure id=\"attachment_13973926\" class=\"wp-caption aligncenter\" style=\"max-width: 1427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973926\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987.jpg\" alt=\"\" width=\"1427\" height=\"1884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987.jpg 1427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-1163x1536.jpg 1163w\" sizes=\"auto, (max-width: 1427px) 100vw, 1427px\">\u003cfigcaption class=\"wp-caption-text\">The Golden State Warriors’ Eric ‘Sleepy’ Floyd drives to the basket past Los Angeles Lakers’ James Worthy during their playoff game at the Oakland Arena on May 10, 1987. Floyd scored an NBA playoff record-setting 29 points in the fourth quarter, 12 field goals in the same quarter and 39 points in a half, to lead the Warriors to a 129-121 victory over the Lakers. \u003ccite>(Gary Reyes/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A warrior in more ways than one\u003c/h2>\n\u003cp>\u003cem>Freaky Tales\u003c/em>’ final chapter revolves around a story so well-known that it’s in the record books. In Game 4 of the 1987 NBA playoffs, the \u003ca href=\"https://www.kqed.org/arts/tag/warriors\">Warriors\u003c/a> were down 3-0 against the Lakers and trailed 102-88 going into the fourth quarter.\u003c/p>\n\u003cp>Out of nowhere, Eric “Sleepy” Floyd roared into action, scoring 29 points in the fourth quarter to propel the Warriors to victory. Game announcer Greg Papa, baffled and slightly hoarse, was moved to exclaim, “\u003ca href=\"https://youtu.be/u1sVoWIhUKg?feature=shared&t=135\">Sleepy Floyd is Superman!\u003c/a>”\u003c/p>\n\u003cp>It still stands today as the NBA postseason record for the most points scored by a player in a single quarter.\u003c/p>\n\u003cfigure id=\"attachment_13973835\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973835\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eric ‘Sleepy’ Floyd enters the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside the Grand Lake last month, Sleepy Floyd seemed surprised and humbled that his achievement is now part of a Hollywood film. Calling \u003cem>Freaky Tales\u003c/em> “a love song to Oakland,” the point guard, now 65 and living in his home state of North Carolina, remarked that “just to have it centered around that game, truly I’m just blessed and honored to be a part of it.”\u003c/p>\n\u003cp>Floyd, who in the same matchup against the Lakers also set the record for the most points scored in a half of a playoff game with 39, is portrayed in \u003cem>Freaky Tales\u003c/em> by Jay Ellis (\u003cem>Insecure, Top Gun: Maverick\u003c/em>). Without giving away too much, Sleepy Floyd becomes the star of the film’s climax, diverging drastically from real-life events, complete with supernatural samurai skills.\u003c/p>\n\u003cp>“They made me look a lot cooler than I actually am,” Floyd said with a chuckle.\u003c/p>\n\u003cfigure id=\"attachment_13973842\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973842\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Freaky Tales’ cast, with Pedro Pascal and Jay Ellis at center, pose on the red carpet ahead of the Oakland premiere at the Grand Lake Theater on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Gilman punks’ beatdown, Danger Zone’s dominance, Sleepy Floyd’s fireworks — \u003cem>Freaky Tales\u003c/em> makes clear to a nationwide moviegoing audience what Oakland has always known about itself: this is a place of amazing people, events and stories.\u003c/p>\n\u003cp>Asked about Oakland on the red carpet at the Grand Lake premiere, Pedro Pascal put it simply: “It’s the raddest city in the world.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Freaky Tales’ opens in wide release on Friday, April 4. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A Nazi beatdown, an Oakland rap battle, a hoops miracle — the new Pedro Pascal movie is based on actual people and events.",
"status": "publish",
"parent": 0,
"modified": 1754968054,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 51,
"wordCount": 2887
},
"headData": {
"title": "‘Freaky Tales’ Is Based on These Crazy-But-True Stories From Oakland | KQED",
"description": "The new Pedro Pascal movie depicts a Nazi beatdown, a rap battle and a hoops miracle — all of which actually happened in 1987.",
"ogTitle": "The Real-Life Tales Behind ‘Freaky Tales’",
"ogDescription": "A Nazi beatdown, an Oakland rap battle, a hoops miracle — the new Pedro Pascal movie is based on actual people and events.",
"ogImgId": "",
"twTitle": "The Real-Life Tales Behind ‘Freaky Tales’",
"twDescription": "A Nazi beatdown, an Oakland rap battle, a hoops miracle — the new Pedro Pascal movie is based on actual people and events.",
"twImgId": "",
"socialTitle": "‘Freaky Tales’ Is Based on These Crazy-But-True Stories From Oakland %%page%% %%sep%% KQED",
"socialDescription": "The new Pedro Pascal movie depicts a Nazi beatdown, a rap battle and a hoops miracle — all of which actually happened in 1987.",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Real-Life Tales Behind ‘Freaky Tales’",
"datePublished": "2025-04-02T07:00:53-07:00",
"dateModified": "2025-08-11T20:07:34-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/7eb73cbd-23a7-4796-b09d-b2b4010b45e3/audio.mp3",
"sticky": false,
"nprStoryId": "kqed-13973907",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was not your usual Wednesday night at the \u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>.\u003c/p>\n\u003cp>Outside Oakland’s movie palace in March, Hollywood actors made their way down the red carpet. Rap legends and punk OGs mingled beneath the marquee. Fans got on their tiptoes behind the line of TV cameras, jockeying for a glimpse of the film’s star, Pedro Pascal.\u003c/p>\n\u003cp>Premieres at the Grand Lake are always exciting, but they’re extra special when the movie is \u003ca href=\"https://www.kqed.org/arts/13974034/freaky-tales-movie-easter-eggs-locations-cameos-oakland\">filmed and set in Oakland\u003c/a>. \u003cem>Freaky Tales\u003c/em>, from screenwriting and directing team Ryan Fleck and Anna Boden (\u003cem>Half Nelson, Captain Marvel\u003c/em>), is a revenge-fantasy flick that takes place in the year 1987. It’s filmed at Oakland landmarks, including the Oakland Coliseum, Giant Burger and the old Loard’s ice cream parlor on Coolidge and MacArthur. Marshawn Lynch and Rancid’s Tim Armstrong make cameos, as does Oakland rap icon \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a>, who narrates and helped produce the film.\u003c/p>\n\u003cfigure id=\"attachment_13973843\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973843\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans crowd the sidewalk for the ‘Freaky Tales’ special screening at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13973838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pedro Pascal poses on the red carpet before the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s full, in other words, of \u003ca href=\"https://www.kqed.org/arts/13974034/freaky-tales-movie-easter-eggs-locations-cameos-oakland\">people and locations that carry name recognition for locals\u003c/a>. But nationally, Oakland has never quite received proper credit for its contributions to American culture at large. As rapper \u003ca href=\"https://www.kqed.org/arts/13921058/watch-rising-oakland-rap-star-symbas-tiny-desk-concert\">Symba\u003c/a>, who plays Too Short in the film, remarked on the red carpet, “People get their curations, their whole make-up, from things that we created here.”\u003c/p>\n\u003cp>\u003cem>Freaky Tales\u003c/em>, then, is a movie about a town with a permanent underdog complex — and, fittingly, it’s told through different chapters, interconnected by Pascal’s performance as a hitman, that have underdogs as their heroes. A ragtag bunch of pacifist punk rockers beats up a crew of Nazi skinheads. Two teenage girls in a rap battle rip to shreds a rapper known for objectifying women. A basketball point guard comes alive for a mind-blowing fourth quarter in a historic comeback win.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The freakiest thing of all? These are events that really happened.\u003c/p>\n\u003cfigure id=\"attachment_13973913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973913\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jay Ellis as Sleepy Floyd in ‘Freaky Tales,’ surrounded by other actors in a scene outside the Oakland Coliseum. \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thankfully, the events depicted in \u003cem>Freaky Tales\u003c/em> involved people who are still around to witness what likely seemed impossible 38 years ago: a Hollywood movie with Oakland as its true star. Here are some of their real-life tales.\u003c/p>\n\u003ch2>Punching Nazis: A punk love story\u003c/h2>\n\u003cp>The first chapter of \u003cem>Freaky Tales\u003c/em> follows young couple Tina (Ji-young Yoo) and Lucid (Jack Champion) as they navigate an increasing menace to their home-base punk collective of \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a>: neo-Nazi skinheads, who barge into shows, knock people to the ground, assault girls and women and destroy band equipment.\u003c/p>\n\u003cp>After taking a vote led by security guard Greg (LeQuan Antonio Bennett), the punks decide to fight back. During an Operation Ivy show at the Berkeley club, the Nazi skinheads return, but this time they’re met by a wall of punks armed with bats, chains and trash can lids. Battered in the ensuing brawl, the defeated Nazis pile into their smashed and dented pickup truck and drive away to the El Cerrito hills.\u003c/p>\n\u003cfigure id=\"attachment_13973920\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973920\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1920x1439.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A group of Nazi skinheads approaches punk club 924 Gilman in a scene from ‘Freaky Tales.’ \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13973928\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973928\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In 1987, skinheads caused trouble at punk shows around the country, including at 924 Gilman in Berkeley, pictured. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minus a few details, the chapter is remarkably true to real-life events. Fleck and Boden had a good roadmap: the fight is recalled at length in \u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">the East Bay punk documentary \u003cem>Turn It Around\u003c/em>\u003c/a>, directed by Gilman alum Corbett Redford, who came on as a technical advisor for the film.\u003c/p>\n\u003cp>“Greg” in the film is based on George Stephens, a.k.a. George Hated, who in 1987 lived in West Oakland, sang in the band The Hated and served as head of security at Gilman. In an interview, Stephens, now 57, recalled walking out to the sidewalk that night and seeing Nondo, his friend who was also working security, lying in the gutter outside the front door.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13974034",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“And there were three Nazis standing over him, one holding a bat. So I grabbed the bat out of the guy’s hands and hit the three of them, got Nondo up, and got him inside,” Stephens said.\u003c/p>\n\u003cp>On any other night, that might have been the end of it. But just like in the film, the punks at Gilman had vowed to fight, and emptied into the street. Even Dave Dictor, the singer of “peace-punk” band MDC, who were headlining that night, joined in wielding an aluminum crutch.\u003c/p>\n\u003cp>“More people came out, and it turned into an absolute mess,” said Stephens.\u003c/p>\n\u003cfigure id=\"attachment_13973959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">George Stephens today, pictured in Alameda on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kamala Parks, who co-founded Gilman and drummed in several bands, remembered the nuanced deliberations about retaliating against Nazis among volunteers at the club, whose door rules stated “No Fighting.”\u003c/p>\n\u003cp>“A lot of folks who had previously taken a more pacifist standpoint had been convinced to fight back, mainly because skinhead violence had gotten more pronounced,” she said. (Parks herself had been punched in the face by a skinhead during a previous melee across town.)\u003c/p>\n\u003cp>By the end of the brawl outside Gilman, the punks had won. They even chased the Nazis across the street and smashed up their pickup truck before the skinheads sped away, fleeing.\u003c/p>\n\u003cfigure id=\"attachment_13973986\" class=\"wp-caption aligncenter\" style=\"max-width: 1025px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973986\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_.jpg\" alt=\"\" width=\"1025\" height=\"1319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-800x1029.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-1020x1313.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-768x988.jpg 768w\" sizes=\"auto, (max-width: 1025px) 100vw, 1025px\">\u003cfigcaption class=\"wp-caption-text\">(Clockwise from upper left) Kamala Parks drums with Cringer at 924 Gilman in 1990; the flyer for the show at Gilman on the night of the Nazi brawl, May 17, 1987; George Hated sings with the Hated at Gilman in 1992; rules posted at Gilman’s front door. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My heart was pounding right out of my chest,” Dave Dictor, MDC’s singer, recalled in \u003ca href=\"https://www.goodreads.com/book/show/29363293-mdc\">his 2016 autobiography\u003c/a>. “Right after the battle it was time to get on stage and sing, but I was too numb to be able to change gears to talk about it from the stage. As I remember, we just plowed through the set.”\u003c/p>\n\u003cp>Those mixed emotions were real, Parks said. “There was euphoria, but there’s dread, because you don’t know what’s going to happen next. You don’t know if they’re going to come back with a bigger group of people.”\u003c/p>\n\u003cfigure id=\"attachment_13973991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13973991 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kamala Parks today, pictured in downtown Oakland on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parks stayed on edge for a few weeks afterward. Amazingly, the Nazis never came back to Gilman.\u003c/p>\n\u003cp>As Stephens points out, though, they never went away for good.\u003c/p>\n\u003cp>“I mean, we live in America,” Stephens said. “It’s not surprising that the Proud Boys are back. That fringe has never really gone away in America.”\u003c/p>\n\u003cfigure id=\"attachment_13973946\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973946\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">924 Gilman St. in Berkeley on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>You want a bit of danger, step into my zone\u003c/h2>\n\u003cp>“Ryan will tell you, he’s been pitching me a version of \u003cem>Freaky Tales\u003c/em> for literally 15 years,” said Anna Boden, the film’s co-writer and co-director, in an interview. Her filmmaking partner, Ryan Fleck, grew up in Oakland; Boden in Massachusetts.\u003c/p>\n\u003cp>“And he grew up listening to Too Short’s music and I did not. And so I was listening to Too Short’s music for the first time as a grown woman. And it was, like, a \u003cem>very\u003c/em> different experience for me than it was for Ryan,” she said of Short’s explicit and often misogynist subject material.\u003c/p>\n\u003cfigure id=\"attachment_13973969\" class=\"wp-caption aligncenter\" style=\"max-width: 1208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973969\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB.jpg\" alt=\"\" width=\"1208\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB.jpg 1208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-768x380.jpg 768w\" sizes=\"auto, (max-width: 1208px) 100vw, 1208px\">\u003cfigcaption class=\"wp-caption-text\">Too Short on the cover of his single ‘Freaky Tales,’ circa 1988; at right, Short’s early rap partner Freddy B in 1992. \u003ccite>(Dangerous Music/Serious Sounds)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But one song stuck out for Boden. In “\u003ca href=\"https://www.youtube.com/watch?v=MfSYngzHOsY\">Don’t Fight the Feelin’\u003c/a>” from the 1989 album \u003cem>Life Is… Too Short\u003c/em>, Short trades verses with a female rap duo called Danger Zone, who insult his bankroll, poke fun at his bad breath and make repeated references to his size below the belt: “Do they call you Short because of your height or your width? / Diss me boy, I’ll hang your balls from a cliff.”\u003c/p>\n\u003cp>Boden knew she had found her entry to the story. “Hearing him allow himself to be taken down by these young women was kind of mind-blowing to me,” she said.\u003c/p>\n\u003cp>In the film, Barbie and Entice from Danger Zone are approached by Lenny G (the rapper Stunnaman02, in a role based on Short’s early rap partner \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">Freddy B\u003c/a>) to battle Short onstage at the Town’s hottest nightclub, Sweet Jimmie’s. Dubious of the proposition, but tired of being mistreated at their day job scooping ice cream, they accept.\u003c/p>\n\u003cfigure id=\"attachment_13973921\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Dominique Thorne and Normani as Danger Zone’s Barbie and Entice in a scene from ‘Freaky Tales.’ \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song unfolds in a thrilling scene, verse for verse, with actor and rapper Symba portraying Short’s hunched gait and coy taunting. (Symba asked Short for pointers, “and he sent me four videos, and was like, ‘Just embody this, and you’ll be alright,’” he said.) Danger Zone, meanwhile, keep coming back with heat, and win over the crowd. By the end, Short daps up the girls, conceding a draw, if not defeat.\u003c/p>\n\u003cp>In reality, “Don’t Fight the Feelin’” came together in the studio, not on stage.\u003c/p>\n\u003cp>Today, Tamra Goins is a talent agent in L.A. But in 1987, she was Entice — the 15-year-old East Oakland girl who linked up with her cousin, Bailey Brown, to form Danger Zone. They’d met Short through \u003ca href=\"https://www.kqed.org/arts/13934715/kimmie-fresh-real-freaky-tales-oakland\">the female rap pioneer Kimmie Fresh\u003c/a> years before recording “Don’t Fight the Feelin’,” she said in an interview. Danger Zone had even been signed to Short’s Dangerous Music label, which released their song “\u003ca href=\"https://www.youtube.com/watch?v=SvMjOBASvbc\">Jailbait\u003c/a>,” a blunt warning to underage girls about predatory men.\u003c/p>\n\u003cfigure id=\"attachment_13973922\" class=\"wp-caption aligncenter\" style=\"max-width: 944px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone.jpg\" alt=\"\" width=\"944\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone.jpg 944w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-800x685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-768x657.jpg 768w\" sizes=\"auto, (max-width: 944px) 100vw, 944px\">\u003cfigcaption class=\"wp-caption-text\">Fifteen-year-old cousins Bailey Brown and Tamra Goins, a.k.a. Barbie and Entice of Danger Zone, pictured in 1988. \u003ccite>(Dangerous Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Short’s manager, Randy Austin, pitched the concept for “Don’t Fight the Feelin’” to be included on Short’s next full-length album, Goins was hesitant, just like her character in the movie.\u003c/p>\n\u003cp>“We’re terrified, right? Because one, we’re kids. Two, Short was known to call people head doctors. I think I was still a virgin! So we just were terrified of what he could possibly say,” Goins said.\u003c/p>\n\u003cp>Laying down the track at engineer Al Eaton’s One Little Indian studio in Richmond — essentially Eaton’s living room — Goins and Brown came for Short so viciously that the men present, like rappers Spice 1 and Rappin’ 4-Tay, kept laughing and ruining the take. “They’re running out of the house, cracking up, laughing,” said Goins. “We can’t even get through it!”\u003c/p>\n\u003cfigure id=\"attachment_13973836\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973836\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Co-director Ryan Fleck high-fives Tamra Goins, a.k.a. Entice from Danger Zone, ahead of the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Short was similarly unprepared for Danger Zone’s verses.\u003c/p>\n\u003cp>“We made the song, I did my two verses. And it was supposed to be about an old dude pullin’ up in his car flirting with these young girls,” Short explained on Nick Cannon’s \u003cem>We Playin’ Spades\u003c/em> podcast. “My verse was kinda nice. And they came back rippin’ me to shreds!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13934715",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Short was rattled, but “I went home and listened to it, and I was like, ‘Damn, this is kind of cool … let me go back and talk a lotta shit about \u003cem>them\u003c/em>, and it’ll be a crazy song!’’\u003c/p>\n\u003cp>After redoing his verses to match Danger Zone’s venom and adding Rappin’ 4-Tay to the track, the song grew to a ridiculous length of over 8 minutes. \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#kimmie-fresh-answers-too-shorts-freaky-tales-with-the-girls-story\">Kimmie Fresh had released her own eight-minute diss track to Short\u003c/a>, but this was men and women on the same song, a battle of the sexes on wax. Short knew it was gold.\u003c/p>\n\u003cfigure id=\"attachment_13973963\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116.jpg\" alt=\"\" width=\"2000\" height=\"1213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1536x932.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1920x1164.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Danger Zone’s Tamra Goins (Entice) at far left, and Bailey Brown (Barbie) third from left, in a group photo of the cast and crew of ‘Freaky Tales’ at the Sundance Film Festival in January 2024. \u003ccite>(Dia Dipasupil/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the song’s legendary status, Danger Zone never performed “Don’t Fight the Feelin’” live onstage with Short, as depicted in \u003cem>Freaky Tales\u003c/em>. (Goins and Short have done the song without Brown a handful of times at cruises and sorority events.) Brown, who later traveled the world as a dancer for MC Hammer, \u003ca href=\"https://www.tiktok.com/@getaroundwithbaileybrown\">currently lives in Ghana\u003c/a> most of the year, scriptwriting and producing.\u003c/p>\n\u003cp>Now 53, Goins is proud of the song’s longevity among fans like Shaquille O’Neal, who lovingly \u003ca href=\"https://youtu.be/APrhXcftYPs?feature=shared&t=204\">goaded her into performing it on \u003cem>Sway’s Universe\u003c/em> in 2011\u003c/a>. But it comes with a dash of concern for her former 15-year-old self, rapping so brazenly amid the older pimps and players that inspired “Jailbait.”\u003c/p>\n\u003cp>“Sometimes I’ll look back at the lyrics and I go, ‘Oh!’” she said. “I’m a mom now. I’ll be like, ‘And why was your name \u003cem>Entice\u003c/em>?’”\u003c/p>\n\u003cfigure id=\"attachment_13973926\" class=\"wp-caption aligncenter\" style=\"max-width: 1427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973926\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987.jpg\" alt=\"\" width=\"1427\" height=\"1884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987.jpg 1427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-1163x1536.jpg 1163w\" sizes=\"auto, (max-width: 1427px) 100vw, 1427px\">\u003cfigcaption class=\"wp-caption-text\">The Golden State Warriors’ Eric ‘Sleepy’ Floyd drives to the basket past Los Angeles Lakers’ James Worthy during their playoff game at the Oakland Arena on May 10, 1987. Floyd scored an NBA playoff record-setting 29 points in the fourth quarter, 12 field goals in the same quarter and 39 points in a half, to lead the Warriors to a 129-121 victory over the Lakers. \u003ccite>(Gary Reyes/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A warrior in more ways than one\u003c/h2>\n\u003cp>\u003cem>Freaky Tales\u003c/em>’ final chapter revolves around a story so well-known that it’s in the record books. In Game 4 of the 1987 NBA playoffs, the \u003ca href=\"https://www.kqed.org/arts/tag/warriors\">Warriors\u003c/a> were down 3-0 against the Lakers and trailed 102-88 going into the fourth quarter.\u003c/p>\n\u003cp>Out of nowhere, Eric “Sleepy” Floyd roared into action, scoring 29 points in the fourth quarter to propel the Warriors to victory. Game announcer Greg Papa, baffled and slightly hoarse, was moved to exclaim, “\u003ca href=\"https://youtu.be/u1sVoWIhUKg?feature=shared&t=135\">Sleepy Floyd is Superman!\u003c/a>”\u003c/p>\n\u003cp>It still stands today as the NBA postseason record for the most points scored by a player in a single quarter.\u003c/p>\n\u003cfigure id=\"attachment_13973835\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973835\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eric ‘Sleepy’ Floyd enters the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside the Grand Lake last month, Sleepy Floyd seemed surprised and humbled that his achievement is now part of a Hollywood film. Calling \u003cem>Freaky Tales\u003c/em> “a love song to Oakland,” the point guard, now 65 and living in his home state of North Carolina, remarked that “just to have it centered around that game, truly I’m just blessed and honored to be a part of it.”\u003c/p>\n\u003cp>Floyd, who in the same matchup against the Lakers also set the record for the most points scored in a half of a playoff game with 39, is portrayed in \u003cem>Freaky Tales\u003c/em> by Jay Ellis (\u003cem>Insecure, Top Gun: Maverick\u003c/em>). Without giving away too much, Sleepy Floyd becomes the star of the film’s climax, diverging drastically from real-life events, complete with supernatural samurai skills.\u003c/p>\n\u003cp>“They made me look a lot cooler than I actually am,” Floyd said with a chuckle.\u003c/p>\n\u003cfigure id=\"attachment_13973842\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973842\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Freaky Tales’ cast, with Pedro Pascal and Jay Ellis at center, pose on the red carpet ahead of the Oakland premiere at the Grand Lake Theater on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Gilman punks’ beatdown, Danger Zone’s dominance, Sleepy Floyd’s fireworks — \u003cem>Freaky Tales\u003c/em> makes clear to a nationwide moviegoing audience what Oakland has always known about itself: this is a place of amazing people, events and stories.\u003c/p>\n\u003cp>Asked about Oakland on the red carpet at the Grand Lake premiere, Pedro Pascal put it simply: “It’s the raddest city in the world.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Freaky Tales’ opens in wide release on Friday, April 4. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13973907/freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_7862",
"arts_74",
"arts_69",
"arts_235",
"arts_75",
"arts_13238"
],
"tags": [
"arts_21795",
"arts_10342",
"arts_10278",
"arts_10422",
"arts_9346",
"arts_22117",
"arts_1143",
"arts_822",
"arts_913",
"arts_22382",
"arts_19347",
"arts_3478"
],
"featImg": "arts_13973912",
"label": "arts"
},
"arts_13972636": {
"type": "posts",
"id": "arts_13972636",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13972636",
"score": null,
"sort": [
1741206679000
]
},
"guestAuthors": [],
"slug": "billie-joe-armstrong-too-short-oakland-ballers-baseball",
"title": "Billie Joe Armstrong, Too Short Invest in Oakland Ballers Baseball",
"publishDate": 1741206679,
"format": "aside",
"headTitle": "Billie Joe Armstrong, Too Short Invest in Oakland Ballers Baseball | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13972648\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972648\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_.jpg\" alt=\"A man in a baseball jersey and cap holds a baseball glove in his hand\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong of Green Day stands on field before a game between the Seattle Mariners and the Oakland Athletics at the Oakland Coliseum on Sept. 5, 2015 in Oakland, California. In the wake of the A’s departure from Oakland, the East Bay-raised rock star has since switched his allegiance to the Oakland Ballers, joining rapper Too Short as an investor in the franchise. \u003ccite>(Michael Zagaris/Oakland Athletics/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, Green Day frontman Billie Joe Armstrong \u003ca href=\"https://www.youtube.com/watch?v=6233qjZSTuE\">posted an video\u003c/a> from the Rogers Center in Toronto, showing the East Bay-raised rock star spray painting over the stadium’s Oakland A’s logo with an \u003ca href=\"https://www.instagram.com/p/C-JvddatdD3/?img_index=1\" target=\"_blank\" rel=\"noopener\">Oakland Ballers logo\u003c/a>. The video, in a way, foreshadowed this week’s news.\u003c/p>\n\u003cp>The Oakland Ballers have announced that Armstrong, along with pioneering Oakland rapper and entrepreneur Too Short, are now investors in the Ballers. They join a long list of fans who also own a portion of the team.\u003c/p>\n\u003cp>\u003ca href=\"https://www.oaklandballers.com/landing/index\" target=\"_blank\" rel=\"noopener\">The Ballers\u003c/a>, a second-year professional baseball franchise that plays in the independent Pioneer League, hosts their home games at West Oakland’s Raimondi Park. Last year, over the course of 48 home games, the team attracted more than 92,000 fans.\u003c/p>\n\u003cp>[aside postID='arts_13960687']Ahead of the inaugural season, the team’s founders, Bryan Carmel and Paul Freedman, opened the doors to potential investors. They hoped that local sports fans who’ve been dismayed by other franchises leaving Oakland would show up — and they did.\u003c/p>\n\u003cp>2,200 people raised over $1.2 million dollars in support of the team. The Ballers are back at it this year, looking to raise $2 million. With the social collateral that Armstrong and Too Short bring, the team is well on its way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re delighted that Too $hort and Billie Joe Armstrong will be joining our ownership group, along with thousands of Oakland fan owners,” said Ballers co-founder Paul Freedman in\u003ca href=\"https://www.oaklandballers.com/news/2025/03/too-short-billie-joe-armstrong-owner-community-invest\" target=\"_blank\" rel=\"noopener\"> a statement\u003c/a>. “These two local legends were real supporters in our first season, and it’s great to now have them on board in a more formal capacity.”\u003c/p>\n\u003cp>https://x.com/OaklandBallers/status/1809772352051507422\u003c/p>\n\u003cp>In an interview with \u003cem>\u003ca href=\"https://www.hollywoodreporter.com/news/general-news/billie-joe-armstrong-too-short-oakland-ballers-1236155122/\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a>, \u003c/em>Armstrong said that “after the A’s left, the town was heartbroken. The Ballers are going to bring good vibes back to Oakland and the broader East Bay.”\u003c/p>\n\u003cp>Too Short echoed his sentiments, telling the publication, “If I can’t brag on a big-league franchise I can brag on being a Baller.”\u003c/p>\n\u003cp>[aside postID='news_11988883']The Ballers other co-founder, Carmel, said, “This isn’t a case of celebrities coming in to save the day. It’s a local team, and Billie Joe and Too $hort are just some better-known locals.”\u003c/p>\n\u003cp>Armstrong himself showed up to a ballers game last year in West Oakland, the neighborhood that inspired the Green Day song “Welcome to Paradise.” He is also an investor in the soccer club the \u003ca href=\"https://www.oaklandrootssc.com/\">Oakland Roots\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first game of the Oakland Ballers’ second season is scheduled for\u003ca href=\"https://www.oaklandballers.com/sports/bsb/2025/schedule\" target=\"_blank\" rel=\"noopener\"> May 20\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The rapper and rock star join a list of investors bringing professional baseball back to the East Bay.",
"status": "publish",
"parent": 0,
"modified": 1741215191,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 531
},
"headData": {
"title": "Billie Joe Armstrong, Too Short Invest in Oakland Ballers Baseball | KQED",
"description": "The rapper and rock star join a list of investors bringing professional baseball back to the East Bay.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Billie Joe Armstrong, Too Short Invest in Oakland Ballers Baseball",
"datePublished": "2025-03-05T12:31:19-08:00",
"dateModified": "2025-03-05T14:53:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13972636",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13972636/billie-joe-armstrong-too-short-oakland-ballers-baseball",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13972648\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972648\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_.jpg\" alt=\"A man in a baseball jersey and cap holds a baseball glove in his hand\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong of Green Day stands on field before a game between the Seattle Mariners and the Oakland Athletics at the Oakland Coliseum on Sept. 5, 2015 in Oakland, California. In the wake of the A’s departure from Oakland, the East Bay-raised rock star has since switched his allegiance to the Oakland Ballers, joining rapper Too Short as an investor in the franchise. \u003ccite>(Michael Zagaris/Oakland Athletics/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, Green Day frontman Billie Joe Armstrong \u003ca href=\"https://www.youtube.com/watch?v=6233qjZSTuE\">posted an video\u003c/a> from the Rogers Center in Toronto, showing the East Bay-raised rock star spray painting over the stadium’s Oakland A’s logo with an \u003ca href=\"https://www.instagram.com/p/C-JvddatdD3/?img_index=1\" target=\"_blank\" rel=\"noopener\">Oakland Ballers logo\u003c/a>. The video, in a way, foreshadowed this week’s news.\u003c/p>\n\u003cp>The Oakland Ballers have announced that Armstrong, along with pioneering Oakland rapper and entrepreneur Too Short, are now investors in the Ballers. They join a long list of fans who also own a portion of the team.\u003c/p>\n\u003cp>\u003ca href=\"https://www.oaklandballers.com/landing/index\" target=\"_blank\" rel=\"noopener\">The Ballers\u003c/a>, a second-year professional baseball franchise that plays in the independent Pioneer League, hosts their home games at West Oakland’s Raimondi Park. Last year, over the course of 48 home games, the team attracted more than 92,000 fans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960687",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Ahead of the inaugural season, the team’s founders, Bryan Carmel and Paul Freedman, opened the doors to potential investors. They hoped that local sports fans who’ve been dismayed by other franchises leaving Oakland would show up — and they did.\u003c/p>\n\u003cp>2,200 people raised over $1.2 million dollars in support of the team. The Ballers are back at it this year, looking to raise $2 million. With the social collateral that Armstrong and Too Short bring, the team is well on its way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re delighted that Too $hort and Billie Joe Armstrong will be joining our ownership group, along with thousands of Oakland fan owners,” said Ballers co-founder Paul Freedman in\u003ca href=\"https://www.oaklandballers.com/news/2025/03/too-short-billie-joe-armstrong-owner-community-invest\" target=\"_blank\" rel=\"noopener\"> a statement\u003c/a>. “These two local legends were real supporters in our first season, and it’s great to now have them on board in a more formal capacity.”\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1809772352051507422"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In an interview with \u003cem>\u003ca href=\"https://www.hollywoodreporter.com/news/general-news/billie-joe-armstrong-too-short-oakland-ballers-1236155122/\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a>, \u003c/em>Armstrong said that “after the A’s left, the town was heartbroken. The Ballers are going to bring good vibes back to Oakland and the broader East Bay.”\u003c/p>\n\u003cp>Too Short echoed his sentiments, telling the publication, “If I can’t brag on a big-league franchise I can brag on being a Baller.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11988883",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The Ballers other co-founder, Carmel, said, “This isn’t a case of celebrities coming in to save the day. It’s a local team, and Billie Joe and Too $hort are just some better-known locals.”\u003c/p>\n\u003cp>Armstrong himself showed up to a ballers game last year in West Oakland, the neighborhood that inspired the Green Day song “Welcome to Paradise.” He is also an investor in the soccer club the \u003ca href=\"https://www.oaklandrootssc.com/\">Oakland Roots\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first game of the Oakland Ballers’ second season is scheduled for\u003ca href=\"https://www.oaklandballers.com/sports/bsb/2025/schedule\" target=\"_blank\" rel=\"noopener\"> May 20\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13972636/billie-joe-armstrong-too-short-oakland-ballers-baseball",
"authors": [
"11491"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_75",
"arts_13238"
],
"tags": [
"arts_10092",
"arts_1543",
"arts_1143",
"arts_1551",
"arts_21764",
"arts_3478"
],
"featImg": "arts_13972647",
"label": "arts"
},
"arts_13972017": {
"type": "posts",
"id": "arts_13972017",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13972017",
"score": null,
"sort": [
1739923932000
]
},
"guestAuthors": [],
"slug": "freaky-tales-trailer-oakland-too-short-pedro-pascal",
"title": "Trailer for Oakland Film ‘Freaky Tales’ Is a Love Letter to ’80s Bay Area Culture",
"publishDate": 1739923932,
"format": "standard",
"headTitle": "Trailer for Oakland Film ‘Freaky Tales’ Is a Love Letter to ’80s Bay Area Culture | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Ever since everyone’s favorite internet daddy Pedro Pascal \u003ca href=\"https://x.com/jemmawei/status/1592971050899292162\">was first spotted\u003c/a> filming near the Fox Theater in late 2022, Bay Area movie lovers have been \u003ca href=\"https://www.kqed.org/arts/13922548/too-short-way-oakland-street-renamed\">buzzing with anticipation\u003c/a> for the Oakland-shot film \u003cem>Freaky Tales\u003c/em>.\u003c/p>\n\u003cp>Named after Oakland legend (and executive producer) Too Short’s 1987 hit single, \u003cem>Freaky Tales\u003c/em> drew so much excitement at last year’s Sundance Festival, organizers had to \u003ca href=\"https://flipscreened.com/2024/07/22/sundance-2024-review-freaky-tales/\">add a second screening\u003c/a> to the schedule.\u003c/p>\n\u003cp>Now, more fuel to fan the flames: Lionsgate just dropped the official trailer, which is full of Easter eggs for Oakland locals from the opening shot — an “East Bay Mix” mixtape getting popped into a car’s cassette deck.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13922548']\u003c/span>\u003c/span>“The underdog believes he can do the impossible,” Pascal’s voiceover narration says. “Defeat the bully. Sell enough mixtapes to get out of the hood …”\u003c/p>\n\u003cp>Cue the record scratch, as Too Short’s unmistakeable voice cuts in: “Now hold up, we’ve got to take it from the top.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-2e8SYmofZM\u003c/p>\n\u003cp>Written and directed by Anna Boden and Ryan Fleck (who was raised in the East Bay), the duo behind \u003cem>Captain Marvel\u003c/em>, \u003cem>Freaky Tales\u003c/em> is set in Oakland in 1987 and looks to be firmly rooted in ’80s Bay Area hustle culture. The trailer is packed with local landmarks and references: the Mormon temple lit up at night. Sweet Jimmie’s nightclub, now known as the New Parish. Warriors legend Sleepy Floyd (who famously scored a record-setting 29 points in a fourth quarter playoff upset against the Lakers) sword-fighting (!) against Nazis (!!) outside punk club 924 Gilman (!!!).\u003c/p>\n\u003cp>And while Late Night Video, the Telegraph Avenue video store where several pivotal scenes take place, isn’t real, the storefront is located right next door to a hair salon called \u003ca href=\"https://www.yelp.com/biz/jazmine-african-hair-braiding-oakland\">Jasmine African Hair Braiding\u003c/a>, which very much is.\u003c/p>\n\u003cfigure id=\"attachment_13972041\" class=\"wp-caption alignnone\" style=\"max-width: 2880px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972041\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30%E2%80%AFPM.png\" alt=\"Still shot from the 'Freaky Tales' trailer shows a "Late Night Video" storefront next to a braiding salon.\" width=\"2880\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM.png 2880w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-800x417.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1020x531.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-160x83.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-768x400.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1536x800.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-2048x1067.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1920x1000.png 1920w\" sizes=\"auto, (max-width: 2880px) 100vw, 2880px\">\u003cfigcaption class=\"wp-caption-text\">A view of Telegraph Avenue, as seen in the ‘Freaky Tales’ trailer. \u003ccite>(Courtesy of Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Pascal, who plays a debt collector, \u003cem>Freaky Friday\u003c/em> also stars Ben Mendelsohn, Jay Ellis and the singer Normani, and it’s the last film in which the charismatic Oakland actor Angus Cloud appeared before he \u003ca href=\"https://www.kqed.org/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt\">died tragically in 2023\u003c/a>. Oakland icons Tom Hanks and Too Short himself also make cameos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It wasn’t every day a story like this hit The Town,” Too Short’s narrator says toward the end of the trailer. Audiences will have a chance to see it for themselves on April 4, when the movie hits theaters nationwide.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Oakland-shot film hits theaters on April 4.",
"status": "publish",
"parent": 0,
"modified": 1739939626,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 448
},
"headData": {
"title": "Trailer for Oakland Film ‘Freaky Tales’ Is a Love Letter to ’80s Bay Area Culture | KQED",
"description": "The Oakland-shot film hits theaters on April 4.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Trailer for Oakland Film ‘Freaky Tales’ Is a Love Letter to ’80s Bay Area Culture",
"datePublished": "2025-02-18T16:12:12-08:00",
"dateModified": "2025-02-18T20:33:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13972017",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13972017/freaky-tales-trailer-oakland-too-short-pedro-pascal",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever since everyone’s favorite internet daddy Pedro Pascal \u003ca href=\"https://x.com/jemmawei/status/1592971050899292162\">was first spotted\u003c/a> filming near the Fox Theater in late 2022, Bay Area movie lovers have been \u003ca href=\"https://www.kqed.org/arts/13922548/too-short-way-oakland-street-renamed\">buzzing with anticipation\u003c/a> for the Oakland-shot film \u003cem>Freaky Tales\u003c/em>.\u003c/p>\n\u003cp>Named after Oakland legend (and executive producer) Too Short’s 1987 hit single, \u003cem>Freaky Tales\u003c/em> drew so much excitement at last year’s Sundance Festival, organizers had to \u003ca href=\"https://flipscreened.com/2024/07/22/sundance-2024-review-freaky-tales/\">add a second screening\u003c/a> to the schedule.\u003c/p>\n\u003cp>Now, more fuel to fan the flames: Lionsgate just dropped the official trailer, which is full of Easter eggs for Oakland locals from the opening shot — an “East Bay Mix” mixtape getting popped into a car’s cassette deck.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13922548",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>“The underdog believes he can do the impossible,” Pascal’s voiceover narration says. “Defeat the bully. Sell enough mixtapes to get out of the hood …”\u003c/p>\n\u003cp>Cue the record scratch, as Too Short’s unmistakeable voice cuts in: “Now hold up, we’ve got to take it from the top.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/-2e8SYmofZM'\n title='//www.youtube.com/embed/-2e8SYmofZM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Written and directed by Anna Boden and Ryan Fleck (who was raised in the East Bay), the duo behind \u003cem>Captain Marvel\u003c/em>, \u003cem>Freaky Tales\u003c/em> is set in Oakland in 1987 and looks to be firmly rooted in ’80s Bay Area hustle culture. The trailer is packed with local landmarks and references: the Mormon temple lit up at night. Sweet Jimmie’s nightclub, now known as the New Parish. Warriors legend Sleepy Floyd (who famously scored a record-setting 29 points in a fourth quarter playoff upset against the Lakers) sword-fighting (!) against Nazis (!!) outside punk club 924 Gilman (!!!).\u003c/p>\n\u003cp>And while Late Night Video, the Telegraph Avenue video store where several pivotal scenes take place, isn’t real, the storefront is located right next door to a hair salon called \u003ca href=\"https://www.yelp.com/biz/jazmine-african-hair-braiding-oakland\">Jasmine African Hair Braiding\u003c/a>, which very much is.\u003c/p>\n\u003cfigure id=\"attachment_13972041\" class=\"wp-caption alignnone\" style=\"max-width: 2880px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972041\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30%E2%80%AFPM.png\" alt=\"Still shot from the 'Freaky Tales' trailer shows a "Late Night Video" storefront next to a braiding salon.\" width=\"2880\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM.png 2880w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-800x417.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1020x531.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-160x83.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-768x400.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1536x800.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-2048x1067.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1920x1000.png 1920w\" sizes=\"auto, (max-width: 2880px) 100vw, 2880px\">\u003cfigcaption class=\"wp-caption-text\">A view of Telegraph Avenue, as seen in the ‘Freaky Tales’ trailer. \u003ccite>(Courtesy of Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Pascal, who plays a debt collector, \u003cem>Freaky Friday\u003c/em> also stars Ben Mendelsohn, Jay Ellis and the singer Normani, and it’s the last film in which the charismatic Oakland actor Angus Cloud appeared before he \u003ca href=\"https://www.kqed.org/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt\">died tragically in 2023\u003c/a>. Oakland icons Tom Hanks and Too Short himself also make cameos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It wasn’t every day a story like this hit The Town,” Too Short’s narrator says toward the end of the trailer. Audiences will have a chance to see it for themselves on April 4, when the movie hits theaters nationwide.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13972017/freaky-tales-trailer-oakland-too-short-pedro-pascal",
"authors": [
"11743"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_21297",
"arts_3465",
"arts_1143",
"arts_2882",
"arts_3478"
],
"featImg": "arts_13972037",
"label": "arts"
},
"arts_13971948": {
"type": "posts",
"id": "arts_13971948",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13971948",
"score": null,
"sort": [
1739816258000
]
},
"guestAuthors": [],
"slug": "nba-all-star-weekend-bay-area-culture-murals-rappers-community",
"title": "At NBA All-Star Weekend, True Bay Area Culture Thrived — If You Knew Where to Find It",
"publishDate": 1739816258,
"format": "standard",
"headTitle": "At NBA All-Star Weekend, True Bay Area Culture Thrived — If You Knew Where to Find It | KQED",
"labelTerm": {},
"content": "\u003cp>On Wednesday afternoon, hundreds of basketball fanatics snaked around San Francisco’s Chinatown, awaiting the limited edition release of Nike’s Kobe Bryant “Year of the Snake” sneakers. Red and gold lanterns dangled above the narrow streets — where the city’s Lunar New Year parade would commence just days later — providing a natural and calculated backdrop for the shoe behemoth’s latest Asian-inspired drop. \u003c/p>\n\u003cp>To celebrate the moment, a nearby mural was unveiled by local artists \u003ca href=\"https://www.kqed.org/arts/tag/tdk\">TDK Vogue\u003c/a> and \u003ca href=\"https://www.instagram.com/twinwallsmuralcompany/?hl=en\">Twin Walls\u003c/a>, depicting the late Bryant surrounded by Asian children, a black mamba and Chinese iconography. This clash of a global corporation and the multicultural, street-level talent of the Bay served as a bold reminder of the Bay Area’s vibrantly diverse, creatively imbued enclaves and intersections — just in time for NBA All-Star Weekend.\u003c/p>\n\u003cp>Spanning three days, the annual showcase of the most skilled basketballers in the world completely took over the Bay Area this past weekend, with hundreds of high-profile events scattered throughout greater San Francisco and Oakland. It provided no shortage of after-hours shenanigans that showcased the most eccentric — and most embarrassing — elements of today’s Bay Area culture in a series of concerts, parties and “activations” for fans visiting from around the globe (the NBA reported 34 nations in attendance at the weekend’s games).\u003c/p>\n\u003cfigure id=\"attachment_13971951\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.kobemural.jpg\" alt=\"\" width=\"1500\" height=\"2000\" class=\"size-full wp-image-13971951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.kobemural.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.kobemural-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.kobemural-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.kobemural-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.kobemural-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.kobemural-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A Kobe Bryant tribute mural titled ‘Mamba Mentality’ at Willie ‘Woo Woo’ Wong Playground in San Francisco’s Chinatown. The mural was completed by Elaine Chu and Marina Perez-Wong of Twin Walls, TDK Vogue and Joseph Lopez for a Nike event held during NBA All-Star Weekend. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The weekend kicked off with the Rising Stars Game on Friday, which saw the NBA’s youngest talents going head-to-head against each other, with the victors facing off against the league’s most established stars in Sunday’s big game. Vallejo’s own rising star, \u003ca href=\"https://www.kqed.org/arts/tag/larussell\">LaRussell\u003c/a>, stole the show with a halftime performance of a previously unreleased song based on All- Star Weekend. “I used to watch All-Star from the house, now we here” he announced to the crowd, before performing an acoustic version of “GT Coupe” from his extensive catalog.\u003c/p>\n\u003cp>In fact, LaRussell was a major force throughout the weekend, popping up as a guest at Jordan Brand-sponsored events, and delivering a cathartic, out-of-body live performance for a VIP crowd at Stephen Curry’s Club Thirty — the 11-time All-Star’s pop-up lounge hosted at Splash, a mega sports bar that just opened next door to Chase Center. With appearances from \u003ca href=\"https://www.kqed.org/arts/tag/saweetie\">Saweetie\u003c/a>, Too Short, P-Lo, Money B of Digital Underground, \u003ca href=\"https://www.kqed.org/arts/tag/mistah-fab\">Mistah F.A.B.\u003c/a> and Richie Rich, LaRussell lifted the predominantly Bay Area crowd with live-band renditions of regional anthems, including 2Pac’s “I Get Around,” P-Lo’s “Put Me On Something,” Mistah F.A.B.’s “N.E.W Oakland” and Mac Dre’s “Get Stupid.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rest of the weekend contained Bay Area Easter eggs and overt hat-tips alike to the region’s unique sound and history. Visuals of the Bay’s iconic bridges and architecture flashed on the arena jumbotron while Bay Area classics from Tony Bennett’s “I Left My Heart in San Francisco” to E-40’s “Tell Me When To Go” blared from the stadium-capacity speakers. Subtle touches, like ongoing audio clips of Too $hort instructing referees to “blow the whistle” during Saturday’s Three-Point Contest, added to the thoughtful incorporation of Bay Area culture.\u003c/p>\n\u003cfigure id=\"attachment_13971956\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.saweetie.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13971956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.saweetie.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.saweetie-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.saweetie-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.saweetie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.saweetie-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.saweetie-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.saweetie-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saweetie performs during the 74th NBA All-Star Game at Chase Center on Feb. 16, 2025 in San Francisco. \u003ccite>(Ezra Shaw/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Sunday’s marquee game, a skit by onetime Bay Area resident Katt Williams about the Golden Gate Bridge set a comedic tone. E-40 and hall-of-famers Chris Mullin and Barry Bonds followed by introducing Raphael Saadiq for a pregame performance of Bay Area music, including covers of rock legends Metallica, Steve Miller, Santana and the Doobie Brothers. Oakland R&B legends En Vogue joined Saweetie, Too Short and E-40 for the halftime show.\u003c/p>\n\u003cp>But it wasn’t all as smoothly executed as a Steph Curry layup in the paint; there were plenty of hollow moments and figurative air balls, too. The weekend’s most-publicized events and primetime headliners hinged on \u003ca href=\"https://48hills.org/2025/02/why-is-sfs-nba-all-star-weekend-musical-lineup-so-meh/\">sauceless “meh” celebrities like Flo Rida and the Chainsmokers\u003c/a> rather than utilizing the Bay’s rich plentitude of local, fan-favorite artistry.\u003c/p>\n\u003cp>This meant the best happenings transpired off-site, often by invitation from local figures and entities who made a genuine effort to appease the Bay Area audience.\u003c/p>\n\u003cp>[aside postID='arts_13971701'] A Marshawn Lynch event in Alameda featuring \u003ca href=\"https://www.kqed.org/arts/13913821/endeavors-agency-oakland-assan-jethmal-rozz-nash\">Hueman\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13920049/sydney-welchs-photography-features-the-latest-wave-of-bay-area-talent\">Sydney Welch\u003c/a>. \u003ca href=\"https://www.kqed.org/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june\">Larry June\u003c/a>’s (free) sold-out show at August Hall with his latest collaborators, \u003ca href=\"https://pitchfork.com/reviews/albums/larry-june-2-chainz-the-alchemist-life-is-beautiful/\">2Chainz and the Alchemist\u003c/a>. San Francisco designer \u003ca href=\"https://www.kqed.org/arts/13929529/sewing-new-life-into-levis-jeans\">Paolo Cui\u003c/a>’s involvement with Nike Tech Fleece to make customized, Japanese sashiko-sewn gear for NBA All-Stars like Victor Wembanyama. \u003ca href=\"https://www.kqed.org/arts/13936639/jubo-iguanas-filipino-burrito-juborrito-collaboration-san-jose\">Jubo Clothing\u003c/a>’s “For The Soil” drop. Filmmakers like \u003ca href=\"https://www.kqed.org/arts/13928650/pens-pals-putting-on-for-tehran-in-the-bay\">Mohammad Gorjestani\u003c/a> and rappers like P-Lo (who \u003ca href=\"https://www.kqed.org/arts/13971354/p-lo-for-the-soil-warriors-golden-state-entertainment-nba-all-star-weekend\">just released an album with the Golden State Warriors\u003c/a>) appearing at the Union and Jordan Brand sneaker release party at the St. Joseph’s Art Society. \u003c/p>\n\u003cp>Despite the quick-thrill moments of seeing a towering NBA legend like Tracy McGrady casually strolling past you on the street, the weekend’s magic was most palpable outside of the high-altitude stratosphere. Those priced out of the arena populated smaller experiences and All-Star themed parties at satellite venues, helping the Bay Area’s endlessly divergent culture to stand out. \u003c/p>\n\u003cfigure id=\"attachment_13971952\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.line_.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13971952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.line_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.line_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.line_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.line_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.line_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.line_-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.line_-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans line up for an NBA All-Star Weekend event at Foot Locker in San Francisco. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finding genuine community in a time of perilous, unyielding, AI-boosted capitalism feels harder than ever. For every community-centered, person-to-person interaction I had with local clothing designers, artists and advocates, I received an invitation from a faceless PR account for a brand-sponsored champagne tasting or corporate-funded afterparty.\u003c/p>\n\u003cp>At its worst, NBA All-Star in the Bay Area felt like “a big-ass commercial” (as my colleague \u003ca href=\"https://www.kqed.org/arts/13969956/nba-all-star-game-different-bay-area-oakland-san-francisco\">Pendarvis Harshaw pointed out\u003c/a> during Saturday’s Dunk Contest). Picture a high-culture experience nefariously mixed with big-business interests, plus influencers like Mr. Beast and Kai Cenat, and packaged as sports entertainment. It’s harder than ever in our world to tell what’s for profit and what’s for poetry. Who does it for the love of the game of basketball, and who’s doing it to play the game of networking and market share? \u003c/p>\n\u003cp>When I congratulated a local friend in the arts community who’d just finished a big brand sneaker collab for All-Star Weekend in their hometown of San Francisco, they responded with a somber reality: “Meh this was kinda wack… but I’m sure [visitors] can watch the influencers play.” As a voracious consumer of the NBA, and its constellation of stars and brand identities, to hear a trusted community member say their work was undervalued, even dismissed, gave me pause. That feeling was amplified throughout All-Star weekend, and that’s part of what we navigate daily as Bay Area people. \u003c/p>\n\u003cfigure id=\"attachment_13971950\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.bus_.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13971950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.bus_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.bus_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.bus_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.bus_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.bus_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.bus_-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.bus_-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Hoopbus, a basketball nonprofit, appeared at Bay Area schools and hosted free community events during NBA All-Star Weekend. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it still felt hella good to see people come together like a giant regional family, proudly flaunting on a national stage our art, our spirit, our showmanship and our care for collective Bay Area success. I romped around in a newly released \u003ca href=\"https://www.lidshd.com/products/nba-all-star-nba-asg-x-grateful-dead-9forty-a-frame\">Grateful Dead All-Star snapback\u003c/a>, dapping people up in a city that felt more activated than I can remember in years.\u003c/p>\n\u003cp>“It’s a chance for us to show the industry what we have to offer,” LaRussell shared on stage. “Our light and our love.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When stripped away of all the corporate elements, that’s exactly what we did, and continue to do, as a community: supply enough game and hustle to remain long after the NBA leaves town.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Despite the overly branded corporate atmosphere, independent Bay Area artists shined all weekend.",
"status": "publish",
"parent": 0,
"modified": 1740769322,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 1444
},
"headData": {
"title": "At NBA All-Star Weekend, True Bay Area Culture Thrived — If You Knew Where to Find It | KQED",
"description": "Despite the overly branded corporate atmosphere, independent Bay Area artists shined all weekend.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "At NBA All-Star Weekend, True Bay Area Culture Thrived — If You Knew Where to Find It",
"datePublished": "2025-02-17T10:17:38-08:00",
"dateModified": "2025-02-28T11:02:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "Commentary",
"sourceUrl": "https://www.kqed.org/artscommentary",
"sticky": false,
"nprStoryId": "kqed-13971948",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13971948/nba-all-star-weekend-bay-area-culture-murals-rappers-community",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday afternoon, hundreds of basketball fanatics snaked around San Francisco’s Chinatown, awaiting the limited edition release of Nike’s Kobe Bryant “Year of the Snake” sneakers. Red and gold lanterns dangled above the narrow streets — where the city’s Lunar New Year parade would commence just days later — providing a natural and calculated backdrop for the shoe behemoth’s latest Asian-inspired drop. \u003c/p>\n\u003cp>To celebrate the moment, a nearby mural was unveiled by local artists \u003ca href=\"https://www.kqed.org/arts/tag/tdk\">TDK Vogue\u003c/a> and \u003ca href=\"https://www.instagram.com/twinwallsmuralcompany/?hl=en\">Twin Walls\u003c/a>, depicting the late Bryant surrounded by Asian children, a black mamba and Chinese iconography. This clash of a global corporation and the multicultural, street-level talent of the Bay served as a bold reminder of the Bay Area’s vibrantly diverse, creatively imbued enclaves and intersections — just in time for NBA All-Star Weekend.\u003c/p>\n\u003cp>Spanning three days, the annual showcase of the most skilled basketballers in the world completely took over the Bay Area this past weekend, with hundreds of high-profile events scattered throughout greater San Francisco and Oakland. It provided no shortage of after-hours shenanigans that showcased the most eccentric — and most embarrassing — elements of today’s Bay Area culture in a series of concerts, parties and “activations” for fans visiting from around the globe (the NBA reported 34 nations in attendance at the weekend’s games).\u003c/p>\n\u003cfigure id=\"attachment_13971951\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.kobemural.jpg\" alt=\"\" width=\"1500\" height=\"2000\" class=\"size-full wp-image-13971951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.kobemural.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.kobemural-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.kobemural-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.kobemural-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.kobemural-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.kobemural-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A Kobe Bryant tribute mural titled ‘Mamba Mentality’ at Willie ‘Woo Woo’ Wong Playground in San Francisco’s Chinatown. The mural was completed by Elaine Chu and Marina Perez-Wong of Twin Walls, TDK Vogue and Joseph Lopez for a Nike event held during NBA All-Star Weekend. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The weekend kicked off with the Rising Stars Game on Friday, which saw the NBA’s youngest talents going head-to-head against each other, with the victors facing off against the league’s most established stars in Sunday’s big game. Vallejo’s own rising star, \u003ca href=\"https://www.kqed.org/arts/tag/larussell\">LaRussell\u003c/a>, stole the show with a halftime performance of a previously unreleased song based on All- Star Weekend. “I used to watch All-Star from the house, now we here” he announced to the crowd, before performing an acoustic version of “GT Coupe” from his extensive catalog.\u003c/p>\n\u003cp>In fact, LaRussell was a major force throughout the weekend, popping up as a guest at Jordan Brand-sponsored events, and delivering a cathartic, out-of-body live performance for a VIP crowd at Stephen Curry’s Club Thirty — the 11-time All-Star’s pop-up lounge hosted at Splash, a mega sports bar that just opened next door to Chase Center. With appearances from \u003ca href=\"https://www.kqed.org/arts/tag/saweetie\">Saweetie\u003c/a>, Too Short, P-Lo, Money B of Digital Underground, \u003ca href=\"https://www.kqed.org/arts/tag/mistah-fab\">Mistah F.A.B.\u003c/a> and Richie Rich, LaRussell lifted the predominantly Bay Area crowd with live-band renditions of regional anthems, including 2Pac’s “I Get Around,” P-Lo’s “Put Me On Something,” Mistah F.A.B.’s “N.E.W Oakland” and Mac Dre’s “Get Stupid.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rest of the weekend contained Bay Area Easter eggs and overt hat-tips alike to the region’s unique sound and history. Visuals of the Bay’s iconic bridges and architecture flashed on the arena jumbotron while Bay Area classics from Tony Bennett’s “I Left My Heart in San Francisco” to E-40’s “Tell Me When To Go” blared from the stadium-capacity speakers. Subtle touches, like ongoing audio clips of Too $hort instructing referees to “blow the whistle” during Saturday’s Three-Point Contest, added to the thoughtful incorporation of Bay Area culture.\u003c/p>\n\u003cfigure id=\"attachment_13971956\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.saweetie.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13971956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.saweetie.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.saweetie-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.saweetie-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.saweetie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.saweetie-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.saweetie-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.saweetie-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saweetie performs during the 74th NBA All-Star Game at Chase Center on Feb. 16, 2025 in San Francisco. \u003ccite>(Ezra Shaw/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Sunday’s marquee game, a skit by onetime Bay Area resident Katt Williams about the Golden Gate Bridge set a comedic tone. E-40 and hall-of-famers Chris Mullin and Barry Bonds followed by introducing Raphael Saadiq for a pregame performance of Bay Area music, including covers of rock legends Metallica, Steve Miller, Santana and the Doobie Brothers. Oakland R&B legends En Vogue joined Saweetie, Too Short and E-40 for the halftime show.\u003c/p>\n\u003cp>But it wasn’t all as smoothly executed as a Steph Curry layup in the paint; there were plenty of hollow moments and figurative air balls, too. The weekend’s most-publicized events and primetime headliners hinged on \u003ca href=\"https://48hills.org/2025/02/why-is-sfs-nba-all-star-weekend-musical-lineup-so-meh/\">sauceless “meh” celebrities like Flo Rida and the Chainsmokers\u003c/a> rather than utilizing the Bay’s rich plentitude of local, fan-favorite artistry.\u003c/p>\n\u003cp>This meant the best happenings transpired off-site, often by invitation from local figures and entities who made a genuine effort to appease the Bay Area audience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13971701",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp> A Marshawn Lynch event in Alameda featuring \u003ca href=\"https://www.kqed.org/arts/13913821/endeavors-agency-oakland-assan-jethmal-rozz-nash\">Hueman\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13920049/sydney-welchs-photography-features-the-latest-wave-of-bay-area-talent\">Sydney Welch\u003c/a>. \u003ca href=\"https://www.kqed.org/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june\">Larry June\u003c/a>’s (free) sold-out show at August Hall with his latest collaborators, \u003ca href=\"https://pitchfork.com/reviews/albums/larry-june-2-chainz-the-alchemist-life-is-beautiful/\">2Chainz and the Alchemist\u003c/a>. San Francisco designer \u003ca href=\"https://www.kqed.org/arts/13929529/sewing-new-life-into-levis-jeans\">Paolo Cui\u003c/a>’s involvement with Nike Tech Fleece to make customized, Japanese sashiko-sewn gear for NBA All-Stars like Victor Wembanyama. \u003ca href=\"https://www.kqed.org/arts/13936639/jubo-iguanas-filipino-burrito-juborrito-collaboration-san-jose\">Jubo Clothing\u003c/a>’s “For The Soil” drop. Filmmakers like \u003ca href=\"https://www.kqed.org/arts/13928650/pens-pals-putting-on-for-tehran-in-the-bay\">Mohammad Gorjestani\u003c/a> and rappers like P-Lo (who \u003ca href=\"https://www.kqed.org/arts/13971354/p-lo-for-the-soil-warriors-golden-state-entertainment-nba-all-star-weekend\">just released an album with the Golden State Warriors\u003c/a>) appearing at the Union and Jordan Brand sneaker release party at the St. Joseph’s Art Society. \u003c/p>\n\u003cp>Despite the quick-thrill moments of seeing a towering NBA legend like Tracy McGrady casually strolling past you on the street, the weekend’s magic was most palpable outside of the high-altitude stratosphere. Those priced out of the arena populated smaller experiences and All-Star themed parties at satellite venues, helping the Bay Area’s endlessly divergent culture to stand out. \u003c/p>\n\u003cfigure id=\"attachment_13971952\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.line_.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13971952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.line_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.line_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.line_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.line_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.line_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.line_-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.line_-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans line up for an NBA All-Star Weekend event at Foot Locker in San Francisco. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finding genuine community in a time of perilous, unyielding, AI-boosted capitalism feels harder than ever. For every community-centered, person-to-person interaction I had with local clothing designers, artists and advocates, I received an invitation from a faceless PR account for a brand-sponsored champagne tasting or corporate-funded afterparty.\u003c/p>\n\u003cp>At its worst, NBA All-Star in the Bay Area felt like “a big-ass commercial” (as my colleague \u003ca href=\"https://www.kqed.org/arts/13969956/nba-all-star-game-different-bay-area-oakland-san-francisco\">Pendarvis Harshaw pointed out\u003c/a> during Saturday’s Dunk Contest). Picture a high-culture experience nefariously mixed with big-business interests, plus influencers like Mr. Beast and Kai Cenat, and packaged as sports entertainment. It’s harder than ever in our world to tell what’s for profit and what’s for poetry. Who does it for the love of the game of basketball, and who’s doing it to play the game of networking and market share? \u003c/p>\n\u003cp>When I congratulated a local friend in the arts community who’d just finished a big brand sneaker collab for All-Star Weekend in their hometown of San Francisco, they responded with a somber reality: “Meh this was kinda wack… but I’m sure [visitors] can watch the influencers play.” As a voracious consumer of the NBA, and its constellation of stars and brand identities, to hear a trusted community member say their work was undervalued, even dismissed, gave me pause. That feeling was amplified throughout All-Star weekend, and that’s part of what we navigate daily as Bay Area people. \u003c/p>\n\u003cfigure id=\"attachment_13971950\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.bus_.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13971950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.bus_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.bus_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.bus_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.bus_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.bus_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.bus_-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/NBAAllStar.bus_-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Hoopbus, a basketball nonprofit, appeared at Bay Area schools and hosted free community events during NBA All-Star Weekend. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it still felt hella good to see people come together like a giant regional family, proudly flaunting on a national stage our art, our spirit, our showmanship and our care for collective Bay Area success. I romped around in a newly released \u003ca href=\"https://www.lidshd.com/products/nba-all-star-nba-asg-x-grateful-dead-9forty-a-frame\">Grateful Dead All-Star snapback\u003c/a>, dapping people up in a city that felt more activated than I can remember in years.\u003c/p>\n\u003cp>“It’s a chance for us to show the industry what we have to offer,” LaRussell shared on stage. “Our light and our love.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When stripped away of all the corporate elements, that’s exactly what we did, and continue to do, as a community: supply enough game and hustle to remain long after the NBA leaves town.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13971948/nba-all-star-weekend-bay-area-culture-murals-rappers-community",
"authors": [
"11748"
],
"categories": [
"arts_1",
"arts_2303",
"arts_76",
"arts_69",
"arts_13238"
],
"tags": [
"arts_5786",
"arts_5397",
"arts_2767",
"arts_1601",
"arts_10342",
"arts_10278",
"arts_903",
"arts_831",
"arts_1803",
"arts_3478"
],
"featImg": "arts_13971955",
"label": "source_arts_13971948"
},
"arts_13959579": {
"type": "posts",
"id": "arts_13959579",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13959579",
"score": null,
"sort": [
1718129748000
]
},
"guestAuthors": [],
"slug": "too-short-danyel-smith-dwayne-wiggins-thats-oakland-baby",
"title": "Too Short, Danyel Smith and D’Wayne Wiggins Chop It Up About The Town",
"publishDate": 1718129748,
"format": "standard",
"headTitle": "Too Short, Danyel Smith and D’Wayne Wiggins Chop It Up About The Town | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>The city of Oakland is well known for punching above its weight when it comes to its influence on popular culture. In sports, entertainment, politics and more, the small town in the East Bay has produced numerous people who’ve left their mark on the world.\u003c/p>\n\u003cp>Every once in a while, these stars descend from the cosmos and come together under one roof. This week offers just such an occasion.\u003c/p>\n\u003cp>On Wednesday, June 12 the nonprofit community-based organization \u003ca href=\"https://urbanpeacemovement.org/\">Urban Peace Movement\u003c/a> presents “\u003ca href=\"https://www.eventbrite.com/e/thats-oakland-baby-tickets-908637157197?\">That’s Oakland, Baby!\u003c/a>”, a free town hall discussion with hip-hop icon \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a>, author and pop culture historian \u003ca href=\"https://www.kqed.org/arts/13894159/from-oakland-to-black-girl-songbook-danyel-smith-stays-true-to-the-town\">Danyel Smith\u003c/a>, and legendary musician \u003ca href=\"https://www.kqed.org/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre\">D’Wayne Wiggins\u003c/a> (of Tony! Toni! Toné!).\u003c/p>\n\u003cfigure id=\"attachment_13959582\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-scaled.jpg\" alt=\"Woman talking while sitting with laptop on knees in tall chair, man sits beside her on stage\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Author Danyel Smith, on stage in San Francisco at The Battery, discussing her book, ‘Shine Bright: A Personal History of Black Women in Pop’ in June 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The talented trio will discuss their individual journeys to stardom; all hail from East Oakland and represent a wide array of family and community experiences. They’ll also discuss the longstanding legacy of Oakland, covering the Town’s unique culture, deep musical history, the push toward innovation and the righteous fight for social justice.\u003c/p>\n\u003cp>Throughout their careers all three panelists have exhibited the indomitable spirit of resistance that’s ever-present in the people who come from the jewel of the East Bay. The conversation, taking place at the Oakland Tech’s auditorium, will be accompanied by a set from mix master \u003ca href=\"https://www.instagram.com/1djslowpoke/?hl=en\" target=\"_blank\" rel=\"noopener\">DJ Slowpoke\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Given all that’s happening in Oakland right now — changes in population, conversations about public safety and the latest wave of talented artists preparing to make their mark on the world — it’s the perfect time for the stars to align.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘That’s Oakland, Baby!’ takes place June 12, 6–9:30 p.m. at the Oakland Technical High School auditorium (300-340 42nd St.). Doors open at 5:30 p.m. \u003ca href=\"https://www.eventbrite.com/e/thats-oakland-baby-tickets-908637157197?\">Reserve a free ticket here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The talented trio discuss their individual journeys from East Oakland to stardom at a free June 12 event.",
"status": "publish",
"parent": 0,
"modified": 1726770912,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 347
},
"headData": {
"title": "Too Short, Danyel Smith and D’Wayne Wiggins: ‘That’s Oakland, Baby!’ | KQED",
"description": "The talented trio discuss their individual journeys from East Oakland to stardom at a free June 12 event.",
"ogTitle": "Too Short, Danyel Smith and D’Wayne Wiggins Chop It Up About The Town",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Too Short, Danyel Smith and D’Wayne Wiggins Chop It Up About The Town",
"twDescription": "",
"twImgId": "",
"socialTitle": "Too Short, Danyel Smith and D’Wayne Wiggins: ‘That’s Oakland, Baby!’ %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Too Short, Danyel Smith and D’Wayne Wiggins Chop It Up About The Town",
"datePublished": "2024-06-11T11:15:48-07:00",
"dateModified": "2024-09-19T11:35:12-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13959579",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13959579/too-short-danyel-smith-dwayne-wiggins-thats-oakland-baby",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The city of Oakland is well known for punching above its weight when it comes to its influence on popular culture. In sports, entertainment, politics and more, the small town in the East Bay has produced numerous people who’ve left their mark on the world.\u003c/p>\n\u003cp>Every once in a while, these stars descend from the cosmos and come together under one roof. This week offers just such an occasion.\u003c/p>\n\u003cp>On Wednesday, June 12 the nonprofit community-based organization \u003ca href=\"https://urbanpeacemovement.org/\">Urban Peace Movement\u003c/a> presents “\u003ca href=\"https://www.eventbrite.com/e/thats-oakland-baby-tickets-908637157197?\">That’s Oakland, Baby!\u003c/a>”, a free town hall discussion with hip-hop icon \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a>, author and pop culture historian \u003ca href=\"https://www.kqed.org/arts/13894159/from-oakland-to-black-girl-songbook-danyel-smith-stays-true-to-the-town\">Danyel Smith\u003c/a>, and legendary musician \u003ca href=\"https://www.kqed.org/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre\">D’Wayne Wiggins\u003c/a> (of Tony! Toni! Toné!).\u003c/p>\n\u003cfigure id=\"attachment_13959582\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-scaled.jpg\" alt=\"Woman talking while sitting with laptop on knees in tall chair, man sits beside her on stage\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Author Danyel Smith, on stage in San Francisco at The Battery, discussing her book, ‘Shine Bright: A Personal History of Black Women in Pop’ in June 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The talented trio will discuss their individual journeys to stardom; all hail from East Oakland and represent a wide array of family and community experiences. They’ll also discuss the longstanding legacy of Oakland, covering the Town’s unique culture, deep musical history, the push toward innovation and the righteous fight for social justice.\u003c/p>\n\u003cp>Throughout their careers all three panelists have exhibited the indomitable spirit of resistance that’s ever-present in the people who come from the jewel of the East Bay. The conversation, taking place at the Oakland Tech’s auditorium, will be accompanied by a set from mix master \u003ca href=\"https://www.instagram.com/1djslowpoke/?hl=en\" target=\"_blank\" rel=\"noopener\">DJ Slowpoke\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given all that’s happening in Oakland right now — changes in population, conversations about public safety and the latest wave of talented artists preparing to make their mark on the world — it’s the perfect time for the stars to align.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘That’s Oakland, Baby!’ takes place June 12, 6–9:30 p.m. at the Oakland Technical High School auditorium (300-340 42nd St.). Doors open at 5:30 p.m. \u003ca href=\"https://www.eventbrite.com/e/thats-oakland-baby-tickets-908637157197?\">Reserve a free ticket here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13959579/too-short-danyel-smith-dwayne-wiggins-thats-oakland-baby",
"authors": [
"11491"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1"
],
"tags": [
"arts_10278",
"arts_1143",
"arts_585",
"arts_3478"
],
"featImg": "arts_13959581",
"label": "arts_140"
},
"arts_13958149": {
"type": "posts",
"id": "arts_13958149",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13958149",
"score": null,
"sort": [
1716234375000
]
},
"guestAuthors": [],
"slug": "too-short-free-show-town-up-tuesday-lake-merritt",
"title": "Too Short Is Playing a Free Show Tuesday at the Lake",
"publishDate": 1716234375,
"format": "standard",
"headTitle": "Too Short Is Playing a Free Show Tuesday at the Lake | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Oakland’s \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\">Festival By the Lake\u003c/a> may be gone, but its spirit continues in the many free mini-festivals held around the shores of Lake Merritt. And an annual favorite, \u003ca href=\"https://urbanpeacemovement.org/event/town-up-tuesday-2024/\">Town Up Tuesday\u003c/a>, has booked its biggest headliner yet for Tuesday, May 21: Too Short. \u003c/p>\n\u003cp>How will a rap legend who routinely plays large arenas adapt to a lakeshore gazebo? It remains to be seen, but it’s completely free, so expect a huge crowd. Also performing are Town favorites \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100Himself\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">Conscious Daughters\u003c/a> and the \u003ca href=\"https://www.youtube.com/watch?v=KCNlDgSQuLg\">Trunk Boiz\u003c/a> — a formidable lineup in its own right — but Too Short all but guarantees the biggest Town Up Tuesday yet. \u003c/p>\n\u003cp>[aside postID='arts_13927349']Produced by the Oakland nonprofit Urban Peace Movement, Town Up Tuesday was conceived as a way to bring people together after the pandemic while simultaneously engaging young people with civic issues and upcoming elections. \u003c/p>\n\u003cp>“The main message is about getting involved and paying attention to local issues that impact the everyday lives of people in Oakland and the Bay Area,” says Urban Peace Movement’s Nicole Lee. “Obviously we have a consequential election coming up in November, and we want people to be informed, and to pay attention to that election, especially at the local level.”\u003c/p>\n\u003cp>Lee herself grew up going to Festival By the Lake, and says she wants to help reinvigorate pride in Oakland — especially as San Francisco’s so-called doom-loop narrative migrates across the Bay to the Town. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='news_11690787']As it turns out, Too Short agreed to perform in part because he feels the same way.\u003c/p>\n\u003cp>“He’s expressed to some of our team that he’s felt disheartened by the narrative about Oakland,” says Lee, “and how there are negative perceptions about Oakland that sometimes overshadow all the culture, creativity, innovation and social activism that comes from Oakland, and has had national and global impact.”\u003c/p>\n\u003cp>Hosting Tuesday’s event are Mystic and DNas, and the rest of the lineup includes DJs Daghe & Emelle, plus Michael Sneed, 3Nise, the Animaniakz and Ms. Bria. (There’s two “surprise legendary artists” promised too.) There’s also double dutch sessions with Jump Squad 510, wellness services from Freedom Community Clinic, a kids’ area and more. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Town Up Tuesday is free, and takes place Tuesday, May 21, at the Edoff Memorial Bandstand on the northwestern shore of Lake Merritt. \u003ca href=\"https://www.facebook.com/urbanpeacemovement/posts/pfbid0WesdcR8QYmzriBXMM3FNZjYRzJzan8fERs7x2vUzJ2mLNWbJFzm1DboC7csW1HCnl\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The free event, 'Town Up Tuesday,' also features 1100Himself, the Conscious Daughters and the Trunk Boiz.",
"status": "publish",
"parent": 0,
"modified": 1716318248,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 420
},
"headData": {
"title": "Too Short Is Playing a Free Show Tuesday at the Lake | KQED",
"description": "The free event, 'Town Up Tuesday,' also features 1100Himself, the Conscious Daughters and the Trunk Boiz.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Too Short Is Playing a Free Show Tuesday at the Lake",
"datePublished": "2024-05-20T12:46:15-07:00",
"dateModified": "2024-05-21T12:04:08-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13958149",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13958149/too-short-free-show-town-up-tuesday-lake-merritt",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\">Festival By the Lake\u003c/a> may be gone, but its spirit continues in the many free mini-festivals held around the shores of Lake Merritt. And an annual favorite, \u003ca href=\"https://urbanpeacemovement.org/event/town-up-tuesday-2024/\">Town Up Tuesday\u003c/a>, has booked its biggest headliner yet for Tuesday, May 21: Too Short. \u003c/p>\n\u003cp>How will a rap legend who routinely plays large arenas adapt to a lakeshore gazebo? It remains to be seen, but it’s completely free, so expect a huge crowd. Also performing are Town favorites \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100Himself\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">Conscious Daughters\u003c/a> and the \u003ca href=\"https://www.youtube.com/watch?v=KCNlDgSQuLg\">Trunk Boiz\u003c/a> — a formidable lineup in its own right — but Too Short all but guarantees the biggest Town Up Tuesday yet. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13927349",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Produced by the Oakland nonprofit Urban Peace Movement, Town Up Tuesday was conceived as a way to bring people together after the pandemic while simultaneously engaging young people with civic issues and upcoming elections. \u003c/p>\n\u003cp>“The main message is about getting involved and paying attention to local issues that impact the everyday lives of people in Oakland and the Bay Area,” says Urban Peace Movement’s Nicole Lee. “Obviously we have a consequential election coming up in November, and we want people to be informed, and to pay attention to that election, especially at the local level.”\u003c/p>\n\u003cp>Lee herself grew up going to Festival By the Lake, and says she wants to help reinvigorate pride in Oakland — especially as San Francisco’s so-called doom-loop narrative migrates across the Bay to the Town. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11690787",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>As it turns out, Too Short agreed to perform in part because he feels the same way.\u003c/p>\n\u003cp>“He’s expressed to some of our team that he’s felt disheartened by the narrative about Oakland,” says Lee, “and how there are negative perceptions about Oakland that sometimes overshadow all the culture, creativity, innovation and social activism that comes from Oakland, and has had national and global impact.”\u003c/p>\n\u003cp>Hosting Tuesday’s event are Mystic and DNas, and the rest of the lineup includes DJs Daghe & Emelle, plus Michael Sneed, 3Nise, the Animaniakz and Ms. Bria. (There’s two “surprise legendary artists” promised too.) There’s also double dutch sessions with Jump Squad 510, wellness services from Freedom Community Clinic, a kids’ area and more. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Town Up Tuesday is free, and takes place Tuesday, May 21, at the Edoff Memorial Bandstand on the northwestern shore of Lake Merritt. \u003ca href=\"https://www.facebook.com/urbanpeacemovement/posts/pfbid0WesdcR8QYmzriBXMM3FNZjYRzJzan8fERs7x2vUzJ2mLNWbJFzm1DboC7csW1HCnl\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13958149/too-short-free-show-town-up-tuesday-lake-merritt",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_20453",
"arts_831",
"arts_1785",
"arts_585",
"arts_3478"
],
"featImg": "arts_13922549",
"label": "arts_140"
},
"arts_13955802": {
"type": "posts",
"id": "arts_13955802",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13955802",
"score": null,
"sort": [
1713390752000
]
},
"guestAuthors": [],
"slug": "bay-area-rappers-food-lyrics-illustrations-e-40-larry-june",
"title": "Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)",
"publishDate": 1713390752,
"format": "standard",
"headTitle": "Here’s What Bay Area Rappers Are Eating (According to Their Lyrics) | KQED",
"labelTerm": {},
"content": "\u003cp>[dropcap]W[/dropcap]hen conveying what it means to really be from the Bay Area, I often return to this simple yet revelatory \u003ca href=\"https://www.kqed.org/arts/tag/mac-dre\">Mac Dre\u003c/a> lyric: “In the Bay Area, we dance a little different.”\u003c/p>\n\u003cp>Whether it’s in our music, political activism or technological contributions, there’s a certain out-of-box forwardness that tends to manifest from Bay Area minds — a distinguishable pride in how we approach everything with a savvy sprinkling of game, hustlership and top-tier ideation.\u003c/p>\n\u003cp>The same can be said for the Bay Area’s food scene, which ranks among the nation’s best and most imaginative. From sourdough bread to the eternal Mission-style burrito, the Bay’s foodmakers have often been ahead of the curve, helping to revolutionize menus nationwide with their fresh farm-to-table approach. To borrow from the great Mac, one could say that in the Bay Area, we \u003ci>eat\u003c/i> a little different.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13907726,arts_13934248']\u003c/span>It’s no surprise, then, that in the history of local rap, food has always been a strong reference point — a metaphorical kitchen for creative exchange. An endless platter of well-seasoned slang. For decades, our rappers have delivered punchlines involving sauce, lasagna and \u003ca href=\"https://www.youtube.com/watch?v=XMah0rX6pGU\">lumpia\u003c/a>; dropped verses that generously reference \u003ca href=\"https://www.youtube.com/watch?v=lkBJR5L2nas\">desserts and bakeries\u003c/a>; and supplied entire songs about stacking bread, cheese and lettuce as lucrative sandwiches.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/bay-area-rap-shrimp-crab-17915372.php\">Food-loving Bay Area rappers\u003c/a> have always been bold when it comes to transmorphing culinary items and kitchen utensils into slang that others then appropriate and even misuse (see: “\u003ca href=\"https://www.kqed.org/arts/13908052/food-doesnt-slap\">food doesn’t slap\u003c/a>”). Shock G once talked about getting busy in a Burger King bathroom and declared, “I like my oatmeal lumpy.” On “Dreganomics,” Mac Dre himself asked, “What’s spaghetti without the sauce?” We’ve got Suga T (sweet) and Spice 1 (hot). Berner founded \u003ca href=\"https://www.instagram.com/cookiessf/?hl=en\">Cookies\u003c/a>. And just a few weeks ago, \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\">Stunnaman02\u003c/a> dropped a whole series of viral videos centered on his latest single. His focus? \u003ca href=\"https://www.tiktok.com/@jayworrld/video/7340701934355254574\">Eating a salad\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a unifying ethos in Bay Area food and rap: \u003ca href=\"https://www.youtube.com/watch?v=E6GU3PmttyI\">Everybody eats\u003c/a>. So here’s a brief ode to some of our region’s most skilled vocabulary chefs and the tasteful ways they’ve reimagined the ingredients of language that are possible in a kitchen — and the recording studio.\u003c/p>\n\u003cfigure id=\"attachment_13956090\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg\" alt=\"Illustration of the rapper E-40 in sunglasses and a beige apron, holding a glass of red wine. In front of him are a burrito and a grilled cheese sandwich.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">E-40 might be the most prolific inventor of food-related slang words in the English language. He’s a head chef in the Bay Area’s rap kingdom. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>E-40: Green eggs, hams, candy yams, Spam, cheese, peanut butter and jam on “\u003ca href=\"https://www.youtube.com/watch?v=etIBcRriUJY\">The Slap\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Digital scale, green eggs and hams / Yams, candy yams, Spam, damn! / Loaded, my cheese, peanut butter and jam / Sammich, mannish, me and my Hispanics / Vanish, talkin’ in codes like we from different planets.”\u003c/em>\u003c/p>\n\u003cp>Though it may sound like gibberish to the uninitiated, rest assured that \u003ca href=\"https://firstwefeast.com/eat/2013/12/food-rap-decoded-with-e-40-video\">99.99% of anything 40 Water vocalizes has a cleverly associative meaning\u003c/a>. For anyone who has listened to one of the more than 25 studio albums from Vallejo’s kingpin, you’ve surely heard him mention food — perhaps in a variety of languages (some real, some ingeniously invented). In addition to the smorgasbord he notes above in “The Slap,” he has pioneered rhymes across generations that give new meanings to Gouda, feta, mozzarella, lettuce, bread, sausage, salami, paninis, spaghetti, tacos and enchiladas — ad infinitum. Unsurprisingly, \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">Mr. Fonzarelli is an actual purveyor of foods and beverages\u003c/a>, with a line of products that includes malt liquor, ice cream and burritos; he even co-owns \u003ca href=\"https://www.instagram.com/thelumpiacompany/\">The Lumpia Company\u003c/a>. There’s no one with a bigger million-dollar mouthpiece who can distribute as much word candy (“S-L-A-N-G”) quite as flavorfully as the Goon With The Spoon himself.\u003c/p>\n\u003ch2>Andre Nickatina: TOGO’s #41 sandwich with the hot peppers on “\u003ca href=\"https://www.youtube.com/watch?v=_FU1XdPE6lM\">Fa Show\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Baby don’t act dumb, I’m number 41, high stepper / TOGO’s sandwich with the hot peppers / At 90 degrees I might freeze, so when it’s hot I sport leather.”\u003c/em>\u003c/p>\n\u003cp>Fillmore’s finest, and among \u003ca href=\"https://www.passionweiss.com/2016/11/17/andre-nickatina/\">the most criminally underrated San Francisco rappers in history\u003c/a>, Andre Nickatina has always had a penchant for the spicy, the flavorful, the extemporaneously saucy. From rapping about eating Cap’n Crunch around drug dealers to sarcastically handing out Baskin Robbins dollars to his enemies, Nicky Nicotine (formerly known as Dre Dog) raps about food as casually as any rapper would ever dare. Unlike many of today’s international rap personalities, who seem to only eat at \u003ca href=\"https://www.reddit.com/r/OutOfTheLoop/comments/6frbt9/why_are_rappers_obsessed_with_nobu_sushi/\">high-priced sushi conglomerates\u003c/a>, Nickatina is a Bay Area real one, electing to stay fed at a regional sandwich chain from San Jose. The enigmatic “number 41” on the \u003ca href=\"https://www.togos.com/menu/?gad_source=1&gclid=CjwKCAjwoPOwBhAeEiwAJuXRh69gJ2fS8J9qmnAKJEnCmI5720psTxEmhEmkgFAemWoe3auyNuuxExoCTm0QAvD_BwE\">Togo’s menu\u003c/a> has since been discontinued, but a spokesperson for the restaurant IDed it as a sirloin steak and mushroom sandwich that was introduced as a seasonal special back in 2002 — the same year “Fa Show” was released. There is no doubt it must’ve been fire, given its endorsement by a legend who knows how to professionally “\u003ca href=\"https://www.youtube.com/watch?v=o8TXpoi-goE\">Break Bread\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13956088\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956088\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg\" alt=\"Illustration of the rapper Kamaiyah eating from a plate of chicken alfredo tucked under her arm. Next to her is a bottle of champagne.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah’s album covers often feature food, Hennessey and champagne — a reflection of the rapper’s saucy, bossy lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kamaiyah: Champagne and chicken on “\u003ca href=\"https://www.youtube.com/watch?v=Yls2dMJ63tM\">Whatever Whenever\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Just drink champagne with all my chicken meals.”\u003c/em>\u003c/p>\n\u003cp>It’s fitting that East Oakland’s Kamaiyah — who cooked up the searingly hot single “How Does It Feel” on her transcendent debut, \u003ci>A Good Night in the Ghetto\u003c/i> — continued to double down on aspirational living and good eating with her sophomore release, \u003ci>Got It Made\u003c/i>. As always, the bodacious trapper rhymes over a synth-laced, floaty-spaceship soundscape while bragging about her California riches — and cuisine. The music video for “Whatever Whenever” features Kamaiyah roaming the untainted grounds of a Napa Valley-esque chateau. Her album covers over the years have also featured bags of potato chips, Hennessy and double-fisted bottles of champagne. It’s always bottoms up when Kamaiyah is on the track.\u003c/p>\n\u003ch2>Too $hort: Macaroni, steak and collard greens on “\u003ca href=\"https://www.youtube.com/watch?v=Ru5B8cFskaw\">All My B*tches Are Gone\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Eat some shit up / macaroni, steak, collard greens, or whatever the fuck.”\u003c/em>\u003c/p>\n\u003cp>With over 35 years of classic albums like \u003ci>Cocktails\u003c/i> and \u003ci>Gettin’ It\u003c/i>, there’s no doubt that Short Dogg knows how to feed his multi-generational fanbase. He doesn’t shy away from straightforward lyrics — or having a large appetite for nefarious activities — and he has continued to make seasoned slaps for precisely 225,000 hours and counting (“get a calculator, do the math”). This OG’s plate of choice includes classic soul food staples served with a slab of steak. As the veteran unmistakably outlines on “This How We Eat”: “We make money, we eat, we feed.”\u003c/p>\n\u003cfigure id=\"attachment_13956087\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg\" alt=\"Illustration of the rapper Larry June in an SF Giants cap, holding a crab cracker in one hand and a fork in the other. In front of him is a whole lobster on a plate.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Besides establishing himself as the healthiest rapper in Bay Area lore, Larry June is also known for sporting vintage muscle cars and cracking lobsters in Sausalito as part of his luxurious lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Larry June: Crab legs on “\u003ca href=\"https://www.youtube.com/watch?v=luIhlZBrJos\">Lifetime Income\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“This not my girlfriend, we just eatin’ crab legs.”\u003c/em>\u003c/p>\n\u003cp>If you know Larry June, then you know he’s all about smoothies, green teas, organic juices and oranges (yee hee!). But just as buttery are his numerously silky references to luxury meals and late-night outings with a seemingly endless rotation of women friends. Without question, the Hunters Point rapper has one of the healthiest appetites of anyone around a microphone, regularly dropping rhymes about his organic sustenance. Since Uncle Larry makes a living off his out-of-pocket food references, he merits an honorable mention for dropping other absolute bangers like “I might write a motherfuckin’ smoothie book or somethin’ … Sell this shit for thirty dollars” and “Watermelon juice riding bikes with my latest chick / I don’t do the clubs that often, I got a check to get.” It’s fitting that \u003ca href=\"https://uproxx.com/music/larry-june-interview-san-francisco/\">he also co-owns Honeybear Boba in the Dogpatch\u003c/a>.\u003c/p>\n\u003ch2>Iamsu!: Chicken strips and Moscato on “\u003ca href=\"https://www.youtube.com/watch?v=lQcxMU3uvLg\">Don’t Stop\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Keep it real I don’t brag though… / Chicken strips, no escargot / [sippin’] on the Moscato.”\u003c/em>\u003c/p>\n\u003cp>To be fair, this lyric is from a young, mixtape-era Iamsu! and might not reflect the current palate of the multi-platinum rapper and producer from Richmond. (In fact, that’s probably true of every rapper on this list, so take these lyrics with a grain of salt.) But when I first heard this song in my 20s, it’s a line that did — and still does — resonate for its unglamorized celebration of living on a low-budget microwaveable diet while maintaining a glimmer of high-life ambition. Personally, I’d take chicken strips over escargot nine out of ten times. And, from the sound of it, so would Suzy 6 Speed.\u003c/p>\n\u003cfigure id=\"attachment_13956086\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956086\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg\" alt=\"The rapper P-Lo wiggles his fingers in delight over a plate of chicken wings sitting on a bed of dollar bills.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo often raps about his love of chicken (chicken adobo, fried chicken, chicken wings), and his favorite food-related slang word is also “chicken” (as a stand in for “money”). \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>P-Lo: Chicken wings in the strip club on “\u003ca href=\"https://www.youtube.com/watch?v=h-ajtPhAQ1U\">Going To Work\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“In the strip club eating chicken wings.”\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13938479']\u003c/span>There may not be another rapper on this list with as much love for chicken wings as Pinole’s P-Lo. For starters, the lyricist and producer launched a transnational food tour, teaming up with Filipino restaurants around the U.S. and Canada to deliver collaborative one-off dishes, including \u003ca href=\"https://www.kqed.org/arts/13935891/p-lo-senor-sisig-filipino-food-tour-oakland\">his own spicy sinigang wings at Señor Sisig in Oakland\u003c/a>. If that’s not enough, he has popped up on popular social media channels like \u003ca href=\"https://www.instagram.com/bayareafoodz/?hl=en\">Bay Area Foodz\u003c/a> as \u003ca href=\"https://www.youtube.com/watch?v=lJYkVcpM6E0\">he searches for the best wings around the Yay\u003c/a>. His songs are even featured on \u003ca href=\"https://www.instagram.com/reel/CwyzdhfrNCE/\">national commercials for Wingstop\u003c/a>. For P-Lo, it’s always time to bring back the bass — and taste.\u003cb>\u003ci>\u003c/i>\u003c/b>\u003c/p>\n\u003ch2>Guap (formerly Guapdad 4000): Chicken adobo on “\u003ca href=\"https://www.youtube.com/watch?v=1DaovaJgytE\">Chicken Adobo\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“How I fell in love with you it was beautiful / Like chicken adobo how you fill me up.”\u003c/em>\u003c/p>\n\u003cp>For the Black Filipino American rapper from West Oakland, \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">food has always played a central role in his upbringing\u003c/a>. The anime-loving, Marvel comics fan grew up in a Filipino household eating champorado, and his songs have never shied away from references to his dual cultures. In what might be his most well-known song, Guap equates romantic satiation to filling up on a bowl of chicken adobo. His love of food goes beyond the booth — he recently spoke out on \u003ca href=\"https://www.kqed.org/arts/13950363/keith-lee-tiktok-oakland-sf-bay-area-struggles\">the recent Keith Lee fiasco\u003c/a>, and he also put together\u003ca href=\"https://trippin.world/guide/oaklands-top-food-joints-with-rapper-guapdad-4000\"> a map of his favorite places to eat around The Town\u003c/a>.\u003c/p>\n\u003ch2>Cellski: Canadian bacon, hash browns and cheddar cheese on “\u003ca href=\"https://www.youtube.com/watch?v=o6wFRZOd7n8\">Chedda\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Gotta get the cheddar, fuck the [federals].”\u003c/em>\u003c/p>\n\u003cp>As most food mentions in Bay Area rap goes, Cellski’s mention of this quintessentially North American breakfast combo isn’t exactly a homage to the real ingredients, as much as it is a reference to his hustling. His 1998 \u003ca href=\"https://www.discogs.com/release/841568-Cellski-Canadian-Bacon-Hash-Browns/image/SW1hZ2U6NDg3ODMxNzk=\">album cover\u003c/a> for \u003ci>Canadian Bacon & Hash Browns \u003c/i>features a cartoon depiction of the rapper getting pulled over and arrested by a Canadian mountie, with an open trunk revealing pounds of medicinal herbs. Nonetheless, there’s a good chance that the veteran San Francisco spitter actually does like to carry Canadian bacon, hash browns and cheddar around — \u003ca href=\"https://www.kqed.org/arts/13922141/cellskis-big-mafi-burgers-come-with-a-side-of-sf-rap-history\">he’s a part-time foodie who runs his own burger pop-up, after all\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956089\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956089\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg\" alt=\"Illustration of the rapper Dru Down in gold sunglasses and a black trench coat, holding an ice cream cone in one hand and an ice cream sundae on the table in front of him.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In a famous 1996 beef, Dru Down and the Luniz accused New Orleans rapper Master P (who started his musical career in the Bay Area) for stealing their concept of the “Ice Cream Man” — slang for a narcotics dealer. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dru Down: Ice cream on “\u003ca href=\"https://www.youtube.com/watch?v=3uNv2qAje-Q\">Ice Cream Man\u003c/a>” (with the Luniz)\u003c/h2>\n\u003cp>\u003cem>“Get your ice cream, ice cream / Not Ice-T, not Ice Cube, ice cream.”\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Not intended for children, the classic 1993 anthem off Dru Down’s \u003ci>Fools From The Street \u003c/i>paints a startling picture of addiction and illicit drug distribution around Oakland in the wake of Richard Nixon and Ronald Reagan’s War on Drugs. Despite its unapologetic content, “Ice Cream Man” went on to establish an indisputably popular food motif in national rap music: ice cream as a stand-in for drug dealing. Since the production includes an audio sampling of an ice cream truck’s inimitable tune, listening to it evokes a sense of nostalgia for the frozen treat — and for \u003ca href=\"https://www.kqed.org/bayareahiphop\">golden-era Bay Area hip-hop\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "A brief look at some of the Bay Area’s most notoriously hungry rappers — and the foods they’ve lyricized about.",
"status": "publish",
"parent": 0,
"modified": 1726791358,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 28,
"wordCount": 2210
},
"headData": {
"title": "Bay Area Rappers and Food Lyrics | KQED",
"description": "A brief look at some of the Bay Area’s most notoriously hungry rappers — and the foods they’ve lyricized about.",
"ogTitle": "Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)",
"twDescription": "",
"twImgId": "",
"socialTitle": "Bay Area Rappers and Food Lyrics %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Here’s What Bay Area Rappers Are Eating (According to Their Lyrics)",
"datePublished": "2024-04-17T14:52:32-07:00",
"dateModified": "2024-09-19T17:15:58-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "Food",
"sourceUrl": "https://www.kqed.org/food",
"sticky": false,
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen conveying what it means to really be from the Bay Area, I often return to this simple yet revelatory \u003ca href=\"https://www.kqed.org/arts/tag/mac-dre\">Mac Dre\u003c/a> lyric: “In the Bay Area, we dance a little different.”\u003c/p>\n\u003cp>Whether it’s in our music, political activism or technological contributions, there’s a certain out-of-box forwardness that tends to manifest from Bay Area minds — a distinguishable pride in how we approach everything with a savvy sprinkling of game, hustlership and top-tier ideation.\u003c/p>\n\u003cp>The same can be said for the Bay Area’s food scene, which ranks among the nation’s best and most imaginative. From sourdough bread to the eternal Mission-style burrito, the Bay’s foodmakers have often been ahead of the curve, helping to revolutionize menus nationwide with their fresh farm-to-table approach. To borrow from the great Mac, one could say that in the Bay Area, we \u003ci>eat\u003c/i> a little different.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13907726,arts_13934248",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>It’s no surprise, then, that in the history of local rap, food has always been a strong reference point — a metaphorical kitchen for creative exchange. An endless platter of well-seasoned slang. For decades, our rappers have delivered punchlines involving sauce, lasagna and \u003ca href=\"https://www.youtube.com/watch?v=XMah0rX6pGU\">lumpia\u003c/a>; dropped verses that generously reference \u003ca href=\"https://www.youtube.com/watch?v=lkBJR5L2nas\">desserts and bakeries\u003c/a>; and supplied entire songs about stacking bread, cheese and lettuce as lucrative sandwiches.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/bay-area-rap-shrimp-crab-17915372.php\">Food-loving Bay Area rappers\u003c/a> have always been bold when it comes to transmorphing culinary items and kitchen utensils into slang that others then appropriate and even misuse (see: “\u003ca href=\"https://www.kqed.org/arts/13908052/food-doesnt-slap\">food doesn’t slap\u003c/a>”). Shock G once talked about getting busy in a Burger King bathroom and declared, “I like my oatmeal lumpy.” On “Dreganomics,” Mac Dre himself asked, “What’s spaghetti without the sauce?” We’ve got Suga T (sweet) and Spice 1 (hot). Berner founded \u003ca href=\"https://www.instagram.com/cookiessf/?hl=en\">Cookies\u003c/a>. And just a few weeks ago, \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\">Stunnaman02\u003c/a> dropped a whole series of viral videos centered on his latest single. His focus? \u003ca href=\"https://www.tiktok.com/@jayworrld/video/7340701934355254574\">Eating a salad\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a unifying ethos in Bay Area food and rap: \u003ca href=\"https://www.youtube.com/watch?v=E6GU3PmttyI\">Everybody eats\u003c/a>. So here’s a brief ode to some of our region’s most skilled vocabulary chefs and the tasteful ways they’ve reimagined the ingredients of language that are possible in a kitchen — and the recording studio.\u003c/p>\n\u003cfigure id=\"attachment_13956090\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg\" alt=\"Illustration of the rapper E-40 in sunglasses and a beige apron, holding a glass of red wine. In front of him are a burrito and a grilled cheese sandwich.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/E40-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">E-40 might be the most prolific inventor of food-related slang words in the English language. He’s a head chef in the Bay Area’s rap kingdom. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>E-40: Green eggs, hams, candy yams, Spam, cheese, peanut butter and jam on “\u003ca href=\"https://www.youtube.com/watch?v=etIBcRriUJY\">The Slap\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Digital scale, green eggs and hams / Yams, candy yams, Spam, damn! / Loaded, my cheese, peanut butter and jam / Sammich, mannish, me and my Hispanics / Vanish, talkin’ in codes like we from different planets.”\u003c/em>\u003c/p>\n\u003cp>Though it may sound like gibberish to the uninitiated, rest assured that \u003ca href=\"https://firstwefeast.com/eat/2013/12/food-rap-decoded-with-e-40-video\">99.99% of anything 40 Water vocalizes has a cleverly associative meaning\u003c/a>. For anyone who has listened to one of the more than 25 studio albums from Vallejo’s kingpin, you’ve surely heard him mention food — perhaps in a variety of languages (some real, some ingeniously invented). In addition to the smorgasbord he notes above in “The Slap,” he has pioneered rhymes across generations that give new meanings to Gouda, feta, mozzarella, lettuce, bread, sausage, salami, paninis, spaghetti, tacos and enchiladas — ad infinitum. Unsurprisingly, \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">Mr. Fonzarelli is an actual purveyor of foods and beverages\u003c/a>, with a line of products that includes malt liquor, ice cream and burritos; he even co-owns \u003ca href=\"https://www.instagram.com/thelumpiacompany/\">The Lumpia Company\u003c/a>. There’s no one with a bigger million-dollar mouthpiece who can distribute as much word candy (“S-L-A-N-G”) quite as flavorfully as the Goon With The Spoon himself.\u003c/p>\n\u003ch2>Andre Nickatina: TOGO’s #41 sandwich with the hot peppers on “\u003ca href=\"https://www.youtube.com/watch?v=_FU1XdPE6lM\">Fa Show\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Baby don’t act dumb, I’m number 41, high stepper / TOGO’s sandwich with the hot peppers / At 90 degrees I might freeze, so when it’s hot I sport leather.”\u003c/em>\u003c/p>\n\u003cp>Fillmore’s finest, and among \u003ca href=\"https://www.passionweiss.com/2016/11/17/andre-nickatina/\">the most criminally underrated San Francisco rappers in history\u003c/a>, Andre Nickatina has always had a penchant for the spicy, the flavorful, the extemporaneously saucy. From rapping about eating Cap’n Crunch around drug dealers to sarcastically handing out Baskin Robbins dollars to his enemies, Nicky Nicotine (formerly known as Dre Dog) raps about food as casually as any rapper would ever dare. Unlike many of today’s international rap personalities, who seem to only eat at \u003ca href=\"https://www.reddit.com/r/OutOfTheLoop/comments/6frbt9/why_are_rappers_obsessed_with_nobu_sushi/\">high-priced sushi conglomerates\u003c/a>, Nickatina is a Bay Area real one, electing to stay fed at a regional sandwich chain from San Jose. The enigmatic “number 41” on the \u003ca href=\"https://www.togos.com/menu/?gad_source=1&gclid=CjwKCAjwoPOwBhAeEiwAJuXRh69gJ2fS8J9qmnAKJEnCmI5720psTxEmhEmkgFAemWoe3auyNuuxExoCTm0QAvD_BwE\">Togo’s menu\u003c/a> has since been discontinued, but a spokesperson for the restaurant IDed it as a sirloin steak and mushroom sandwich that was introduced as a seasonal special back in 2002 — the same year “Fa Show” was released. There is no doubt it must’ve been fire, given its endorsement by a legend who knows how to professionally “\u003ca href=\"https://www.youtube.com/watch?v=o8TXpoi-goE\">Break Bread\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13956088\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956088\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg\" alt=\"Illustration of the rapper Kamaiyah eating from a plate of chicken alfredo tucked under her arm. Next to her is a bottle of champagne.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/KAMAIYAH-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah’s album covers often feature food, Hennessey and champagne — a reflection of the rapper’s saucy, bossy lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kamaiyah: Champagne and chicken on “\u003ca href=\"https://www.youtube.com/watch?v=Yls2dMJ63tM\">Whatever Whenever\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Just drink champagne with all my chicken meals.”\u003c/em>\u003c/p>\n\u003cp>It’s fitting that East Oakland’s Kamaiyah — who cooked up the searingly hot single “How Does It Feel” on her transcendent debut, \u003ci>A Good Night in the Ghetto\u003c/i> — continued to double down on aspirational living and good eating with her sophomore release, \u003ci>Got It Made\u003c/i>. As always, the bodacious trapper rhymes over a synth-laced, floaty-spaceship soundscape while bragging about her California riches — and cuisine. The music video for “Whatever Whenever” features Kamaiyah roaming the untainted grounds of a Napa Valley-esque chateau. Her album covers over the years have also featured bags of potato chips, Hennessy and double-fisted bottles of champagne. It’s always bottoms up when Kamaiyah is on the track.\u003c/p>\n\u003ch2>Too $hort: Macaroni, steak and collard greens on “\u003ca href=\"https://www.youtube.com/watch?v=Ru5B8cFskaw\">All My B*tches Are Gone\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Eat some shit up / macaroni, steak, collard greens, or whatever the fuck.”\u003c/em>\u003c/p>\n\u003cp>With over 35 years of classic albums like \u003ci>Cocktails\u003c/i> and \u003ci>Gettin’ It\u003c/i>, there’s no doubt that Short Dogg knows how to feed his multi-generational fanbase. He doesn’t shy away from straightforward lyrics — or having a large appetite for nefarious activities — and he has continued to make seasoned slaps for precisely 225,000 hours and counting (“get a calculator, do the math”). This OG’s plate of choice includes classic soul food staples served with a slab of steak. As the veteran unmistakably outlines on “This How We Eat”: “We make money, we eat, we feed.”\u003c/p>\n\u003cfigure id=\"attachment_13956087\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg\" alt=\"Illustration of the rapper Larry June in an SF Giants cap, holding a crab cracker in one hand and a fork in the other. In front of him is a whole lobster on a plate.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/LARRY-JUNE-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Besides establishing himself as the healthiest rapper in Bay Area lore, Larry June is also known for sporting vintage muscle cars and cracking lobsters in Sausalito as part of his luxurious lifestyle. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Larry June: Crab legs on “\u003ca href=\"https://www.youtube.com/watch?v=luIhlZBrJos\">Lifetime Income\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“This not my girlfriend, we just eatin’ crab legs.”\u003c/em>\u003c/p>\n\u003cp>If you know Larry June, then you know he’s all about smoothies, green teas, organic juices and oranges (yee hee!). But just as buttery are his numerously silky references to luxury meals and late-night outings with a seemingly endless rotation of women friends. Without question, the Hunters Point rapper has one of the healthiest appetites of anyone around a microphone, regularly dropping rhymes about his organic sustenance. Since Uncle Larry makes a living off his out-of-pocket food references, he merits an honorable mention for dropping other absolute bangers like “I might write a motherfuckin’ smoothie book or somethin’ … Sell this shit for thirty dollars” and “Watermelon juice riding bikes with my latest chick / I don’t do the clubs that often, I got a check to get.” It’s fitting that \u003ca href=\"https://uproxx.com/music/larry-june-interview-san-francisco/\">he also co-owns Honeybear Boba in the Dogpatch\u003c/a>.\u003c/p>\n\u003ch2>Iamsu!: Chicken strips and Moscato on “\u003ca href=\"https://www.youtube.com/watch?v=lQcxMU3uvLg\">Don’t Stop\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Keep it real I don’t brag though… / Chicken strips, no escargot / [sippin’] on the Moscato.”\u003c/em>\u003c/p>\n\u003cp>To be fair, this lyric is from a young, mixtape-era Iamsu! and might not reflect the current palate of the multi-platinum rapper and producer from Richmond. (In fact, that’s probably true of every rapper on this list, so take these lyrics with a grain of salt.) But when I first heard this song in my 20s, it’s a line that did — and still does — resonate for its unglamorized celebration of living on a low-budget microwaveable diet while maintaining a glimmer of high-life ambition. Personally, I’d take chicken strips over escargot nine out of ten times. And, from the sound of it, so would Suzy 6 Speed.\u003c/p>\n\u003cfigure id=\"attachment_13956086\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956086\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg\" alt=\"The rapper P-Lo wiggles his fingers in delight over a plate of chicken wings sitting on a bed of dollar bills.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/PLO-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo often raps about his love of chicken (chicken adobo, fried chicken, chicken wings), and his favorite food-related slang word is also “chicken” (as a stand in for “money”). \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>P-Lo: Chicken wings in the strip club on “\u003ca href=\"https://www.youtube.com/watch?v=h-ajtPhAQ1U\">Going To Work\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“In the strip club eating chicken wings.”\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13938479",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>There may not be another rapper on this list with as much love for chicken wings as Pinole’s P-Lo. For starters, the lyricist and producer launched a transnational food tour, teaming up with Filipino restaurants around the U.S. and Canada to deliver collaborative one-off dishes, including \u003ca href=\"https://www.kqed.org/arts/13935891/p-lo-senor-sisig-filipino-food-tour-oakland\">his own spicy sinigang wings at Señor Sisig in Oakland\u003c/a>. If that’s not enough, he has popped up on popular social media channels like \u003ca href=\"https://www.instagram.com/bayareafoodz/?hl=en\">Bay Area Foodz\u003c/a> as \u003ca href=\"https://www.youtube.com/watch?v=lJYkVcpM6E0\">he searches for the best wings around the Yay\u003c/a>. His songs are even featured on \u003ca href=\"https://www.instagram.com/reel/CwyzdhfrNCE/\">national commercials for Wingstop\u003c/a>. For P-Lo, it’s always time to bring back the bass — and taste.\u003cb>\u003ci>\u003c/i>\u003c/b>\u003c/p>\n\u003ch2>Guap (formerly Guapdad 4000): Chicken adobo on “\u003ca href=\"https://www.youtube.com/watch?v=1DaovaJgytE\">Chicken Adobo\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“How I fell in love with you it was beautiful / Like chicken adobo how you fill me up.”\u003c/em>\u003c/p>\n\u003cp>For the Black Filipino American rapper from West Oakland, \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">food has always played a central role in his upbringing\u003c/a>. The anime-loving, Marvel comics fan grew up in a Filipino household eating champorado, and his songs have never shied away from references to his dual cultures. In what might be his most well-known song, Guap equates romantic satiation to filling up on a bowl of chicken adobo. His love of food goes beyond the booth — he recently spoke out on \u003ca href=\"https://www.kqed.org/arts/13950363/keith-lee-tiktok-oakland-sf-bay-area-struggles\">the recent Keith Lee fiasco\u003c/a>, and he also put together\u003ca href=\"https://trippin.world/guide/oaklands-top-food-joints-with-rapper-guapdad-4000\"> a map of his favorite places to eat around The Town\u003c/a>.\u003c/p>\n\u003ch2>Cellski: Canadian bacon, hash browns and cheddar cheese on “\u003ca href=\"https://www.youtube.com/watch?v=o6wFRZOd7n8\">Chedda\u003c/a>”\u003c/h2>\n\u003cp>\u003cem>“Gotta get the cheddar, fuck the [federals].”\u003c/em>\u003c/p>\n\u003cp>As most food mentions in Bay Area rap goes, Cellski’s mention of this quintessentially North American breakfast combo isn’t exactly a homage to the real ingredients, as much as it is a reference to his hustling. His 1998 \u003ca href=\"https://www.discogs.com/release/841568-Cellski-Canadian-Bacon-Hash-Browns/image/SW1hZ2U6NDg3ODMxNzk=\">album cover\u003c/a> for \u003ci>Canadian Bacon & Hash Browns \u003c/i>features a cartoon depiction of the rapper getting pulled over and arrested by a Canadian mountie, with an open trunk revealing pounds of medicinal herbs. Nonetheless, there’s a good chance that the veteran San Francisco spitter actually does like to carry Canadian bacon, hash browns and cheddar around — \u003ca href=\"https://www.kqed.org/arts/13922141/cellskis-big-mafi-burgers-come-with-a-side-of-sf-rap-history\">he’s a part-time foodie who runs his own burger pop-up, after all\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956089\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956089\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg\" alt=\"Illustration of the rapper Dru Down in gold sunglasses and a black trench coat, holding an ice cream cone in one hand and an ice cream sundae on the table in front of him.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DRU-DOWN-Color-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In a famous 1996 beef, Dru Down and the Luniz accused New Orleans rapper Master P (who started his musical career in the Bay Area) for stealing their concept of the “Ice Cream Man” — slang for a narcotics dealer. \u003ccite>(Torre / @torre.pentel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dru Down: Ice cream on “\u003ca href=\"https://www.youtube.com/watch?v=3uNv2qAje-Q\">Ice Cream Man\u003c/a>” (with the Luniz)\u003c/h2>\n\u003cp>\u003cem>“Get your ice cream, ice cream / Not Ice-T, not Ice Cube, ice cream.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not intended for children, the classic 1993 anthem off Dru Down’s \u003ci>Fools From The Street \u003c/i>paints a startling picture of addiction and illicit drug distribution around Oakland in the wake of Richard Nixon and Ronald Reagan’s War on Drugs. Despite its unapologetic content, “Ice Cream Man” went on to establish an indisputably popular food motif in national rap music: ice cream as a stand-in for drug dealing. Since the production includes an audio sampling of an ice cream truck’s inimitable tune, listening to it evokes a sense of nostalgia for the frozen treat — and for \u003ca href=\"https://www.kqed.org/bayareahiphop\">golden-era Bay Area hip-hop\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june",
"authors": [
"11748"
],
"series": [
"arts_22314"
],
"categories": [
"arts_1",
"arts_12276",
"arts_69"
],
"tags": [
"arts_21883",
"arts_5397",
"arts_1601",
"arts_10278",
"arts_1297",
"arts_3771",
"arts_831",
"arts_21738",
"arts_1558",
"arts_9337",
"arts_1143",
"arts_1803",
"arts_1146",
"arts_19347",
"arts_3478",
"arts_3800"
],
"featImg": "arts_13956152",
"label": "source_arts_13955802"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=too-short": {
"isFetching": false,
"latestQuery": {
"from": 0,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 42,
"relation": "eq"
},
"items": [
"arts_13992187",
"arts_13987115",
"arts_13986267",
"arts_13974977",
"arts_13974034",
"arts_13973907",
"arts_13972636",
"arts_13972017",
"arts_13971948",
"arts_13959579",
"arts_13958149",
"arts_13955802"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_tag_too-short": {
"isLoading": true
},
"arts_3478": {
"type": "terms",
"id": "arts_3478",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3478",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Too Short",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Too Short Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3490,
"slug": "too-short",
"isLoading": false,
"link": "/arts/tag/too-short"
},
"source_arts_13971948": {
"type": "terms",
"id": "source_arts_13971948",
"meta": {
"override": true
},
"name": "Commentary",
"link": "https://www.kqed.org/artscommentary",
"isLoading": false
},
"source_arts_13955802": {
"type": "terms",
"id": "source_arts_13955802",
"meta": {
"override": true
},
"name": "Food",
"link": "https://www.kqed.org/food",
"isLoading": false
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_22664": {
"type": "terms",
"id": "arts_22664",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22664",
"found": true
},
"relationships": {},
"name": "hip-hop",
"slug": "hip-hop-2",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "hip-hop | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22676,
"isLoading": false,
"link": "/arts/tag/hip-hop-2"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_22382": {
"type": "terms",
"id": "arts_22382",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22382",
"found": true
},
"relationships": {},
"name": "rap music",
"slug": "rap-music",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "rap music | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22394,
"isLoading": false,
"link": "/arts/tag/rap-music"
},
"arts_19347": {
"type": "terms",
"id": "arts_19347",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "19347",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tmw-latest",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tmw-latest Archives | KQED Arts",
"ogDescription": null
},
"ttid": 19359,
"slug": "tmw-latest",
"isLoading": false,
"link": "/arts/tag/tmw-latest"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_22662": {
"type": "terms",
"id": "arts_22662",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22662",
"found": true
},
"relationships": {},
"name": "Music",
"slug": "music",
"taxonomy": "interest",
"description": null,
"featImg": null,
"headData": {
"title": "Music | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22674,
"isLoading": false,
"link": "/arts/interest/music"
},
"arts_21860": {
"type": "terms",
"id": "arts_21860",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21860",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21872,
"slug": "oakland",
"isLoading": false,
"link": "/arts/interest/oakland"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_8505": {
"type": "terms",
"id": "arts_8505",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8505",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area hip-hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area hip-hop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8517,
"slug": "bay-area-hip-hop",
"isLoading": false,
"link": "/arts/tag/bay-area-hip-hop"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_6975": {
"type": "terms",
"id": "arts_6975",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6975",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hyphy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Hyphy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6987,
"slug": "hyphy",
"isLoading": false,
"link": "/arts/tag/hyphy"
},
"arts_13238": {
"type": "terms",
"id": "arts_13238",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13238",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sports",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sports Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13250,
"slug": "sports",
"isLoading": false,
"link": "/arts/category/sports"
},
"arts_1601": {
"type": "terms",
"id": "arts_1601",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1601",
"found": true
},
"relationships": {},
"featImg": null,
"name": "E-40",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "E-40 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1613,
"slug": "e-40",
"isLoading": false,
"link": "/arts/tag/e-40"
},
"arts_2565": {
"type": "terms",
"id": "arts_2565",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2565",
"found": true
},
"relationships": {},
"featImg": null,
"name": "nfl",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "nfl Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2577,
"slug": "nfl",
"isLoading": false,
"link": "/arts/tag/nfl"
},
"arts_3842": {
"type": "terms",
"id": "arts_3842",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3842",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Super Bowl",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Super Bowl Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3854,
"slug": "super-bowl",
"isLoading": false,
"link": "/arts/tag/super-bowl"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"arts_76": {
"type": "terms",
"id": "arts_76",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "76",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fashion/Design",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fashion/Design Archives | KQED Arts",
"ogDescription": null
},
"ttid": 77,
"slug": "design",
"isLoading": false,
"link": "/arts/category/design"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_2457": {
"type": "terms",
"id": "arts_2457",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2457",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Empire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Empire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2469,
"slug": "empire",
"isLoading": false,
"link": "/arts/tag/empire"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"arts_3837": {
"type": "terms",
"id": "arts_3837",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3837",
"found": true
},
"relationships": {},
"featImg": null,
"name": "podcasts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "podcasts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3849,
"slug": "podcasts",
"isLoading": false,
"link": "/arts/tag/podcasts"
},
"arts_974": {
"type": "terms",
"id": "arts_974",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "974",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rap",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rap Archives | KQED Arts",
"ogDescription": null
},
"ttid": 992,
"slug": "rap",
"isLoading": false,
"link": "/arts/tag/rap"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_21795": {
"type": "terms",
"id": "arts_21795",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21795",
"found": true
},
"relationships": {},
"featImg": null,
"name": "924 gilman",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "924 gilman Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21807,
"slug": "924-gilman",
"isLoading": false,
"link": "/arts/tag/924-gilman"
},
"arts_10422": {
"type": "terms",
"id": "arts_10422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10434,
"slug": "featured-news",
"isLoading": false,
"link": "/arts/tag/featured-news"
},
"arts_22117": {
"type": "terms",
"id": "arts_22117",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22117",
"found": true
},
"relationships": {},
"featImg": null,
"name": "grand lake theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "grand lake theatre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22129,
"slug": "grand-lake-theatre",
"isLoading": false,
"link": "/arts/tag/grand-lake-theatre"
},
"arts_5489": {
"type": "terms",
"id": "arts_5489",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5489",
"found": true
},
"relationships": {},
"featImg": null,
"name": "oakland coliseum",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "oakland coliseum Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5501,
"slug": "oakland-coliseum",
"isLoading": false,
"link": "/arts/tag/oakland-coliseum"
},
"arts_21872": {
"type": "terms",
"id": "arts_21872",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21872",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21884,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/interest/berkeley"
},
"arts_21871": {
"type": "terms",
"id": "arts_21871",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21871",
"found": true
},
"relationships": {},
"featImg": null,
"name": "East Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "East Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21883,
"slug": "east-bay",
"isLoading": false,
"link": "/arts/interest/east-bay"
},
"arts_9346": {
"type": "terms",
"id": "arts_9346",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9346",
"found": true
},
"relationships": {},
"featImg": null,
"name": "golden state warriors",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "golden state warriors Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9358,
"slug": "golden-state-warriors",
"isLoading": false,
"link": "/arts/tag/golden-state-warriors"
},
"arts_822": {
"type": "terms",
"id": "arts_822",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "822",
"found": true
},
"relationships": {},
"featImg": null,
"name": "photography",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "photography Archives | KQED Arts",
"ogDescription": null
},
"ttid": 840,
"slug": "photography",
"isLoading": false,
"link": "/arts/tag/photography"
},
"arts_913": {
"type": "terms",
"id": "arts_913",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "913",
"found": true
},
"relationships": {},
"featImg": null,
"name": "punk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "punk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 931,
"slug": "punk",
"isLoading": false,
"link": "/arts/tag/punk"
},
"arts_21863": {
"type": "terms",
"id": "arts_21863",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21863",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21875,
"slug": "news",
"isLoading": false,
"link": "/arts/interest/news"
},
"arts_10092": {
"type": "terms",
"id": "arts_10092",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10092",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Baseball",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Baseball Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10104,
"slug": "baseball",
"isLoading": false,
"link": "/arts/tag/baseball"
},
"arts_1543": {
"type": "terms",
"id": "arts_1543",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1543",
"found": true
},
"relationships": {},
"featImg": null,
"name": "green day",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "green day Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1555,
"slug": "green-day",
"isLoading": false,
"link": "/arts/tag/green-day"
},
"arts_1551": {
"type": "terms",
"id": "arts_1551",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1551",
"found": true
},
"relationships": {},
"featImg": null,
"name": "oakland a's",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "oakland a's Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1563,
"slug": "oakland-as",
"isLoading": false,
"link": "/arts/tag/oakland-as"
},
"arts_21764": {
"type": "terms",
"id": "arts_21764",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21764",
"found": true
},
"relationships": {},
"name": "Oakland Ballers",
"slug": "oakland-ballers",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Oakland Ballers | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 21776,
"isLoading": false,
"link": "/arts/tag/oakland-ballers"
},
"arts_21297": {
"type": "terms",
"id": "arts_21297",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21297",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Angus Cloud",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Angus Cloud Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21309,
"slug": "angus-cloud",
"isLoading": false,
"link": "/arts/tag/angus-cloud"
},
"arts_3465": {
"type": "terms",
"id": "arts_3465",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3465",
"found": true
},
"relationships": {},
"featImg": null,
"name": "movies",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3477,
"slug": "movies",
"isLoading": false,
"link": "/arts/tag/movies"
},
"arts_2882": {
"type": "terms",
"id": "arts_2882",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2882",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tom hanks",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tom hanks Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2894,
"slug": "tom-hanks",
"isLoading": false,
"link": "/arts/tag/tom-hanks"
},
"arts_2303": {
"type": "terms",
"id": "arts_2303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Commentary",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2315,
"slug": "commentary",
"isLoading": false,
"link": "/arts/category/commentary"
},
"arts_5786": {
"type": "terms",
"id": "arts_5786",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5786",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Basketball",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Basketball Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5798,
"slug": "basketball",
"isLoading": false,
"link": "/arts/tag/basketball"
},
"arts_5397": {
"type": "terms",
"id": "arts_5397",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5397",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area rap",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area rap Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5409,
"slug": "bay-area-rap",
"isLoading": false,
"link": "/arts/tag/bay-area-rap"
},
"arts_2767": {
"type": "terms",
"id": "arts_2767",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2767",
"found": true
},
"relationships": {},
"featImg": null,
"name": "commentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2779,
"slug": "commentary",
"isLoading": false,
"link": "/arts/tag/commentary"
},
"arts_903": {
"type": "terms",
"id": "arts_903",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "903",
"found": true
},
"relationships": {},
"featImg": null,
"name": "graffiti",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "graffiti Archives | KQED Arts",
"ogDescription": null
},
"ttid": 921,
"slug": "graffiti",
"isLoading": false,
"link": "/arts/tag/graffiti"
},
"arts_1803": {
"type": "terms",
"id": "arts_1803",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1803",
"found": true
},
"relationships": {},
"name": "P-Lo",
"slug": "p-lo",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "P-Lo | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 1815,
"isLoading": false,
"link": "/arts/tag/p-lo"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_20453": {
"type": "terms",
"id": "arts_20453",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "20453",
"found": true
},
"relationships": {},
"featImg": null,
"name": "conscious daughters",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "conscious daughters Archives | KQED Arts",
"ogDescription": null
},
"ttid": 20465,
"slug": "conscious-daughters",
"isLoading": false,
"link": "/arts/tag/conscious-daughters"
},
"arts_1785": {
"type": "terms",
"id": "arts_1785",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1785",
"found": true
},
"relationships": {},
"featImg": null,
"name": "lake merritt",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "lake merritt Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1797,
"slug": "lake-merritt",
"isLoading": false,
"link": "/arts/tag/lake-merritt"
},
"arts_22314": {
"type": "terms",
"id": "arts_22314",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22314",
"found": true
},
"relationships": {},
"name": "That’s My Word",
"slug": "thats-my-word",
"taxonomy": "series",
"description": null,
"featImg": null,
"headData": {
"title": "That’s My Word | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22326,
"isLoading": false,
"link": "/arts/series/thats-my-word"
},
"arts_12276": {
"type": "terms",
"id": "arts_12276",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12276",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Food",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Explore the Bay Area culinary scene through KQED's food stories, recipes, dining experiences, and stories from the diverse tastemakers that define the Bay's cuisines.",
"title": "Bay Area Food Archives, Articles, News, and Reviews | KQED",
"ogDescription": null
},
"ttid": 12288,
"slug": "food",
"isLoading": false,
"link": "/arts/category/food"
},
"arts_21883": {
"type": "terms",
"id": "arts_21883",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21883",
"found": true
},
"relationships": {},
"featImg": null,
"name": "andre nickatina",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "andre nickatina Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21895,
"slug": "andre-nickatina",
"isLoading": false,
"link": "/arts/tag/andre-nickatina"
},
"arts_1297": {
"type": "terms",
"id": "arts_1297",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1297",
"found": true
},
"relationships": {},
"featImg": null,
"name": "food",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "food Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1309,
"slug": "food",
"isLoading": false,
"link": "/arts/tag/food"
},
"arts_3771": {
"type": "terms",
"id": "arts_3771",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3771",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guapdad4000",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guapdad4000 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3783,
"slug": "guapdad4000",
"isLoading": false,
"link": "/arts/tag/guapdad4000"
},
"arts_21738": {
"type": "terms",
"id": "arts_21738",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21738",
"found": true
},
"relationships": {},
"featImg": null,
"name": "IAMSU!",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "IAMSU! Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21750,
"slug": "iamsu",
"isLoading": false,
"link": "/arts/tag/iamsu"
},
"arts_1558": {
"type": "terms",
"id": "arts_1558",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1558",
"found": true
},
"relationships": {},
"featImg": null,
"name": "kamaiyah",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "kamaiyah Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1570,
"slug": "kamaiyah",
"isLoading": false,
"link": "/arts/tag/kamaiyah"
},
"arts_9337": {
"type": "terms",
"id": "arts_9337",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9337",
"found": true
},
"relationships": {},
"featImg": null,
"name": "larry june",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "larry june Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9349,
"slug": "larry-june",
"isLoading": false,
"link": "/arts/tag/larry-june"
},
"arts_3800": {
"type": "terms",
"id": "arts_3800",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3800",
"found": true
},
"relationships": {},
"featImg": null,
"name": "vallejo",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "vallejo Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3812,
"slug": "vallejo",
"isLoading": false,
"link": "/arts/tag/vallejo"
},
"arts_21865": {
"type": "terms",
"id": "arts_21865",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21865",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Food and Drink",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Food and Drink Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21877,
"slug": "food-and-drink",
"isLoading": false,
"link": "/arts/interest/food-and-drink"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}