KQED’s Arts & Culture desk brings daily, in-depth cultural commentary and coverage of the Bay Area with a mission to enrich lives and inspire participation. Who We Are
A Zendaya Look-Alike Contest in Oakland Crowns its Winner
The competition wasn’t just about proximity to the ‘Euphoria’ star’s looks, but about matching her energy and vibe.
What’s the Use of ‘Political Art’ in 2024?
The first Trump presidency spawned an abundance of art-as-resistance. The next four years could look very different.
Ticket Alert: Stray Kids Are Coming to ‘dominATE’ San Francisco
Presales begin Nov. 22 for the K-pop giants' tour stop at Oracle Park next year.
Netflix’s ‘Joy’ Is a Loud Cheer for Fertility, for Never Giving Up — and Science
This charming and winning movie charts the decade-long true story of how the world’s first IVF baby was born in England in 1978.
A New Eagle Camera Is Going Live to the Delight of Global Viewers
Minnesota's Department of Natural Resources had 160 countries hooked on their old eagle cam. Now, two new birds will shine.
‘Movie Theaters We Have Lost’: The Pussycat Theater in Oakland
Briana Loewinsohn illustrates Oakland's Pussycat Theater, which showed adult films before it closed in 1989.
‘Wicked’ Defies Gravity, if Not Time
The much-hyped movie adaptation brings a pop superstar and Tony winner together for career-high performances.
Funding for KQED Arts & Culture is provided by:
The William and Flora Hewlett Foundation, Akonadi Foundation, the Andrew W. Mellon Foundation, the National Endowment for the Arts, Yogen and Peggy Dalal, Diane B. Wilsey, the William and Gretchen Kimball Fund, Campaign 21 and the members of KQED.
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"content": "\u003cp>Seven contestants stood with their backs to the crowd of onlookers on a chilly, gray afternoon, anxiously awaiting the results of the Zendaya look-alike contest at Wilma Chan Park in Oakland, the actress’ hometown.\u003c/p>\n\u003cp>Event organizer Cassi Simms slowly walked down the line of potential winners on Wednesday, anticipation building as they passed each hopeful.\u003c/p>\n\u003cp>Just as the rain started up again, Simms reached Zainab Bansfield from San Francisco and tapped her on the shoulder. The crowd of around 60 onlookers erupted in cheers as Bansfield was crowned “Miss Zendaya” with a sash and prize basket.\u003c/p>\n\u003cp>[aside postID='arts_13968233']She said she didn’t expect to win — partly because she’s a hijabi.\u003c/p>\n\u003cp>“I really thought that the hijab would throw people off,” Bansfield said. “Honestly, I’m really glad that they saw something in me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Simms said they were judging not just on how much someone looked like Zendaya, but whether they matched her energy and vibe. Most contestants dressed up as different characters from the actress’ career, such as Tashi Duncan from the movie \u003cem>Challengers\u003c/em> and Rue from the HBO series \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13968412\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Event organizer Cassi Simms and contestant Zainab Bansfield cheer on Zenayah, an 11-year-old competing in the Zendaya look-alike contest in Oakland’s Wilma Chan Park on Nov. 20, 2024. \u003ccite>(Riley Cooke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But organizers also put contestants to the test with a dance-off, a catwalk competition and a pop quiz on Zendaya trivia. \u003c/p>\n\u003cp>“I don’t want people to think that it’s only just a beauty contest, because that’s not what it is,” Simms said. “It’s also just a fun thing. It’s just a shitpost at the end of the day.”\u003c/p>\n\u003cp>Several \u003ca href=\"https://www.kqed.org/arts/13968233/lookalike-contest-dev-patel-san-francisco-timothee-chalamet-jeremy-allen-white\">spontaneous celebrity look-alike contests\u003c/a> have cropped up across the country in recent weeks, taking social media by storm. The inaugural competition for Timothée Chalamet doubles in New York City even had a surprise contestant: the actor himself.\u003c/p>\n\u003cp>Earlier this month across the bay, San Franciscans held a contest at Mission Dolores Park to find Dev Patel doppelgängers.\u003c/p>\n\u003cp>Simms took inspiration from these to plan Oakland’s own spin on the trend, getting the word out through flyers and social media. They said Zendaya was the perfect subject because of her upbringing and philanthropy in Oakland. Earlier this year, the actress \u003ca href=\"https://www.kqed.org/arts/13952927/zendaya-cal-shakes-north-star-fund-donation\">donated $100,000 to Cal Shakes\u003c/a>, the outdoor theater where she got her start. (On Nov. 1, the 50-year old nonprofit announced it had \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">suspended operations\u003c/a> and begun liquidating its assets.)\u003c/p>\n\u003cfigure id=\"attachment_13968410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zainab Bansfield from San Francisco is announced as the winner of the Zendaya look-alike contest held in Oakland’s Wilma Chan Park on Nov. 20, 2024. \u003ccite>(Riley Cooke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wednesday’s contest was the first in the look-alike trend to make a female celebrity its subject. That brought its own set of challenges, Simms said.\u003c/p>\n\u003cp>“There were a lot of talks about misogyny, a lot of people saying not to come because of misogyny, which is totally understandable, and I empathize with a lot,” Simms said. “The anonymity of who I was really affected things because I am a Black woman — I don’t think people expected me to be.”\u003c/p>\n\u003cp>Bansfield and other contestants said they weren’t worried about social media backlash or hate, though.\u003c/p>\n\u003cp>Organizers highlighted mutual aid efforts for Palestine, Sudan and the Congo, and solicited donations for \u003ca href=\"https://eastbayfoodnotbombs.org/\">East Bay Food Not Bombs\u003c/a>, a food justice collective. Bansfield was among those who donated and said she was proud to see that the organizers had made mutual aid a part of the event.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everybody here was super kind, super beautiful, super nice,” Bansfield said. “The community here is amazing.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She said she didn’t expect to win — partly because she’s a hijabi.\u003c/p>\n\u003cp>“I really thought that the hijab would throw people off,” Bansfield said. “Honestly, I’m really glad that they saw something in me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Simms said they were judging not just on how much someone looked like Zendaya, but whether they matched her energy and vibe. Most contestants dressed up as different characters from the actress’ career, such as Tashi Duncan from the movie \u003cem>Challengers\u003c/em> and Rue from the HBO series \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13968412\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7852-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Event organizer Cassi Simms and contestant Zainab Bansfield cheer on Zenayah, an 11-year-old competing in the Zendaya look-alike contest in Oakland’s Wilma Chan Park on Nov. 20, 2024. \u003ccite>(Riley Cooke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But organizers also put contestants to the test with a dance-off, a catwalk competition and a pop quiz on Zendaya trivia. \u003c/p>\n\u003cp>“I don’t want people to think that it’s only just a beauty contest, because that’s not what it is,” Simms said. “It’s also just a fun thing. It’s just a shitpost at the end of the day.”\u003c/p>\n\u003cp>Several \u003ca href=\"https://www.kqed.org/arts/13968233/lookalike-contest-dev-patel-san-francisco-timothee-chalamet-jeremy-allen-white\">spontaneous celebrity look-alike contests\u003c/a> have cropped up across the country in recent weeks, taking social media by storm. The inaugural competition for Timothée Chalamet doubles in New York City even had a surprise contestant: the actor himself.\u003c/p>\n\u003cp>Earlier this month across the bay, San Franciscans held a contest at Mission Dolores Park to find Dev Patel doppelgängers.\u003c/p>\n\u003cp>Simms took inspiration from these to plan Oakland’s own spin on the trend, getting the word out through flyers and social media. They said Zendaya was the perfect subject because of her upbringing and philanthropy in Oakland. Earlier this year, the actress \u003ca href=\"https://www.kqed.org/arts/13952927/zendaya-cal-shakes-north-star-fund-donation\">donated $100,000 to Cal Shakes\u003c/a>, the outdoor theater where she got her start. (On Nov. 1, the 50-year old nonprofit announced it had \u003ca href=\"https://www.kqed.org/arts/13966472/cal-shakes-to-close-down-citing-insurmountable-financial-impasse\">suspended operations\u003c/a> and begun liquidating its assets.)\u003c/p>\n\u003cfigure id=\"attachment_13968410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7869-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zainab Bansfield from San Francisco is announced as the winner of the Zendaya look-alike contest held in Oakland’s Wilma Chan Park on Nov. 20, 2024. \u003ccite>(Riley Cooke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wednesday’s contest was the first in the look-alike trend to make a female celebrity its subject. That brought its own set of challenges, Simms said.\u003c/p>\n\u003cp>“There were a lot of talks about misogyny, a lot of people saying not to come because of misogyny, which is totally understandable, and I empathize with a lot,” Simms said. “The anonymity of who I was really affected things because I am a Black woman — I don’t think people expected me to be.”\u003c/p>\n\u003cp>Bansfield and other contestants said they weren’t worried about social media backlash or hate, though.\u003c/p>\n\u003cp>Organizers highlighted mutual aid efforts for Palestine, Sudan and the Congo, and solicited donations for \u003ca href=\"https://eastbayfoodnotbombs.org/\">East Bay Food Not Bombs\u003c/a>, a food justice collective. Bansfield was among those who donated and said she was proud to see that the organizers had made mutual aid a part of the event.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Everybody here was super kind, super beautiful, super nice,” Bansfield said. “The community here is amazing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">View the full episode transcript\u003c/a>\u003c/p>\n\u003cp>Ever wondered what the San Francisco Bay sounds like beneath the water’s surface? The Wave Organ, a sound sculpture maintained by San Francisco’s Exploratorium, has 25 pipes that shoot down into the bay, creating a unique sonic experience for visitors above. You can find the sculpture, made of recycled granite, at the end of the man-made jetty across the street from the Palace of Fine Arts. There, you can put your ear to a pipe made of PVC and concrete to hear the “music” of the bay.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>The Wave Organ is nothing like the trumpeting organs in a church. The art installation stretches about 60 feet across and is made of rock slabs with different seating levels that visitors can climb on. The artists behind the sculpture chose to use recycled debris from the 1906 earthquake, and remnants of headstones leftover from century-old cemetery relocations.\u003c/p>\n\u003cp>As far as the sound the organ makes — you probably wouldn’t call it musical. This art piece features an orchestra of gurgles, splashes, and booms.\u003c/p>\n\u003cfigure id=\"attachment_12014153\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12014153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A plaque for the Wave Organ in San Francisco on Nov. 12, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Wave Organ’s origins\u003c/h3>\n\u003cp>Understanding the Wave Organ’s origins requires a little lesson in San Francisco art history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This environmental sculpture was created in 1986 by artist Peter Richards in collaboration with master stonemason George Gonzalez.\u003c/p>\n\u003cp>Richards was inspired to create the Wave Organ after moving to San Francisco in 1970. He was fascinated by how the tides in the bay showed an intimate connection between the sea and the moon.\u003c/p>\n\u003cfigure id=\"attachment_12014150\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12014150\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-800x522.jpg\" alt=\"\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-1536x1002.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-1920x1253.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Water flows out of a pipe at the Wave Organ in San Francisco on Nov. 12, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was the first time I was near a place that had tides,” said Richards, a senior artist emeritus at the Exploratorium in San Francisco, about moving to the West Coast. “I was inherently curious about [tides] and how they worked.”\u003c/p>\n\u003cp>Richards was also inspired by artist Bill Fontana, who had recorded the sounds of pipes in a concrete dock in Sydney, Australia, in 1976. Fontana’s sonic art piece amplified and distorted bubbling and splashing sounds from the water. Richards was intrigued by the connection between physics and art to create the acoustic rhythm.\u003c/p>\n\u003cp>Richards wanted to see if he could do the same using San Francisco’s waters. So he took PVC pipes to the jetty in the city’s Marina district and began testing the sounds of different pipe configurations.\u003c/p>\n\u003cfigure id=\"attachment_12015192\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12015192 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A conceptual design of the Wave Organ originally shared at the New Music ’81 Festival. (Courtesy of the Exploratorium)\u003c/figcaption>\u003c/figure>\n\u003cp>What he found was that the sound from the organ pipes changed depending on the water level within the pipe.\u003c/p>\n\u003ch3>How does it work?\u003c/h3>\n\u003cp>In the Wave Organ, each pipe creates a vibrating column of air that amplifies sounds produced by moving water. Certain sound frequencies created by the waves are amplified, depending on the length of the pipe and water level within it.\u003c/p>\n\u003cp>“At high tides, the air columns are shorter, so the sounds are higher,” Richards explains. “The low tides produce lower frequencies.”\u003c/p>\n\u003cfigure id=\"attachment_12014154\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12014154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pipes made of PVC and concrete at the Wave Organ in San Francisco on Nov. 12, 2024. The installation has 25 organ pipes, which sound best during high tide. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Richards prototyped his design for the Wave Organ and presented a rudimentary version of the sculpture for the New Music ’81 Festival in San Francisco, a festival for experimental music and instruments.\u003c/p>\n\u003cp>After securing funding to create a permanent installation, Richards met fellow Bay Area-based stonemason George Gonzalez and invited him to be a collaborator on the project. Richard says that before he met Gonzalez, he had made models and drawings of what he imagined the final installation to look like, but Gonzalez brought an innovative vision and elevated the overall project.\u003c/p>\n\u003cp>“When we started working on it, the first thing we did was throw the drawings away and… just allow the stonework to determine what was needed. George [had an] amazing ability to look at this beautiful stonework and be able to put it together in a very clever and functional way,” said Richards.\u003c/p>\n\u003cp>In 1986, the Wave Organ opened to the public. Decades later, it is still a favorite spot for San Franciscans who stop by on their morning walks. It’s also a destination for tourists who want to get off the beaten path and a place for fishermen to cast their lines.\u003c/p>\n\u003cp>Craig Easley, a San Franciscan who visits the Wave Organ twice a week to fish, says, “Fish or no fish, this is heaven. It’s a little bit of paradise with a 360-degree view of the bay and the city that I love.”\u003c/p>\n\u003cp>The Wave Organ is free to visit. It’s one of the few Exploratorium exhibits that is located outside the walls of the museum.\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> During the early days of the COVID-19 pandemic, we all had our little escapes. Places away from the confines of our quarantined homes to get some fresh air … and remind us that despite the distance, the rest of the world still exists. After moving to San Francisco in 2020, Robbie Rock discovered his special spot: a public art installation called the Wave Organ. It’s at the very end of a jetty sitting out in the bay, across the way from The Palace of Fine Arts.\u003c/p>\n\u003cp>\u003cstrong>Robbie Rock:\u003c/strong> It’s just a really cool place to sit, watch the waves, and also to, like, hear the organ.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> The Wave organ is not like the massive trumpeting organs that you’ll find in a church. Its appearance and sounds are a bit less opulent, but the organ still produces a pretty grand orchestra of gurgles, hisses, and booms.\u003c/p>\n\u003cp>\u003cem>[distorted gurgling from the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> But after all of his visits, Robbie still never really knew what, exactly, he was listening to.\u003c/p>\n\u003cp>\u003cstrong>Robbie Rock:\u003c/strong> I just had so many questions about it. Why is it there, and how does it even work?\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> And of course…\u003c/p>\n\u003cp>\u003cstrong>Robbie Rock:\u003c/strong> When is the best time to hear it?\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> I’m Olivia Allen-Price. This is Bay Curious — the podcast that answers your questions about the San Francisco Bay Area. This week, we’re turning an ear to the waters of the bay.\u003c/p>\n\u003cp>Now, this episode is probably going to sound best with headphones, but if you’re listening on speakers, you might just want to crank it up. Stay with us.\u003c/p>\n\u003cp>\u003cem>[SPONSOR MESSAGE]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> To learn more about this instrument that’s being played by the bay itself, we sent out Bay Curious intern, Ana De Almeida Amaral.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> Out in the Marina district of San Francisco, just off Marina Boulevard, a jetty stretches out into the bay — It’s a man-made stretch of land protecting the docks of St Francis Yacht Club. I went there on a windy morning to visit the Wave Organ. The Wave Organ is an art installation that is partially underwater at the edge of the jetty. It’s an environmental sculpture that interacts with the natural sounds of the waves to create a unique auditory experience.\u003c/p>\n\u003cp>\u003cem>[Ambient sound of the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> I called up Ken Finn, an educator at the Exploratorium, which is the interactive science and arts museum in San Francisco. The organ is one of the few exploratorium exhibits that is outside the walls of the museum, and it’s free! I asked Ken to show me around the Wave Organ for the first time.\u003c/p>\n\u003cp>\u003cstrong>Ken Finn:\u003c/strong> A personal favorite time to come out here…[laughs] when a storm is brewing.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> The Wave Organ is a really unique installation. It looks kind of like a Roman ruin — with various slabs of granite creating different viewing levels and stone stairs leading down to the water’s edge. The organ itself is all around the installation. There are 25 organ pipes that peek out like periscopes. And visitors can place their ear next to each pipe in order to hear what is going on underwater. As I climbed around the installation with Ken, we approached an organ pipe.\u003c/p>\n\u003cp>\u003cstrong>Ken Finn:\u003c/strong> Here’s one of the first pipes. And you can see now that the tide is low. You can almost trace it in its winding path down into the bay. I’m going to give it a listen here… Oh, nice.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> Then, it was my turn to listen….\u003c/p>\n\u003cp>\u003cem>[Distorted swishing sounds from the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> That’s beautiful!\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> With the tide out, the lower water level exposes the length of the pipes. Some only reach out 3 or 4 feet into the bay, while others extend out deep into the water. Then, Ken points at a stone slab on the staircase.\u003c/p>\n\u003cp>\u003cstrong>Ken Finn:\u003c/strong> I like to call out that on some of these, you can see the leftover red paint, so you can tell there’s a red zone. So, some of these were old curb stones from parts of San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> That’s because most of the stone slabs used to make the sculpture are recycled pieces of granite. The jetty was originally built using stone slabs from fallen buildings after the 1906 earthquake and headstone remnants from the cemetery relocations of the early 1900s. Many still had beautiful carvings and designs, and they were given a new life with the creation of the Wave Organ.\u003c/p>\n\u003cp>The Wave Organ was created by artist Peter Richards in collaboration with master stonemason, George Gonzalez. Peter Richards is now a senior artist emeritus at the Exploratorium, but back in 1970 he was a recent MFA graduate and new to San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> It was the first time I was near a place that had tides. So, I was inherently curious about them and how they worked.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> He was enamored by the changing tides and the way they revealed an intimate connection between us — and the sun and the moon. He was also inspired by a recording he had heard from artist Bill Fontana — who had recorded the sounds of cylindrical pipes he found in a concrete dock in Sydney, Australia. Peter was drawn in by the rhythmic, distorted, and almost mesmerizing qualities of this audio portrait.\u003c/p>\n\u003cp>Here’s a little excerpt of that.\u003c/p>\n\u003cp>\u003cem>[Splashing sounds]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> Peter wanted to see if he could intentionally create this phenomenon. So he took PVC pipes out onto the jetty just across from the Exploratorium, which at the time was housed at the Palace of Fine Arts. And he began testing the sounds of different pipe lengths and configurations. What he found was that the sound from the pipes changed depending on the water level within the pipe…\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> So at High tides, the air columns are shorter, so the sounds are higher. And if you go to the low tide, it produces lower frequencies.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> The pipes function like a pan flute. In the Wave Organ, each pipe is a vibrating column of air that amplifies the sounds produced by the moving water. Certain sound frequencies created by the waves are amplified depending on the length of the pipe. And this is what creates a distorted orchestra of underwater sounds.\u003c/p>\n\u003cp>Once he made this discovery, Peter built a prototype of the Wave Organ for an experimental music festival in 1981. He constructed a rudimentary version at the same spot on the jetty.\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> At that point, it was done very crudely. But we did mic it and run a telephone wire back to the Exploratorium.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> The telephone wire ran across Marina Boulevard and all the way to the Palace of Fine Arts.\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> So we had the sounds from the Wave Organ sort of echoing through the museum.\u003c/p>\n\u003cp>\u003cem>[Sounds from the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> And visitors loved it!\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> At that point the Director Frank Oppenheimer said, “Well, we’ve got to do something with this.” So that’s when I started working seriously on it.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> After working to secure funding, the Exploratorium was ready to break ground on a permanent installation. That is when Peter met George Gonzalez and invited him to be the stonemason on the project.\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> During the conceptual development of the project, I had built some models, and I made a drawing of what I envisioned happening. And when we started working on it, the first thing we did is to throw the drawings away and put the model away and just allow the stonework to determine what was needed there. And there was George’s amazing ability to look at this beautiful stonework and be able to put it together in a very clever and functional way.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> With an attention to the beautifully carved granite slabs and to the tides… the Wave Organ rose from the rocks on the jetty in 1986. The Wave Organ is a magical integration of the natural and constructed world. It’s an art piece that sits at the center of many intersections — between the sea and moon and between science and art. And here, you get to be an audience to all of it. But before I left the Wave Organ, I had to ask Ken, the educator from the Exploratorium, the question we are all waiting for: When is the best time to hear the Wave Organ?\u003c/p>\n\u003cp>\u003cstrong>Ken Finn:\u003c/strong> Definitely check the tides. And I think that visiting the Wave Organ at high tide is the best time. And it’s definitely a lot more enjoyable to be there when the tide is high, and it’s making some tones that are much more easy for us to hear.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> But, in case you are not able to make it out to the Wave Organ at high tide — we’ll bring it to you. Here’s 30 seconds of oceanic art.\u003c/p>\n\u003cp>\u003cem>[Sounds from the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> That was KQED’s Ana De Almeida Amaral.\u003c/p>\n\u003cp>Thanks to Robbie Rock for asking the question and to Bill Fontana for letting us share a piece of his sonic art.\u003c/p>\n\u003cp>The Bay Curious team is taking a little breather next week, so we won’t have a new episode.\u003cbr>\nBut, we did create a kid-friendly Spotify playlist with some of our greatest hits from over the years. If you’ve got travel plans and need to fill some time — check it out! We’ll drop a link in our show notes. We’ll be back in your feeds on Dec. 5.\u003c/p>\n\u003cp>Gift-buying season is on the way, and I know, at least for some of you, it’s been here since Halloween, so I’d love to humbly suggest you consider giving the Bay Curious book this year. It’s chock full of history, culture, fun facts and more all about the San Francisco Bay Area. You can find it at most local bookstores and all the big online retailers. If audiobooks are more your jam, we’ve got one of those too. Learn more at \u003ca href=\"https://www.kqed.org/podcasts/baycurious\">KQED.org/BayCuriousBook\u003c/a>.\u003c/p>\n\u003cp>Bay Curious is made in San Francisco by Ana De Almeida Amaral, Amanda Font, Christopher Beale and me, Olivia Allen-Price.\u003c/p>\n\u003cp>With additional support from Jen Chien, Katie Sprenger, Maha Sanad, Chris Hambrick, Holly Kernan, Chris Egusa and the whole KQED family.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’m Olivia Allen-Price. Have a wonderful week!\u003c/p>\n\n",
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"description": "View the full episode transcript Ever wondered what the San Francisco Bay sounds like beneath the water’s surface? The Wave Organ, a sound sculpture maintained by San Francisco’s Exploratorium, has 25 pipes that shoot down into the bay, creating a unique sonic experience for visitors above. You can find the sculpture, made of recycled granite, at the end of the man-made jetty across the street from the Palace of Fine Arts. There, you can put your ear to a pipe made of PVC and concrete to hear the “music” of the bay. The Wave Organ is nothing like the trumpeting",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">View the full episode transcript\u003c/a>\u003c/p>\n\u003cp>Ever wondered what the San Francisco Bay sounds like beneath the water’s surface? The Wave Organ, a sound sculpture maintained by San Francisco’s Exploratorium, has 25 pipes that shoot down into the bay, creating a unique sonic experience for visitors above. You can find the sculpture, made of recycled granite, at the end of the man-made jetty across the street from the Palace of Fine Arts. There, you can put your ear to a pipe made of PVC and concrete to hear the “music” of the bay.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Wave Organ is nothing like the trumpeting organs in a church. The art installation stretches about 60 feet across and is made of rock slabs with different seating levels that visitors can climb on. The artists behind the sculpture chose to use recycled debris from the 1906 earthquake, and remnants of headstones leftover from century-old cemetery relocations.\u003c/p>\n\u003cp>As far as the sound the organ makes — you probably wouldn’t call it musical. This art piece features an orchestra of gurgles, splashes, and booms.\u003c/p>\n\u003cfigure id=\"attachment_12014153\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12014153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-9-KQED.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A plaque for the Wave Organ in San Francisco on Nov. 12, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Wave Organ’s origins\u003c/h3>\n\u003cp>Understanding the Wave Organ’s origins requires a little lesson in San Francisco art history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This environmental sculpture was created in 1986 by artist Peter Richards in collaboration with master stonemason George Gonzalez.\u003c/p>\n\u003cp>Richards was inspired to create the Wave Organ after moving to San Francisco in 1970. He was fascinated by how the tides in the bay showed an intimate connection between the sea and the moon.\u003c/p>\n\u003cfigure id=\"attachment_12014150\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12014150\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-800x522.jpg\" alt=\"\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-1536x1002.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED-1920x1253.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-2-KQED.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Water flows out of a pipe at the Wave Organ in San Francisco on Nov. 12, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was the first time I was near a place that had tides,” said Richards, a senior artist emeritus at the Exploratorium in San Francisco, about moving to the West Coast. “I was inherently curious about [tides] and how they worked.”\u003c/p>\n\u003cp>Richards was also inspired by artist Bill Fontana, who had recorded the sounds of pipes in a concrete dock in Sydney, Australia, in 1976. Fontana’s sonic art piece amplified and distorted bubbling and splashing sounds from the water. Richards was intrigued by the connection between physics and art to create the acoustic rhythm.\u003c/p>\n\u003cp>Richards wanted to see if he could do the same using San Francisco’s waters. So he took PVC pipes to the jetty in the city’s Marina district and began testing the sounds of different pipe configurations.\u003c/p>\n\u003cfigure id=\"attachment_12015192\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12015192 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/conceptual-1-1-resize.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A conceptual design of the Wave Organ originally shared at the New Music ’81 Festival. (Courtesy of the Exploratorium)\u003c/figcaption>\u003c/figure>\n\u003cp>What he found was that the sound from the organ pipes changed depending on the water level within the pipe.\u003c/p>\n\u003ch3>How does it work?\u003c/h3>\n\u003cp>In the Wave Organ, each pipe creates a vibrating column of air that amplifies sounds produced by moving water. Certain sound frequencies created by the waves are amplified, depending on the length of the pipe and water level within it.\u003c/p>\n\u003cp>“At high tides, the air columns are shorter, so the sounds are higher,” Richards explains. “The low tides produce lower frequencies.”\u003c/p>\n\u003cfigure id=\"attachment_12014154\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12014154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/11/20241112_WAVEORGAN_GC-12-KQED.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pipes made of PVC and concrete at the Wave Organ in San Francisco on Nov. 12, 2024. The installation has 25 organ pipes, which sound best during high tide. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Richards prototyped his design for the Wave Organ and presented a rudimentary version of the sculpture for the New Music ’81 Festival in San Francisco, a festival for experimental music and instruments.\u003c/p>\n\u003cp>After securing funding to create a permanent installation, Richards met fellow Bay Area-based stonemason George Gonzalez and invited him to be a collaborator on the project. Richard says that before he met Gonzalez, he had made models and drawings of what he imagined the final installation to look like, but Gonzalez brought an innovative vision and elevated the overall project.\u003c/p>\n\u003cp>“When we started working on it, the first thing we did was throw the drawings away and… just allow the stonework to determine what was needed. George [had an] amazing ability to look at this beautiful stonework and be able to put it together in a very clever and functional way,” said Richards.\u003c/p>\n\u003cp>In 1986, the Wave Organ opened to the public. Decades later, it is still a favorite spot for San Franciscans who stop by on their morning walks. It’s also a destination for tourists who want to get off the beaten path and a place for fishermen to cast their lines.\u003c/p>\n\u003cp>Craig Easley, a San Franciscan who visits the Wave Organ twice a week to fish, says, “Fish or no fish, this is heaven. It’s a little bit of paradise with a 360-degree view of the bay and the city that I love.”\u003c/p>\n\u003cp>The Wave Organ is free to visit. It’s one of the few Exploratorium exhibits that is located outside the walls of the museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> During the early days of the COVID-19 pandemic, we all had our little escapes. Places away from the confines of our quarantined homes to get some fresh air … and remind us that despite the distance, the rest of the world still exists. After moving to San Francisco in 2020, Robbie Rock discovered his special spot: a public art installation called the Wave Organ. It’s at the very end of a jetty sitting out in the bay, across the way from The Palace of Fine Arts.\u003c/p>\n\u003cp>\u003cstrong>Robbie Rock:\u003c/strong> It’s just a really cool place to sit, watch the waves, and also to, like, hear the organ.\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> The Wave organ is not like the massive trumpeting organs that you’ll find in a church. Its appearance and sounds are a bit less opulent, but the organ still produces a pretty grand orchestra of gurgles, hisses, and booms.\u003c/p>\n\u003cp>\u003cem>[distorted gurgling from the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> But after all of his visits, Robbie still never really knew what, exactly, he was listening to.\u003c/p>\n\u003cp>\u003cstrong>Robbie Rock:\u003c/strong> I just had so many questions about it. Why is it there, and how does it even work?\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> And of course…\u003c/p>\n\u003cp>\u003cstrong>Robbie Rock:\u003c/strong> When is the best time to hear it?\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> I’m Olivia Allen-Price. This is Bay Curious — the podcast that answers your questions about the San Francisco Bay Area. This week, we’re turning an ear to the waters of the bay.\u003c/p>\n\u003cp>Now, this episode is probably going to sound best with headphones, but if you’re listening on speakers, you might just want to crank it up. Stay with us.\u003c/p>\n\u003cp>\u003cem>[SPONSOR MESSAGE]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> To learn more about this instrument that’s being played by the bay itself, we sent out Bay Curious intern, Ana De Almeida Amaral.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> Out in the Marina district of San Francisco, just off Marina Boulevard, a jetty stretches out into the bay — It’s a man-made stretch of land protecting the docks of St Francis Yacht Club. I went there on a windy morning to visit the Wave Organ. The Wave Organ is an art installation that is partially underwater at the edge of the jetty. It’s an environmental sculpture that interacts with the natural sounds of the waves to create a unique auditory experience.\u003c/p>\n\u003cp>\u003cem>[Ambient sound of the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> I called up Ken Finn, an educator at the Exploratorium, which is the interactive science and arts museum in San Francisco. The organ is one of the few exploratorium exhibits that is outside the walls of the museum, and it’s free! I asked Ken to show me around the Wave Organ for the first time.\u003c/p>\n\u003cp>\u003cstrong>Ken Finn:\u003c/strong> A personal favorite time to come out here…[laughs] when a storm is brewing.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> The Wave Organ is a really unique installation. It looks kind of like a Roman ruin — with various slabs of granite creating different viewing levels and stone stairs leading down to the water’s edge. The organ itself is all around the installation. There are 25 organ pipes that peek out like periscopes. And visitors can place their ear next to each pipe in order to hear what is going on underwater. As I climbed around the installation with Ken, we approached an organ pipe.\u003c/p>\n\u003cp>\u003cstrong>Ken Finn:\u003c/strong> Here’s one of the first pipes. And you can see now that the tide is low. You can almost trace it in its winding path down into the bay. I’m going to give it a listen here… Oh, nice.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> Then, it was my turn to listen….\u003c/p>\n\u003cp>\u003cem>[Distorted swishing sounds from the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> That’s beautiful!\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> With the tide out, the lower water level exposes the length of the pipes. Some only reach out 3 or 4 feet into the bay, while others extend out deep into the water. Then, Ken points at a stone slab on the staircase.\u003c/p>\n\u003cp>\u003cstrong>Ken Finn:\u003c/strong> I like to call out that on some of these, you can see the leftover red paint, so you can tell there’s a red zone. So, some of these were old curb stones from parts of San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> That’s because most of the stone slabs used to make the sculpture are recycled pieces of granite. The jetty was originally built using stone slabs from fallen buildings after the 1906 earthquake and headstone remnants from the cemetery relocations of the early 1900s. Many still had beautiful carvings and designs, and they were given a new life with the creation of the Wave Organ.\u003c/p>\n\u003cp>The Wave Organ was created by artist Peter Richards in collaboration with master stonemason, George Gonzalez. Peter Richards is now a senior artist emeritus at the Exploratorium, but back in 1970 he was a recent MFA graduate and new to San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> It was the first time I was near a place that had tides. So, I was inherently curious about them and how they worked.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> He was enamored by the changing tides and the way they revealed an intimate connection between us — and the sun and the moon. He was also inspired by a recording he had heard from artist Bill Fontana — who had recorded the sounds of cylindrical pipes he found in a concrete dock in Sydney, Australia. Peter was drawn in by the rhythmic, distorted, and almost mesmerizing qualities of this audio portrait.\u003c/p>\n\u003cp>Here’s a little excerpt of that.\u003c/p>\n\u003cp>\u003cem>[Splashing sounds]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> Peter wanted to see if he could intentionally create this phenomenon. So he took PVC pipes out onto the jetty just across from the Exploratorium, which at the time was housed at the Palace of Fine Arts. And he began testing the sounds of different pipe lengths and configurations. What he found was that the sound from the pipes changed depending on the water level within the pipe…\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> So at High tides, the air columns are shorter, so the sounds are higher. And if you go to the low tide, it produces lower frequencies.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> The pipes function like a pan flute. In the Wave Organ, each pipe is a vibrating column of air that amplifies the sounds produced by the moving water. Certain sound frequencies created by the waves are amplified depending on the length of the pipe. And this is what creates a distorted orchestra of underwater sounds.\u003c/p>\n\u003cp>Once he made this discovery, Peter built a prototype of the Wave Organ for an experimental music festival in 1981. He constructed a rudimentary version at the same spot on the jetty.\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> At that point, it was done very crudely. But we did mic it and run a telephone wire back to the Exploratorium.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> The telephone wire ran across Marina Boulevard and all the way to the Palace of Fine Arts.\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> So we had the sounds from the Wave Organ sort of echoing through the museum.\u003c/p>\n\u003cp>\u003cem>[Sounds from the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> And visitors loved it!\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> At that point the Director Frank Oppenheimer said, “Well, we’ve got to do something with this.” So that’s when I started working seriously on it.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> After working to secure funding, the Exploratorium was ready to break ground on a permanent installation. That is when Peter met George Gonzalez and invited him to be the stonemason on the project.\u003c/p>\n\u003cp>\u003cstrong>Peter Richards:\u003c/strong> During the conceptual development of the project, I had built some models, and I made a drawing of what I envisioned happening. And when we started working on it, the first thing we did is to throw the drawings away and put the model away and just allow the stonework to determine what was needed there. And there was George’s amazing ability to look at this beautiful stonework and be able to put it together in a very clever and functional way.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> With an attention to the beautifully carved granite slabs and to the tides… the Wave Organ rose from the rocks on the jetty in 1986. The Wave Organ is a magical integration of the natural and constructed world. It’s an art piece that sits at the center of many intersections — between the sea and moon and between science and art. And here, you get to be an audience to all of it. But before I left the Wave Organ, I had to ask Ken, the educator from the Exploratorium, the question we are all waiting for: When is the best time to hear the Wave Organ?\u003c/p>\n\u003cp>\u003cstrong>Ken Finn:\u003c/strong> Definitely check the tides. And I think that visiting the Wave Organ at high tide is the best time. And it’s definitely a lot more enjoyable to be there when the tide is high, and it’s making some tones that are much more easy for us to hear.\u003c/p>\n\u003cp>\u003cstrong>Ana De Almeida Amaral:\u003c/strong> But, in case you are not able to make it out to the Wave Organ at high tide — we’ll bring it to you. Here’s 30 seconds of oceanic art.\u003c/p>\n\u003cp>\u003cem>[Sounds from the Wave Organ]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> That was KQED’s Ana De Almeida Amaral.\u003c/p>\n\u003cp>Thanks to Robbie Rock for asking the question and to Bill Fontana for letting us share a piece of his sonic art.\u003c/p>\n\u003cp>The Bay Curious team is taking a little breather next week, so we won’t have a new episode.\u003cbr>\nBut, we did create a kid-friendly Spotify playlist with some of our greatest hits from over the years. If you’ve got travel plans and need to fill some time — check it out! We’ll drop a link in our show notes. We’ll be back in your feeds on Dec. 5.\u003c/p>\n\u003cp>Gift-buying season is on the way, and I know, at least for some of you, it’s been here since Halloween, so I’d love to humbly suggest you consider giving the Bay Curious book this year. It’s chock full of history, culture, fun facts and more all about the San Francisco Bay Area. You can find it at most local bookstores and all the big online retailers. If audiobooks are more your jam, we’ve got one of those too. Learn more at \u003ca href=\"https://www.kqed.org/podcasts/baycurious\">KQED.org/BayCuriousBook\u003c/a>.\u003c/p>\n\u003cp>Bay Curious is made in San Francisco by Ana De Almeida Amaral, Amanda Font, Christopher Beale and me, Olivia Allen-Price.\u003c/p>\n\u003cp>With additional support from Jen Chien, Katie Sprenger, Maha Sanad, Chris Hambrick, Holly Kernan, Chris Egusa and the whole KQED family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m Olivia Allen-Price. Have a wonderful week!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Who could forget the \u003ca href=\"https://www.glamour.com/story/the-story-behind-the-pussyhats-at-the-womens-march\">pussy hats\u003c/a>, the colorful \u003ca href=\"https://www.glamour.com/gallery/how-to-create-the-best-damn-anti-trump-protest-sign-ever-a-complete-guide\">protest banners\u003c/a>, the \u003ca href=\"https://www.kqed.org/pop/33376/so-theres-a-naked-donald-trump-statue-in-the-castro-now-nsfw\">nude statues\u003c/a> and \u003ca href=\"https://www.bbc.com/culture/article/20160518-what-does-the-trumpputin-kiss-really-mean\">subversive murals\u003c/a> of the first Trump administration?\u003c/p>\n\u003cp>Voters, apparently.\u003c/p>\n\u003cp>[aside postID='news_12014032']Despite a surge in art-as-resistance eight years ago — hailed as crucial in the fight to defeat Trump once and for all — America is back where it started in 2016, give or take a few \u003ca href=\"https://apnews.com/article/trump-charlottesville-college-protests-gaza-biden-antisemitism-b19a1ae593b076d5314f08549b1b0d7b\">racist marches\u003c/a>, \u003ca href=\"https://www.npr.org/2024/11/17/nx-s1-5192608/idahos-abortion-ban-one-of-the-strictest-in-the-u-s-is-being-challenged-in-court\">abortion bans\u003c/a> and \u003ca href=\"https://www.npr.org/2024/05/30/1198912466/in-a-historic-verdict-trump-found-guilty-on-34-felony-counts-in-hush-money-trial\">felony counts\u003c/a>.\u003c/p>\n\u003cp>And while the stakes for the future of the country are unquestionably higher this time around, artist reaction has been conspicuously subdued. Not only are activists organizing \u003ca href=\"https://www.kqed.org/news/12014032/dispirited-and-humbled-the-conspicuous-absence-of-bay-area-protests-after-trumps-win\">far fewer protests\u003c/a>, there’s noticeably less anti-Trump art. Yes, even in the Bay Area.\u003c/p>\n\u003cp>How could that be? Well, it depends on who you ask.\u003c/p>\n\u003cfigure id=\"attachment_13968235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists.jpg\" alt=\"A man in a black hoodie and tan pants stands among a cluttered studio space, looking up at the camera.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brent Lindsay, Artistic Director for the Imaginists Theatre Collective in Santa Rosa, pictured backstage on Nov. 18, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It feels to me like everyone just got wiped out,” said Brent Lindsay, artistic director of the Imaginists Theatre Collective in Santa Rosa, of the relative quiet from artists, post-election. “Everyone’s just — I don’t know about \u003ci>retreating\u003c/i>, but everyone’s sort of going deep. Having to. And I don’t know what’s on the other side of that.”\u003c/p>\n\u003ch2>A time of reorientation\u003c/h2>\n\u003cp>Lindsay is no stranger to explicitly political art. In 2017, the Imaginists presented \u003ci>Stop That Show!\u003c/i>, a \u003ca href=\"https://theimaginists.org/aimsarchive\">bicycle-powered, bilingual outdoor satire\u003c/a> squarely aimed at the Trump White House. Lindsay played “President Corn,” in a disheveled blonde wig and Russian-branded garb.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was good in that we all needed to find joy in some darkness, and we all needed to find a way out, shake it off, be entertained,” Lindsay said, acknowledging that the show was more a balm than a weapon of resistance.\u003c/p>\n\u003cp>No one can predict exactly what the next four years will bring from the arts sector. But Lindsay believes that alongside explicitly political art, the world may see more politically informed work based in storytelling and emotional resonance.\u003c/p>\n\u003cp>“You need both,” Lindsay said. “We need the bombastic, the in-your-face, the revolutionary. And this may be a silly analogy, but we need the bunny slope. Because we need new people coming and trying it, and working their way up.”\u003c/p>\n\u003cfigure id=\"attachment_13887378\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN.jpg\" alt=\"W. Kamau Bell\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell in 2020. \u003ccite>(John Nowack/CNN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At \u003ca href=\"https://oaklandside.org/culture-makers/\">Oaklandside’s Culture Makers\u003c/a> panel on Nov. 14, comedian W. Kamau Bell, who endorsed Kamala Harris, was optimistic about the next era of direct political art.\u003c/p>\n\u003cp>“There’s going to be a type of artist now who’s going to be much more clear than they were in the past,” Bell said. “It’s an invitation to be much more clear on what the message is, what your goals are, to have art that actually points towards the change. I think it’s going to be a wave of really classic-era, political [art] — the right side of propaganda, pointing to the right side of history.”\u003c/p>\n\u003cp>Bell’s friend and colleague Favianna Rodriguez is the founder of the \u003ca href=\"https://www.culturalpower.org/\">Center for Cultural Power\u003c/a>, an organization that supports artists and arms people with artistic tools for resistance. In 2017, in opposition to Trump’s Muslim ban, Rodriguez’s series \u003ci>\u003ca href=\"https://favianna.com/artworks/migration-is-beautiful-2018?\">Migration Is Beautiful\u003c/a>\u003c/i> surged in visibility. Climate justice and reproductive rights have also been prominent themes in her work.\u003c/p>\n\u003cp>“I have seen both a moment of reflection, and a moment of reorientation,” Rodriguez said of the weeks following the election. “Our response as artists is going to take some time for us to get organized. But I do trust that artists are going to rise up and create work, and be angry and bold.”\u003c/p>\n\u003cfigure id=\"attachment_13881312\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42.jpg\" alt=\"Woman in red outfit with microphone\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-1020x681.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Favianna Rodriguez speaking in 2020. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artists, Rodriguez asserts, have the power to change cultural narratives, which in turn shape political narratives.\u003c/p>\n\u003cp>“We can show the humanity,” she says. “We can help normalize things that were once seen as rare. We can help tell human stories that move people’s hearts.”\u003c/p>\n\u003ch2>‘Not just an attack against Trump’\u003c/h2>\n\u003cp>Pianist, hip-hop artist and member of Oakland’s Cultural Affairs Commission Kev Choice says he’s angry and disappointed about Trump winning the presidency. He’s also contending with how many in his community — people who care about social justice and want an end to U.S. military aid to Israel — disengaged from the election.\u003c/p>\n\u003cp>[aside postID='arts_13967557']He sees a disillusionment with the Democratic party’s role in the devastation in Gaza, as well as with the two-party system. Choice was just as disappointed with Trump’s victory as he was with progressive propositions, like rent control, failing in California.\u003c/p>\n\u003cp>“I’ve been sitting with how to address it on all fronts, not just an attack against Trump, but just our general engagement in politics and how we can be more impactful — and have just honest conversations about what it means to even be engaged,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13964204\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964204\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says he’s working on a song that airs out his community’s disappointment and grief over the election results, but he’s also looking beyond music. “Music is one thing, but supporting grassroots organizations to get people to register to vote, who will get people to campaign for certain measures or props — the day to day things that it takes to win a campaign,” he says. “It’s not always the flashy notoriety, like being on TV or releasing a song. It’s phone banking, canvassing, calling, traveling to other areas — and also bringing up those issues constantly in the art that we create.”\u003c/p>\n\u003cp>Filmmaker Josh Healey has advocated for a permanent ceasefire in Gaza with his podcast, \u003ca href=\"https://www.offsidesproductions.org/portfolio/friday-night-semites/\">Friday Night Semites\u003c/a>, and organizing with Jewish Voice for Peace and beyond. His work, including the comedy series \u003ci>The North Pole\u003c/i>, has also addressed class issues such as gentrification.\u003c/p>\n\u003cp>“I think the next couple of years we are going to see — and some of the people in this room are going to make — some of the dopest and most powerful art we’ve seen,” Healey said at Oaklandside’s Culture Makers panel.\u003c/p>\n\u003cfigure id=\"attachment_13808051\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg\" alt=\"woman and man pose with polar bear\" width=\"2048\" height=\"1367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Ericka Huggins and producer Josh Healy at the premiere for ‘The North Pole’ at the Grand Lake Theater in Oakland, Sept. 7, 2017. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where I’m at as a filmmaker is not just ‘fuck Trump’ and whatever local billionaires are running these campaigns,” he continued, “but also, Hollywood is done. And I’m ready to actually celebrate that. And what I mean by that is not the death of filmmaking, but the death of capitalist, consumerist — the normalization. So many of the stories of what is normalized comes from arts and culture. And so that is my responsibility, and our responsibility.”\u003c/p>\n\u003ch2>Artists shifting to the right\u003c/h2>\n\u003cp>Supporting Trump was more taboo among artists during his first administration, but with rappers like Kanye West, Sexyy Red, Kodak Black and Azealia Banks backing Trump, some observers see a rightward turn in the entertainment industry.\u003c/p>\n\u003cfigure id=\"attachment_13968405\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968405\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop artist, writer and TikTok creator Maddy Clifford organizes for student debt abolition with Debt Collective. \u003ccite>(Courtesy Vanessa 'AGANA' Espinoza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Culture Makers panel, hip-hop artist and organizer Maddy Clifford, who campaigns for student debt abolition with Debt Collective, talked about this shift.\u003c/p>\n\u003cp>“I think a lot of the country will go to the right, let’s be honest about that,” said Clifford, who has contributed to KQED as a cultural critic. “And so it’s going to be more important than ever for us to be really righteous and really stand in our solid values, because there’s going to be a lot of pressure to basically sell out, straight up.” [aside postID='arts_13930867']\u003c/p>\n\u003cp>Clifford looked beyond Trump’s candidacy — which made gains with young men — and pointed towards conservative trends in culture, name-checking social media movements that promote conservative gender roles and normalize misogyny. “People are like, ‘How did this happen?’” she said. “Well, what about trad wife content? What about the manosphere? This has been happening for a long time.”\u003c/p>\n\u003ch2>Déjà vu\u003c/h2>\n\u003cp>”We’ve been here before,” says \u003ca href=\"https://www.angelahennessy.com/\">Angela Hennessy\u003c/a>, an Oakland visual artist and California College of the Arts professor. Hennessy, whose work will be shown at the San Francisco Museum of Modern Art in the \u003ca href=\"https://www.kqed.org/arts/13955864/sfmoma-2024-seca-art-award-announcement\">2024 SECA Art Award Exhibition\u003c/a>, says this is déjà vu.\u003c/p>\n\u003cp>She’s more surprised that people are surprised. “This \u003ci>is\u003c/i> America,” Hennessy wrote in an email to KQED.\u003c/p>\n\u003cfigure id=\"attachment_13812676\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg\" alt=\"Angela Hennessy, 'Black Rainbow,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy, ‘Black Rainbow,’ 2017. \u003ccite>(Courtesy of the artist and Southern Exposure; photo by Raheleh (Minoosh) Zomorodinia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13955864']Hennessy, a survivor of gun violence, uses hair weaving and braiding in her artwork as she navigates the connections between loss and liberation, death and despair, grieving and growing. She says that given her subject matter, her art has always political. And in this moment, Hennessy wrote, “My work can be seen as responding to the death machine that is our country.”\u003c/p>\n\u003cp>Hennessy asks people to read beyond the \u003ca href=\"https://www.thenation.com/article/archive/no-place-self-pity-no-room-fear/\">popular Toni Morrison quote\u003c/a>, “This is precisely the time when artists go to work,” and see that the late author wanted people to make the connection between chaos and the potential of art as a kind of wisdom.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In this moment, “the opportunity,” Hennessy wrote, “is to be more brave, more unapologetic and articulate in knowing what we know. To make art, music, poetry, etc. as if something was at stake.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who could forget the \u003ca href=\"https://www.glamour.com/story/the-story-behind-the-pussyhats-at-the-womens-march\">pussy hats\u003c/a>, the colorful \u003ca href=\"https://www.glamour.com/gallery/how-to-create-the-best-damn-anti-trump-protest-sign-ever-a-complete-guide\">protest banners\u003c/a>, the \u003ca href=\"https://www.kqed.org/pop/33376/so-theres-a-naked-donald-trump-statue-in-the-castro-now-nsfw\">nude statues\u003c/a> and \u003ca href=\"https://www.bbc.com/culture/article/20160518-what-does-the-trumpputin-kiss-really-mean\">subversive murals\u003c/a> of the first Trump administration?\u003c/p>\n\u003cp>Voters, apparently.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite a surge in art-as-resistance eight years ago — hailed as crucial in the fight to defeat Trump once and for all — America is back where it started in 2016, give or take a few \u003ca href=\"https://apnews.com/article/trump-charlottesville-college-protests-gaza-biden-antisemitism-b19a1ae593b076d5314f08549b1b0d7b\">racist marches\u003c/a>, \u003ca href=\"https://www.npr.org/2024/11/17/nx-s1-5192608/idahos-abortion-ban-one-of-the-strictest-in-the-u-s-is-being-challenged-in-court\">abortion bans\u003c/a> and \u003ca href=\"https://www.npr.org/2024/05/30/1198912466/in-a-historic-verdict-trump-found-guilty-on-34-felony-counts-in-hush-money-trial\">felony counts\u003c/a>.\u003c/p>\n\u003cp>And while the stakes for the future of the country are unquestionably higher this time around, artist reaction has been conspicuously subdued. Not only are activists organizing \u003ca href=\"https://www.kqed.org/news/12014032/dispirited-and-humbled-the-conspicuous-absence-of-bay-area-protests-after-trumps-win\">far fewer protests\u003c/a>, there’s noticeably less anti-Trump art. Yes, even in the Bay Area.\u003c/p>\n\u003cp>How could that be? Well, it depends on who you ask.\u003c/p>\n\u003cfigure id=\"attachment_13968235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists.jpg\" alt=\"A man in a black hoodie and tan pants stands among a cluttered studio space, looking up at the camera.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brent Lindsay, Artistic Director for the Imaginists Theatre Collective in Santa Rosa, pictured backstage on Nov. 18, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It feels to me like everyone just got wiped out,” said Brent Lindsay, artistic director of the Imaginists Theatre Collective in Santa Rosa, of the relative quiet from artists, post-election. “Everyone’s just — I don’t know about \u003ci>retreating\u003c/i>, but everyone’s sort of going deep. Having to. And I don’t know what’s on the other side of that.”\u003c/p>\n\u003ch2>A time of reorientation\u003c/h2>\n\u003cp>Lindsay is no stranger to explicitly political art. In 2017, the Imaginists presented \u003ci>Stop That Show!\u003c/i>, a \u003ca href=\"https://theimaginists.org/aimsarchive\">bicycle-powered, bilingual outdoor satire\u003c/a> squarely aimed at the Trump White House. Lindsay played “President Corn,” in a disheveled blonde wig and Russian-branded garb.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was good in that we all needed to find joy in some darkness, and we all needed to find a way out, shake it off, be entertained,” Lindsay said, acknowledging that the show was more a balm than a weapon of resistance.\u003c/p>\n\u003cp>No one can predict exactly what the next four years will bring from the arts sector. But Lindsay believes that alongside explicitly political art, the world may see more politically informed work based in storytelling and emotional resonance.\u003c/p>\n\u003cp>“You need both,” Lindsay said. “We need the bombastic, the in-your-face, the revolutionary. And this may be a silly analogy, but we need the bunny slope. Because we need new people coming and trying it, and working their way up.”\u003c/p>\n\u003cfigure id=\"attachment_13887378\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN.jpg\" alt=\"W. Kamau Bell\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell in 2020. \u003ccite>(John Nowack/CNN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At \u003ca href=\"https://oaklandside.org/culture-makers/\">Oaklandside’s Culture Makers\u003c/a> panel on Nov. 14, comedian W. Kamau Bell, who endorsed Kamala Harris, was optimistic about the next era of direct political art.\u003c/p>\n\u003cp>“There’s going to be a type of artist now who’s going to be much more clear than they were in the past,” Bell said. “It’s an invitation to be much more clear on what the message is, what your goals are, to have art that actually points towards the change. I think it’s going to be a wave of really classic-era, political [art] — the right side of propaganda, pointing to the right side of history.”\u003c/p>\n\u003cp>Bell’s friend and colleague Favianna Rodriguez is the founder of the \u003ca href=\"https://www.culturalpower.org/\">Center for Cultural Power\u003c/a>, an organization that supports artists and arms people with artistic tools for resistance. In 2017, in opposition to Trump’s Muslim ban, Rodriguez’s series \u003ci>\u003ca href=\"https://favianna.com/artworks/migration-is-beautiful-2018?\">Migration Is Beautiful\u003c/a>\u003c/i> surged in visibility. Climate justice and reproductive rights have also been prominent themes in her work.\u003c/p>\n\u003cp>“I have seen both a moment of reflection, and a moment of reorientation,” Rodriguez said of the weeks following the election. “Our response as artists is going to take some time for us to get organized. But I do trust that artists are going to rise up and create work, and be angry and bold.”\u003c/p>\n\u003cfigure id=\"attachment_13881312\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42.jpg\" alt=\"Woman in red outfit with microphone\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-1020x681.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Favianna Rodriguez speaking in 2020. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artists, Rodriguez asserts, have the power to change cultural narratives, which in turn shape political narratives.\u003c/p>\n\u003cp>“We can show the humanity,” she says. “We can help normalize things that were once seen as rare. We can help tell human stories that move people’s hearts.”\u003c/p>\n\u003ch2>‘Not just an attack against Trump’\u003c/h2>\n\u003cp>Pianist, hip-hop artist and member of Oakland’s Cultural Affairs Commission Kev Choice says he’s angry and disappointed about Trump winning the presidency. He’s also contending with how many in his community — people who care about social justice and want an end to U.S. military aid to Israel — disengaged from the election.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He sees a disillusionment with the Democratic party’s role in the devastation in Gaza, as well as with the two-party system. Choice was just as disappointed with Trump’s victory as he was with progressive propositions, like rent control, failing in California.\u003c/p>\n\u003cp>“I’ve been sitting with how to address it on all fronts, not just an attack against Trump, but just our general engagement in politics and how we can be more impactful — and have just honest conversations about what it means to even be engaged,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13964204\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964204\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says he’s working on a song that airs out his community’s disappointment and grief over the election results, but he’s also looking beyond music. “Music is one thing, but supporting grassroots organizations to get people to register to vote, who will get people to campaign for certain measures or props — the day to day things that it takes to win a campaign,” he says. “It’s not always the flashy notoriety, like being on TV or releasing a song. It’s phone banking, canvassing, calling, traveling to other areas — and also bringing up those issues constantly in the art that we create.”\u003c/p>\n\u003cp>Filmmaker Josh Healey has advocated for a permanent ceasefire in Gaza with his podcast, \u003ca href=\"https://www.offsidesproductions.org/portfolio/friday-night-semites/\">Friday Night Semites\u003c/a>, and organizing with Jewish Voice for Peace and beyond. His work, including the comedy series \u003ci>The North Pole\u003c/i>, has also addressed class issues such as gentrification.\u003c/p>\n\u003cp>“I think the next couple of years we are going to see — and some of the people in this room are going to make — some of the dopest and most powerful art we’ve seen,” Healey said at Oaklandside’s Culture Makers panel.\u003c/p>\n\u003cfigure id=\"attachment_13808051\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg\" alt=\"woman and man pose with polar bear\" width=\"2048\" height=\"1367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Ericka Huggins and producer Josh Healy at the premiere for ‘The North Pole’ at the Grand Lake Theater in Oakland, Sept. 7, 2017. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where I’m at as a filmmaker is not just ‘fuck Trump’ and whatever local billionaires are running these campaigns,” he continued, “but also, Hollywood is done. And I’m ready to actually celebrate that. And what I mean by that is not the death of filmmaking, but the death of capitalist, consumerist — the normalization. So many of the stories of what is normalized comes from arts and culture. And so that is my responsibility, and our responsibility.”\u003c/p>\n\u003ch2>Artists shifting to the right\u003c/h2>\n\u003cp>Supporting Trump was more taboo among artists during his first administration, but with rappers like Kanye West, Sexyy Red, Kodak Black and Azealia Banks backing Trump, some observers see a rightward turn in the entertainment industry.\u003c/p>\n\u003cfigure id=\"attachment_13968405\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968405\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop artist, writer and TikTok creator Maddy Clifford organizes for student debt abolition with Debt Collective. \u003ccite>(Courtesy Vanessa 'AGANA' Espinoza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Culture Makers panel, hip-hop artist and organizer Maddy Clifford, who campaigns for student debt abolition with Debt Collective, talked about this shift.\u003c/p>\n\u003cp>“I think a lot of the country will go to the right, let’s be honest about that,” said Clifford, who has contributed to KQED as a cultural critic. “And so it’s going to be more important than ever for us to be really righteous and really stand in our solid values, because there’s going to be a lot of pressure to basically sell out, straight up.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clifford looked beyond Trump’s candidacy — which made gains with young men — and pointed towards conservative trends in culture, name-checking social media movements that promote conservative gender roles and normalize misogyny. “People are like, ‘How did this happen?’” she said. “Well, what about trad wife content? What about the manosphere? This has been happening for a long time.”\u003c/p>\n\u003ch2>Déjà vu\u003c/h2>\n\u003cp>”We’ve been here before,” says \u003ca href=\"https://www.angelahennessy.com/\">Angela Hennessy\u003c/a>, an Oakland visual artist and California College of the Arts professor. Hennessy, whose work will be shown at the San Francisco Museum of Modern Art in the \u003ca href=\"https://www.kqed.org/arts/13955864/sfmoma-2024-seca-art-award-announcement\">2024 SECA Art Award Exhibition\u003c/a>, says this is déjà vu.\u003c/p>\n\u003cp>She’s more surprised that people are surprised. “This \u003ci>is\u003c/i> America,” Hennessy wrote in an email to KQED.\u003c/p>\n\u003cfigure id=\"attachment_13812676\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg\" alt=\"Angela Hennessy, 'Black Rainbow,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy, ‘Black Rainbow,’ 2017. \u003ccite>(Courtesy of the artist and Southern Exposure; photo by Raheleh (Minoosh) Zomorodinia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hennessy, a survivor of gun violence, uses hair weaving and braiding in her artwork as she navigates the connections between loss and liberation, death and despair, grieving and growing. She says that given her subject matter, her art has always political. And in this moment, Hennessy wrote, “My work can be seen as responding to the death machine that is our country.”\u003c/p>\n\u003cp>Hennessy asks people to read beyond the \u003ca href=\"https://www.thenation.com/article/archive/no-place-self-pity-no-room-fear/\">popular Toni Morrison quote\u003c/a>, “This is precisely the time when artists go to work,” and see that the late author wanted people to make the connection between chaos and the potential of art as a kind of wisdom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this moment, “the opportunity,” Hennessy wrote, “is to be more brave, more unapologetic and articulate in knowing what we know. To make art, music, poetry, etc. as if something was at stake.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Calling all Bay Area STAY. K-pop band Stray Kids have just announced the dates for their 2025 dominATE world tour, which will include a stop at Oracle Park in San Francisco on May 28, 2025.\u003c/p>\n\u003cp>It’s been a massive year of music for the eight-member group, who released their ninth EP \u003cem>ATE\u003c/em> in July and their second Japanese-language studio album \u003cem>GIANT\u003c/em> earlier this month. The upcoming tour means fans will have a chance to hear new songs like “Chk Chk Boom” and older hits like “\u003ca href=\"https://www.youtube.com/watch?v=pM-jOfy_1jM\">VENOM\u003c/a>” and “\u003ca href=\"https://youtu.be/TQTlCHxyuu8?si=cnPhJNn7uhu5EzYn\">God’s Menu\u003c/a>” in person.\u003c/p>\n\u003cp>https://youtu.be/T17AR8cVmto?si=4mCamioLtNzgKVgo\u003c/p>\n\u003cp>Tickets go on sale Friday, Nov. 22, at 3 p.m., but there’s a chance to get tickets ahead of the masses if you sign up for the \u003ca href=\"https://signup.ticketmaster.com/straykids\">artist presale\u003c/a> by 7 a.m. on Thursday, Nov. 21. Anyone can sign up for the presale — all you need is a Ticketmaster account. When you sign up, you’ll be able to choose up to three tour stops you’d like to access. The presale itself will take place on Nov. 22 from 11 a.m.–2:30 p.m. local time.\u003c/p>\n\u003cp>The artist presale is the only official presale available for this tour; Stray Kids fan club members will not receive presale codes. Once you sign up, Ticketmaster will follow up with email reminders closer to the presale start time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The tour will likely turn out both veteran fans and newcomers, considering this isn’t Stray Kids’ first Bay Area visit. The group previously performed in San Jose during their first world tour in 2020, and most recently stopped in Oakland on their 2022 Maniac World Tour. This upcoming San Francisco tour stop will mark their largest Bay Area concert to date.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information about tour stops and ticket information, check out \u003ca href=\"https://www.straykidsworldtour.com/\">Stray Kids’ official concert website\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Calling all Bay Area STAY. K-pop band Stray Kids have just announced the dates for their 2025 dominATE world tour, which will include a stop at Oracle Park in San Francisco on May 28, 2025.\u003c/p>\n\u003cp>It’s been a massive year of music for the eight-member group, who released their ninth EP \u003cem>ATE\u003c/em> in July and their second Japanese-language studio album \u003cem>GIANT\u003c/em> earlier this month. The upcoming tour means fans will have a chance to hear new songs like “Chk Chk Boom” and older hits like “\u003ca href=\"https://www.youtube.com/watch?v=pM-jOfy_1jM\">VENOM\u003c/a>” and “\u003ca href=\"https://youtu.be/TQTlCHxyuu8?si=cnPhJNn7uhu5EzYn\">God’s Menu\u003c/a>” in person.\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/T17AR8cVmto'\n title='//www.youtube.com/embed/T17AR8cVmto'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tickets go on sale Friday, Nov. 22, at 3 p.m., but there’s a chance to get tickets ahead of the masses if you sign up for the \u003ca href=\"https://signup.ticketmaster.com/straykids\">artist presale\u003c/a> by 7 a.m. on Thursday, Nov. 21. Anyone can sign up for the presale — all you need is a Ticketmaster account. When you sign up, you’ll be able to choose up to three tour stops you’d like to access. The presale itself will take place on Nov. 22 from 11 a.m.–2:30 p.m. local time.\u003c/p>\n\u003cp>The artist presale is the only official presale available for this tour; Stray Kids fan club members will not receive presale codes. Once you sign up, Ticketmaster will follow up with email reminders closer to the presale start time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Toward the end of Netflix’s \u003cem>Joy\u003c/em>, the muffled cry of a newborn baby prompts a man and woman in a hospital to embrace out of pure bliss. They aren’t the parents, but they had as much to do with the birth as the mom and dad.\u003c/p>\n\u003cp>This charming and winning movie charts the decade-long true story of how the world’s first IVF baby was born in England in 1978 — a 5-pound, 12-ounce girl who paved the way for millions more. It’s an upbeat, very English affair, mixing sober discussion of endometriosis with chocolate biscuits.\u003c/p>\n\u003cp>[aside postid='arts_13968348']The couple embracing that day were pioneering scientist Robert Edwards and Jean Purdy, a young nurse and embryologist. Together with surgeon Patrick Steptoe, the trio succeeded with in vitro fertilization, a method of treating infertility. Edwards would go on to win the Nobel Prize.\u003c/p>\n\u003cp>\u003cem>Joy\u003c/em> has been birthed at a time when science is under threat in America — even IVF — so it’s downright inspiring to see plucky, smart scientists working hard to change the world. “What we’re doing, it matters,” says Steptoe, played with quiet economy by Bill Nighy.\u003c/p>\n\u003cp>\u003cem>Joy\u003c/em> is the personal stories of the three scientists — mostly through the eyes of Purdy, a polite lab-coated warrior. “If I hear a commotion, I’m not very good at staying out of it,” she says. Perfectly played by Thomasin McKenzie, Purdy is both vulnerable and strong, learning through the process to be a better human. James Norton plays Edwards with charm, self-doubt and calm spirit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qoyn5BCm37o\u003c/p>\n\u003cp>Jack Thorne’s script nicely explains the massive pressure the trio faced. IVF may have become common and uncontroversial over the last decades, but back in the late ’70s it was experimental and shunned. The Anglican church called it a sin, the newspapers labeled it Frankenstein-ish and other scientists warned of freak babies. “You’re aware they’ll throw the book at us,” Nighy’s Steptoe tells the team. “We will unite them all against us.”\u003c/p>\n\u003cp>Purdy, a single woman as the swinging ’60s lead to the ’70s, is exiled by her own pious mother — “You can’t play God with this,” the elder woman tells her daughter — and disinvited by her church. No matter. “This fight is ours. We don’t have a choice,” Purdy says. The film also celebrates the brave would-be mothers who volunteered their bodies to be poked and prodded at the edge of science.\u003c/p>\n\u003cp>Our hero researchers try to argue to the skeptical world in vain that IVF is simply a way for science to help those in need, like glasses for the shortsighted or dentures for those with teeth decay. It’s remarkable to return to this debate now when science’s great achievements today may be under threat, like fluoridated water.\u003c/p>\n\u003cp>[aside postid='arts_13968285']Director Ben Taylor keeps the story small and intimate, a series of vignettes adding up to almost like a play. It features moments of quiet and polite bravery, and small conversations over a pint of ale — a reminder of the power of performances and that changing the world doesn’t need a muscle-bound bro with X-ray vision.\u003c/p>\n\u003cp>It’s held together by a superb soundtrack with witty selections like “Yes We Can Can” by Lee Dorsey, “Nobody But Me” by The Human Beinz and “Here Comes the Sun” by George Harrison, each song encapsulating the moment in time, like pearls on a strand.\u003c/p>\n\u003cp>“Joy” is not all joy. There is frustration and loss and tears along the way, but it is a triumphant film about the way humans can make the world better and how a baby’s cry can be a priceless gift.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joy’ begins streaming on Netflix on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The couple embracing that day were pioneering scientist Robert Edwards and Jean Purdy, a young nurse and embryologist. Together with surgeon Patrick Steptoe, the trio succeeded with in vitro fertilization, a method of treating infertility. Edwards would go on to win the Nobel Prize.\u003c/p>\n\u003cp>\u003cem>Joy\u003c/em> has been birthed at a time when science is under threat in America — even IVF — so it’s downright inspiring to see plucky, smart scientists working hard to change the world. “What we’re doing, it matters,” says Steptoe, played with quiet economy by Bill Nighy.\u003c/p>\n\u003cp>\u003cem>Joy\u003c/em> is the personal stories of the three scientists — mostly through the eyes of Purdy, a polite lab-coated warrior. “If I hear a commotion, I’m not very good at staying out of it,” she says. Perfectly played by Thomasin McKenzie, Purdy is both vulnerable and strong, learning through the process to be a better human. James Norton plays Edwards with charm, self-doubt and calm spirit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Director Ben Taylor keeps the story small and intimate, a series of vignettes adding up to almost like a play. It features moments of quiet and polite bravery, and small conversations over a pint of ale — a reminder of the power of performances and that changing the world doesn’t need a muscle-bound bro with X-ray vision.\u003c/p>\n\u003cp>It’s held together by a superb soundtrack with witty selections like “Yes We Can Can” by Lee Dorsey, “Nobody But Me” by The Human Beinz and “Here Comes the Sun” by George Harrison, each song encapsulating the moment in time, like pearls on a strand.\u003c/p>\n\u003cp>“Joy” is not all joy. There is frustration and loss and tears along the way, but it is a triumphant film about the way humans can make the world better and how a baby’s cry can be a priceless gift.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joy’ begins streaming on Netflix on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Eagle lovers around the world who were crushed by the live-streamed collapse of a nest housing two birds and their chick will get another viewing opportunity when a new eagle camera goes live on Thursday.\u003c/p>\n\u003cp>The new camera, operated by the Minnesota Department of Natural Resources, is in a different location and will show a different nesting pair, the agency announced Tuesday. But the DNR will also keep its old EagleCam running because the old pair built a new nest about a half-mile away and still visit their old territory. They’ve been seen there as recently as Friday.\u003c/p>\n\u003cp>[aside postid='arts_13967643']The old camera had viewers in 50 states and around 160 countries, in homes, classrooms and nursing homes, according to Lori Naumann, a spokesperson for the DNR’s Nongame Wildlife Program, which runs the cameras. The old nest was home to a pair that viewers unofficially nicknamed “Nancy and Beau” until it collapsed during a heavy snowstorm on April 2, 2023. The female bird flew off as a branch supporting the 2,000-pound (900-kilogram) nest, which was over 20 years old, gave way. The chick was later found dead.\u003c/p>\n\u003cp>There was an outpouring of grief in popular Facebook groups that followed the pair, and members of those groups expressed excitement at the news Tuesday.\u003c/p>\n\u003cp>Naumann told reporters they often had thousands of viewers at any given time before the nest collapse, especially during the pandemic as homebound viewers went online to get their nature fixes. Minnesota has the largest eagle population in the lower 48 states, building nests even in urban areas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pair at the new, undisclosed location has nested there for at least four years and has reared several broods of eaglets, Naumann said. Officials aren’t sure exactly how long the nest has been there or how many chicks the parents have hatched because they haven’t followed them closely yet, she said.\u003c/p>\n\u003cp>Both cameras will go live around 6 a.m. CST Thursday on the \u003ca href=\"https://www.dnr.state.mn.us/features/webcams/eaglecam/index.html\">DNR website\u003c/a> and on the agency’s \u003ca href=\"https://www.youtube.com/channel/UCkibG4ONyUmGlnOR3F3qq6Q\">YouTube channel\u003c/a>.\u003c/p>\n\u003cp>There isn’t a lot of activity at the nest at the moment, though that will change, Naumann said.\u003c/p>\n\u003cp>[aside postid='arts_13962216']“It’s not really breeding season right now,” she said. “We expect them to start bringing new branches and new nesting material into the nest over the next several months, when their courtship behavior will start ramping up. And when that happens, they actively build the nest together, showing their dedication to each other and their worthiness of being a partner.”\u003c/p>\n\u003cp>The female is expected to lay two or three eggs sometime around February, she said, and they’ll take about 35 days to hatch. Both adults typically care for their chicks, constantly bringing them dead fish to satisfy their enormous appetites.\u003c/p>\n\u003cp>As for “Nancy and Beau” — the DNR doesn’t name the animals it follows — it wasn’t feasible to run power to and install a camera at their new nest, where they successfully raised two chicks last season. So the agency launched an extensive search before settling on the new, more accessible location with a healthy tree. They installed the camera in early October at a total cost of about $5,000. Minneapolis-based Xcel Energy provided the bucket lift truck and other services to set up the new camera at no charge, as it did with the original.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The eagles serve as ambassadors for the Nongame Wildlife Program, which is supported by direct donations and a voluntary checkoff on the state’s personal income tax form. It funds a range of wildlife projects across the state to benefit struggling species. The cameras are going live on Thursday to leverage a statewide charity event, although as a government agency the DNR isn’t an official participant.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eagle lovers around the world who were crushed by the live-streamed collapse of a nest housing two birds and their chick will get another viewing opportunity when a new eagle camera goes live on Thursday.\u003c/p>\n\u003cp>The new camera, operated by the Minnesota Department of Natural Resources, is in a different location and will show a different nesting pair, the agency announced Tuesday. But the DNR will also keep its old EagleCam running because the old pair built a new nest about a half-mile away and still visit their old territory. They’ve been seen there as recently as Friday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The old camera had viewers in 50 states and around 160 countries, in homes, classrooms and nursing homes, according to Lori Naumann, a spokesperson for the DNR’s Nongame Wildlife Program, which runs the cameras. The old nest was home to a pair that viewers unofficially nicknamed “Nancy and Beau” until it collapsed during a heavy snowstorm on April 2, 2023. The female bird flew off as a branch supporting the 2,000-pound (900-kilogram) nest, which was over 20 years old, gave way. The chick was later found dead.\u003c/p>\n\u003cp>There was an outpouring of grief in popular Facebook groups that followed the pair, and members of those groups expressed excitement at the news Tuesday.\u003c/p>\n\u003cp>Naumann told reporters they often had thousands of viewers at any given time before the nest collapse, especially during the pandemic as homebound viewers went online to get their nature fixes. Minnesota has the largest eagle population in the lower 48 states, building nests even in urban areas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pair at the new, undisclosed location has nested there for at least four years and has reared several broods of eaglets, Naumann said. Officials aren’t sure exactly how long the nest has been there or how many chicks the parents have hatched because they haven’t followed them closely yet, she said.\u003c/p>\n\u003cp>Both cameras will go live around 6 a.m. CST Thursday on the \u003ca href=\"https://www.dnr.state.mn.us/features/webcams/eaglecam/index.html\">DNR website\u003c/a> and on the agency’s \u003ca href=\"https://www.youtube.com/channel/UCkibG4ONyUmGlnOR3F3qq6Q\">YouTube channel\u003c/a>.\u003c/p>\n\u003cp>There isn’t a lot of activity at the nest at the moment, though that will change, Naumann said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s not really breeding season right now,” she said. “We expect them to start bringing new branches and new nesting material into the nest over the next several months, when their courtship behavior will start ramping up. And when that happens, they actively build the nest together, showing their dedication to each other and their worthiness of being a partner.”\u003c/p>\n\u003cp>The female is expected to lay two or three eggs sometime around February, she said, and they’ll take about 35 days to hatch. Both adults typically care for their chicks, constantly bringing them dead fish to satisfy their enormous appetites.\u003c/p>\n\u003cp>As for “Nancy and Beau” — the DNR doesn’t name the animals it follows — it wasn’t feasible to run power to and install a camera at their new nest, where they successfully raised two chicks last season. So the agency launched an extensive search before settling on the new, more accessible location with a healthy tree. They installed the camera in early October at a total cost of about $5,000. Minneapolis-based Xcel Energy provided the bucket lift truck and other services to set up the new camera at no charge, as it did with the original.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The eagles serve as ambassadors for the Nongame Wildlife Program, which is supported by direct donations and a voluntary checkoff on the state’s personal income tax form. It funds a range of wildlife projects across the state to benefit struggling species. The cameras are going live on Thursday to leverage a statewide charity event, although as a government agency the DNR isn’t an official participant.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "rightnowishs-grand-finale-words-of-wisdom-from-timothy-b",
"title": "Rightnowish’s Grand Finale: Words of Wisdom from Timothy B.",
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"headTitle": "Rightnowish’s Grand Finale: Words of Wisdom from Timothy B. | KQED",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>On this final episode of the Rightnowish podcast, we end back where we started — but with some pretty significant updates.\u003c/p>\n\u003cp>In the fall of 2019, renowned visual artist \u003ca href=\"https://www.instagram.com/timothyb_art/\" target=\"_blank\" rel=\"noopener\">Timothy B.\u003c/a> gave us the first full Rightnowish interview for an episode titled ‘\u003ca href=\"https://www.kqed.org/arts/13868502/from-d-boys-to-dope-art\" target=\"_blank\" rel=\"noopener\">From D-Boys to Dope Art.\u003c/a>’\u003c/p>\n\u003cp>During that interview, Timothy B. was flanked by his mother Dana Bluitt and his father Timothy Bluitt Sr. as he shared with us his perspective on mural making, community building and his work in Oakland. We also discussed how Timothy B.’s colorful paintings on the streets of the Town differ drastically from the work his father did in Oakland during the ’80s and early ’90s.\u003c/p>\n\u003cp>Timothy Sr., a representative of East Oakland’s legendary 69 Mob, was incarcerated in a federal penitentiary for over two decades. During that time, Mrs. Bluitt held the family down. Timothy B. took notes from both his mother and father, and flourished because of the strength of his parents.\u003c/p>\n\u003cp>Now, five years after our last conversation on tape, Timothy B. is a father too. Stepping into parenthood has changed his painting schedule and personal priorities. But he remains creative.\u003c/p>\n\u003cfigure id=\"attachment_13961247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13961247 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56%E2%80%AFPM-800x1100.png\" alt=\"Timothy B. stands on a lift in front of a mural he painted at the East Oakland Youth Center dedicated to journalist and political prisoner Mumia Abu-Jamal.\" width=\"800\" height=\"1100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-800x1100.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-160x220.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-768x1056.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM.png 972w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy B. stands on a lift in front of a mural he painted at the East Oakland Youth Center dedicated to journalist and political prisoner Mumia Abu-Jamal. \u003ccite>(Courtesy of Timothy B. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, having painted numerous murals around the Town and beyond, his work is getting out there more than ever. In Oakland, his work can be seen at places like the corner store on Grand and Ellita, as well as the broad side of buildings on 7th and Washington, 82nd and International, and 15th and Webster. He has more murals in the works, plus he’s expanding beyond walls: this past February, his designs were commissioned, printed on T-shirts and given away at \u003ca href=\"https://www.instagram.com/p/C3RDwNIPJNl/?hl=en\" target=\"_blank\" rel=\"noopener\">a Golden State Warriors home game\u003c/a>.\u003c/p>\n\u003cp>This week, we discuss how Timothy B. has grown, and how Oakland has changed. And then Timothy B. gives us some advice on how to deal with major life transitions; advice I needed to hear as we end the Rightnowish podcast.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4636659965\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s up Rightnowish listeners, I’m your host Pendarvis Harshaw.\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">We are here. At the grand finale, the final episode of Rightnowish. We’ve had an amazing 5 year run, so much love, so many memories. Thank you all for rocking with us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To host an arts and culture show in the Bay Area, it’s been so dope, I haven’t fully processed it. But for now I can say that I’m extremely grateful…grateful for the emails, comments on social posts and conversations at bars and coffee shops…grateful that we’ve had the support from KQED and from the community…grateful to the people who shared their stories with us, and to everyone who listened. I could go on but, yeah, grateful. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That being said, to bookend this Rightnowish podcast, we’re going back to where we started: a conversation with the very first guest on the show– renowned visual artist, Timothy B. We caught up with him via zoom from his Oakland studio.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Timothy’s work can be found all around the Bay, and beyond. He’s painted images of community members, goddesses and of Huey P. Newton. His mural of the late Nipsey Hussle on Grand and Perkins in Oakland is a trademark piece. Another mural on a wall further down Grand pays homage to the memory of Nia Wilson, a young woman who was slain on a BART platform in July of 2018.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the first episode of Rightnowish, Timothy B. and I discussed how his work on the streets of the town differs drastically from the work his father did. His dad, Timothy Bliutt Sr., is a factor from East Oakland’s legendary 69 Mob, and he also served a significant amount of time in a federal penitentiary. And from there Mrs. Dana Bluitt, Timothy B.’s mother, held the family down. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Which brings us to today– over the last five years a lot has changed for Timothy B. He’s a father now. So, for this final episode, we chop it up about Oakland, art and mental health, as well as fatherhood, personal relationships and the process of dealing with life’s big transitions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As you might imagine, I could use that advice right now… ish. Yeah, more after this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There we go, there we go, there we go, Timothy B! I’m really excited to talk to you today for a number of reasons, really because you were the first interview in the Rightnowish series. You started us off on a good note, and so much has changed over the past 5 years. And when I think of all the changes that you have experienced, the biggest one is fatherhood. And our past conversation was about family and your parents and how they poured into you, and how that shows up in your artistry and given your relationship with your parents, what does it mean to you to be a father now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, my son, he’s, he’s going to be the first to experience having a father and grandfather in I don’t know in how many generations, you know. So, you know, that’s power in itself. Because my father was incarcerated for 24 years of my life, to receive the opportunity to be a father now is monumental. I could give, ya know, my son, he’s…he won’t ever know what it’s like to not have a father around, you know? God forbid anything happens to me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As you know, being a father yourself, I’m learning a lot around patience. Being a father is probably like, one of my hardest tasks, you know, just trying to balance everything. And I don’t cook to often, right? I think that’s probably like, my biggest challenge is just cooking different meals \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">that he would eat.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Gotta gotta learn more than just the spaghetti. I remember I stepped my game up. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I’m tired of having spaghetti, Dawg. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, for me, man, it’s mashed potatoes and broccoli \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> But that’s clutch, that’s clutch yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">But yeah, it’s been an amazing journey so far. You know, just seeing how, how much joy he bring, not to just myself, but everybody around. I feel like he was just, he was brought at the perfect time. He gave my family hope. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You mentioned the balance, the balancing act and, I mean, you are a renowned artist. How has parenthood changed your schedule as an artist?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Considering that I have my son four days a week,\u003c/span> \u003cspan style=\"font-weight: 400\">I don’t have much time to focus on my work like I used to. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I’m off father-duty, I’m a lot more focused than I used to be. Whereas before I used to cat-off a little bit. But these days, time management skills is a lot much better, ya feel me? So, I think I’m a little more disciplined now than I was back then.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What are some of the things that you’re dealing with with life right now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B:\u003c/b> \u003cspan style=\"font-weight: 400\">It’s a trip because you know all these great things are happening in the art department. You know a lot of people, they see me accomplishing great things every month. I’m having unveiling, there’s a celebration, I’m being honored by The Warriors and Allen Temple Baptist Church and it’s just love being thrown my way, but at the, on the flip side of it, man I’ve been feeling like sh*t. I’m feeling terrible, you know, just for the reasons that my personal relationships to the people I love the most, you know are in sh*t. It’s like, I don’t know man. Just trying to find that balance. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s your method to the madness? How do you deal with it all? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Martial arts, you know, has really helped. I’ve been, you know, getting some sun. And also just accepting that people are going to feel how they feel, you know. Like, there’s nothing, you know, there’s certain things you just can’t do. You know, you can’t control how people think of you. You know, like, if your intentions is to do right by people, but they don’t, they can’t receive it for whatever reason, yo, that’s outside of you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But I’m learning, you know, these days to, you know, continue to just show the love that I want to receive and if they could receive it from you. Cool. You know, if they not, if they can’t, I’m still going to try to pour as much as I can. You feel me? But, you know, just set my boundaries to protect my heart. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, the last thing I want to do is like, be here, be out here angry or frustrated. You feel me? So, you know, as of late I’ve been, like, moving in gratitude. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You once told me that your artwork is an escape for you. Does it still provide that same escape? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah man, it really does. It really does. Because I mean, essentially, you know, I create worlds, you know whenever, you know, I’m logging into the arts, I’m in a whole different zone. Like, I’m in a whole different thinking space, \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">Can you describe your style? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I think I have, like a Afro-futuristic, surrealist style. I love, like, a stylistic, illustrative type of art, you know, similar to, like, you know, like, comic book style. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m thinking of, like, I’ll read, like, you know, like the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, the one that was written by Ta-Nehisi Coates.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I can’t think of who the illustrator is right now, but his work is is tight. You know, it’s like it’s highly detailed, kind of wanderlust. And whenever I think of my work, you know, I try to give that kind of a Candyland type feel, you know, but with, you know, a real sense of reality, \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">That makes perfect sense. But I like what you say like surrealism, Afrofuturism, a little, you know, flavor to make it shine. And I could fully see that in your work, man. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m thinking about a design you did earlier this year that debuted for The Warriors during Black History Month, real big deal, man. Walk me through the process of designing that image. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I usually start with looking at different references. I would write down, like my intentions for the design, how I want it to feel, what I want it to represent. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">That piece was like, it was themed around manifesting your life, your destiny, your dreams. And it was of a boy, you know, with his hands out and like his strength, his power is in his hands. Right? And my, you know, thinking about myself, you know, I’ve been able to manifest everything I want in life, you know, like I’m living the dream right now. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Man, it all came from my hands. You know, I’ve been able to travel the world. I’ve been able to buy the cars I want. I’ve been able to live in the space I want to live in. All because of these hands. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Behind him was, the elders, you know, that were standing together in prayer, praying over the boy. You know, I come from a big village as you know. My family has always been, ya know, real good at uplifting me in whatever I wanted to do. And, so, you know, that’s what that piece was about. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Having that image printed on hundreds of thousands of t-shirts inside of The Warriors’ Chase Center, what was it like for you to walk in that evening and see your art?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">It was unreal. I would say it was unreal. Like, I don’t even think it really like resonated until afterwards. It was a reminder that I’ve came a long way. You know, like I, you know, I remember, you know, being in college telling myself that one day all this is going to make sense. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So now, to be in this position where, like you say, I got t-shirts, I’m doing.. got t-shirts all over the arena, the Chase. You know, I could barely even afford to be in the arena but now, you know, I’m in partnership with The Warriors, you feel me. It was like, man, like, it’s just it’s euphoric. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You had your son with you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">My son going everywhere with me. You feel me? Like he needs to know that anything is possible at a very young age.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What does it mean for someone to come up to you and compliment your work and give you your flowers? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">What that means to me is that one… people, people see me. And that feels good in itself to be seen, to be recognized, and also to be appreciated for the things that you love to do that you think no one sees. It’d be one thing if I was out here popular for, like, putting out negativity. But when you’re not with that, when you out here putting, you know, spreading love, that’s what you receive. Everywhere you go is just love. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Beyond putting paint where it ain’t and just doing an immaculate job at it, you’re also the founder of Good Air Studios, where you host live events and workshops for artists. Bringing it back a little bit, the last time we talked you were at Mouse Cat, and five years, a lot has changed. How was Good Air different from Mouse Cat? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">The Mouse Cat, personal studio is just all about…it’s my living space, you know. This is where I create, where I sleep, you know, but I needed a space for the community. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">For the longest time I’ve been doing this arts stuff, running this business by myself. I wanted to share this with other people. There’s a bunch of artists that look up to me and want to work by my side. And I want to be there to work in collaboration with them and teach them and learn from them. So I wanted to, you know, create a space for, you know, me and the community to connect and build. That’s how Good Air Studios came about. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For months, I was looking in this space, and I was just trying to, you know, figure out how I was going to pay that rent. So I reached out to all my closest friends and, you know, I pitched the idea to them, and then they believed in what I was talking about and now we here. \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">We makin’ enough money to pay rent, you know, but that’s a milestone. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">That’s gotta be dope to see it happening, the wheels are turning.\u003c/span> \u003cspan style=\"font-weight: 400\">I’ve been to the space it’s high ceilings, you know, like old warehouse just covered in art everywhere, the ping pong tables out front. You got the vibes and all of that is important. But the… what you just said beyond just the esthetics, this is about having space for creatives to come together. Why do you think that’s important for creatives in the Bay area right now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I feel like we as Black artists need a space for us, you know? And that’s what Good Air Studio is, you know? And it’s not just for Black artists, of course, but we are trying to encourage the Black community to come out and even those who don’t really draw like that and who want to learn, you know, we want to host workshops for them so they could develop the confidence to, you know, express themselves through that medium. We doing something really dope. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> I feel like you personally, and also the larger ideas that come from you and your circle are very representative of creatives in the Bay Area right now. And also like, looking forward, I feel like y’all have a foot on the pulse of the now and also have some say in what’s to come down the pipeline.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And we’re coming to the end of producing this show. With that, there’s a slight relief that I don’t do the same thing over and over again and there’s some sadness of like losing this thing that I love, right? And you as a person who’s gone through some transitions in your life, what advice would you give to myself and the Rightnowish team as we go through this transition? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">We all creatives here. So no matter what we doing, we are doing something..we gon do something dope. So I guess my advice is to, continue to move in purpose, you know, and continue to move, towards whatever it is that is fulfilling your spirit, you know, because that is the thing that is going to wake us all up. That’s the… you like, you starting this show, this is the thing that we all needed. We needed to hear these stories of, you know, all these local celebrities. We use these stories that just, you know, remind us of maybe what we doing or, maybe get an insight of, you know, what is out there. Yeah man, continue to explore and experiment, it will happen for you, I promise you. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you. Thank you for sharing some insight into your life as a parent and also your life as an artist, man. And like, yeah, I can’t thank you enough because, you know, you changed the visual landscape at a place that we love. And that’s, that’s a hell of a task. So thank you. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s this thing that happens in journalism sometimes, where the person you’re interviewing speaks your truths. And all you can do is nod in agreement as the tape rolls. Timothy B.’s thoughts on community interaction — how it’s fueled his art and community service, even while dealing with all that life can throw at him. Yeah, bingo. That’s been a big part of this Rightnowish experience. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So Timothy B, Thank you again for your words of wisdom, your story and your work. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To keep up with Timothy B’s visual arts, live events and more follow him on Instagram at timothyb underscore art. That’s t-i-m-o-t-h-y-b underscore art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, wow…. for the last time here go the show credits:\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena is the Rightnowish producer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some of the music you heard in the episode was sourced from Audio Network.\u003cbr>\n\u003c/span>\u003cbr>\nChris Hambrick and Chris Egusa edited this episode.\u003cbr>\nChristopher Beale is our engineer.\u003cbr>\nThe Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan and Katie Sprenger.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Aight yall. This is the end. Thanks again. As a wise person once told me: keep it lit. Peace. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>On this final episode of the Rightnowish podcast, we end back where we started — but with some pretty significant updates.\u003c/p>\n\u003cp>In the fall of 2019, renowned visual artist \u003ca href=\"https://www.instagram.com/timothyb_art/\" target=\"_blank\" rel=\"noopener\">Timothy B.\u003c/a> gave us the first full Rightnowish interview for an episode titled ‘\u003ca href=\"https://www.kqed.org/arts/13868502/from-d-boys-to-dope-art\" target=\"_blank\" rel=\"noopener\">From D-Boys to Dope Art.\u003c/a>’\u003c/p>\n\u003cp>During that interview, Timothy B. was flanked by his mother Dana Bluitt and his father Timothy Bluitt Sr. as he shared with us his perspective on mural making, community building and his work in Oakland. We also discussed how Timothy B.’s colorful paintings on the streets of the Town differ drastically from the work his father did in Oakland during the ’80s and early ’90s.\u003c/p>\n\u003cp>Timothy Sr., a representative of East Oakland’s legendary 69 Mob, was incarcerated in a federal penitentiary for over two decades. During that time, Mrs. Bluitt held the family down. Timothy B. took notes from both his mother and father, and flourished because of the strength of his parents.\u003c/p>\n\u003cp>Now, five years after our last conversation on tape, Timothy B. is a father too. Stepping into parenthood has changed his painting schedule and personal priorities. But he remains creative.\u003c/p>\n\u003cfigure id=\"attachment_13961247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13961247 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56%E2%80%AFPM-800x1100.png\" alt=\"Timothy B. stands on a lift in front of a mural he painted at the East Oakland Youth Center dedicated to journalist and political prisoner Mumia Abu-Jamal.\" width=\"800\" height=\"1100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-800x1100.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-160x220.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM-768x1056.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Screenshot-2024-07-16-at-11.40.56 PM.png 972w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy B. stands on a lift in front of a mural he painted at the East Oakland Youth Center dedicated to journalist and political prisoner Mumia Abu-Jamal. \u003ccite>(Courtesy of Timothy B. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, having painted numerous murals around the Town and beyond, his work is getting out there more than ever. In Oakland, his work can be seen at places like the corner store on Grand and Ellita, as well as the broad side of buildings on 7th and Washington, 82nd and International, and 15th and Webster. He has more murals in the works, plus he’s expanding beyond walls: this past February, his designs were commissioned, printed on T-shirts and given away at \u003ca href=\"https://www.instagram.com/p/C3RDwNIPJNl/?hl=en\" target=\"_blank\" rel=\"noopener\">a Golden State Warriors home game\u003c/a>.\u003c/p>\n\u003cp>This week, we discuss how Timothy B. has grown, and how Oakland has changed. And then Timothy B. gives us some advice on how to deal with major life transitions; advice I needed to hear as we end the Rightnowish podcast.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4636659965\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s up Rightnowish listeners, I’m your host Pendarvis Harshaw.\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">We are here. At the grand finale, the final episode of Rightnowish. We’ve had an amazing 5 year run, so much love, so many memories. Thank you all for rocking with us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To host an arts and culture show in the Bay Area, it’s been so dope, I haven’t fully processed it. But for now I can say that I’m extremely grateful…grateful for the emails, comments on social posts and conversations at bars and coffee shops…grateful that we’ve had the support from KQED and from the community…grateful to the people who shared their stories with us, and to everyone who listened. I could go on but, yeah, grateful. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That being said, to bookend this Rightnowish podcast, we’re going back to where we started: a conversation with the very first guest on the show– renowned visual artist, Timothy B. We caught up with him via zoom from his Oakland studio.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Timothy’s work can be found all around the Bay, and beyond. He’s painted images of community members, goddesses and of Huey P. Newton. His mural of the late Nipsey Hussle on Grand and Perkins in Oakland is a trademark piece. Another mural on a wall further down Grand pays homage to the memory of Nia Wilson, a young woman who was slain on a BART platform in July of 2018.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the first episode of Rightnowish, Timothy B. and I discussed how his work on the streets of the town differs drastically from the work his father did. His dad, Timothy Bliutt Sr., is a factor from East Oakland’s legendary 69 Mob, and he also served a significant amount of time in a federal penitentiary. And from there Mrs. Dana Bluitt, Timothy B.’s mother, held the family down. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Which brings us to today– over the last five years a lot has changed for Timothy B. He’s a father now. So, for this final episode, we chop it up about Oakland, art and mental health, as well as fatherhood, personal relationships and the process of dealing with life’s big transitions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As you might imagine, I could use that advice right now… ish. Yeah, more after this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There we go, there we go, there we go, Timothy B! I’m really excited to talk to you today for a number of reasons, really because you were the first interview in the Rightnowish series. You started us off on a good note, and so much has changed over the past 5 years. And when I think of all the changes that you have experienced, the biggest one is fatherhood. And our past conversation was about family and your parents and how they poured into you, and how that shows up in your artistry and given your relationship with your parents, what does it mean to you to be a father now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, my son, he’s, he’s going to be the first to experience having a father and grandfather in I don’t know in how many generations, you know. So, you know, that’s power in itself. Because my father was incarcerated for 24 years of my life, to receive the opportunity to be a father now is monumental. I could give, ya know, my son, he’s…he won’t ever know what it’s like to not have a father around, you know? God forbid anything happens to me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As you know, being a father yourself, I’m learning a lot around patience. Being a father is probably like, one of my hardest tasks, you know, just trying to balance everything. And I don’t cook to often, right? I think that’s probably like, my biggest challenge is just cooking different meals \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">that he would eat.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Gotta gotta learn more than just the spaghetti. I remember I stepped my game up. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I’m tired of having spaghetti, Dawg. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, for me, man, it’s mashed potatoes and broccoli \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> But that’s clutch, that’s clutch yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">But yeah, it’s been an amazing journey so far. You know, just seeing how, how much joy he bring, not to just myself, but everybody around. I feel like he was just, he was brought at the perfect time. He gave my family hope. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You mentioned the balance, the balancing act and, I mean, you are a renowned artist. How has parenthood changed your schedule as an artist?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Considering that I have my son four days a week,\u003c/span> \u003cspan style=\"font-weight: 400\">I don’t have much time to focus on my work like I used to. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I’m off father-duty, I’m a lot more focused than I used to be. Whereas before I used to cat-off a little bit. But these days, time management skills is a lot much better, ya feel me? So, I think I’m a little more disciplined now than I was back then.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What are some of the things that you’re dealing with with life right now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B:\u003c/b> \u003cspan style=\"font-weight: 400\">It’s a trip because you know all these great things are happening in the art department. You know a lot of people, they see me accomplishing great things every month. I’m having unveiling, there’s a celebration, I’m being honored by The Warriors and Allen Temple Baptist Church and it’s just love being thrown my way, but at the, on the flip side of it, man I’ve been feeling like sh*t. I’m feeling terrible, you know, just for the reasons that my personal relationships to the people I love the most, you know are in sh*t. It’s like, I don’t know man. Just trying to find that balance. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s your method to the madness? How do you deal with it all? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Martial arts, you know, has really helped. I’ve been, you know, getting some sun. And also just accepting that people are going to feel how they feel, you know. Like, there’s nothing, you know, there’s certain things you just can’t do. You know, you can’t control how people think of you. You know, like, if your intentions is to do right by people, but they don’t, they can’t receive it for whatever reason, yo, that’s outside of you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But I’m learning, you know, these days to, you know, continue to just show the love that I want to receive and if they could receive it from you. Cool. You know, if they not, if they can’t, I’m still going to try to pour as much as I can. You feel me? But, you know, just set my boundaries to protect my heart. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, the last thing I want to do is like, be here, be out here angry or frustrated. You feel me? So, you know, as of late I’ve been, like, moving in gratitude. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You once told me that your artwork is an escape for you. Does it still provide that same escape? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah man, it really does. It really does. Because I mean, essentially, you know, I create worlds, you know whenever, you know, I’m logging into the arts, I’m in a whole different zone. Like, I’m in a whole different thinking space, \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">Can you describe your style? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I think I have, like a Afro-futuristic, surrealist style. I love, like, a stylistic, illustrative type of art, you know, similar to, like, you know, like, comic book style. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m thinking of, like, I’ll read, like, you know, like the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Black Panther\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, the one that was written by Ta-Nehisi Coates.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I can’t think of who the illustrator is right now, but his work is is tight. You know, it’s like it’s highly detailed, kind of wanderlust. And whenever I think of my work, you know, I try to give that kind of a Candyland type feel, you know, but with, you know, a real sense of reality, \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">That makes perfect sense. But I like what you say like surrealism, Afrofuturism, a little, you know, flavor to make it shine. And I could fully see that in your work, man. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m thinking about a design you did earlier this year that debuted for The Warriors during Black History Month, real big deal, man. Walk me through the process of designing that image. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I usually start with looking at different references. I would write down, like my intentions for the design, how I want it to feel, what I want it to represent. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">That piece was like, it was themed around manifesting your life, your destiny, your dreams. And it was of a boy, you know, with his hands out and like his strength, his power is in his hands. Right? And my, you know, thinking about myself, you know, I’ve been able to manifest everything I want in life, you know, like I’m living the dream right now. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Man, it all came from my hands. You know, I’ve been able to travel the world. I’ve been able to buy the cars I want. I’ve been able to live in the space I want to live in. All because of these hands. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Behind him was, the elders, you know, that were standing together in prayer, praying over the boy. You know, I come from a big village as you know. My family has always been, ya know, real good at uplifting me in whatever I wanted to do. And, so, you know, that’s what that piece was about. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Having that image printed on hundreds of thousands of t-shirts inside of The Warriors’ Chase Center, what was it like for you to walk in that evening and see your art?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">It was unreal. I would say it was unreal. Like, I don’t even think it really like resonated until afterwards. It was a reminder that I’ve came a long way. You know, like I, you know, I remember, you know, being in college telling myself that one day all this is going to make sense. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So now, to be in this position where, like you say, I got t-shirts, I’m doing.. got t-shirts all over the arena, the Chase. You know, I could barely even afford to be in the arena but now, you know, I’m in partnership with The Warriors, you feel me. It was like, man, like, it’s just it’s euphoric. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You had your son with you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">My son going everywhere with me. You feel me? Like he needs to know that anything is possible at a very young age.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What does it mean for someone to come up to you and compliment your work and give you your flowers? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">What that means to me is that one… people, people see me. And that feels good in itself to be seen, to be recognized, and also to be appreciated for the things that you love to do that you think no one sees. It’d be one thing if I was out here popular for, like, putting out negativity. But when you’re not with that, when you out here putting, you know, spreading love, that’s what you receive. Everywhere you go is just love. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Beyond putting paint where it ain’t and just doing an immaculate job at it, you’re also the founder of Good Air Studios, where you host live events and workshops for artists. Bringing it back a little bit, the last time we talked you were at Mouse Cat, and five years, a lot has changed. How was Good Air different from Mouse Cat? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">The Mouse Cat, personal studio is just all about…it’s my living space, you know. This is where I create, where I sleep, you know, but I needed a space for the community. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">For the longest time I’ve been doing this arts stuff, running this business by myself. I wanted to share this with other people. There’s a bunch of artists that look up to me and want to work by my side. And I want to be there to work in collaboration with them and teach them and learn from them. So I wanted to, you know, create a space for, you know, me and the community to connect and build. That’s how Good Air Studios came about. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For months, I was looking in this space, and I was just trying to, you know, figure out how I was going to pay that rent. So I reached out to all my closest friends and, you know, I pitched the idea to them, and then they believed in what I was talking about and now we here. \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">We makin’ enough money to pay rent, you know, but that’s a milestone. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">That’s gotta be dope to see it happening, the wheels are turning.\u003c/span> \u003cspan style=\"font-weight: 400\">I’ve been to the space it’s high ceilings, you know, like old warehouse just covered in art everywhere, the ping pong tables out front. You got the vibes and all of that is important. But the… what you just said beyond just the esthetics, this is about having space for creatives to come together. Why do you think that’s important for creatives in the Bay area right now? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">I feel like we as Black artists need a space for us, you know? And that’s what Good Air Studio is, you know? And it’s not just for Black artists, of course, but we are trying to encourage the Black community to come out and even those who don’t really draw like that and who want to learn, you know, we want to host workshops for them so they could develop the confidence to, you know, express themselves through that medium. We doing something really dope. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> I feel like you personally, and also the larger ideas that come from you and your circle are very representative of creatives in the Bay Area right now. And also like, looking forward, I feel like y’all have a foot on the pulse of the now and also have some say in what’s to come down the pipeline.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And we’re coming to the end of producing this show. With that, there’s a slight relief that I don’t do the same thing over and over again and there’s some sadness of like losing this thing that I love, right? And you as a person who’s gone through some transitions in your life, what advice would you give to myself and the Rightnowish team as we go through this transition? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Timothy B: \u003c/b>\u003cspan style=\"font-weight: 400\">We all creatives here. So no matter what we doing, we are doing something..we gon do something dope. So I guess my advice is to, continue to move in purpose, you know, and continue to move, towards whatever it is that is fulfilling your spirit, you know, because that is the thing that is going to wake us all up. That’s the… you like, you starting this show, this is the thing that we all needed. We needed to hear these stories of, you know, all these local celebrities. We use these stories that just, you know, remind us of maybe what we doing or, maybe get an insight of, you know, what is out there. Yeah man, continue to explore and experiment, it will happen for you, I promise you. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you. Thank you for sharing some insight into your life as a parent and also your life as an artist, man. And like, yeah, I can’t thank you enough because, you know, you changed the visual landscape at a place that we love. And that’s, that’s a hell of a task. So thank you. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s this thing that happens in journalism sometimes, where the person you’re interviewing speaks your truths. And all you can do is nod in agreement as the tape rolls. Timothy B.’s thoughts on community interaction — how it’s fueled his art and community service, even while dealing with all that life can throw at him. Yeah, bingo. That’s been a big part of this Rightnowish experience. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So Timothy B, Thank you again for your words of wisdom, your story and your work. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To keep up with Timothy B’s visual arts, live events and more follow him on Instagram at timothyb underscore art. That’s t-i-m-o-t-h-y-b underscore art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, wow…. for the last time here go the show credits:\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena is the Rightnowish producer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some of the music you heard in the episode was sourced from Audio Network.\u003cbr>\n\u003c/span>\u003cbr>\nChris Hambrick and Chris Egusa edited this episode.\u003cbr>\nChristopher Beale is our engineer.\u003cbr>\nThe Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan and Katie Sprenger.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Aight yall. This is the end. Thanks again. As a wise person once told me: keep it lit. Peace. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>The dense green woods of Sonoma County’s Forestville are home to a two-story music studio and residence that runs on solar energy. Known as \u003ca href=\"https://nestbuildcreate.com/\">The NEST\u003c/a>, the mocha colored building is made completely of wood, clay and cob; and it was created for the purpose of serving Native artists.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/raskdee/\" target=\"_blank\" rel=\"noopener\">Ras K’dee\u003c/a>, a Pomo-African hip-hop musician who grew up in the area, is the caretaker of the space, but he didn’t build it alone. He worked with over 350 people, many of them young folks from youth groups like \u003ca href=\"http://podersf.org\">PODER\u003c/a>, who took the 70-mile trip from San Francisco to this town by the Russian River, or Bidapte, “big river” in the Pomo language.\u003c/p>\n\u003cfigure id=\"attachment_13960798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960798 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-800x1067.jpg\" alt=\"Ras K'dee stands in front of the NEST, a solar powered hub for Native artists in Forestville, CA. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ras K’dee stands in front of the NEST, a solar powered hub for Native artists in Forestville, CA. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to being the founder of \u003ca href=\"https://www.facebook.com/snagmagazine/\" target=\"_blank\" rel=\"noopener\">SNAG Magazine\u003c/a>, an Indigenous periodical that has been in print for over two decades, Ras K’dee is also a DJ and emcee in the group \u003ca href=\"https://www.audiopharmacy.com/\" target=\"_blank\" rel=\"noopener\">Audiopharmacy\u003c/a>. This week on Rightnowish, we talk about the importance of working together to create spaces for artists to grow, and the ins and outs of land reclamation in the North Bay.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7274032882\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw\u003c/b>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cb>Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up Rightnowish listeners, it’s your host Pendarvis Harshaw\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t know about you but being in a forest soothes my soul. I got to feel that special bliss a few weeks back when I was in Sonoma County, specifically in the town of Forestville. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish producer Marisol Medina-Cadena and I got to visit a place called “The Nest.” It’s a quarter acre of land nestled among lush trees, and it serves as an arts and culture hub built by and for Indigenous folks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the last 6 years, it’s been the publishing home of a Native arts magazine called SNAG, which features poems, essays, photographs, and collages about Native identity and activism. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Nest has also been a space for Indigenous folks across Northern California to convene for permaculture workshops, ceremonies and community feasts, as well as trainings on natural building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And what came out of those training sessions is the construction of a two story art studio made from cob.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Facilitating these trainings is a DJ and musician who started SNAG magazine. His name is Ras K’dee. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee, Guest\u003c/b>\u003cspan style=\"font-weight: 400\">: I’m Pomo. My ancestry is from right here. The river that flows down that we’re on right now is Bidapte, Big River. And then Ashokawna is where our people are from. And so we’re on our traditional lands right here, this is our traditional grounds.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee sees The Nest as the intersection of creativity and environmental responsibility. And so he, with the help of other Indigenous folks have built this place to be completely fueled by solar panels. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ll hear how Indigenous creativity is taking shape at The Nest right after this. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> About 15 minutes away from the Russian River is The Nest, a space built by and for Native people. Ras K’dee who was born and raised in Sonoma County was able to purchase this plot of land with the inheritance he got from his grandmother selling her house. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ras K’dee, Marisol and I stand outside and take in the beauty.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">We had a land blessing from my, from my grandmother and my aunt, came and did like a land blessing, in the Pomo way, where they sing songs and offer prayers and, and, had our had our community here that were coming to help\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We got the land in 2012. But slowly, we’ve been building building it up. We actually intentionally didn’t build for, like, four years. We just kind of, like, watch the land and, during in the winter, during the spring, during the summer and just kind of in the fall, kind of see the different seasons and… Four years of that and like slowly just kind of clearing and like putting garden beds and stuff and planting trees.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This slow process of tending the land allowed Ras K’dee to be intentional about how to build out the space.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first structure he envisioned was the art studio. It’s brown, and 2 stories tall with hexagon sides and has a roof that extends over the sides. It kinda looks like a trumpet mushroom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He designed it by thinking about what would be conducive for creating. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was visualizing “what do painters or artists need?” You know, taller ceilings, you know, like, open like, clay wall where they can, like, you know, put their stuff up. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And the construction of this is completely made from cob.\u003c/span> \u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">The building is sitting on mortared stone. And then it goes up about three feet. And then, on top of that is cob, which is the plaster of clay and straw and sand, mixed together. And it makes like a kind you know, really strong, like, kind of like concrete, almost. And so then you have, like, a foot of that and then from that going up is all pallet wall. So those are like pallets that are, that are stuffed with straw and plastered over.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">Structurally it’s got wood and it’s got these big lumber, lumber pieces that are holding it up. And inside you’ll see there’s beams going across. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Marisol Medina-Cadena, Rightnowish Producer: \u003c/b>\u003cspan style=\"font-weight: 400\">Is it redwood beams?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee : \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah Redwood. Yeah. Wanna go and check it out?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, let’s go inside.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of footsteps]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee encourages us to touch the cob walls to feel all the love that was poured into making it. We do and it has a calming quality to it. He says, it’s the energy of all the people who he invited to help build it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">We had about 350 people work on the structure, over 350 people and mostly youth. There’s a lot of young people, a lot of youth groups. We had PODER and their youth group come up. We had a bunch of families, like friends with families came up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K Dee: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">We had my friend Tomaggio and his family… were some of the first people here helping. They had a three year old and a one year old at the time. Inside is like a plastering and mixing area. And so you just put a tarp down and put all the ingredients in. And so the youth are just in there, just, you know jumping around, having fun. And like, we went to lunch and we were eating and, you know, just visiting and having a break and we came back and like the whole thing is like, mixed. We’re like, “oh man, you guys, you guys did the work, you know”?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it was really cool like seeing the young people, yeah, just bringing in the clay. Like, the three year old is like giving it to the one year old or the one year old giving it to the three year old and three year old is like, bringing it in to the parents and then the parents are like, putting it on the wall. So that’s kind of like how this started in here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> How did you even know how to do sustainable type of building?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m pretty self-taught. I also like went to a lot of workshops. But, really got my chops in Hoopa. At the Hoopa Rez, we built a straw bale structure. It was little bit different of, of a kind of a building. But you basically use the straw bales and you cut them and make them look kind of like Legos. So they’re like… and stack them and then you plaster that. And that that structure is still, still standing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">That really like gave me a perspective like what it takes and the amount of people and the amount of work that it takes to do this kind of building. But this is my first building that I built from scratch.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> When I was touching the wall, like you said, I noticed it was very cool. Can you talk about how the material itself is good for winter and summer? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, you know, the walls themselves absorb you know, the humidity, the moisture. And the clay walls, they’re like, really they’re known to, be a great barrier in terms of like, creating a more, just relaxed temperature inside. And what the clay does is it absorbs like the humidity and the kind of the, the heat, the moisture and kind of captures it. And when it starts to cool at night, it starts to release it inside. And so it keeps the building naturally fluctuating between just a comfortable temperature. But you’ll notice when we walk outside even, you know that it’s much cooler inside of here.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ya know, behind building a structure like this is that it’s nontoxic. You don’t have all the waste chemicals. You don’t have all the waste number one from from the construction industry. There’s a lot of waste. Like, I don’t know if you ever been to a construction site, but you look in the dumpsters, it’s like, full of, like, perfectly good, usable materials, but it’s just stuff they cut off or stuff they’re not going to use. So it’s it’s… I pulled a lot of the lumber for this structure out of dumpsters actually, because people just throw away perfectly good two by sixes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This room is essentially a sleeping den for Ras K’dee. A mattress takes up the full space and original art pieces from visiting artists hang on the walls. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Next Ras K’dee invites us to check the upstairs level of this structure. For the last couple of years it’s served as a creative studio for visiting artists to retreat and work on their own visual art. Most recently, they had an Anishinaabe artist from Detroit stay and create graphics and articles for SNAG magazine.\u003cbr>\n\u003c/span>\u003cb>\u003cbr>\n\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[Ras’Kdee talking]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We walk up a flight of stairs made from redwood trees.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay. Watch your head here this is a little low this side. Gotta duck down there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s cool up here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a fully fleshed out recording space. There’s acoustic and electric guitars hanging on the walls. a desk with 2 keyboards, sound mixers and recording microphones. The wooden roof has a skylight so the sun shines into the studio and provides beautiful natural lighting that feels conducive for getting the creative juices flowing.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee has even recorded a couple albums here with his group Audiopharmacy. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K Dee\u003c/b>\u003cspan style=\"font-weight: 400\">:\u003c/span> \u003cspan style=\"font-weight: 400\">The founders of the group are all kind of like rooted in hip hop and hip hop, I would say is, you know, really a music that’s founded on sampling. And so it literally sampled every genre, you know, and so that’s kind of like what we are. We’re like, we are every genre, you know. But I play keys, is my main instrument that I, that I grew up playing. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">After this short tour, we sit down to talk more about the vision behind The Nest.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You live here as well? What’s your day to day life like here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee\u003c/b>\u003cspan style=\"font-weight: 400\">: Taking care of the garden is a big part of my day. Waking up in the morning, watering the garden, doing some weeding. I like to, I like to do a little bit of work. Work in the garden in the morning, and then jumping on my other work that I do. I’m also a musician and artist, so it’s a busy time. You know, we got gigs and stuff, so there’s a lot of calls and stuff happening around negotiating and figuring out gigs. But yeah, just supporting artists, you know is kind of what I do here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right now, I’m working on a mural project in Windsor, we’re, we’ve got like, a 100 foot wall over there and so bringing in the artists for that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So, juggling the arts, also juggling all that comes with managing nature. You’re in the middle of nowhere. What’s nightlife like out here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Quiet. it’s quiet. Like all those scary movies start creeping in, you know, you’re like, man, it’s dark out here. Like, what’s out here, like, you know, mountain lions, bears, you know, like you start thinking about things. And so it took me a while to like to like, unlearn that programing, you know, like to like, get out of that like, cycle, like fear and just be like, oh, it’s just nature.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Being out here alone and just kind of like in the elements, I started to really enjoy it and really enjoy that that peace,connecting to to that darkness in a different way. But, there’s constantly people coming through, especially during this, this time of year. We do like a men’s healing circle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> As a kid, were you the builder type?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I grew up in Sonoma County. I grew up, not too far from. And in northern Santa Rosa. Where we grew up, it was like the end of town, like our street was like the last street in town, basically. And like, as soon as you leave there, it’s just like hills,and so like, we would be off in the hills, you know, with our B-B guns, our slingshots. And it was like, you know, we go out all our homies, like 4 or 5 of us, you know, me and my brother, my older brother. And we would, we would just be out all day long. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’d have different forts built. It was always kind of like in my, back of my head is like, got to get to the forest, got to get back to the forest and build that tree fort. As an adult, you know, this is kind of like a representation of that I think.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> In this part of the region in Sonoma County, there’s a couple of other organizations that are doing similar work, like EARTHseed, like Heron Shadow. Are you in communication with these organizations? And is there like a movement occurring?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> There’s definitely a movement. Yeah. It’s pretty special, actually, to be be a part of it. I am in community with a lot of a lot of the organizations you mentioned. I was just deejaying, actually, at EARTHseed’s “Black to Land” event last week. They open up their, their space to, you know, to, to the Black community. We we all collaborate. We all connect. And Heron Shadow has a farm, so they have more food and, they do like, Indigenous food and Indigenous seeds. They bring back seeds. And so it’s perfect because, you know, like we go over there like, do an exchange or do a collaboration and they gift us this with seeds and gift us with plants to bring back here to plant. So it’s kind of like this, you know, this sharing of resources.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Being in your space and you talking about all the community groups that come here, it makes me think about how other land back efforts we’re seeing in NorCal are very different, in that it’s like a city, you know, giving a plot of land to a formal nonprofit to steward and tend. But this is like your private space built from your like, family equity. And talk to us about that decision to open up your personal space so that it is a collective thing.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> This building couldn’t have been made without, you know, people coming. I think it was more of a prayer, you know, like I want to I want to put the prayer here, for this space to be a community space and for it to be, a resource for the community,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so we put the prayer in and like, you know, kind of like not knowing, you know, if the community was going to show up, just like, oh, let’s start doing this, this crazy project and see, see who shows up kind of thing and the community, community showed up.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m wondering when you’re either in the garden or just sitting here with your dog Panda taking in the breeze, the sounds, how do you feel? Or what are you thinking about what this land means for you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee\u003c/b>\u003cspan style=\"font-weight: 400\">: What I’ve gained is, I guess, a sense of peace. And coming into this land with also like a lot of work to do to like prepare it, it felt like overwhelming, you know, and it felt like, you know, like impossible at first because it was an empty lot and it was just overgrown. And, you know, trees had fallen and it hadn’t been taken care for many years. And yeah, just doing the work to, like, slowly heal the land and steward it in a good way, you know, has really just helped me to like, to heal myself,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Indigenous people, you know, we see it as like as, like a generational commitment to the land. You know, like, we’re going to be here for generations. We’re not just here for build our house right now and then sell it and then, you know, move somewhere else, you know, or to Mexico or whatever, you know. What do they call them? Digital nomads. You know, like we’re not thinking in terms of that. We’re thinking in terms of generations.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So what are we building here right now that that we can leave generationally for, for our for our youth in the future, right. I don’t have youth of my own right now, but I have young people that I that I work with. This is a lifelong project. It’s not a temporary thing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We were creating this space as kind of a showcase place where people can come and see, you know, a building that’s that’s cob. And they could touch the wall and feel and see what it looks like and what the different building techniques are and learn about the different building techniques and then be like, oh, I want to, I want to build an adobe, you know, adobe dome. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But really, really just incubate, incubate art that changes the world, you know, that’s that’s that’s why the space is here. So those are, those are the things that we want to do here and invite the artists that can bring about that change that we need in this world.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ras K’dee, we can’t thank you enough. Much appreciation to you for welcoming us to your corner of Sonoma County to see and experience The Nest.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Nest is still evolving and Ras K’dee has plans to build a yurt and a dance studio to be able to host more classes and workshops. To stay updated on The Nest follow along on Instagram @SNAG.magazine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And to keep up Ras K’dee’s art and music projects, you can check out his IG @raskdee that’s spelled R-A-S-K-D-E-E.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace!\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>The dense green woods of Sonoma County’s Forestville are home to a two-story music studio and residence that runs on solar energy. Known as \u003ca href=\"https://nestbuildcreate.com/\">The NEST\u003c/a>, the mocha colored building is made completely of wood, clay and cob; and it was created for the purpose of serving Native artists.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/raskdee/\" target=\"_blank\" rel=\"noopener\">Ras K’dee\u003c/a>, a Pomo-African hip-hop musician who grew up in the area, is the caretaker of the space, but he didn’t build it alone. He worked with over 350 people, many of them young folks from youth groups like \u003ca href=\"http://podersf.org\">PODER\u003c/a>, who took the 70-mile trip from San Francisco to this town by the Russian River, or Bidapte, “big river” in the Pomo language.\u003c/p>\n\u003cfigure id=\"attachment_13960798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960798 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-800x1067.jpg\" alt=\"Ras K'dee stands in front of the NEST, a solar powered hub for Native artists in Forestville, CA. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ras-KDee-by-Pendarvis-Harshaw-7-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ras K’dee stands in front of the NEST, a solar powered hub for Native artists in Forestville, CA. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to being the founder of \u003ca href=\"https://www.facebook.com/snagmagazine/\" target=\"_blank\" rel=\"noopener\">SNAG Magazine\u003c/a>, an Indigenous periodical that has been in print for over two decades, Ras K’dee is also a DJ and emcee in the group \u003ca href=\"https://www.audiopharmacy.com/\" target=\"_blank\" rel=\"noopener\">Audiopharmacy\u003c/a>. This week on Rightnowish, we talk about the importance of working together to create spaces for artists to grow, and the ins and outs of land reclamation in the North Bay.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7274032882\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw\u003c/b>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cb>Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up Rightnowish listeners, it’s your host Pendarvis Harshaw\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t know about you but being in a forest soothes my soul. I got to feel that special bliss a few weeks back when I was in Sonoma County, specifically in the town of Forestville. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish producer Marisol Medina-Cadena and I got to visit a place called “The Nest.” It’s a quarter acre of land nestled among lush trees, and it serves as an arts and culture hub built by and for Indigenous folks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the last 6 years, it’s been the publishing home of a Native arts magazine called SNAG, which features poems, essays, photographs, and collages about Native identity and activism. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Nest has also been a space for Indigenous folks across Northern California to convene for permaculture workshops, ceremonies and community feasts, as well as trainings on natural building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And what came out of those training sessions is the construction of a two story art studio made from cob.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Facilitating these trainings is a DJ and musician who started SNAG magazine. His name is Ras K’dee. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee, Guest\u003c/b>\u003cspan style=\"font-weight: 400\">: I’m Pomo. My ancestry is from right here. The river that flows down that we’re on right now is Bidapte, Big River. And then Ashokawna is where our people are from. And so we’re on our traditional lands right here, this is our traditional grounds.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee sees The Nest as the intersection of creativity and environmental responsibility. And so he, with the help of other Indigenous folks have built this place to be completely fueled by solar panels. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ll hear how Indigenous creativity is taking shape at The Nest right after this. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> About 15 minutes away from the Russian River is The Nest, a space built by and for Native people. Ras K’dee who was born and raised in Sonoma County was able to purchase this plot of land with the inheritance he got from his grandmother selling her house. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ras K’dee, Marisol and I stand outside and take in the beauty.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">We had a land blessing from my, from my grandmother and my aunt, came and did like a land blessing, in the Pomo way, where they sing songs and offer prayers and, and, had our had our community here that were coming to help\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We got the land in 2012. But slowly, we’ve been building building it up. We actually intentionally didn’t build for, like, four years. We just kind of, like, watch the land and, during in the winter, during the spring, during the summer and just kind of in the fall, kind of see the different seasons and… Four years of that and like slowly just kind of clearing and like putting garden beds and stuff and planting trees.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This slow process of tending the land allowed Ras K’dee to be intentional about how to build out the space.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first structure he envisioned was the art studio. It’s brown, and 2 stories tall with hexagon sides and has a roof that extends over the sides. It kinda looks like a trumpet mushroom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He designed it by thinking about what would be conducive for creating. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was visualizing “what do painters or artists need?” You know, taller ceilings, you know, like, open like, clay wall where they can, like, you know, put their stuff up. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And the construction of this is completely made from cob.\u003c/span> \u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">The building is sitting on mortared stone. And then it goes up about three feet. And then, on top of that is cob, which is the plaster of clay and straw and sand, mixed together. And it makes like a kind you know, really strong, like, kind of like concrete, almost. And so then you have, like, a foot of that and then from that going up is all pallet wall. So those are like pallets that are, that are stuffed with straw and plastered over.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">Structurally it’s got wood and it’s got these big lumber, lumber pieces that are holding it up. And inside you’ll see there’s beams going across. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Marisol Medina-Cadena, Rightnowish Producer: \u003c/b>\u003cspan style=\"font-weight: 400\">Is it redwood beams?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee : \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah Redwood. Yeah. Wanna go and check it out?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, let’s go inside.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of footsteps]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee encourages us to touch the cob walls to feel all the love that was poured into making it. We do and it has a calming quality to it. He says, it’s the energy of all the people who he invited to help build it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ras K’dee: \u003c/b>\u003cspan style=\"font-weight: 400\">We had about 350 people work on the structure, over 350 people and mostly youth. There’s a lot of young people, a lot of youth groups. We had PODER and their youth group come up. We had a bunch of families, like friends with families came up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K Dee: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">We had my friend Tomaggio and his family… were some of the first people here helping. They had a three year old and a one year old at the time. Inside is like a plastering and mixing area. And so you just put a tarp down and put all the ingredients in. And so the youth are just in there, just, you know jumping around, having fun. And like, we went to lunch and we were eating and, you know, just visiting and having a break and we came back and like the whole thing is like, mixed. We’re like, “oh man, you guys, you guys did the work, you know”?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it was really cool like seeing the young people, yeah, just bringing in the clay. Like, the three year old is like giving it to the one year old or the one year old giving it to the three year old and three year old is like, bringing it in to the parents and then the parents are like, putting it on the wall. So that’s kind of like how this started in here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> How did you even know how to do sustainable type of building?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m pretty self-taught. I also like went to a lot of workshops. But, really got my chops in Hoopa. At the Hoopa Rez, we built a straw bale structure. It was little bit different of, of a kind of a building. But you basically use the straw bales and you cut them and make them look kind of like Legos. So they’re like… and stack them and then you plaster that. And that that structure is still, still standing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">That really like gave me a perspective like what it takes and the amount of people and the amount of work that it takes to do this kind of building. But this is my first building that I built from scratch.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> When I was touching the wall, like you said, I noticed it was very cool. Can you talk about how the material itself is good for winter and summer? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, you know, the walls themselves absorb you know, the humidity, the moisture. And the clay walls, they’re like, really they’re known to, be a great barrier in terms of like, creating a more, just relaxed temperature inside. And what the clay does is it absorbs like the humidity and the kind of the, the heat, the moisture and kind of captures it. And when it starts to cool at night, it starts to release it inside. And so it keeps the building naturally fluctuating between just a comfortable temperature. But you’ll notice when we walk outside even, you know that it’s much cooler inside of here.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ya know, behind building a structure like this is that it’s nontoxic. You don’t have all the waste chemicals. You don’t have all the waste number one from from the construction industry. There’s a lot of waste. Like, I don’t know if you ever been to a construction site, but you look in the dumpsters, it’s like, full of, like, perfectly good, usable materials, but it’s just stuff they cut off or stuff they’re not going to use. So it’s it’s… I pulled a lot of the lumber for this structure out of dumpsters actually, because people just throw away perfectly good two by sixes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This room is essentially a sleeping den for Ras K’dee. A mattress takes up the full space and original art pieces from visiting artists hang on the walls. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Next Ras K’dee invites us to check the upstairs level of this structure. For the last couple of years it’s served as a creative studio for visiting artists to retreat and work on their own visual art. Most recently, they had an Anishinaabe artist from Detroit stay and create graphics and articles for SNAG magazine.\u003cbr>\n\u003c/span>\u003cb>\u003cbr>\n\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[Ras’Kdee talking]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We walk up a flight of stairs made from redwood trees.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay. Watch your head here this is a little low this side. Gotta duck down there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s cool up here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a fully fleshed out recording space. There’s acoustic and electric guitars hanging on the walls. a desk with 2 keyboards, sound mixers and recording microphones. The wooden roof has a skylight so the sun shines into the studio and provides beautiful natural lighting that feels conducive for getting the creative juices flowing.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Ras K’dee has even recorded a couple albums here with his group Audiopharmacy. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K Dee\u003c/b>\u003cspan style=\"font-weight: 400\">:\u003c/span> \u003cspan style=\"font-weight: 400\">The founders of the group are all kind of like rooted in hip hop and hip hop, I would say is, you know, really a music that’s founded on sampling. And so it literally sampled every genre, you know, and so that’s kind of like what we are. We’re like, we are every genre, you know. But I play keys, is my main instrument that I, that I grew up playing. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">After this short tour, we sit down to talk more about the vision behind The Nest.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You live here as well? What’s your day to day life like here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee\u003c/b>\u003cspan style=\"font-weight: 400\">: Taking care of the garden is a big part of my day. Waking up in the morning, watering the garden, doing some weeding. I like to, I like to do a little bit of work. Work in the garden in the morning, and then jumping on my other work that I do. I’m also a musician and artist, so it’s a busy time. You know, we got gigs and stuff, so there’s a lot of calls and stuff happening around negotiating and figuring out gigs. But yeah, just supporting artists, you know is kind of what I do here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right now, I’m working on a mural project in Windsor, we’re, we’ve got like, a 100 foot wall over there and so bringing in the artists for that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So, juggling the arts, also juggling all that comes with managing nature. You’re in the middle of nowhere. What’s nightlife like out here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> Quiet. it’s quiet. Like all those scary movies start creeping in, you know, you’re like, man, it’s dark out here. Like, what’s out here, like, you know, mountain lions, bears, you know, like you start thinking about things. And so it took me a while to like to like, unlearn that programing, you know, like to like, get out of that like, cycle, like fear and just be like, oh, it’s just nature.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Being out here alone and just kind of like in the elements, I started to really enjoy it and really enjoy that that peace,connecting to to that darkness in a different way. But, there’s constantly people coming through, especially during this, this time of year. We do like a men’s healing circle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> As a kid, were you the builder type?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I grew up in Sonoma County. I grew up, not too far from. And in northern Santa Rosa. Where we grew up, it was like the end of town, like our street was like the last street in town, basically. And like, as soon as you leave there, it’s just like hills,and so like, we would be off in the hills, you know, with our B-B guns, our slingshots. And it was like, you know, we go out all our homies, like 4 or 5 of us, you know, me and my brother, my older brother. And we would, we would just be out all day long. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’d have different forts built. It was always kind of like in my, back of my head is like, got to get to the forest, got to get back to the forest and build that tree fort. As an adult, you know, this is kind of like a representation of that I think.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> In this part of the region in Sonoma County, there’s a couple of other organizations that are doing similar work, like EARTHseed, like Heron Shadow. Are you in communication with these organizations? And is there like a movement occurring?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> There’s definitely a movement. Yeah. It’s pretty special, actually, to be be a part of it. I am in community with a lot of a lot of the organizations you mentioned. I was just deejaying, actually, at EARTHseed’s “Black to Land” event last week. They open up their, their space to, you know, to, to the Black community. We we all collaborate. We all connect. And Heron Shadow has a farm, so they have more food and, they do like, Indigenous food and Indigenous seeds. They bring back seeds. And so it’s perfect because, you know, like we go over there like, do an exchange or do a collaboration and they gift us this with seeds and gift us with plants to bring back here to plant. So it’s kind of like this, you know, this sharing of resources.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Being in your space and you talking about all the community groups that come here, it makes me think about how other land back efforts we’re seeing in NorCal are very different, in that it’s like a city, you know, giving a plot of land to a formal nonprofit to steward and tend. But this is like your private space built from your like, family equity. And talk to us about that decision to open up your personal space so that it is a collective thing.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee:\u003c/b>\u003cspan style=\"font-weight: 400\"> This building couldn’t have been made without, you know, people coming. I think it was more of a prayer, you know, like I want to I want to put the prayer here, for this space to be a community space and for it to be, a resource for the community,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so we put the prayer in and like, you know, kind of like not knowing, you know, if the community was going to show up, just like, oh, let’s start doing this, this crazy project and see, see who shows up kind of thing and the community, community showed up.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m wondering when you’re either in the garden or just sitting here with your dog Panda taking in the breeze, the sounds, how do you feel? Or what are you thinking about what this land means for you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ras K’dee\u003c/b>\u003cspan style=\"font-weight: 400\">: What I’ve gained is, I guess, a sense of peace. And coming into this land with also like a lot of work to do to like prepare it, it felt like overwhelming, you know, and it felt like, you know, like impossible at first because it was an empty lot and it was just overgrown. And, you know, trees had fallen and it hadn’t been taken care for many years. And yeah, just doing the work to, like, slowly heal the land and steward it in a good way, you know, has really just helped me to like, to heal myself,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Indigenous people, you know, we see it as like as, like a generational commitment to the land. You know, like, we’re going to be here for generations. We’re not just here for build our house right now and then sell it and then, you know, move somewhere else, you know, or to Mexico or whatever, you know. What do they call them? Digital nomads. You know, like we’re not thinking in terms of that. We’re thinking in terms of generations.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So what are we building here right now that that we can leave generationally for, for our for our youth in the future, right. I don’t have youth of my own right now, but I have young people that I that I work with. This is a lifelong project. It’s not a temporary thing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We were creating this space as kind of a showcase place where people can come and see, you know, a building that’s that’s cob. And they could touch the wall and feel and see what it looks like and what the different building techniques are and learn about the different building techniques and then be like, oh, I want to, I want to build an adobe, you know, adobe dome. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But really, really just incubate, incubate art that changes the world, you know, that’s that’s that’s why the space is here. So those are, those are the things that we want to do here and invite the artists that can bring about that change that we need in this world.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Ras K’dee, we can’t thank you enough. Much appreciation to you for welcoming us to your corner of Sonoma County to see and experience The Nest.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Nest is still evolving and Ras K’dee has plans to build a yurt and a dance studio to be able to host more classes and workshops. To stay updated on The Nest follow along on Instagram @SNAG.magazine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And to keep up Ras K’dee’s art and music projects, you can check out his IG @raskdee that’s spelled R-A-S-K-D-E-E.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace!\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "all-the-nights-we-got-to-dance-is-a-tribute-to-queer-nightlife-in-sf",
"title": "‘All The Nights We Got to Dance’ is a Tribute to Queer Nightlife in SF",
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"content": "\u003cp>Human memory can be triggered by certain smells, sounds or even a photo. It’s funny how the mind works; one small symbol can lead to the rehashing of feelings from years ago.\u003c/p>\n\u003cp>The latest work from artist \u003ca href=\"https://www.instagram.com/marcelpardoa/\" target=\"_blank\" rel=\"noopener\">Marcel Pardo Ariza\u003c/a> urges people to take a trip down memory lane by using images of gone-but-not-forgotten bar signs. Pardo Ariza is clear: these bars served more than booze. They were sanctuaries for folks from San Francisco’s queer and trans community, and should be celebrated as such.\u003c/p>\n\u003cfigure id=\"attachment_13960327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960327 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-800x535.jpg\" alt='Marcel Pardo Ariza wears a blue button-up shirt while standing in front of their latest work behind a windowfront, \"All The Nights We Got To Dance.\"' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Marcel Pardo Ariza and their latest installation, ‘All The Nights We Got To Dance.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13960341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960341 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg\" alt=\"On a yellow background, are illustrations of historic Queer and Trans bar signs including Gene Compton’s Cafeteria, Esta Noche, Amelia’s, The Pendulum and more. \" width=\"800\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1536x1119.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-2048x1491.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1920x1398.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mockup of the site specific installation ‘All The Nights We Got to Dance.’ \u003ccite>(courtesy of Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>All The Nights We Got To Dance\u003c/em> is a site-specific installation in the ground-floor window of The Line Hotel in San Francisco’s Transgender Cultural District. A sunset orange backdrop is covered in hand-painted wooden replicas of bar signs, such as The Lexington, Esta Noche and \u003ca href=\"https://www.glbthistory.org/primary-source-set-finocchios#:~:text=Finocchio's%20opened%20in%20the%20late,tourists%20and%20the%20queer%20community.\" target=\"_blank\" rel=\"noopener\">Finocchio’s\u003c/a> — a club credited as one of the earliest incubators of drag shows in the U.S.\u003c/p>\n\u003cp>[aside postID='arts_13936474']Born in Colombia and based in Oakland, Pardo Ariza worked closely with \u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s GLBT Historical Society \u003c/a>for their latest project\u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">, \u003c/a>leveraging the center’s rich archives to inform their work.\u003c/p>\n\u003cp>This week on Rightnowish, we catch up with Pardo Ariza to take a look at their latest installation before heading over to the GLBT Historical Society’s \u003ca href=\"https://www.glbthistory.org/archives-about-visitor-info\">archives\u003c/a>. There, we meet up with Issac Fellman, the center’s managing reference archivist, who brings us files full of actual handbills, photos, flyers and ephemera from all the nights people danced.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7628242492\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Human memory can be triggered by certain smells, sounds or even a photo. It’s funny how the mind works; one small symbol can lead to the rehashing of feelings from years ago.\u003c/p>\n\u003cp>The latest work from artist \u003ca href=\"https://www.instagram.com/marcelpardoa/\" target=\"_blank\" rel=\"noopener\">Marcel Pardo Ariza\u003c/a> urges people to take a trip down memory lane by using images of gone-but-not-forgotten bar signs. Pardo Ariza is clear: these bars served more than booze. They were sanctuaries for folks from San Francisco’s queer and trans community, and should be celebrated as such.\u003c/p>\n\u003cfigure id=\"attachment_13960327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960327 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-800x535.jpg\" alt='Marcel Pardo Ariza wears a blue button-up shirt while standing in front of their latest work behind a windowfront, \"All The Nights We Got To Dance.\"' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Marcel-Pardo-Ariza-by-Pendarvis-Harshaw-2.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Marcel Pardo Ariza and their latest installation, ‘All The Nights We Got To Dance.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13960341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13960341 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg\" alt=\"On a yellow background, are illustrations of historic Queer and Trans bar signs including Gene Compton’s Cafeteria, Esta Noche, Amelia’s, The Pendulum and more. \" width=\"800\" height=\"583\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1536x1119.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-2048x1491.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/All-The-Nights-copy-1920x1398.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mockup of the site specific installation ‘All The Nights We Got to Dance.’ \u003ccite>(courtesy of Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>All The Nights We Got To Dance\u003c/em> is a site-specific installation in the ground-floor window of The Line Hotel in San Francisco’s Transgender Cultural District. A sunset orange backdrop is covered in hand-painted wooden replicas of bar signs, such as The Lexington, Esta Noche and \u003ca href=\"https://www.glbthistory.org/primary-source-set-finocchios#:~:text=Finocchio's%20opened%20in%20the%20late,tourists%20and%20the%20queer%20community.\" target=\"_blank\" rel=\"noopener\">Finocchio’s\u003c/a> — a club credited as one of the earliest incubators of drag shows in the U.S.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Born in Colombia and based in Oakland, Pardo Ariza worked closely with \u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s GLBT Historical Society \u003c/a>for their latest project\u003ca href=\"https://www.glbthistory.org/\" target=\"_blank\" rel=\"noopener\">, \u003c/a>leveraging the center’s rich archives to inform their work.\u003c/p>\n\u003cp>This week on Rightnowish, we catch up with Pardo Ariza to take a look at their latest installation before heading over to the GLBT Historical Society’s \u003ca href=\"https://www.glbthistory.org/archives-about-visitor-info\">archives\u003c/a>. There, we meet up with Issac Fellman, the center’s managing reference archivist, who brings us files full of actual handbills, photos, flyers and ephemera from all the nights people danced.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7628242492\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "richie-rich-oakland-rap-larussell-second-act",
"title": "‘Never Underestimate the OG’: Richie Rich's Second Act",
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"content": "\u003cp>[dropcap]O[/dropcap]n a Sunday afternoon in mid-November, \u003ca href=\"https://www.instagram.com/larussell/?hl=en\" target=\"_blank\" rel=\"noopener\">LaRussell\u003c/a> is onstage at The New Parish in Oakland, energetically hurling rhyme pyrotechnics, just days after the premiere of \u003ca href=\"https://www.youtube.com/watch?v=w40XbPyotj8\" target=\"_blank\" rel=\"noopener\">his NPR \u003cem>Tiny Desk\u003c/em> concert\u003c/a>.\u003c/p>\n\u003cp>Known for his clever lyrics, charismatic personality and nonstop production, LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">refused to sign with a major label\u003c/a>. He hosts sold-out shows at a small venue, The Pergola, built in his backyard. Staunchly independent, he’s paved his own lane in the rap game by investing in himself, his community and his culture.\u003c/p>\n\u003cp>His latest investment: the reintroduction of \u003ca href=\"https://www.instagram.com/tharealrichierich/\" target=\"_blank\" rel=\"noopener\">Richie Rich\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968024\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-scaled.jpeg\" alt='While on stage with rising Vallejo rap star LaRussell at the New Parish in Oakland, veteran rapper Richie Rich tells the crowd that \"Double R\" now stands for LaRussell and Rich.' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At the New Parish in Oakland on Nov. 10, 2024, veteran rapper Richie Rich tells the crowd that “Double R” now stands for LaRussell and Rich. \u003ccite>(Jason Hayes / \u003ca href=\"https://www.instagram.com/j.castae/?hl=en\" target=\"_blank\">J.Castae\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minutes into Sunday’s show, after LaRussell warms up the crowd with violinist \u003ca href=\"https://www.instagram.com/michaelprinceviolin/?hl=en\" target=\"_blank\" rel=\"noopener\">Michael Prince\u003c/a> and vocalist \u003ca href=\"https://www.instagram.com/shante_music/\" target=\"_blank\" rel=\"noopener\">Shanté\u003c/a>, Rich walks out on stage.\u003c/p>\n\u003cp>Richie Rich’s pedigree is \u003cem>deep\u003c/em>. He’s a former Def Jam signee who influenced Snoop Dogg and was friends with Tupac. He had songs on \u003ca href=\"https://www.youtube.com/watch?v=YC_RQEby1JQ\" target=\"_blank\" rel=\"noopener\">\u003cem>The Nutty Professor\u003c/em>\u003c/a> and \u003ca href=\"https://open.spotify.com/track/3EcVo3nMBveyqGi7MzTZdM\" target=\"_blank\" rel=\"noopener\">\u003cem>How To Be A Player\u003c/em>\u003c/a> soundtracks. His 1996 album \u003cem>Seasoned Veteran\u003c/em> spawned two singles on the Billboard Top 100. And his verse on \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#i-got-5-on-it-remix-a-meeting-of-greats-recorded-in-alameda\">the remix to the Luniz’ anthem “I Got 5 On It”\u003c/a> provided the Town with the classic line: “Where you from? Oakland. Smokin’.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fittingly, at the New Parish, the artist who founded the pioneering rap group 415 enters to the beat of one of his group’s best-known songs, 1990’s “\u003ca href=\"https://www.youtube.com/watch?v=UsOeXoZoYPo\" target=\"_blank\" rel=\"noopener\">Side Show\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SQGqYHg-uyI\u003c/p>\n\u003cp>Over a stripped-down instrumental on live keyboard, Rich raps bar-for-bar in his raspy, laid-back flow, crisp and clear, without any background vocals. When the chorus hits, LaRussell steps in and remixes it, pulling from \u003ca href=\"https://www.youtube.com/watch?v=h4d7UwaNrIQ\" target=\"_blank\" rel=\"noopener\">the 2006 remake, “The Sideshow,”\u003c/a> by the late Traxamillion, Too Short and Mistah FAB.\u003c/p>\n\u003cp>It becomes clear: this isn’t just a guest appearance of Richie Rich at a LaRussell show. No, this is two emcees, with an age gap of over 20 years, trading bars, innovating on stage and moving the crowd.\u003c/p>\n\u003cp>As the audience recites the lyrics, the energy builds. LaRussell and \u003ca href=\"https://www.instagram.com/splashthakidd/\" target=\"_blank\" rel=\"noopener\">Splash Tha Kidd\u003c/a> are on stage giggin’, jumping as they dance. After the second verse, the crowd is turned up.\u003c/p>\n\u003cp>Richie Rich, grounded, laughs and calmly says, “Na… that’s how you got me last time.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s3TM5WSCvZs\u003c/p>\n\u003cp>[dropcap]F[/dropcap]our months prior in LaRussell’s backyard, onstage at the Pergola, the energy got the best of Rich.\u003c/p>\n\u003cp>During a performance of the song “What We Doin!?” which features Richie Rich alongside LaRussell and \u003ca href=\"https://www.instagram.com/mal4chii/\" target=\"_blank\" rel=\"noopener\">an 18 year-old MC named MALACHI,\u003c/a> Rich was in go mode. The P-Lo–produced track, full of high energy, is the type of song that makes one jump on stage — even if they know damn well they shouldn’t.\u003c/p>\n\u003cp>Under the scorching August sun, Rich was a few bars into his verse when the 56-year-old rapper, bouncing alongside the crowd, turned to his left. Suddenly, his knee popped. Falling to the ground, he kept rapping without missing a beat, freestyling new lyrics to communicate what’d just happened to his leg — “blew my knee actin’ out my age” — and even diagnosing it as a torn lower patella.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YGqKGhZkuug\u003c/p>\n\u003cp>All of this could’ve easily become a huge setback. Instead, in a world where the elements of hip-hop have expanded to include viral moments and social media influence, the widely viewed footage of Richie Rich kicking culture while sustaining a painful injury only helped reestablish his footprint in the rap game.\u003c/p>\n\u003cp>I recently caught up with Rich for a long conversation at his home in the East Bay, his leg in a brace as he sat across from me. Rich is a mild-mannered person who was raised by well-to-do parents, but despite his upbringing — and lifelong issues with his knees — he ran the streets.\u003c/p>\n\u003cfigure id=\"attachment_13968025\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543.jpg\" alt=\"With a scar on one knee and the other in a brace, you can tell that Richie Rich has had some conversations with his knees-- and they've done most of the talking.\" width=\"1180\" height=\"1554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-800x1054.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-1020x1343.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-768x1011.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-1166x1536.jpg 1166w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">With a scar on one knee and the other in a brace, it’s clear Richie Rich has had some conversations with his knees — and they’ve done most of the talking. \u003ccite>(Courtesy of Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m from up the hill, I’m not even from the flats,” says Rich, explaining his childhood and the topography of Deep East Oakland in one statement. “I went down the hill, and that shit changed me, bro,” he says.\u003c/p>\n\u003cp>“Them spokes that you see on that car out here?” Rich says, pointing to the gold rims of his cognac-colored 1972 Cutlass Oldsmobile. He first saw them, he explains, on a Falcon when he was 12. Little Rich ran to tell the driver how clean they were, but the light turned green and the driver pulled off. A few weeks later, Rich caught the driver at a red light and properly complemented him. The driver thanked him, and suggested he could one day have a car like that, too, before tapping the gas pedal and leaving tire treads in the intersection.\u003c/p>\n\u003cp>“If I live to be 90,” says Rich, fully committed to his cars, “I’ma have some gold ones and Vogues, you better know.”\u003c/p>\n\u003cfigure id=\"attachment_13968026\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968026\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-scaled.jpg\" alt=\"Rapper Richie Rich poses in a Raiders Bo Jackson jersey, while standing in front of his Cutlass Oldsmobile.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In a Raiders Bo Jackson jersey, Richie Rich poses with his 1972 Oldsmobile Cutlass Supreme. \u003ccite>(Courtesy of Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rich’s street life and hillside upbringing brought about different perspectives. He had run-ins with the law, though he often evaded them. But the culture had a grip on him.\u003c/p>\n\u003cp>“I was two people,” says Rich, from behind dark sunglasses. “I was Richie Rich and I was Double R.”\u003c/p>\n\u003cp>He elaborates: “Double R was the dude who went down the hill, Richie Rich was the dude who lived up the hill. So Richie Rich wrote ‘Do G’s Get to Go to Heaven,’” he says. “Double R wrote ‘Side Show’ and ‘Snitches and Bitches.'”\u003c/p>\n\u003cp>There’s always been a tug-of-war between these two sides, he says. Fortunately his dad gave him constant reassurance, and his mom gave him spiritual guidance, even if it came in the form of heavy-handed discipline.\u003c/p>\n\u003cp>“My mom was so strict,” Rich reflects, “that when I got caught stealing at Longs Drugs and they told me they was going to call my mom, I said, ‘Na, call the police. Don’t call my momma!'”\u003c/p>\n\u003cp>Once his mother found the Lord, “she brought that spirituality to us and locked us in with it,” says Rich. A sweet woman who was very hard to impress, Rich says he’d get good grades and his mother would remark, “Want to impress me? Show me that you can fly.”\u003c/p>\n\u003cp>When Rich signed with Def Jam, the label sent a car to take him to the airport. Misty-eyed, he reflects on his mother’s reaction. “She knocked on my door, and said, ‘There’s a limousine out front, Richie.’” Fanning out, she asked, “Can I go outside and see?”\u003c/p>\n\u003cp>Rich recalls her floating out the door in her trademark blue robe, sitting in the stretch limo, finally understanding that her son had made something of himself.\u003c/p>\n\u003cfigure id=\"attachment_13968116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518.jpg\" alt=\"\" width=\"2000\" height=\"1353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Rich pictured in New York City on Aug. 10, 1996, the day he signed with Def Jam Records. \u003ccite>(Al Pereira/Getty Images/Michael Ochs Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]R[/dropcap]ich had a conversation with his knees when he was a kid. They told him, “We’re gonna hold you down if the red and blue lights get behind you, or the dogs get to chasing you. Outside of that, don’t be attending those softball games and don’t play no three-on-threes,” he recalls.\u003c/p>\n\u003cp>Years later, Rich still has trouble walking in his own legacy. Almost 35 years since his 1990 debut solo album, \u003cem>Don’t Do It\u003c/em>, he’s on the verge of dropping a new project titled \u003cem>Richard\u003c/em>.\u003c/p>\n\u003cp>The album, set to release on the platform \u003ca href=\"https://get.even.biz/\" target=\"_blank\" rel=\"noopener\">Even\u003c/a> next month and then to all streaming services in January, features \u003ca href=\"https://www.instagram.com/larryjunetfm/?hl=en\" target=\"_blank\" rel=\"noopener\">Larry June\u003c/a>, \u003ca href=\"https://www.instagram.com/youngjr/?hl=en\" target=\"_blank\" rel=\"noopener\">Young JR\u003c/a>, \u003ca href=\"https://www.instagram.com/msjanehandcock/?hl=en\" target=\"_blank\" rel=\"noopener\">Jane Handcock\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a> and \u003ca href=\"https://www.instagram.com/thedelinquents86/?hl=en\">V. White of The Delinquents\u003c/a>. There’s a track where Rich pays homage to the slick players who came before him, as well as one with open critiques of current Oakland culture.\u003c/p>\n\u003cfigure id=\"attachment_13968027\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968027\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-scaled.jpg\" alt='\"Top of the Rolex, top of the Rolex,\" Richie says as he addresses people during his regular social media video check-ins.' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Top of the Rolex, top of the Rolex,’ Richie says as he addresses people during regular social media video check-ins. \u003ccite>(Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rich has been open about his issues with the place that raised him. In January of this year the rapper made headlines for \u003ca href=\"https://www.tmz.com/watch/2024-01-19-011924-richie-rich-1761556-305/\" target=\"_blank\" rel=\"noopener\">a rant he posted on social media\u003c/a>, proclaiming that he was leaving California. “The cost of living here is going up, but the chances of living is going down,” he says in the video.\u003c/p>\n\u003cp>Today, he explains that Oakland losing its pro sports teams and his favorite restaurants hurts. He adds that it’s very clear that the chasm between classes is growing, and when the haves and have-nots are at odds it makes it hard to own nice things without becoming a target. (And being a known rapper from that place adds another layer.)\u003c/p>\n\u003cp>He stands by many of the things he said in the post, but given time to reflect, he says it’s more about where he’s at this point in life than the Golden State. “I think it’s the invisibility that I’m chasing, not so much a disdain for California,” he says.\u003c/p>\n\u003cp>Rich’s California love is motivated by his ties to the people, from family members to world renowned artists.\u003c/p>\n\u003cfigure id=\"attachment_13968115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968115\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1920x1439.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Rich’s motorcycle, Makaveli, bears a portrait tribute to his late friend, Tupac Shakur. \u003ccite>(Courtesy of Richie Rich )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He says he’s appreciative that his friend, the late Tupac Shakur, has \u003ca href=\"https://www.kqed.org/arts/13929233/tupac-shakur-street-oakland-tupac-shakur-way\" target=\"_blank\" rel=\"noopener\">a street named in his honor\u003c/a> and that there’s been \u003ca href=\"https://www.npr.org/2023/09/29/1202754616/suspect-in-tupac-shakur-murder-arrested\" target=\"_blank\" rel=\"noopener\">an arrest in connection to his murder\u003c/a>. But Rich would prefer to see Pac alive now, enjoying all he accomplished.\u003c/p>\n\u003cp>Rich and Pac met around ’91 through a common friend, and became homies; not making music, just hanging out. As Rich’s career was in full swing and Shakur’s was just getting off the ground, Pac asked to be on a track with Rich. “Na, we’re doing gangsta music,” the rapper from the Rolling Hundreds told the young MC from Marin. “You on that Black Power shit.”\u003c/p>\n\u003cp>[aside postID='arts_13927810']The two stayed in contact, though, and Rich watched Tupac’s career explode. When Pac was incarcerated, they exchanged letters; mail that Rich wishes he would’ve kept. With a custom Harley motorcycle parked behind him, painted with Tupac’s face on it, Rich says, “When it’s your homeboy, you not planning on him dying and being one of the most famous people in the world.”\u003c/p>\n\u003cp>Before his death, Rich saw visible changes in Tupac. “He was moving too fast,” says Rich, who urged him to lead a more private life. But that didn’t happen. Rich had to accept that “my little homie became my big homie,” as he says. So Rich did his best to look out for him in life, and continues to represent for him after his death.\u003c/p>\n\u003cp>In addition to the customized motorcycle — named Makaveli — Rich has photos, a framed plaque of albums commemorating the songs they recorded together, and a set of coat hangers in the form of middle fingers. (Tupac loved flipping people off.) Rich also has a handwritten contract ensuring songwriting royalties for his contribution to the song “Heavy in the Game,” framed and mounted on the wall in his house — signed by Tupac and his late mother, Afeni Shakur, just months before Tupac’s death.\u003c/p>\n\u003cfigure id=\"attachment_13968028\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968028\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979.jpg\" alt=\"A handwritten contract by Tupac Shakur, ensuring Richie Rich gets royalties for their work together; written just months before Tupac's death.\" width=\"1800\" height=\"1510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-800x671.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-1020x856.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-1536x1289.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A handwritten contract by Tupac Shakur, ensuring that Richie Rich received royalties for their work together, written just months before Tupac’s death. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]A[/dropcap]ll of the art in Rich’s house is properly positioned. His crib is well-kept and organized. His cars are pristine and his head is shaved clean. It’s all a reflection of who he is, and an extension of the discipline his mother instilled in him.\u003c/p>\n\u003cp>But there are still times when everything isn’t all put together. Instances when the unpredictable happens, like when he hits the stage and literally breaks a leg. That’s when the cool, calm, collected Rich takes a backseat, and Double R comes out.\u003c/p>\n\u003cp>“I know what happened that day,” says Rich, reflecting on the day he fell at the Pergola. He suspects that someone else showed up inside of him — someone he’s known for a while.\u003c/p>\n\u003cp>“He always shows up when I’m in distress,” says Rich. The persona never stays there long enough to introduce himself, but Rich brags, “He’s raw. He knows how to rap, how to ride motorcycles, he knows how to drive cars. Yeah, he’s good at a lot of things.”\u003c/p>\n\u003cfigure id=\"attachment_13968029\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968029\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-scaled.jpeg\" alt=\"LaRussell, excited to see Richie Rich perform again, says this show was extra-special for his mother and father who were in the audience at The New Parish during the show.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell, excited to see Richie Rich perform again, says the New Parish show was extra-special for his mother and father, who were in the audience. \u003ccite>(Jason Hayes / \u003ca href=\"https://www.instagram.com/j.castae/?hl=en\" target=\"_blank\">J.Castae\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song that started all of this, “What We Doin!?,” was released in June 2024 — with some subtly prophetic lines. On the first verse, recorded weeks before Rich injured his leg while performing the song, LaRussell says “Broke a leg, re-learned how to stand.” In the third verse, Rich advises: “If you know me, never underestimate the OG.” Doctors told him it would take eight months to heal. Four months later he was back on stage.\u003c/p>\n\u003cp>At The New Parish on that Sunday afternoon in Oakland, Rich was sharp throughout the hour-long performance. A few weeks before the show, LaRussell had pulled some of his favorite Richie Rich tracks and asked if he could add them to the setlist. And though they didn’t rehearse beforehand, the two didn’t miss a beat, going through hit after hit, like Rich’s 2000 track “Playboy” and LaRussell’s 2021 song “GT Coupe.” They reimagined songs in never-before-heard iterations, spanning generations.\u003c/p>\n\u003cp>The following day, Rich tells me his leg is doing fine. Talking just after getting off the phone with LaRussell, he adds that the younger rapper discussed future collaborations and offered continued encouragement to the rapper who, nearly 30 years after his Def Jam debut, has more than earned the title \u003cem>Seasoned Veteran\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I didn’t know you was a dog like that, Double,” LaRussell told him. “A unc, you still got it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n a Sunday afternoon in mid-November, \u003ca href=\"https://www.instagram.com/larussell/?hl=en\" target=\"_blank\" rel=\"noopener\">LaRussell\u003c/a> is onstage at The New Parish in Oakland, energetically hurling rhyme pyrotechnics, just days after the premiere of \u003ca href=\"https://www.youtube.com/watch?v=w40XbPyotj8\" target=\"_blank\" rel=\"noopener\">his NPR \u003cem>Tiny Desk\u003c/em> concert\u003c/a>.\u003c/p>\n\u003cp>Known for his clever lyrics, charismatic personality and nonstop production, LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">refused to sign with a major label\u003c/a>. He hosts sold-out shows at a small venue, The Pergola, built in his backyard. Staunchly independent, he’s paved his own lane in the rap game by investing in himself, his community and his culture.\u003c/p>\n\u003cp>His latest investment: the reintroduction of \u003ca href=\"https://www.instagram.com/tharealrichierich/\" target=\"_blank\" rel=\"noopener\">Richie Rich\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968024\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-scaled.jpeg\" alt='While on stage with rising Vallejo rap star LaRussell at the New Parish in Oakland, veteran rapper Richie Rich tells the crowd that \"Double R\" now stands for LaRussell and Rich.' width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-66-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">At the New Parish in Oakland on Nov. 10, 2024, veteran rapper Richie Rich tells the crowd that “Double R” now stands for LaRussell and Rich. \u003ccite>(Jason Hayes / \u003ca href=\"https://www.instagram.com/j.castae/?hl=en\" target=\"_blank\">J.Castae\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minutes into Sunday’s show, after LaRussell warms up the crowd with violinist \u003ca href=\"https://www.instagram.com/michaelprinceviolin/?hl=en\" target=\"_blank\" rel=\"noopener\">Michael Prince\u003c/a> and vocalist \u003ca href=\"https://www.instagram.com/shante_music/\" target=\"_blank\" rel=\"noopener\">Shanté\u003c/a>, Rich walks out on stage.\u003c/p>\n\u003cp>Richie Rich’s pedigree is \u003cem>deep\u003c/em>. He’s a former Def Jam signee who influenced Snoop Dogg and was friends with Tupac. He had songs on \u003ca href=\"https://www.youtube.com/watch?v=YC_RQEby1JQ\" target=\"_blank\" rel=\"noopener\">\u003cem>The Nutty Professor\u003c/em>\u003c/a> and \u003ca href=\"https://open.spotify.com/track/3EcVo3nMBveyqGi7MzTZdM\" target=\"_blank\" rel=\"noopener\">\u003cem>How To Be A Player\u003c/em>\u003c/a> soundtracks. His 1996 album \u003cem>Seasoned Veteran\u003c/em> spawned two singles on the Billboard Top 100. And his verse on \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#i-got-5-on-it-remix-a-meeting-of-greats-recorded-in-alameda\">the remix to the Luniz’ anthem “I Got 5 On It”\u003c/a> provided the Town with the classic line: “Where you from? Oakland. Smokin’.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fittingly, at the New Parish, the artist who founded the pioneering rap group 415 enters to the beat of one of his group’s best-known songs, 1990’s “\u003ca href=\"https://www.youtube.com/watch?v=UsOeXoZoYPo\" target=\"_blank\" rel=\"noopener\">Side Show\u003c/a>.”\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/SQGqYHg-uyI'\n title='//www.youtube.com/embed/SQGqYHg-uyI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Over a stripped-down instrumental on live keyboard, Rich raps bar-for-bar in his raspy, laid-back flow, crisp and clear, without any background vocals. When the chorus hits, LaRussell steps in and remixes it, pulling from \u003ca href=\"https://www.youtube.com/watch?v=h4d7UwaNrIQ\" target=\"_blank\" rel=\"noopener\">the 2006 remake, “The Sideshow,”\u003c/a> by the late Traxamillion, Too Short and Mistah FAB.\u003c/p>\n\u003cp>It becomes clear: this isn’t just a guest appearance of Richie Rich at a LaRussell show. No, this is two emcees, with an age gap of over 20 years, trading bars, innovating on stage and moving the crowd.\u003c/p>\n\u003cp>As the audience recites the lyrics, the energy builds. LaRussell and \u003ca href=\"https://www.instagram.com/splashthakidd/\" target=\"_blank\" rel=\"noopener\">Splash Tha Kidd\u003c/a> are on stage giggin’, jumping as they dance. After the second verse, the crowd is turned up.\u003c/p>\n\u003cp>Richie Rich, grounded, laughs and calmly says, “Na… that’s how you got me last time.”\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/s3TM5WSCvZs'\n title='//www.youtube.com/embed/s3TM5WSCvZs'\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 months prior in LaRussell’s backyard, onstage at the Pergola, the energy got the best of Rich.\u003c/p>\n\u003cp>During a performance of the song “What We Doin!?” which features Richie Rich alongside LaRussell and \u003ca href=\"https://www.instagram.com/mal4chii/\" target=\"_blank\" rel=\"noopener\">an 18 year-old MC named MALACHI,\u003c/a> Rich was in go mode. The P-Lo–produced track, full of high energy, is the type of song that makes one jump on stage — even if they know damn well they shouldn’t.\u003c/p>\n\u003cp>Under the scorching August sun, Rich was a few bars into his verse when the 56-year-old rapper, bouncing alongside the crowd, turned to his left. Suddenly, his knee popped. Falling to the ground, he kept rapping without missing a beat, freestyling new lyrics to communicate what’d just happened to his leg — “blew my knee actin’ out my age” — and even diagnosing it as a torn lower patella.\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/YGqKGhZkuug'\n title='//www.youtube.com/embed/YGqKGhZkuug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of this could’ve easily become a huge setback. Instead, in a world where the elements of hip-hop have expanded to include viral moments and social media influence, the widely viewed footage of Richie Rich kicking culture while sustaining a painful injury only helped reestablish his footprint in the rap game.\u003c/p>\n\u003cp>I recently caught up with Rich for a long conversation at his home in the East Bay, his leg in a brace as he sat across from me. Rich is a mild-mannered person who was raised by well-to-do parents, but despite his upbringing — and lifelong issues with his knees — he ran the streets.\u003c/p>\n\u003cfigure id=\"attachment_13968025\" class=\"wp-caption aligncenter\" style=\"max-width: 1180px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543.jpg\" alt=\"With a scar on one knee and the other in a brace, you can tell that Richie Rich has had some conversations with his knees-- and they've done most of the talking.\" width=\"1180\" height=\"1554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-800x1054.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-1020x1343.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-768x1011.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6004-e1731530175543-1166x1536.jpg 1166w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003cfigcaption class=\"wp-caption-text\">With a scar on one knee and the other in a brace, it’s clear Richie Rich has had some conversations with his knees — and they’ve done most of the talking. \u003ccite>(Courtesy of Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m from up the hill, I’m not even from the flats,” says Rich, explaining his childhood and the topography of Deep East Oakland in one statement. “I went down the hill, and that shit changed me, bro,” he says.\u003c/p>\n\u003cp>“Them spokes that you see on that car out here?” Rich says, pointing to the gold rims of his cognac-colored 1972 Cutlass Oldsmobile. He first saw them, he explains, on a Falcon when he was 12. Little Rich ran to tell the driver how clean they were, but the light turned green and the driver pulled off. A few weeks later, Rich caught the driver at a red light and properly complemented him. The driver thanked him, and suggested he could one day have a car like that, too, before tapping the gas pedal and leaving tire treads in the intersection.\u003c/p>\n\u003cp>“If I live to be 90,” says Rich, fully committed to his cars, “I’ma have some gold ones and Vogues, you better know.”\u003c/p>\n\u003cfigure id=\"attachment_13968026\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968026\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-scaled.jpg\" alt=\"Rapper Richie Rich poses in a Raiders Bo Jackson jersey, while standing in front of his Cutlass Oldsmobile.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6682-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In a Raiders Bo Jackson jersey, Richie Rich poses with his 1972 Oldsmobile Cutlass Supreme. \u003ccite>(Courtesy of Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rich’s street life and hillside upbringing brought about different perspectives. He had run-ins with the law, though he often evaded them. But the culture had a grip on him.\u003c/p>\n\u003cp>“I was two people,” says Rich, from behind dark sunglasses. “I was Richie Rich and I was Double R.”\u003c/p>\n\u003cp>He elaborates: “Double R was the dude who went down the hill, Richie Rich was the dude who lived up the hill. So Richie Rich wrote ‘Do G’s Get to Go to Heaven,’” he says. “Double R wrote ‘Side Show’ and ‘Snitches and Bitches.'”\u003c/p>\n\u003cp>There’s always been a tug-of-war between these two sides, he says. Fortunately his dad gave him constant reassurance, and his mom gave him spiritual guidance, even if it came in the form of heavy-handed discipline.\u003c/p>\n\u003cp>“My mom was so strict,” Rich reflects, “that when I got caught stealing at Longs Drugs and they told me they was going to call my mom, I said, ‘Na, call the police. Don’t call my momma!'”\u003c/p>\n\u003cp>Once his mother found the Lord, “she brought that spirituality to us and locked us in with it,” says Rich. A sweet woman who was very hard to impress, Rich says he’d get good grades and his mother would remark, “Want to impress me? Show me that you can fly.”\u003c/p>\n\u003cp>When Rich signed with Def Jam, the label sent a car to take him to the airport. Misty-eyed, he reflects on his mother’s reaction. “She knocked on my door, and said, ‘There’s a limousine out front, Richie.’” Fanning out, she asked, “Can I go outside and see?”\u003c/p>\n\u003cp>Rich recalls her floating out the door in her trademark blue robe, sitting in the stretch limo, finally understanding that her son had made something of himself.\u003c/p>\n\u003cfigure id=\"attachment_13968116\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518.jpg\" alt=\"\" width=\"2000\" height=\"1353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1293520518-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Rich pictured in New York City on Aug. 10, 1996, the day he signed with Def Jam Records. \u003ccite>(Al Pereira/Getty Images/Michael Ochs Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">R\u003c/span>\u003c/p>\u003cp>ich had a conversation with his knees when he was a kid. They told him, “We’re gonna hold you down if the red and blue lights get behind you, or the dogs get to chasing you. Outside of that, don’t be attending those softball games and don’t play no three-on-threes,” he recalls.\u003c/p>\n\u003cp>Years later, Rich still has trouble walking in his own legacy. Almost 35 years since his 1990 debut solo album, \u003cem>Don’t Do It\u003c/em>, he’s on the verge of dropping a new project titled \u003cem>Richard\u003c/em>.\u003c/p>\n\u003cp>The album, set to release on the platform \u003ca href=\"https://get.even.biz/\" target=\"_blank\" rel=\"noopener\">Even\u003c/a> next month and then to all streaming services in January, features \u003ca href=\"https://www.instagram.com/larryjunetfm/?hl=en\" target=\"_blank\" rel=\"noopener\">Larry June\u003c/a>, \u003ca href=\"https://www.instagram.com/youngjr/?hl=en\" target=\"_blank\" rel=\"noopener\">Young JR\u003c/a>, \u003ca href=\"https://www.instagram.com/msjanehandcock/?hl=en\" target=\"_blank\" rel=\"noopener\">Jane Handcock\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a> and \u003ca href=\"https://www.instagram.com/thedelinquents86/?hl=en\">V. White of The Delinquents\u003c/a>. There’s a track where Rich pays homage to the slick players who came before him, as well as one with open critiques of current Oakland culture.\u003c/p>\n\u003cfigure id=\"attachment_13968027\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968027\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-scaled.jpg\" alt='\"Top of the Rolex, top of the Rolex,\" Richie says as he addresses people during his regular social media video check-ins.' width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_6378-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Top of the Rolex, top of the Rolex,’ Richie says as he addresses people during regular social media video check-ins. \u003ccite>(Richie Rich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rich has been open about his issues with the place that raised him. In January of this year the rapper made headlines for \u003ca href=\"https://www.tmz.com/watch/2024-01-19-011924-richie-rich-1761556-305/\" target=\"_blank\" rel=\"noopener\">a rant he posted on social media\u003c/a>, proclaiming that he was leaving California. “The cost of living here is going up, but the chances of living is going down,” he says in the video.\u003c/p>\n\u003cp>Today, he explains that Oakland losing its pro sports teams and his favorite restaurants hurts. He adds that it’s very clear that the chasm between classes is growing, and when the haves and have-nots are at odds it makes it hard to own nice things without becoming a target. (And being a known rapper from that place adds another layer.)\u003c/p>\n\u003cp>He stands by many of the things he said in the post, but given time to reflect, he says it’s more about where he’s at this point in life than the Golden State. “I think it’s the invisibility that I’m chasing, not so much a disdain for California,” he says.\u003c/p>\n\u003cp>Rich’s California love is motivated by his ties to the people, from family members to world renowned artists.\u003c/p>\n\u003cfigure id=\"attachment_13968115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968115\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/screenshot_2024-11-13_at_12.52.25___pm-1920x1439.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richie Rich’s motorcycle, Makaveli, bears a portrait tribute to his late friend, Tupac Shakur. \u003ccite>(Courtesy of Richie Rich )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He says he’s appreciative that his friend, the late Tupac Shakur, has \u003ca href=\"https://www.kqed.org/arts/13929233/tupac-shakur-street-oakland-tupac-shakur-way\" target=\"_blank\" rel=\"noopener\">a street named in his honor\u003c/a> and that there’s been \u003ca href=\"https://www.npr.org/2023/09/29/1202754616/suspect-in-tupac-shakur-murder-arrested\" target=\"_blank\" rel=\"noopener\">an arrest in connection to his murder\u003c/a>. But Rich would prefer to see Pac alive now, enjoying all he accomplished.\u003c/p>\n\u003cp>Rich and Pac met around ’91 through a common friend, and became homies; not making music, just hanging out. As Rich’s career was in full swing and Shakur’s was just getting off the ground, Pac asked to be on a track with Rich. “Na, we’re doing gangsta music,” the rapper from the Rolling Hundreds told the young MC from Marin. “You on that Black Power shit.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The two stayed in contact, though, and Rich watched Tupac’s career explode. When Pac was incarcerated, they exchanged letters; mail that Rich wishes he would’ve kept. With a custom Harley motorcycle parked behind him, painted with Tupac’s face on it, Rich says, “When it’s your homeboy, you not planning on him dying and being one of the most famous people in the world.”\u003c/p>\n\u003cp>Before his death, Rich saw visible changes in Tupac. “He was moving too fast,” says Rich, who urged him to lead a more private life. But that didn’t happen. Rich had to accept that “my little homie became my big homie,” as he says. So Rich did his best to look out for him in life, and continues to represent for him after his death.\u003c/p>\n\u003cp>In addition to the customized motorcycle — named Makaveli — Rich has photos, a framed plaque of albums commemorating the songs they recorded together, and a set of coat hangers in the form of middle fingers. (Tupac loved flipping people off.) Rich also has a handwritten contract ensuring songwriting royalties for his contribution to the song “Heavy in the Game,” framed and mounted on the wall in his house — signed by Tupac and his late mother, Afeni Shakur, just months before Tupac’s death.\u003c/p>\n\u003cfigure id=\"attachment_13968028\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968028\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979.jpg\" alt=\"A handwritten contract by Tupac Shakur, ensuring Richie Rich gets royalties for their work together; written just months before Tupac's death.\" width=\"1800\" height=\"1510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-800x671.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-1020x856.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7651-scaled-e1731531563979-1536x1289.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A handwritten contract by Tupac Shakur, ensuring that Richie Rich received royalties for their work together, written just months before Tupac’s death. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>ll of the art in Rich’s house is properly positioned. His crib is well-kept and organized. His cars are pristine and his head is shaved clean. It’s all a reflection of who he is, and an extension of the discipline his mother instilled in him.\u003c/p>\n\u003cp>But there are still times when everything isn’t all put together. Instances when the unpredictable happens, like when he hits the stage and literally breaks a leg. That’s when the cool, calm, collected Rich takes a backseat, and Double R comes out.\u003c/p>\n\u003cp>“I know what happened that day,” says Rich, reflecting on the day he fell at the Pergola. He suspects that someone else showed up inside of him — someone he’s known for a while.\u003c/p>\n\u003cp>“He always shows up when I’m in distress,” says Rich. The persona never stays there long enough to introduce himself, but Rich brags, “He’s raw. He knows how to rap, how to ride motorcycles, he knows how to drive cars. Yeah, he’s good at a lot of things.”\u003c/p>\n\u003cfigure id=\"attachment_13968029\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968029\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-scaled.jpeg\" alt=\"LaRussell, excited to see Richie Rich perform again, says this show was extra-special for his mother and father who were in the audience at The New Parish during the show.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/LaRussell-x-Richie-Rich-New-Parish-Richie-Rich-111024-74-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell, excited to see Richie Rich perform again, says the New Parish show was extra-special for his mother and father, who were in the audience. \u003ccite>(Jason Hayes / \u003ca href=\"https://www.instagram.com/j.castae/?hl=en\" target=\"_blank\">J.Castae\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song that started all of this, “What We Doin!?,” was released in June 2024 — with some subtly prophetic lines. On the first verse, recorded weeks before Rich injured his leg while performing the song, LaRussell says “Broke a leg, re-learned how to stand.” In the third verse, Rich advises: “If you know me, never underestimate the OG.” Doctors told him it would take eight months to heal. Four months later he was back on stage.\u003c/p>\n\u003cp>At The New Parish on that Sunday afternoon in Oakland, Rich was sharp throughout the hour-long performance. A few weeks before the show, LaRussell had pulled some of his favorite Richie Rich tracks and asked if he could add them to the setlist. And though they didn’t rehearse beforehand, the two didn’t miss a beat, going through hit after hit, like Rich’s 2000 track “Playboy” and LaRussell’s 2021 song “GT Coupe.” They reimagined songs in never-before-heard iterations, spanning generations.\u003c/p>\n\u003cp>The following day, Rich tells me his leg is doing fine. Talking just after getting off the phone with LaRussell, he adds that the younger rapper discussed future collaborations and offered continued encouragement to the rapper who, nearly 30 years after his Def Jam debut, has more than earned the title \u003cem>Seasoned Veteran\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I didn’t know you was a dog like that, Double,” LaRussell told him. “A unc, you still got it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Today, the \u003ca href=\"https://thecjm.org/\">Contemporary Jewish Museum\u003c/a> announced it would close its galleries to the public on Dec. 15, citing financial difficulties. The closure will last for at least one year while staff, board members and other advisors develop plans for a more financially sustainable future. Staff layoffs will take place in phases over the next several months as the museum shrinks from 30 regular employees to 11.\u003c/p>\n\u003cp>[aside postID='arts_13963960,arts_13959468']With an operating budget of $8.5 million, the CJM is on the smaller side of local museums. Nearby Yerba Buena Center for the Arts has an operating budget of $17.7 million; the San Francisco Museum of Modern Art runs on $91.4 million. CJM tax filings show years of operating deficits; recently, that gap widened to $4.9 million.\u003c/p>\n\u003cp>“Our revenue and expenses have been out of balance for some time,” CJM Executive Director Kerry King told KQED. “And like many institutions, we’ve found one-off ways to solve for that. But that doesn’t really solve the underlying balance situation.”\u003c/p>\n\u003cp>King, who was previously the museum’s chief operating officer and stepped into her current role following \u003ca href=\"https://www.kqed.org/arts/13930607/contemporary-jewish-museum-executive-director-chad-coerver-step-down\">Chad Coerver’s departure in 2023\u003c/a>, referred to the planned closure as a “sabbatical.”\u003c/p>\n\u003cp>“What we don’t want to do is close,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today’s announcement cited “a challenging financial landscape, compounded by declining attendance and general support that has not fully recovered since the pandemic.”\u003c/p>\n\u003cp>“There’s no one thing we can point to,” King said of the CJM’s financial struggles. But it was clear to King and the board that this drastic step needed to be taken now, while there was still time to come up with a plan that could shape the museum’s future. \u003c/p>\n\u003cfigure id=\"attachment_13968006\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968006\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg.jpg\" alt=\"colorful chairs and benches in an angular space with colored light cast against walls\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of Leah Rosenberg’s ‘When One Sees a Rainbow,’ which was scheduled to remain on view through April 27, 2027. \u003ccite>(Glen Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This decision does not come without significant pain,” King was quoted saying in today’s announcement, “because it will affect our team of extraordinary and deeply dedicated individuals who work tirelessly to fulfill the museum’s mission.”\u003c/p>\n\u003cp>King said everything is on the table during the closure. They’ll be looking at scale, programming and funding sources. (In 2023, contributions accounted for over 70% of the museum’s revenue.) What won’t change, King said, are the museum’s core values.\u003c/p>\n\u003cp>“It continues to be the most important time ever for us to exist,” King said. “And for us to be a voice through the art and through the people that work here … for understanding what Jewish is.”\u003c/p>\n\u003cp>One possible route to balanced books could include relocating to a smaller venue. Founded in 1984 within the Jewish Community Federation of San Francisco on Steuart Street, the CJM opened its current Jessie Square location, a Daniel Libeskind-designed 63,000-square-foot building, in 2008. The museum currently holds a bank loan connected to the building’s construction; that loan is $1.5 million of the museum’s annual expenses.\u003c/p>\n\u003cp>“It’s a very expensive building to own and operate,” King said, citing mechanical and structural maintenance, as well as the cost of keeping the exhibition spaces climate controlled.\u003c/p>\n\u003cp>While the museum does have restricted and unrestricted endowment funds, King said, “A key goal of what we’re undertaking right now is to preserve as much of those assets as we can for our continued way forward.”\u003c/p>\n\u003cp>The CJM’s announcement follows news of steep financial challenges at other local arts and culture institutions. California College of the Arts recently implemented layoffs to address \u003ca href=\"https://www.cca.edu/newsroom/california-college-of-the-arts-implements-staff-layoffs/\">a $20 million deficit\u003c/a>. Earlier this year, Headlands Center for the Arts went into a similar period of “cocooning” after \u003ca href=\"https://www.kqed.org/arts/13951936/headlands-center-for-the-arts-layoffs-fundraising-shortfalls\">laying off over a quarter of its staff\u003c/a>.\u003c/p>\n\u003cp>The Dec. 15 closure at the CJM will cut short all five of the museum’s current exhibitions, which include \u003ci>\u003ca href=\"https://www.kqed.org/arts/13959468/california-jewish-open-cjm-review\">California Jewish Open\u003c/a>\u003c/i>, Nicki Green’s solo \u003ci>\u003ca href=\"https://www.kqed.org/arts/13963960/nicki-green-firmament-contemporary-jewish-museum-review\">Firmament\u003c/a>\u003c/i> and Leah Rosenberg’s long-term installation \u003ci>\u003ca href=\"https://thecjm.org/exhibitions/235\">When One Sees a Rainbow\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The museum will be open with free admission through Dec. 15 to give audiences a last chance to see the shows.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, the \u003ca href=\"https://thecjm.org/\">Contemporary Jewish Museum\u003c/a> announced it would close its galleries to the public on Dec. 15, citing financial difficulties. The closure will last for at least one year while staff, board members and other advisors develop plans for a more financially sustainable future. Staff layoffs will take place in phases over the next several months as the museum shrinks from 30 regular employees to 11.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With an operating budget of $8.5 million, the CJM is on the smaller side of local museums. Nearby Yerba Buena Center for the Arts has an operating budget of $17.7 million; the San Francisco Museum of Modern Art runs on $91.4 million. CJM tax filings show years of operating deficits; recently, that gap widened to $4.9 million.\u003c/p>\n\u003cp>“Our revenue and expenses have been out of balance for some time,” CJM Executive Director Kerry King told KQED. “And like many institutions, we’ve found one-off ways to solve for that. But that doesn’t really solve the underlying balance situation.”\u003c/p>\n\u003cp>King, who was previously the museum’s chief operating officer and stepped into her current role following \u003ca href=\"https://www.kqed.org/arts/13930607/contemporary-jewish-museum-executive-director-chad-coerver-step-down\">Chad Coerver’s departure in 2023\u003c/a>, referred to the planned closure as a “sabbatical.”\u003c/p>\n\u003cp>“What we don’t want to do is close,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today’s announcement cited “a challenging financial landscape, compounded by declining attendance and general support that has not fully recovered since the pandemic.”\u003c/p>\n\u003cp>“There’s no one thing we can point to,” King said of the CJM’s financial struggles. But it was clear to King and the board that this drastic step needed to be taken now, while there was still time to come up with a plan that could shape the museum’s future. \u003c/p>\n\u003cfigure id=\"attachment_13968006\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968006\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg.jpg\" alt=\"colorful chairs and benches in an angular space with colored light cast against walls\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/4_GlenCheriton_LeahRosenberg-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of Leah Rosenberg’s ‘When One Sees a Rainbow,’ which was scheduled to remain on view through April 27, 2027. \u003ccite>(Glen Cheriton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This decision does not come without significant pain,” King was quoted saying in today’s announcement, “because it will affect our team of extraordinary and deeply dedicated individuals who work tirelessly to fulfill the museum’s mission.”\u003c/p>\n\u003cp>King said everything is on the table during the closure. They’ll be looking at scale, programming and funding sources. (In 2023, contributions accounted for over 70% of the museum’s revenue.) What won’t change, King said, are the museum’s core values.\u003c/p>\n\u003cp>“It continues to be the most important time ever for us to exist,” King said. “And for us to be a voice through the art and through the people that work here … for understanding what Jewish is.”\u003c/p>\n\u003cp>One possible route to balanced books could include relocating to a smaller venue. Founded in 1984 within the Jewish Community Federation of San Francisco on Steuart Street, the CJM opened its current Jessie Square location, a Daniel Libeskind-designed 63,000-square-foot building, in 2008. The museum currently holds a bank loan connected to the building’s construction; that loan is $1.5 million of the museum’s annual expenses.\u003c/p>\n\u003cp>“It’s a very expensive building to own and operate,” King said, citing mechanical and structural maintenance, as well as the cost of keeping the exhibition spaces climate controlled.\u003c/p>\n\u003cp>While the museum does have restricted and unrestricted endowment funds, King said, “A key goal of what we’re undertaking right now is to preserve as much of those assets as we can for our continued way forward.”\u003c/p>\n\u003cp>The CJM’s announcement follows news of steep financial challenges at other local arts and culture institutions. California College of the Arts recently implemented layoffs to address \u003ca href=\"https://www.cca.edu/newsroom/california-college-of-the-arts-implements-staff-layoffs/\">a $20 million deficit\u003c/a>. Earlier this year, Headlands Center for the Arts went into a similar period of “cocooning” after \u003ca href=\"https://www.kqed.org/arts/13951936/headlands-center-for-the-arts-layoffs-fundraising-shortfalls\">laying off over a quarter of its staff\u003c/a>.\u003c/p>\n\u003cp>The Dec. 15 closure at the CJM will cut short all five of the museum’s current exhibitions, which include \u003ci>\u003ca href=\"https://www.kqed.org/arts/13959468/california-jewish-open-cjm-review\">California Jewish Open\u003c/a>\u003c/i>, Nicki Green’s solo \u003ci>\u003ca href=\"https://www.kqed.org/arts/13963960/nicki-green-firmament-contemporary-jewish-museum-review\">Firmament\u003c/a>\u003c/i> and Leah Rosenberg’s long-term installation \u003ci>\u003ca href=\"https://thecjm.org/exhibitions/235\">When One Sees a Rainbow\u003c/a>\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The museum will be open with free admission through Dec. 15 to give audiences a last chance to see the shows.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Goodness knows, it feels as if \u003ca href=\"https://video.kqed.org/video/cynthia-erivo-performs-days-of-wine-and-roses-u7ei8z/\">Cynthia Erivo\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/ariana-grande\">Ariana Grande\u003c/a> have been attached at the hip for the better part of this century, \u003ca href=\"https://www.huffpost.com/entry/ariana-grande-cynthia-erivo-crying_n_673776ade4b04e397bc671af\">crying\u003c/a> and bantering together while adorned in fabulous ensembles of green, black, and pink, the (un?)official colors of \u003cem>\u003ca href=\"https://video.kqed.org/video/reopening-wicked-3v8m0j/\">Wicked\u003c/a>.\u003c/em> The press tour and behind-the-scenes gossip accompanying Jon M. Chu’s long-awaited spectacular have been exhaustingly \u003cem>dramatique\u003c/em> — probably to be expected for the film adaptation of a Broadway musical juggernaut beloved by theater kids all over (I was one of them), and starring one of the era’s biggest pop stars.\u003c/p>\n\u003cp>[aside postid='pop_84656']Ultimately, it’s what lands on the screen that matters. And with regards to \u003cem>Wicked: Part 1 \u003c/em>many things are true at once: the excellent Erivo and Grande couldn’t have been better suited to play Elphaba, the Wicked Witch of the West, and Galinda, who goes on to become Glinda the Good Witch; the movie’s themes are evergreen and relevant; and whoever made the decision to divide the stage show into two separate movies deserves to be cursed by a spell from the book of the \u003ca href=\"https://wicked.fandom.com/wiki/Grimmerie\">Grimmerie\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Wicked\u003c/em>, very loosely based on Gregory Maguire’s \u003cem>Wizard of Oz \u003c/em>revisionist novel \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>, tells the origin story of Elphaba and how she became L. Frank Baum’s emblematic villain. She’s shunned by her father and ostracized by her peers for the mere fact of being born with abnormally green skin, and at a young age discovers that in response to their callousness, her rage manifests uncontrollably as a magic force from within. Years later, that ability comes to the attention of Madame Morrible (\u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>), the no-nonsense headmistress of Shiz University, who eagerly takes Elphaba under her wing for private tutelage in sorcery.\u003c/p>\n\u003ch3>Two good friends, two best friends\u003c/h3>\n\u003cp>Elphaba is assigned to room with Galinda, the bubbly, supremely vain beauty queen who’s none too happy she now has to share her private suite with the school’s oddball. The two clash for all the expected reasons: if Elphaba’s whole vibe is “emo-goth girl who shops at Hot Topic circa 2003,” Galinda’s is “Barbie.” Galinda’s initially jealous that she herself doesn’t get to study with Madame Morrible. But soon enough, they become friends (best friends, even), just as Oz enters a period of social unrest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6COmYeLsz4c\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a lot to recommend here, particularly for fans of the show — the humor is punchy, Christopher Scott’s expressive choreography enhances the characterizations, and Paul Tazewell’s costume design details are perfection. But by far the standout of \u003cem>Wicked \u003c/em>is that central relationship between these two enemies-turned-friends. Erivo and Grande have the goods: both come from theater backgrounds (the former has won a Tony) but are also naturals on camera, and so they’re able to bring subtlety and grandiosity as needed. Even under the green makeup and against the backdrop of some hideously overwhelming CGI aesthetics, their chemistry is undeniable, whether they’re bickering during one of the show’s highlights, “What Is This Feeling?” or finding common ground during the show-stopping Act I finale “Denying Gravity.”\u003c/p>\n\u003cp>This is most palpable during the big Ozdust Ballroom sequence, in which Elphaba, once again ostracized by her classmates, defiantly reacts to their laughter with dance, and Galinda, feeling empathy for possibly the first time ever, joins her. It’s both the most musical theater-y thing that could happen in this most musical theater-y of shows, and gets at the essence of the show’s enduring appeal.\u003c/p>\n\u003ch3>A timely allegory — to a tune\u003c/h3>\n\u003cp>Meanwhile, the show’s other central concern is striking to take in at this moment. Gregory Maguire’s 1995 book is a sprawling, bleak meditation on the nature of good vs. evil, and what it means to resist or give over into fascist movements. Oz is a world where animals have evolved to be just as intelligent as humans, with the ability to talk and live just as humans do, though they’ve long faced discrimination for doing so. (In the movie Elphaba’s beloved professor Dr. Dillamond is a goat voiced by Peter Dinklage.) The paternalistic, self-anointed Wizard (Jeff Goldblum, at his Goldblum-iest) is intent on stripping Oz’s animals of their autonomy and rights, and using Elphaba’s powers to do so.\u003c/p>\n\u003cp>[aside postid='arts_13968135']The musical, both on stage and screen, is a significantly diluted and altogether different take on Maguire’s novel. But its parallels to our real world — currently marked by calls for mass deportations, the erosion of abortion rights; etc. — are still unmistakably apparent to anyone reading today’s news.\u003c/p>\n\u003cp>The allegories of minority persecution are rendered even more palpable by casting Erivo, a Black woman, in the role as Wicked Witch of the West. (To date, only one Black actress has played her in an onstage production full-time: Alexia Khadime, in London’s West End over a decade ago.) By coding the outcast-turned-political agitator as Black — her hair is in microbraids, and save for the green makeup, Erivo’s facial features are fully visible — the realities of the world we live in are inescapable.\u003c/p>\n\u003cp>“Her green skin is an outward manifestation of her twisted nature!” a character proclaims to the people of Oz at one point, riling them up to position Elphaba as the common enemy. Arguing that her skin — who she is — is reason enough to demonize her: It isn’t altogether different from, say, \u003ca href=\"https://www.npr.org/2024/10/02/1202966831/haitian-immigrants\">recent rhetoric used to target Haitian immigrants in Ohio\u003c/a>.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/7952x5304+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F30%2Fdc%2F57c15206467f8940cbd45fe9076e%2F2551-d031-00223r.jpg\" alt=\"Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on.\">\u003cfigcaption>Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on. \u003ccite> (Giles Keyte | Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all its virtues and relevance, however, it’s curious that in this two-hour-41-minute adaptation of \u003cem>the first act\u003c/em> of the show — longer, it should be noted, than the entire stage production without intermission — little of substance was added to justify making this affair a two-parter.\u003c/p>\n\u003cp>[aside postid='arts_13968236']Chu and screenwriters Winnie Holzman and Dana Fox stay quite faithful to the source material (which Holzman also wrote) and there are no new songs to go alongside all of composer Stephen Schwartz’s original ones. (Reportedly Part 2 will have some new songs, which may be for the best considering Act 2’s numbers suffer in comparison to the stacked first half.) There are few attempts to incorporate more of Maguire’s excessive lore from the book, and other secondary characters, like Elphaba’s younger sister Nessarose (Marissa Bode) and romantic interest Fiyero (Jonathan Bailey) aren’t fleshed out any more than they are in show.\u003c/p>\n\u003cp>The result is a movie that, while pleasant and occasionally moving, concludes with its apex (“Defying Gravity”) which also happens to be a cliffhanger. It’s an unusually and exceedingly peculiar state — both complete and incomplete at the same time. The feeling isn’t quite loathing, exactly. But it is a bit tiresome, especially since it likely means we have to expect yet another full year of a \u003cem>Wicked \u003c/em>press tour. Like its predecessor, it’s an imperfect production that has a lot of heart and brains. If it only had the courage to tell a complete story in a reasonable amount of time.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Wicked’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Goodness knows, it feels as if \u003ca href=\"https://video.kqed.org/video/cynthia-erivo-performs-days-of-wine-and-roses-u7ei8z/\">Cynthia Erivo\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/ariana-grande\">Ariana Grande\u003c/a> have been attached at the hip for the better part of this century, \u003ca href=\"https://www.huffpost.com/entry/ariana-grande-cynthia-erivo-crying_n_673776ade4b04e397bc671af\">crying\u003c/a> and bantering together while adorned in fabulous ensembles of green, black, and pink, the (un?)official colors of \u003cem>\u003ca href=\"https://video.kqed.org/video/reopening-wicked-3v8m0j/\">Wicked\u003c/a>.\u003c/em> The press tour and behind-the-scenes gossip accompanying Jon M. Chu’s long-awaited spectacular have been exhaustingly \u003cem>dramatique\u003c/em> — probably to be expected for the film adaptation of a Broadway musical juggernaut beloved by theater kids all over (I was one of them), and starring one of the era’s biggest pop stars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ultimately, it’s what lands on the screen that matters. And with regards to \u003cem>Wicked: Part 1 \u003c/em>many things are true at once: the excellent Erivo and Grande couldn’t have been better suited to play Elphaba, the Wicked Witch of the West, and Galinda, who goes on to become Glinda the Good Witch; the movie’s themes are evergreen and relevant; and whoever made the decision to divide the stage show into two separate movies deserves to be cursed by a spell from the book of the \u003ca href=\"https://wicked.fandom.com/wiki/Grimmerie\">Grimmerie\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Wicked\u003c/em>, very loosely based on Gregory Maguire’s \u003cem>Wizard of Oz \u003c/em>revisionist novel \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>, tells the origin story of Elphaba and how she became L. Frank Baum’s emblematic villain. She’s shunned by her father and ostracized by her peers for the mere fact of being born with abnormally green skin, and at a young age discovers that in response to their callousness, her rage manifests uncontrollably as a magic force from within. Years later, that ability comes to the attention of Madame Morrible (\u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>), the no-nonsense headmistress of Shiz University, who eagerly takes Elphaba under her wing for private tutelage in sorcery.\u003c/p>\n\u003ch3>Two good friends, two best friends\u003c/h3>\n\u003cp>Elphaba is assigned to room with Galinda, the bubbly, supremely vain beauty queen who’s none too happy she now has to share her private suite with the school’s oddball. The two clash for all the expected reasons: if Elphaba’s whole vibe is “emo-goth girl who shops at Hot Topic circa 2003,” Galinda’s is “Barbie.” Galinda’s initially jealous that she herself doesn’t get to study with Madame Morrible. But soon enough, they become friends (best friends, even), just as Oz enters a period of social unrest.\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/6COmYeLsz4c'\n title='//www.youtube.com/embed/6COmYeLsz4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a lot to recommend here, particularly for fans of the show — the humor is punchy, Christopher Scott’s expressive choreography enhances the characterizations, and Paul Tazewell’s costume design details are perfection. But by far the standout of \u003cem>Wicked \u003c/em>is that central relationship between these two enemies-turned-friends. Erivo and Grande have the goods: both come from theater backgrounds (the former has won a Tony) but are also naturals on camera, and so they’re able to bring subtlety and grandiosity as needed. Even under the green makeup and against the backdrop of some hideously overwhelming CGI aesthetics, their chemistry is undeniable, whether they’re bickering during one of the show’s highlights, “What Is This Feeling?” or finding common ground during the show-stopping Act I finale “Denying Gravity.”\u003c/p>\n\u003cp>This is most palpable during the big Ozdust Ballroom sequence, in which Elphaba, once again ostracized by her classmates, defiantly reacts to their laughter with dance, and Galinda, feeling empathy for possibly the first time ever, joins her. It’s both the most musical theater-y thing that could happen in this most musical theater-y of shows, and gets at the essence of the show’s enduring appeal.\u003c/p>\n\u003ch3>A timely allegory — to a tune\u003c/h3>\n\u003cp>Meanwhile, the show’s other central concern is striking to take in at this moment. Gregory Maguire’s 1995 book is a sprawling, bleak meditation on the nature of good vs. evil, and what it means to resist or give over into fascist movements. Oz is a world where animals have evolved to be just as intelligent as humans, with the ability to talk and live just as humans do, though they’ve long faced discrimination for doing so. (In the movie Elphaba’s beloved professor Dr. Dillamond is a goat voiced by Peter Dinklage.) The paternalistic, self-anointed Wizard (Jeff Goldblum, at his Goldblum-iest) is intent on stripping Oz’s animals of their autonomy and rights, and using Elphaba’s powers to do so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The musical, both on stage and screen, is a significantly diluted and altogether different take on Maguire’s novel. But its parallels to our real world — currently marked by calls for mass deportations, the erosion of abortion rights; etc. — are still unmistakably apparent to anyone reading today’s news.\u003c/p>\n\u003cp>The allegories of minority persecution are rendered even more palpable by casting Erivo, a Black woman, in the role as Wicked Witch of the West. (To date, only one Black actress has played her in an onstage production full-time: Alexia Khadime, in London’s West End over a decade ago.) By coding the outcast-turned-political agitator as Black — her hair is in microbraids, and save for the green makeup, Erivo’s facial features are fully visible — the realities of the world we live in are inescapable.\u003c/p>\n\u003cp>“Her green skin is an outward manifestation of her twisted nature!” a character proclaims to the people of Oz at one point, riling them up to position Elphaba as the common enemy. Arguing that her skin — who she is — is reason enough to demonize her: It isn’t altogether different from, say, \u003ca href=\"https://www.npr.org/2024/10/02/1202966831/haitian-immigrants\">recent rhetoric used to target Haitian immigrants in Ohio\u003c/a>.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/7952x5304+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F30%2Fdc%2F57c15206467f8940cbd45fe9076e%2F2551-d031-00223r.jpg\" alt=\"Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on.\">\u003cfigcaption>Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on. \u003ccite> (Giles Keyte | Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all its virtues and relevance, however, it’s curious that in this two-hour-41-minute adaptation of \u003cem>the first act\u003c/em> of the show — longer, it should be noted, than the entire stage production without intermission — little of substance was added to justify making this affair a two-parter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Chu and screenwriters Winnie Holzman and Dana Fox stay quite faithful to the source material (which Holzman also wrote) and there are no new songs to go alongside all of composer Stephen Schwartz’s original ones. (Reportedly Part 2 will have some new songs, which may be for the best considering Act 2’s numbers suffer in comparison to the stacked first half.) There are few attempts to incorporate more of Maguire’s excessive lore from the book, and other secondary characters, like Elphaba’s younger sister Nessarose (Marissa Bode) and romantic interest Fiyero (Jonathan Bailey) aren’t fleshed out any more than they are in show.\u003c/p>\n\u003cp>The result is a movie that, while pleasant and occasionally moving, concludes with its apex (“Defying Gravity”) which also happens to be a cliffhanger. It’s an unusually and exceedingly peculiar state — both complete and incomplete at the same time. The feeling isn’t quite loathing, exactly. But it is a bit tiresome, especially since it likely means we have to expect yet another full year of a \u003cem>Wicked \u003c/em>press tour. Like its predecessor, it’s an imperfect production that has a lot of heart and brains. If it only had the courage to tell a complete story in a reasonable amount of time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wicked’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "8 Handy Kitchen Hacks from ‘Great British Baking Show’ Judge Prue Leith",
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"content": "\u003cp>Chef and TV host Prue Leith may be an exacting judge with contestants on \u003cem>The Great British Baking Show\u003c/em>. But when it comes to the rest of us, she thinks we could all cut ourselves a bit of slack.\u003c/p>\n\u003cp>That’s the idea behind her new cookbook published in October, \u003cem>\u003ca href=\"https://www.copperfieldsbooks.com/book/9780711292505\">Life’s Too Short to Stuff a Mushroom\u003c/a>\u003c/em>. The book offers 80 globally inspired recipes (think masala poppadom nachos and avocado and wasabi dip) that don’t require any complicated or fussy techniques.\u003c/p>\n\u003cp>[aside postid='arts_13936820']It also comes with a big bonus: dozens of “Prue’s Handy Hacks,” tips and shortcuts that Leith has learned in her 65-year culinary career. That includes how to rescue over-whipped cream (a common \u003cem>Baking Show\u003c/em> dilemma), peel ginger with a spoon and easily peel a pineapple.\u003c/p>\n\u003cp>When cooks don’t have the right food prep skills, they feel “anxious and think, ‘Why should I bother?’” says Leith. But if you have a little know-how, cooking “is actually quite a pleasure.”\u003c/p>\n\u003cp>Leith shares a few tricks from her book to help you reduce waste and prepare tricky foods with ease.\u003c/p>\n\u003cfigure id=\"attachment_13968264\" class=\"wp-caption aligncenter\" style=\"max-width: 1581px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968264\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-book.png\" alt=\"A book cover featuring a smiling, senior woman wearing an apron, pink sweater and holding a martini glass. Plates of food sit on the counter in front of her.\" width=\"1581\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-book.png 1581w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-book-800x1012.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-book-1020x1290.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-book-160x202.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-book-768x972.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-book-1214x1536.png 1214w\" sizes=\"(max-width: 1581px) 100vw, 1581px\">\u003cfigcaption class=\"wp-caption-text\">‘Life’s Too Short to Stuff a Mushroom,’ by Prue Leith. \u003ccite>(Carnival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Level up your cooking game with “Prue’s Handy Hacks”\u003c/h2>\n\u003cp>\u003cstrong>🍋 Use a lemon to rescue hardened brown sugar. \u003c/strong>Put the brown sugar in an airtight container with a whole lemon. Close the lid, wait a couple days and it will be soft again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>🧄 Smash a clove of garlic to peel it more quickly. \u003c/strong>Cut the root end and tip end off, then take “a jam jar or the flat blade of a knife and just squash it,” says Leith. “As soon as you hear the skin breaking with a crack,” you should easily find the peel and remove it.\u003c/p>\n\u003cp>\u003cstrong>🍍Take the rind off a whole pineapple in just six slices. \u003c/strong>Grab a big knife and cut the top and bottom of the pineapple off. Then stand it up “and just slice down the sides straight down to get the four cheeks off,” says Leith. The fruit is ready to cut any way you like.\u003c/p>\n\u003cp>\u003cstrong>🫚 Use a spoon to peel your ginger. \u003c/strong>“Ginger is so difficult to peel because it’s a funny, odd shape,” says Leith. To make it easier, grab an ordinary teaspoon, stick it under the skin of the ginger and start scraping. When you get to the nubby bits, just use a little more elbow grease. (Watch the video above to see how Leith does it!)\u003c/p>\n\u003cp>Leith loves to use ginger in drinks “to give it a bit of a kick,” especially ginger beer with a little lime juice.\u003c/p>\n\u003cp>\u003cstrong>🍦Bring back over-whipped cream with a bit of cream. \u003c/strong>If you see that your cream has started to go grainy and “suddenly gets a bit too stiff,” stop whisking and add in a little cream to try and rescue it, she says.\u003c/p>\n\u003cp>If your over-whipped cream has “lumps of what is in fact butter,” she says, the trick won’t work. But don’t throw it away. Keep whisking to turn the rest of the cream into butter, then add herbs — “and you’ve made a sort of maitre d’hotel butter.” It’s perfect on top of steak.\u003c/p>\n\u003cp>\u003cstrong>🧁 Prevent your cupcake and muffin liners from getting greasy with a little bit of uncooked rice. \u003c/strong>“Just put one teaspoon of dry, uncooked rice in between the muffin liner and the tin. It will absorb any kind of grease or fat,” she says. It also makes the baked muffin easy to pull out of the tray.\u003c/p>\n\u003cp>\u003cstrong>🍌 Turn your overripe banana (even its skin) into a smoothie. \u003c/strong>Instead of chucking that banana into the compost bin, wash it, cut the two hard ends off and “liquidize the whole thing, including the skin” in a blender, says Leith. The black skin of a banana has loads of good stuff in it: fiber, polyunsaturated fats and amino acids. As you whizz it up, add milk and lots of cinnamon. “If you really want a treat, put a blob of vanilla ice cream.”\u003c/p>\n\u003cfigure id=\"attachment_13968265\" class=\"wp-caption aligncenter\" style=\"max-width: 1372px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968265\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-smooth.png\" alt=\"A senior woman wearing colorful clothes and accessories pours a milky liquid from.a blender into a glass.\" width=\"1372\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-smooth.png 1372w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-smooth-800x1166.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-smooth-1020x1487.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-smooth-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-smooth-768x1120.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-smooth-1054x1536.png 1054w\" sizes=\"(max-width: 1372px) 100vw, 1372px\">\u003cfigcaption class=\"wp-caption-text\">Prue Leith makes a smoothie using overripe bananas — skin and all. (She does cut off the tip and tail.) \u003ccite>(Ant Duncan/Carnival Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>🧀 Keep opened feta cheese from going rancid by storing it in salted water. \u003c/strong>“Feta needs to be kept under salted water if it’s to be kept for a long time,” says Leith. “Either that, or eat it straight away.” Place the feta in a lidded container, submerge it in water with a tablespoon of salt and store it in the fridge. It’ll last for weeks.\u003c/p>\n\u003cp>Find more “Prue’s Handy Hacks” in Leith’s cookbook, \u003ca href=\"https://www.copperfieldsbooks.com/book/9780711292505\">\u003cem>\u003cu>Life’s Too Short to Stuff A Mushroom\u003c/u>\u003c/em>\u003c/a>, along with QR codes to video demonstrations.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This digital story was written by Malaka Gharib. It was edited by Meghan Keane. The visual editor is Beck Harlan.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Want more Life Kit? Subscribe to our weekly newsletter and get expert advice on topics like money, relationships, health and more. \u003c/em>\u003ca href=\"http://n.pr/3xN1tB9\">\u003cem>\u003cu>Click here to subscribe now\u003c/u>\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chef and TV host Prue Leith may be an exacting judge with contestants on \u003cem>The Great British Baking Show\u003c/em>. But when it comes to the rest of us, she thinks we could all cut ourselves a bit of slack.\u003c/p>\n\u003cp>That’s the idea behind her new cookbook published in October, \u003cem>\u003ca href=\"https://www.copperfieldsbooks.com/book/9780711292505\">Life’s Too Short to Stuff a Mushroom\u003c/a>\u003c/em>. The book offers 80 globally inspired recipes (think masala poppadom nachos and avocado and wasabi dip) that don’t require any complicated or fussy techniques.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It also comes with a big bonus: dozens of “Prue’s Handy Hacks,” tips and shortcuts that Leith has learned in her 65-year culinary career. That includes how to rescue over-whipped cream (a common \u003cem>Baking Show\u003c/em> dilemma), peel ginger with a spoon and easily peel a pineapple.\u003c/p>\n\u003cp>When cooks don’t have the right food prep skills, they feel “anxious and think, ‘Why should I bother?’” says Leith. But if you have a little know-how, cooking “is actually quite a pleasure.”\u003c/p>\n\u003cp>Leith shares a few tricks from her book to help you reduce waste and prepare tricky foods with ease.\u003c/p>\n\u003cfigure id=\"attachment_13968264\" class=\"wp-caption aligncenter\" style=\"max-width: 1581px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968264\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-book.png\" alt=\"A book cover featuring a smiling, senior woman wearing an apron, pink sweater and holding a martini glass. Plates of food sit on the counter in front of her.\" width=\"1581\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-book.png 1581w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-book-800x1012.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-book-1020x1290.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-book-160x202.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-book-768x972.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-book-1214x1536.png 1214w\" sizes=\"(max-width: 1581px) 100vw, 1581px\">\u003cfigcaption class=\"wp-caption-text\">‘Life’s Too Short to Stuff a Mushroom,’ by Prue Leith. \u003ccite>(Carnival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Level up your cooking game with “Prue’s Handy Hacks”\u003c/h2>\n\u003cp>\u003cstrong>🍋 Use a lemon to rescue hardened brown sugar. \u003c/strong>Put the brown sugar in an airtight container with a whole lemon. Close the lid, wait a couple days and it will be soft again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>🧄 Smash a clove of garlic to peel it more quickly. \u003c/strong>Cut the root end and tip end off, then take “a jam jar or the flat blade of a knife and just squash it,” says Leith. “As soon as you hear the skin breaking with a crack,” you should easily find the peel and remove it.\u003c/p>\n\u003cp>\u003cstrong>🍍Take the rind off a whole pineapple in just six slices. \u003c/strong>Grab a big knife and cut the top and bottom of the pineapple off. Then stand it up “and just slice down the sides straight down to get the four cheeks off,” says Leith. The fruit is ready to cut any way you like.\u003c/p>\n\u003cp>\u003cstrong>🫚 Use a spoon to peel your ginger. \u003c/strong>“Ginger is so difficult to peel because it’s a funny, odd shape,” says Leith. To make it easier, grab an ordinary teaspoon, stick it under the skin of the ginger and start scraping. When you get to the nubby bits, just use a little more elbow grease. (Watch the video above to see how Leith does it!)\u003c/p>\n\u003cp>Leith loves to use ginger in drinks “to give it a bit of a kick,” especially ginger beer with a little lime juice.\u003c/p>\n\u003cp>\u003cstrong>🍦Bring back over-whipped cream with a bit of cream. \u003c/strong>If you see that your cream has started to go grainy and “suddenly gets a bit too stiff,” stop whisking and add in a little cream to try and rescue it, she says.\u003c/p>\n\u003cp>If your over-whipped cream has “lumps of what is in fact butter,” she says, the trick won’t work. But don’t throw it away. Keep whisking to turn the rest of the cream into butter, then add herbs — “and you’ve made a sort of maitre d’hotel butter.” It’s perfect on top of steak.\u003c/p>\n\u003cp>\u003cstrong>🧁 Prevent your cupcake and muffin liners from getting greasy with a little bit of uncooked rice. \u003c/strong>“Just put one teaspoon of dry, uncooked rice in between the muffin liner and the tin. It will absorb any kind of grease or fat,” she says. It also makes the baked muffin easy to pull out of the tray.\u003c/p>\n\u003cp>\u003cstrong>🍌 Turn your overripe banana (even its skin) into a smoothie. \u003c/strong>Instead of chucking that banana into the compost bin, wash it, cut the two hard ends off and “liquidize the whole thing, including the skin” in a blender, says Leith. The black skin of a banana has loads of good stuff in it: fiber, polyunsaturated fats and amino acids. As you whizz it up, add milk and lots of cinnamon. “If you really want a treat, put a blob of vanilla ice cream.”\u003c/p>\n\u003cfigure id=\"attachment_13968265\" class=\"wp-caption aligncenter\" style=\"max-width: 1372px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968265\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-smooth.png\" alt=\"A senior woman wearing colorful clothes and accessories pours a milky liquid from.a blender into a glass.\" width=\"1372\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-smooth.png 1372w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-smooth-800x1166.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-smooth-1020x1487.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-smooth-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-smooth-768x1120.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/prue-smooth-1054x1536.png 1054w\" sizes=\"(max-width: 1372px) 100vw, 1372px\">\u003cfigcaption class=\"wp-caption-text\">Prue Leith makes a smoothie using overripe bananas — skin and all. (She does cut off the tip and tail.) \u003ccite>(Ant Duncan/Carnival Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>🧀 Keep opened feta cheese from going rancid by storing it in salted water. \u003c/strong>“Feta needs to be kept under salted water if it’s to be kept for a long time,” says Leith. “Either that, or eat it straight away.” Place the feta in a lidded container, submerge it in water with a tablespoon of salt and store it in the fridge. It’ll last for weeks.\u003c/p>\n\u003cp>Find more “Prue’s Handy Hacks” in Leith’s cookbook, \u003ca href=\"https://www.copperfieldsbooks.com/book/9780711292505\">\u003cem>\u003cu>Life’s Too Short to Stuff A Mushroom\u003c/u>\u003c/em>\u003c/a>, along with QR codes to video demonstrations.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This digital story was written by Malaka Gharib. It was edited by Meghan Keane. The visual editor is Beck Harlan.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Want more Life Kit? Subscribe to our weekly newsletter and get expert advice on topics like money, relationships, health and more. \u003c/em>\u003ca href=\"http://n.pr/3xN1tB9\">\u003cem>\u003cu>Click here to subscribe now\u003c/u>\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With all the cooking, feasting and leftover-keeping that comes with \u003ca href=\"https://www.kqed.org/arts/tag/holidays\">the holidays\u003c/a>, it can be hard to know how to keep food safe.\u003c/p>\n\u003cp>[aside postid='arts_13967120']Sometimes we just do what our families did growing up (like storing rice in the rice cooker all day). Sometimes we follow what feels like common sense (if it looks and smells alright, it should be OK to eat, right?). But experts urge a little more caution.\u003c/p>\n\u003cp>\u003ca href=\"https://savvyfs.com/meet-francine/\">\u003cu>Francine Shaw\u003c/u>\u003c/a>, a food safety specialist, and \u003ca href=\"https://www.fda.gov/about-fda/fda-organization/namandje-bumpus\">\u003cu>Namandjé Bumpus\u003c/u>\u003c/a>, principal deputy commissioner at the Food and Drug Administration, answer six honest questions about food prep and safe food handling. If you want to avoid giving your guests (and yourself) food poisoning this season, follow their advice.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2500x3125+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F70%2F12%2F81d8c7a2454c85f386519a00828a%2Ffood-1.jpg\">\u003cfigcaption>\u003ccite> (Malaka Gharib/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2500x3125+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fa8%2F0c%2F6ab780a84b569e110aaf2f140501%2Ffood-2.jpg\">\u003cfigcaption>\u003ccite> (Malaka Gharib/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2500x3125+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F88%2F26%2F0f03c019407dbb919614d273cf18%2Ffood-3.jpg\">\u003cfigcaption>\u003ccite> (Malaka Gharib/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2500x3125+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F6e%2F1e%2F99c241ca4470a4bb4f4e34a8bc6d%2Ffood-4.jpg\">\u003cfigcaption>\u003ccite> (Malaka Gharib/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2500x3125+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Faa%2Fb6%2F854572d54248b9ce2e49b546a2ea%2Ffood-5.jpg\">\u003cfigcaption>\u003ccite> (Malaka Gharib/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2500x3125+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F3d%2F8d%2F495f05e246dba22cc5b14c3f2a86%2Ffood-6.jpg\">\u003cfigcaption>\u003ccite> (Malaka Gharib/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"http://malakagharib.com\">Malaka Gharib\u003c/a> is a Filipino Egyptian American journalist and cartoonist. She is the author of the graphic memoirs ‘I Was Their American Dream’ and ‘It Won’t Always Be Like This.’ \u003c/em>\u003c/p>\n\u003cp>\u003cem>The comic was illustrated and written by Malaka Gharib and reported by Andee Tagle. The editor is Becky Harlan. Leave Life Kit a voicemail at \u003c/em>\u003ca href=\"tel:2022169823\">\u003cem>202-216-9823\u003c/em>\u003c/a>\u003cem>, or email them at: \u003c/em>\u003ca href=\"mailto:LifeKit@npr.org\">\u003cem>LifeKit@npr.org\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Life Kit on\u003c/em>\u003ca href=\"http://n.pr/3LdRb0X\">\u003cem> Apple Podcasts\u003c/em>\u003c/a>\u003cem> and\u003c/em>\u003ca href=\"http://n.pr/3K3xVln\">\u003cem> Spotify\u003c/em>\u003c/a>\u003cem>, or sign up for the\u003c/em>\u003ca href=\"http://n.pr/3xN1tB9\">\u003cem> newsletter\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Am I going to get explosive diarrhea if I keep reheating the same leftovers? A refresher on food safety ahead of the holidays.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sometimes we just do what our families did growing up (like storing rice in the rice cooker all day). Sometimes we follow what feels like common sense (if it looks and smells alright, it should be OK to eat, right?). But experts urge a little more caution.\u003c/p>\n\u003cp>\u003ca href=\"https://savvyfs.com/meet-francine/\">\u003cu>Francine Shaw\u003c/u>\u003c/a>, a food safety specialist, and \u003ca href=\"https://www.fda.gov/about-fda/fda-organization/namandje-bumpus\">\u003cu>Namandjé Bumpus\u003c/u>\u003c/a>, principal deputy commissioner at the Food and Drug Administration, answer six honest questions about food prep and safe food handling. If you want to avoid giving your guests (and yourself) food poisoning this season, follow their advice.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2500x3125+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F70%2F12%2F81d8c7a2454c85f386519a00828a%2Ffood-1.jpg\">\u003cfigcaption>\u003ccite> (Malaka Gharib/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2500x3125+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fa8%2F0c%2F6ab780a84b569e110aaf2f140501%2Ffood-2.jpg\">\u003cfigcaption>\u003ccite> (Malaka Gharib/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2500x3125+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F88%2F26%2F0f03c019407dbb919614d273cf18%2Ffood-3.jpg\">\u003cfigcaption>\u003ccite> (Malaka Gharib/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2500x3125+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F6e%2F1e%2F99c241ca4470a4bb4f4e34a8bc6d%2Ffood-4.jpg\">\u003cfigcaption>\u003ccite> (Malaka Gharib/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2500x3125+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Faa%2Fb6%2F854572d54248b9ce2e49b546a2ea%2Ffood-5.jpg\">\u003cfigcaption>\u003ccite> (Malaka Gharib/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2500x3125+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F3d%2F8d%2F495f05e246dba22cc5b14c3f2a86%2Ffood-6.jpg\">\u003cfigcaption>\u003ccite> (Malaka Gharib/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"http://malakagharib.com\">Malaka Gharib\u003c/a> is a Filipino Egyptian American journalist and cartoonist. She is the author of the graphic memoirs ‘I Was Their American Dream’ and ‘It Won’t Always Be Like This.’ \u003c/em>\u003c/p>\n\u003cp>\u003cem>The comic was illustrated and written by Malaka Gharib and reported by Andee Tagle. The editor is Becky Harlan. Leave Life Kit a voicemail at \u003c/em>\u003ca href=\"tel:2022169823\">\u003cem>202-216-9823\u003c/em>\u003c/a>\u003cem>, or email them at: \u003c/em>\u003ca href=\"mailto:LifeKit@npr.org\">\u003cem>LifeKit@npr.org\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "karaoke-south-san-francisco-hong-kong-late-night-restaurant-noodles-e-plus",
"title": "In South San Francisco, Noodles and Karaoke Are the Perfect Late-Night Combo",
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"headTitle": "In South San Francisco, Noodles and Karaoke Are the Perfect Late-Night Combo | KQED",
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"content": "\u003cfigure id=\"attachment_13968150\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968150\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2-Karaoke-Room.jpg\" alt=\"Illustration: Three middle-aged men singing their hearts out at karaoke while a woman placidly eats a plate of spaghetti.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2-Karaoke-Room.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2-Karaoke-Room-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2-Karaoke-Room-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2-Karaoke-Room-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2-Karaoke-Room-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2-Karaoke-Room-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2-Karaoke-Room-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">At South San Francisco’s E Plus Karaoke and Cafe, the food and the vibes are both top-notch. \u003ccite>(Raynato Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene. This week’s guest artist is local dentist — and \u003c/i>\u003ca href=\"https://www.kqed.org/pop/18439/happy-20th-birthday-wonderwall\">\u003ci>Oasis\u003c/i>\u003c/a>\u003ci> superfan — Raynato Castro.\u003c/i>\u003c/p>\n\u003cp>E Plus Karaoke and Cafe isn’t exactly the world’s most inviting restaurant. Located on a sparse, warehouse-y block of South San Francisco, the dimly lit building is easy to miss if you aren’t actively looking for the “WE ARE OPEN” banner hanging high up on the wall.\u003c/p>\n\u003cp>\u003ci>Was\u003c/i> it open? And was it even a restaurant, really? When we pulled up at 9 o’clock on a Friday night, the front door was locked shut, and a slightly passive-aggressive signboard half-scolded us: “Sorry no dine-in, TO-GO only.” After a minute of uncertainty, a burly security guard with extensive face tattoos finally emerged and asked us, affably, if we’d made a reservation.\u003c/p>\n\u003cp>We had. In fact, we’d been planning this night for months.\u003c/p>\n\u003cp>The reason we’d come to this slightly sketchy-looking shoebox of a karaoke joint was because, like so many of our Asian brethren, we live for karaoke — and also because we’d heard rumors that, in addition to having sweet private rooms (a.k.a. the only style of karaoke I abide) and superior song selection, E Plus also serves surprisingly good Cantonese food. Specifically, the sign in the window promises 港式西餐 — a genre of East-West fusion cuisine characteristic of Hong Kong–style coffee shops.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To be clear, though, the emphasis is on the karaoke. You aren’t even allowed to eat inside if you haven’t reserved one of those private karaoke rooms ahead of time. But apart from the karaoke, the place is probably best known for being one of just a handful of late-night takeout options in the immediate vicinity of the San Francisco International Airport. Both the kitchen and the karaoke are open until 1:30 a.m. every night.\u003c/p>\n\u003cp>All of which is to say, it didn’t necessarily \u003ci>seem\u003c/i> like there was any incentive for the E Plus kitchen to crank out much better than C plus food.\u003c/p>\n\u003cfigure id=\"attachment_13968154\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1-Exterior.jpg\" alt='Illustration: The exterior of E Plus Karaoke and Cafe on a dark night with a full moon. The banner on top of the building reads, \"WE ARE OPEN.\"' width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1-Exterior.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1-Exterior-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1-Exterior-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1-Exterior-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1-Exterior-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1-Exterior-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1-Exterior-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Don’t be deceived by the building’s somewhat uninviting exterior. \u003ccite>(Raynato Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One pro tip: Everyone knows the key to a successful karaoke night is assembling the right crew. That’s especially true at E Plus, because the smallest size room will run you $58 an hour (with a two-hour minimum) even before you factor in food and drink — Lord knows, a pricey date night in this economy. But if you can cobble together at least a group of four, E Plus offers a $38 per person combo deal that’s a legitimate bargain: Each person picks a dish and a non-alcoholic drink, and two hours of karaoke time are included.\u003c/p>\n\u003cp>Anyway, our group of four put in our order and then promptly forgot about it in the excitement of scoping out the room we’d been assigned, with its big, shiny couches, moody neon backlighting, and top-notch sound system. Before we knew it, we were fully in our feelings: broing out to an especially lonesome rendition of Savage Garden’s “Truly Madly Deeply” and straining our voices to hit the high notes of the late, great Biz Markie’s “Just a Friend.”\u003c/p>\n\u003cp>Quietly, a staff member brought in the food we’d ordered, crouching down so she wouldn’t block our view of the lyrics. And would you believe that every dish was a hit?\u003c/p>\n\u003cp>Dry-style beef chow fun is a litmus test for any self-respecting \u003ca href=\"https://www.kqed.org/arts/13962284/four-kings-hong-kong-restaurant-san-francisco-chinatown-hella-hungry-interview\">Canto food spot\u003c/a>, and E Plus’s version is as solid a rendition as I’ve had recently: soft, pliable noodles and well-charred beef, all glistening with a wonderfully savory soy sauce sheen. We took one bite and knew we were in good hands.\u003c/p>\n\u003cp>Another house special is the spicy salt-and-pepper fried chicken cartilage, and it’s a knockout — a generous, piping-hot portion of crispy popcorn chicken, essentially, with a little bit of extra texture for good measure. This is the ideal accompaniment to cold beer or sake (both available for purchase) — and exactly the kind of finger food that’s convenient when you want to pop something in your mouth during, say, the 27-second instrumental intro to “Boys of Summer.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13967564,arts_13965215,arts_13961613']\u003c/span>\u003c/span>The roast duck pancake, meanwhile, turns out to be a kind of hybrid between jianbing (a kind of northern Chinese street food crepe) and a Peking duck wrap. The eggy crepe is flecked with black sesame seeds, brushed with hoisin sauce, and then piled with slices of roast duck and rolled up like a burrito. I loved the bit of crispy duck skin you get in every bite, but you’ll want to devour this quickly, as soon as it comes out, before the crepe goes limp and cold.\u003c/p>\n\u003cp>The most classic Hong Kong cafe–style dish that we ordered was the baked pork chop spaghetti — a pile of sweet, ketchup-spiked red sauce spaghetti topped with two big, juicy pork chops and an outlandish amount of stretchy melted cheese. Friends, this is late-night comfort food at its carby finest (though, admittedly, not the easiest or neatest dish to share).\u003c/p>\n\u003cp>To drink, E Plus offers a very respectable rendition of Hong Kong milk tea, served either cold or hot. But more adventurous diners may want to try the most surprising and delightful — and most overtly Hong Kong — menu item: hot Coke with lemon. It is what it sounds like: regular ol’ Coca-Cola, heated up to the temperature of hot tea so that it loses its fizz and amps up its sweetness, then mixed with a few thin rounds of lemon. Served this way, the drink tastes faintly medicinal — and indeed, in Hong Kong it’s a popular home remedy for a cough or sore throat.\u003c/p>\n\u003cp>I like to think it made our singing voices especially potent.\u003c/p>\n\u003cp>Granted, there were some of us who sang with the sweet, dulcet tones of a Filipino angel … and others who, well, compensated for our tone deafness by singing with our whole chest 100% of the time — and not hanging onto even one shred of our dignity. I’ll leave you to imagine who took Whitney’s part and who stepped in as Mariah in the big power-ballad duet moment of the night, “When You Believe.” Who crooned the most mournful old-man version of Gordon Lightfoot’s “If You Could Read My Mind.” And who hit the high notes in “Let It Go” so sweetly and perfectly, we \u003ci>all\u003c/i> thought we’d turned into Disney princesses.\u003c/p>\n\u003cp>After all, the first and only rule of (private room) karaoke is that you keep those memories for yourself. Bury the video evidence. Never speak of it again. At least until the next time you get an irrepressible hankering for Don Henley and deep-fried chicken cartilage, and round up the whole gang once again.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.eplusstudio94080.com/\">\u003ci>E Plus Karaoke and Cafe\u003c/i>\u003c/a>\u003ci> is open 3 p.m.–1:30 a.m. daily at 490 S. Airport Blvd. Ste. A in South San Francisco. Call ahead to reserve a karaoke room if you plan to dine in.\u003c/i>\u003c/p>\n\n",
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"title": "Noodles and Karaoke Are the Perfect Late-Night Combo in South San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13968150\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968150\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2-Karaoke-Room.jpg\" alt=\"Illustration: Three middle-aged men singing their hearts out at karaoke while a woman placidly eats a plate of spaghetti.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2-Karaoke-Room.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2-Karaoke-Room-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2-Karaoke-Room-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2-Karaoke-Room-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2-Karaoke-Room-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2-Karaoke-Room-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2-Karaoke-Room-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">At South San Francisco’s E Plus Karaoke and Cafe, the food and the vibes are both top-notch. \u003ccite>(Raynato Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene. This week’s guest artist is local dentist — and \u003c/i>\u003ca href=\"https://www.kqed.org/pop/18439/happy-20th-birthday-wonderwall\">\u003ci>Oasis\u003c/i>\u003c/a>\u003ci> superfan — Raynato Castro.\u003c/i>\u003c/p>\n\u003cp>E Plus Karaoke and Cafe isn’t exactly the world’s most inviting restaurant. Located on a sparse, warehouse-y block of South San Francisco, the dimly lit building is easy to miss if you aren’t actively looking for the “WE ARE OPEN” banner hanging high up on the wall.\u003c/p>\n\u003cp>\u003ci>Was\u003c/i> it open? And was it even a restaurant, really? When we pulled up at 9 o’clock on a Friday night, the front door was locked shut, and a slightly passive-aggressive signboard half-scolded us: “Sorry no dine-in, TO-GO only.” After a minute of uncertainty, a burly security guard with extensive face tattoos finally emerged and asked us, affably, if we’d made a reservation.\u003c/p>\n\u003cp>We had. In fact, we’d been planning this night for months.\u003c/p>\n\u003cp>The reason we’d come to this slightly sketchy-looking shoebox of a karaoke joint was because, like so many of our Asian brethren, we live for karaoke — and also because we’d heard rumors that, in addition to having sweet private rooms (a.k.a. the only style of karaoke I abide) and superior song selection, E Plus also serves surprisingly good Cantonese food. Specifically, the sign in the window promises 港式西餐 — a genre of East-West fusion cuisine characteristic of Hong Kong–style coffee shops.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To be clear, though, the emphasis is on the karaoke. You aren’t even allowed to eat inside if you haven’t reserved one of those private karaoke rooms ahead of time. But apart from the karaoke, the place is probably best known for being one of just a handful of late-night takeout options in the immediate vicinity of the San Francisco International Airport. Both the kitchen and the karaoke are open until 1:30 a.m. every night.\u003c/p>\n\u003cp>All of which is to say, it didn’t necessarily \u003ci>seem\u003c/i> like there was any incentive for the E Plus kitchen to crank out much better than C plus food.\u003c/p>\n\u003cfigure id=\"attachment_13968154\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1-Exterior.jpg\" alt='Illustration: The exterior of E Plus Karaoke and Cafe on a dark night with a full moon. The banner on top of the building reads, \"WE ARE OPEN.\"' width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1-Exterior.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1-Exterior-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1-Exterior-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1-Exterior-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1-Exterior-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1-Exterior-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1-Exterior-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Don’t be deceived by the building’s somewhat uninviting exterior. \u003ccite>(Raynato Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One pro tip: Everyone knows the key to a successful karaoke night is assembling the right crew. That’s especially true at E Plus, because the smallest size room will run you $58 an hour (with a two-hour minimum) even before you factor in food and drink — Lord knows, a pricey date night in this economy. But if you can cobble together at least a group of four, E Plus offers a $38 per person combo deal that’s a legitimate bargain: Each person picks a dish and a non-alcoholic drink, and two hours of karaoke time are included.\u003c/p>\n\u003cp>Anyway, our group of four put in our order and then promptly forgot about it in the excitement of scoping out the room we’d been assigned, with its big, shiny couches, moody neon backlighting, and top-notch sound system. Before we knew it, we were fully in our feelings: broing out to an especially lonesome rendition of Savage Garden’s “Truly Madly Deeply” and straining our voices to hit the high notes of the late, great Biz Markie’s “Just a Friend.”\u003c/p>\n\u003cp>Quietly, a staff member brought in the food we’d ordered, crouching down so she wouldn’t block our view of the lyrics. And would you believe that every dish was a hit?\u003c/p>\n\u003cp>Dry-style beef chow fun is a litmus test for any self-respecting \u003ca href=\"https://www.kqed.org/arts/13962284/four-kings-hong-kong-restaurant-san-francisco-chinatown-hella-hungry-interview\">Canto food spot\u003c/a>, and E Plus’s version is as solid a rendition as I’ve had recently: soft, pliable noodles and well-charred beef, all glistening with a wonderfully savory soy sauce sheen. We took one bite and knew we were in good hands.\u003c/p>\n\u003cp>Another house special is the spicy salt-and-pepper fried chicken cartilage, and it’s a knockout — a generous, piping-hot portion of crispy popcorn chicken, essentially, with a little bit of extra texture for good measure. This is the ideal accompaniment to cold beer or sake (both available for purchase) — and exactly the kind of finger food that’s convenient when you want to pop something in your mouth during, say, the 27-second instrumental intro to “Boys of Summer.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>The roast duck pancake, meanwhile, turns out to be a kind of hybrid between jianbing (a kind of northern Chinese street food crepe) and a Peking duck wrap. The eggy crepe is flecked with black sesame seeds, brushed with hoisin sauce, and then piled with slices of roast duck and rolled up like a burrito. I loved the bit of crispy duck skin you get in every bite, but you’ll want to devour this quickly, as soon as it comes out, before the crepe goes limp and cold.\u003c/p>\n\u003cp>The most classic Hong Kong cafe–style dish that we ordered was the baked pork chop spaghetti — a pile of sweet, ketchup-spiked red sauce spaghetti topped with two big, juicy pork chops and an outlandish amount of stretchy melted cheese. Friends, this is late-night comfort food at its carby finest (though, admittedly, not the easiest or neatest dish to share).\u003c/p>\n\u003cp>To drink, E Plus offers a very respectable rendition of Hong Kong milk tea, served either cold or hot. But more adventurous diners may want to try the most surprising and delightful — and most overtly Hong Kong — menu item: hot Coke with lemon. It is what it sounds like: regular ol’ Coca-Cola, heated up to the temperature of hot tea so that it loses its fizz and amps up its sweetness, then mixed with a few thin rounds of lemon. Served this way, the drink tastes faintly medicinal — and indeed, in Hong Kong it’s a popular home remedy for a cough or sore throat.\u003c/p>\n\u003cp>I like to think it made our singing voices especially potent.\u003c/p>\n\u003cp>Granted, there were some of us who sang with the sweet, dulcet tones of a Filipino angel … and others who, well, compensated for our tone deafness by singing with our whole chest 100% of the time — and not hanging onto even one shred of our dignity. I’ll leave you to imagine who took Whitney’s part and who stepped in as Mariah in the big power-ballad duet moment of the night, “When You Believe.” Who crooned the most mournful old-man version of Gordon Lightfoot’s “If You Could Read My Mind.” And who hit the high notes in “Let It Go” so sweetly and perfectly, we \u003ci>all\u003c/i> thought we’d turned into Disney princesses.\u003c/p>\n\u003cp>After all, the first and only rule of (private room) karaoke is that you keep those memories for yourself. Bury the video evidence. Never speak of it again. At least until the next time you get an irrepressible hankering for Don Henley and deep-fried chicken cartilage, and round up the whole gang once again.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eplusstudio94080.com/\">\u003ci>E Plus Karaoke and Cafe\u003c/i>\u003c/a>\u003ci> is open 3 p.m.–1:30 a.m. daily at 490 S. Airport Blvd. Ste. A in South San Francisco. Call ahead to reserve a karaoke room if you plan to dine in.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Saafir, Inventive and Dextrous Oakland Rapper, Dies at 54",
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"headTitle": "Saafir, Inventive and Dextrous Oakland Rapper, Dies at 54 | KQED",
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"content": "\u003cp>Saafir, the raspy-voiced Oakland rapper who infused the rhythms of avant-garde jazz into his rhymes, died on Tuesday morning, according to family. He was 54.\u003c/p>\n\u003cp>A joint \u003ca href=\"https://www.instagram.com/p/DCj_iNlS5aE/\">Instagram post\u003c/a> by the rapper Xzibit and Saafir’s son explained that the rapper born Reggie Gibson died at 8:45 a.m., surrounded by friends and family.\u003c/p>\n\u003cp>“We surrounded him and let him know how much we loved him,” the post read. “He can rest now.”\u003c/p>\n\u003cp>No cause of death was announced. Saafir had long struggled with complications from a spinal surgery and other health problems.\u003c/p>\n\u003cfigure id=\"attachment_13968341\" class=\"wp-caption aligncenter\" style=\"max-width: 1122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg\" alt=\"\" width=\"1122\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-800x887.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-1020x1131.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-768x852.jpg 768w\" sizes=\"(max-width: 1122px) 100vw, 1122px\">\u003cfigcaption class=\"wp-caption-text\">Saafir.\u003c/figcaption>\u003c/figure>\n\u003cp>With his early 1990s hip-hop group Hobo Junction, Saafir made a name for himself as a lyrically dextrous and inventive rapper with a distinct, guttural style. He is remembered by hip-hop fans nationwide, and especially in the Bay Area, for incandescently propelling a \u003ca href=\"https://www.kqed.org/arts/13924170/the-bay-area-rap-battle-heard-round-the-world\">legendary 1994 on-air freestyle battle\u003c/a> between his Hobo Junction crew and fellow East Bay collective Hieroglyphics that lasted more than 40 minutes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saafir spent his early teenage years in and out of group homes in Oakland, with at least one stint in jail. Inspired by early rappers like Too Short and LL Cool J, he began writing raps and developing a cadence that frequently avoided the downbeat.\u003c/p>\n\u003cp>While working with \u003ca href=\"https://www.kqed.org/arts/tag/digital-underground\">Digital Underground\u003c/a>, Saafir was onetime roommates with \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a>, who introduced the West Oakland-bred young talent to Hollywood movie directors Albert and Allen Hughes. Saafir appeared in their 1993 film \u003cem>Menace II Society\u003c/em> as the character cousin Harold.\u003c/p>\n\u003cp>Before long, Saafir was offered a major record deal from music industry titan Quincy Jones. The resulting album, \u003cem>Boxcar Sessions\u003c/em>, bridged the dynamism of jazz innovators like Eric Dolphy and Andrew Hill with the streetwise sounds and themes of crack-era Oakland. To celebrate its release, Saafir performed a \u003ca href=\"https://www.youtube.com/watch?v=ww82T3UmSEU\">free show\u003c/a> in front of Leopold’s Records, just off Telegraph Avenue in Berkeley, where Hobo Junction first began selling underground tapes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lfQWH8QsNjA\u003c/p>\n\u003cp>Only a handful of albums followed. In 2013, on the blog of hip-hop historian Davey D, Shock G from Digital Underground explained Saafir’s absence from the scene in a \u003ca href=\"https://hiphopandpolitics.com/2013/02/12/shock-g-of-digital-underground-explains-why-saafir-is-bound-to-a-wheelchair/\">sprawling list of accidents, afflictions and obstacles\u003c/a> that went viral among diehard fans. Saafir later clarified parts of Shock G’s recollection in an interview with the \u003ca href=\"https://sfbgarchive.48hills.org/sfbgarchive/2013/03/27/reality-rap-qa-saafir-saucee-nomad/\">\u003cem>San Francisco Bay Guardian\u003c/em>\u003c/a>, where he detailed the challenges of navigating the healthcare system.\u003c/p>\n\u003cp>[aside postID='arts_13924170']Saafir, who used a wheelchair after his spinal surgery, made very few public appearances over the past 15 years. He often made an exception, however, for \u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\">Dream Day\u003c/a> — an annual tribute to his late friend and graffiti artist \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a>. In 2014, he appeared onstage in San Francisco to perform his hit “Light Sleeper,” supported by the show’s headliner and his former battle nemesis from Hieroglyphics, Casual.\u003c/p>\n\u003cp>Though their famous freestyle battle hosted by Sway on KMEL’s \u003cem>The Wake Up Show\u003c/em> painted Saafir and Casual as enemies in the public imagination, the two retained their respect for each other.\u003c/p>\n\u003cp>In a short documentary, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=QC7OtfYxDaQ\">The Battle\u003c/a>\u003c/em>, Saafir commended Casual: “You really brought out the best. You made me wanna be a monster, and I respect it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Saafir is survived by a son — the rapper known as Lil Saafir — and a brother. No services have yet been announced.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saafir, the raspy-voiced Oakland rapper who infused the rhythms of avant-garde jazz into his rhymes, died on Tuesday morning, according to family. He was 54.\u003c/p>\n\u003cp>A joint \u003ca href=\"https://www.instagram.com/p/DCj_iNlS5aE/\">Instagram post\u003c/a> by the rapper Xzibit and Saafir’s son explained that the rapper born Reggie Gibson died at 8:45 a.m., surrounded by friends and family.\u003c/p>\n\u003cp>“We surrounded him and let him know how much we loved him,” the post read. “He can rest now.”\u003c/p>\n\u003cp>No cause of death was announced. Saafir had long struggled with complications from a spinal surgery and other health problems.\u003c/p>\n\u003cfigure id=\"attachment_13968341\" class=\"wp-caption aligncenter\" style=\"max-width: 1122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg\" alt=\"\" width=\"1122\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-800x887.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-1020x1131.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-768x852.jpg 768w\" sizes=\"(max-width: 1122px) 100vw, 1122px\">\u003cfigcaption class=\"wp-caption-text\">Saafir.\u003c/figcaption>\u003c/figure>\n\u003cp>With his early 1990s hip-hop group Hobo Junction, Saafir made a name for himself as a lyrically dextrous and inventive rapper with a distinct, guttural style. He is remembered by hip-hop fans nationwide, and especially in the Bay Area, for incandescently propelling a \u003ca href=\"https://www.kqed.org/arts/13924170/the-bay-area-rap-battle-heard-round-the-world\">legendary 1994 on-air freestyle battle\u003c/a> between his Hobo Junction crew and fellow East Bay collective Hieroglyphics that lasted more than 40 minutes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saafir spent his early teenage years in and out of group homes in Oakland, with at least one stint in jail. Inspired by early rappers like Too Short and LL Cool J, he began writing raps and developing a cadence that frequently avoided the downbeat.\u003c/p>\n\u003cp>While working with \u003ca href=\"https://www.kqed.org/arts/tag/digital-underground\">Digital Underground\u003c/a>, Saafir was onetime roommates with \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a>, who introduced the West Oakland-bred young talent to Hollywood movie directors Albert and Allen Hughes. Saafir appeared in their 1993 film \u003cem>Menace II Society\u003c/em> as the character cousin Harold.\u003c/p>\n\u003cp>Before long, Saafir was offered a major record deal from music industry titan Quincy Jones. The resulting album, \u003cem>Boxcar Sessions\u003c/em>, bridged the dynamism of jazz innovators like Eric Dolphy and Andrew Hill with the streetwise sounds and themes of crack-era Oakland. To celebrate its release, Saafir performed a \u003ca href=\"https://www.youtube.com/watch?v=ww82T3UmSEU\">free show\u003c/a> in front of Leopold’s Records, just off Telegraph Avenue in Berkeley, where Hobo Junction first began selling underground tapes.\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/lfQWH8QsNjA'\n title='//www.youtube.com/embed/lfQWH8QsNjA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Only a handful of albums followed. In 2013, on the blog of hip-hop historian Davey D, Shock G from Digital Underground explained Saafir’s absence from the scene in a \u003ca href=\"https://hiphopandpolitics.com/2013/02/12/shock-g-of-digital-underground-explains-why-saafir-is-bound-to-a-wheelchair/\">sprawling list of accidents, afflictions and obstacles\u003c/a> that went viral among diehard fans. Saafir later clarified parts of Shock G’s recollection in an interview with the \u003ca href=\"https://sfbgarchive.48hills.org/sfbgarchive/2013/03/27/reality-rap-qa-saafir-saucee-nomad/\">\u003cem>San Francisco Bay Guardian\u003c/em>\u003c/a>, where he detailed the challenges of navigating the healthcare system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Saafir, who used a wheelchair after his spinal surgery, made very few public appearances over the past 15 years. He often made an exception, however, for \u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\">Dream Day\u003c/a> — an annual tribute to his late friend and graffiti artist \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a>. In 2014, he appeared onstage in San Francisco to perform his hit “Light Sleeper,” supported by the show’s headliner and his former battle nemesis from Hieroglyphics, Casual.\u003c/p>\n\u003cp>Though their famous freestyle battle hosted by Sway on KMEL’s \u003cem>The Wake Up Show\u003c/em> painted Saafir and Casual as enemies in the public imagination, the two retained their respect for each other.\u003c/p>\n\u003cp>In a short documentary, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=QC7OtfYxDaQ\">The Battle\u003c/a>\u003c/em>, Saafir commended Casual: “You really brought out the best. You made me wanna be a monster, and I respect it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Saafir is survived by a son — the rapper known as Lil Saafir — and a brother. No services have yet been announced.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Kev Choice Made Room for Hip-Hop in Classical Music",
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"headTitle": "How Kev Choice Made Room for Hip-Hop in Classical Music | KQED",
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"content": "\u003cp>\u003ci>This story is part of The California Report Magazine’s series about \u003ca href=\"https://www.kqed.org/news/tag/california-composers\">California composers\u003c/a>. Listen to this and more in-depth storytelling by \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">subscribing\u003c/a> to The California Report Magazine podcast.\u003c/i>\u003c/p>\n\u003cp>It’s a Wednesday morning in \u003ca href=\"https://www.instagram.com/kevchoice/?hl=en\">Kev Choice\u003c/a>’s studio, tucked away in the back of an industrial warehouse in East Oakland. The small, dark-purple room looks something like a wizard’s lair out of a fantasy novel, with tall, epic columns and dark curtains.\u003c/p>\n\u003cp>The Kev Choice Ensemble is rehearsing for a conference that’s bringing 2,000 activists, artists and academics from across the nation to Oakland to discuss topics like the Indigenous Land Back movement and Palestinian liberation. Choice sits at his keyboard, rapping about the painful legacy of slavery before affirming the power of everyday people to make change. As his jazz band grooves, they alchemize devastation into hope.\u003c/p>\n\u003cp>“What I try to bring is the purpose, the intention, of the message, and uplift the issues while giving people encouragement,” he says. “[I try] to create an environment where we can just have fun and be free and enjoy together for a moment in time, before we get back to the work.”\u003c/p>\n\u003cp>Choice speaks with the ease of someone who knows who he is and owns it, but it took him decades to move comfortably between his roots in hip-hop culture, his love of jazz and his classical training. Classical music used to turn its nose up at hip-hop. But in recent years orchestras have begun looking to collaborate with rappers to appeal to younger, more diverse audiences — basically, to stay relevant in the 21st century.\u003c/p>\n\u003cp>Now, the world is finally catching up to the forward-thinking vision Kev Choice has had for decades.\u003c/p>\n\u003cp>https://youtu.be/RMQbdElhnEo?si=itDr1mRXyofFuwJE\u003c/p>\n\u003ch2>Navigating separate musical worlds\u003c/h2>\n\u003cp>For Choice, breaking boundaries wasn’t easy — and not just musical boundaries, but those of race, class and culture. Growing up in Oakland in the ’80s and ’90s, he began writing rhymes and studying piano seriously in middle school. Even back then, he knew he’d have to compartmentalize his two worlds.\u003c/p>\n\u003cp>“I couldn’t talk to any of my teachers about hip-hop or making beats. They had no connection to that,” he says. “And then my hip-hop friends would kind of tease me about playing the piano.”\u003c/p>\n\u003cfigure id=\"attachment_13967710\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg\" alt=\"\" width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-768x432.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice at his graduation from Xavier University in 1998. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Choice was undeterred: He excelled in high school orchestra and big band, and continued to rap and make beats after school. After nailing an audition at Xavier University, an HBCU in New Orleans, he got a full scholarship on the spot to study piano performance in the birthplace of jazz. Afterwards, he took off to Southern Illinois University for his master’s degree.\u003c/p>\n\u003cp>Choice excelled in classical piano, but he couldn’t see himself going the traditional orchestral route.\u003c/p>\n\u003cp>“Number one, because of the lack of diversity in that world,” he says. “It just seemed like it was such a narrow opportunity for a young African American pianist who wasn’t a prodigy at age four.” [ad fullwidth]\u003c/p>\n\u003ch2>An international tour with Michael Franti\u003c/h2>\n\u003cp>After grad school, Choice decided it was time to return to his roots. In 2000, he moved back to Oakland with the ambition of becoming a rap star. It was a fertile time for Bay Area hip-hop. Artists like E-40 and Too Short had already reached major-label success in years prior. Alternative hip-hop artists like \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Deltron 3030\u003c/a> were also making waves.\u003c/p>\n\u003cfigure id=\"attachment_13967711\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967711\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg\" alt=\"A photocopied flyer reads: "88 Keys to the Mind, Body and Soul. A classical graduate piano recital presented by Kevin Choice. Most sought after pianist for campus occasions. Live you've never seen him before!!!!!!!!!!!! All the way live!!!!!!!!!!!! A must see for music lovers!!!!!!!!! This brotha is real!!!!!!!!"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for Kev Choice’s graduation recital at Southern Illinois University. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While working on his own music, Choice would also regularly pop up behind the keys at jam sessions, open mics or really anywhere there was a piano. Calls for auditions started coming, and he got hired to join Michael Franti and Spearhead on an international tour.\u003c/p>\n\u003cp>Franti had come out of the Bay Area’s underground hip-hop scene, and he attracted a global fan base with his fusion of hip-hop, reggae and funk. The opportunity expanded Choice’s world.\u003c/p>\n\u003cp>“Being a kid from Oakland and, you know, to be walking down the street in Switzerland or France or Belgium,” he reflects, “it blew my mind on what the world looked like and the connection of people to music as well. Like, how strong that was.”\u003c/p>\n\u003cp>The tour pushed Choice to grow his skillset — he had to trade his sheet music and piano for playing by ear on an electric keyboard. He had his own ambitions as a solo artist. But word got out after the Spearhead tour, and he became an in-demand sideman. In the years that followed, he went on the road with alternative and conscious hip-hop artists like Zion I and Lyrics Born.\u003c/p>\n\u003ch2>Around the world with Lauryn Hill\u003c/h2>\n\u003cp>In 2006, Choice got the opportunity of a lifetime: performing with Lauryn Hill. He even worked with her on a demo for a track that became “\u003ca href=\"https://youtu.be/kUvtyBW0Q_A?si=d3791VyTs2p4UAWJ\">Lose Myself\u003c/a>.” (It was featured on the soundtrack of \u003cem>Surf’s Up\u003c/em>, a 2007 animated film about surfing penguins.)\u003c/p>\n\u003cfigure id=\"attachment_13967716\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg\" alt=\"\" width=\"768\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill-160x200.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice and Lauryn Hill on tour in 2006. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says their collaboration came together in a complete whirlwind. One day he got a call to meet Hill at an Emeryville studio. She was one of his idols, so of course, he said yes. It turned out to be an audition.\u003c/p>\n\u003cp>As she started playing her guitar, he began playing along on his keyboard.\u003c/p>\n\u003cp>“I think the other guys were, like, just confused,” he says, laughing. “They were like, what the hell is going on?”\u003c/p>\n\u003cp>Afterwards, Choice got another call: Could he put a band together for her? He scrambled, calling everyone he knew. Before long he was the musical director of an all-Bay Area band that accompanied Hill to shows in Hawaii, Japan and Brazil.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OPjcgZPGAq8\u003c/p>\n\u003cp>On tour, Choice was inspired by the way Hill carried herself, how she charted her own path and defied expectations.\u003c/p>\n\u003cp>“It gave me the courage that I could achieve anything in this industry,” he says.\u003c/p>\n\u003ch2>Giving it his all as a solo artist\u003c/h2>\n\u003cp>Choice came back to Oakland fired up. He was ready to dedicate himself to his own music, wholeheartedly. It paid off in 2014 when he came out with an album that made waves: \u003ca href=\"https://kevchoice.bandcamp.com/album/oakland-riviera\">\u003cem>Oakland Riviera\u003c/em>\u003c/a>. With lyrics addressing racial injustice, healing and Oakland pride, the project’s elaborate, propulsive instrumentation has a funky, jazzy Afrofuturist vibe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aJoftyUh8a0\u003c/p>\n\u003cp>At this point, Choice had cemented his reputation in hip-hop and jazz. And after \u003cem>Oakland Riviera\u003c/em>, he got the chance to show the world what he could do with his classical training. The opportunity arrived thanks to \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">Michael Morgan\u003c/a>, the late music director of the Oakland Symphony, who passed away in 2021.\u003c/p>\n\u003cp>Morgan was one of the nation’s few Black leaders of a major orchestra — and Choice had looked up to him since high school. When they met at a Recording Academy mixer, it turned out the maestro was already familiar with the younger man’s work. He invited Choice to compose his first piece for a full orchestra: 2018’s \u003cem>Soul Restoration Suite\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tiv9_GovdHY\u003c/p>\n\u003cp>The five-movement piece took that blend of hip-hop, classical and jazz that Choice had been trying to pull off for decades, and brought it to the next level. Choice conceptualized it as a love letter to Oakland through all of its struggles and triumphs. The first movement tells the story of the Spanish conquest of the area’s Ohlone inhabitants, and Choice’s words flow over lush orchestration.\u003c/p>\n\u003cp>Before this, Choice had composed for quartets and smaller ensembles, but he had never written for a full orchestra before. In Morgan, he found an open-minded mentor who took hip-hop seriously as an art form and appreciated Choice’s personal voice.\u003c/p>\n\u003cp>“I feel like he just kept encouraging me to take what I do as a band director, as a musician, as a hip-hop artist, and use the orchestra to enhance it,” he says. “And keep my original style. Like, don’t try to write like Beethoven. Don’t try to do Stravinsky, do your original music. But using the orchestra as another palette or as more colors to enhance.”\u003c/p>\n\u003cfigure id=\"attachment_13964203\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964203\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morgan had charted a path for Choice and so many others. He used his position and influence to create more space for Black musicians to be themselves in a largely white and notoriously elitist industry.\u003c/p>\n\u003cp>Today, Choice sits on the Oakland Symphony’s board, and he’s made it his mission to create opportunities for the next generation. In fact, if you drive past the intersection of 51st Street and Shattuck Avenue in North Oakland, you’ll see Choice and Michael Morgan in a mural together, looking hopefully out at a starry sky.\u003c/p>\n\u003cp>Like his mentor, who championed public music education, Choice spent nearly eight years teaching at Oakland School for the Arts. Today, he continues to serve the community in the music education program Elevate Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13967779\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An Oakland mural by Hungry Ghost Studio features Michael Morgan (center left) and Kev Choice (center right). \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A singular vision emerges\u003c/h2>\n\u003cp>Back at Choice’s rehearsal space, I chat with saxophonist \u003ca href=\"https://www.ayobrame.com/\">Ayo Brame\u003c/a>.\u003c/p>\n\u003cp>“Kev is definitely the reason I’m a musician today,” he says.\u003c/p>\n\u003cp>Brame is one of Choice’s former students. At only 17 years old, he’s already headlined two sold-out shows at the jazz club Yoshi’s. He says it’s Choice’s versatility that inspires him.\u003c/p>\n\u003cp>“It shows how important that skillset is to know all genres of music and not be like, I don’t play classical or I don’t play rock music,” Brame adds. “He knows all of it. So yeah definitely, that’s one of my inspirations.”\u003c/p>\n\u003cp>These days, Choice might be busy with community work, but he hasn’t lost sight of his own music. His 2024 EP, \u003ca href=\"https://open.spotify.com/album/2WoxdPZgSbsJ6lVlgCGBJe\">\u003cem>All My Love\u003c/em>\u003c/a>, is the clearest distillation yet of his personal voice and vision.\u003c/p>\n\u003cp>It’s a vulnerable project that takes stock of how he’s shown up in relationships over the years. It examines his personal growth and maturation as a man.\u003c/p>\n\u003cp>The project culminates in the bittersweet song “Congratulations.”\u003c/p>\n\u003cp>https://youtu.be/52eYIEiDLXw?si=eK08m1l0u9QtBx4Z\u003c/p>\n\u003cp>Choice raps over moving piano arrangements, accompanied by a string quartet, harp and upright bass. In the lyrics, he speaks to an ex who is now getting married.\u003c/p>\n\u003cp>He’s happy for her and a little regretful, looking back at what went wrong and what could have been.\u003c/p>\n\u003cp>At his piano, Choice breaks down how his arrangements underscore the emotion of the track.\u003c/p>\n\u003cp>“Whenever I play ninth chords or minor chords, sometimes it can be dark. Some people say it may be very sad,” he says. “But I almost feel like it’s more sentimental. I’m thinking about what I was going through. And that chord really offers a lot of space to me for reflection.”\u003c/p>\n\u003cp>As I listen to him play, it’s hard not to feel an appreciation for the complicated beauty of the life lessons all of us go through.\u003c/p>\n\u003cp>Choice says \u003cem>All My Love\u003c/em> is just a teaser for a full-length project that’ll come out later this year. He also recently accepted a position as a tenure-track music professor at San Francisco State University. Over two decades into his career as a musician, educator and community advocate, Choice is finally getting the recognition he deserves.\u003c/p>\n\u003cp>“I feel like as a hip hop artist, I’m always trying to grow, try to get more expressive, try to stay relevant,” Choice affirms. “I don’t want my sound to ever get stale or not continue to evolve.”\u003c/p>\n\u003cp>That growth mindset has been a theme in Choice’s career since the very beginning, and it’s propelled so much more than his personal evolution. The hundreds of students he’s taught, and the countless audience members who’ve seen him live, have left with a little piece of his vision: to look beyond arbitrary boundaries, to come together and to better ourselves and our communities through art.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This story is part of The California Report Magazine’s series about \u003ca href=\"https://www.kqed.org/news/tag/california-composers\">California composers\u003c/a>. Listen to this and more in-depth storytelling by \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">subscribing\u003c/a> to The California Report Magazine podcast.\u003c/i>\u003c/p>\n\u003cp>It’s a Wednesday morning in \u003ca href=\"https://www.instagram.com/kevchoice/?hl=en\">Kev Choice\u003c/a>’s studio, tucked away in the back of an industrial warehouse in East Oakland. The small, dark-purple room looks something like a wizard’s lair out of a fantasy novel, with tall, epic columns and dark curtains.\u003c/p>\n\u003cp>The Kev Choice Ensemble is rehearsing for a conference that’s bringing 2,000 activists, artists and academics from across the nation to Oakland to discuss topics like the Indigenous Land Back movement and Palestinian liberation. Choice sits at his keyboard, rapping about the painful legacy of slavery before affirming the power of everyday people to make change. As his jazz band grooves, they alchemize devastation into hope.\u003c/p>\n\u003cp>“What I try to bring is the purpose, the intention, of the message, and uplift the issues while giving people encouragement,” he says. “[I try] to create an environment where we can just have fun and be free and enjoy together for a moment in time, before we get back to the work.”\u003c/p>\n\u003cp>Choice speaks with the ease of someone who knows who he is and owns it, but it took him decades to move comfortably between his roots in hip-hop culture, his love of jazz and his classical training. Classical music used to turn its nose up at hip-hop. But in recent years orchestras have begun looking to collaborate with rappers to appeal to younger, more diverse audiences — basically, to stay relevant in the 21st century.\u003c/p>\n\u003cp>Now, the world is finally catching up to the forward-thinking vision Kev Choice has had for decades.\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/RMQbdElhnEo'\n title='//www.youtube.com/embed/RMQbdElhnEo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Navigating separate musical worlds\u003c/h2>\n\u003cp>For Choice, breaking boundaries wasn’t easy — and not just musical boundaries, but those of race, class and culture. Growing up in Oakland in the ’80s and ’90s, he began writing rhymes and studying piano seriously in middle school. Even back then, he knew he’d have to compartmentalize his two worlds.\u003c/p>\n\u003cp>“I couldn’t talk to any of my teachers about hip-hop or making beats. They had no connection to that,” he says. “And then my hip-hop friends would kind of tease me about playing the piano.”\u003c/p>\n\u003cfigure id=\"attachment_13967710\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg\" alt=\"\" width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-768x432.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice at his graduation from Xavier University in 1998. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Choice was undeterred: He excelled in high school orchestra and big band, and continued to rap and make beats after school. After nailing an audition at Xavier University, an HBCU in New Orleans, he got a full scholarship on the spot to study piano performance in the birthplace of jazz. Afterwards, he took off to Southern Illinois University for his master’s degree.\u003c/p>\n\u003cp>Choice excelled in classical piano, but he couldn’t see himself going the traditional orchestral route.\u003c/p>\n\u003cp>“Number one, because of the lack of diversity in that world,” he says. “It just seemed like it was such a narrow opportunity for a young African American pianist who wasn’t a prodigy at age four.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>An international tour with Michael Franti\u003c/h2>\n\u003cp>After grad school, Choice decided it was time to return to his roots. In 2000, he moved back to Oakland with the ambition of becoming a rap star. It was a fertile time for Bay Area hip-hop. Artists like E-40 and Too Short had already reached major-label success in years prior. Alternative hip-hop artists like \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Deltron 3030\u003c/a> were also making waves.\u003c/p>\n\u003cfigure id=\"attachment_13967711\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967711\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg\" alt=\"A photocopied flyer reads: "88 Keys to the Mind, Body and Soul. A classical graduate piano recital presented by Kevin Choice. Most sought after pianist for campus occasions. Live you've never seen him before!!!!!!!!!!!! All the way live!!!!!!!!!!!! A must see for music lovers!!!!!!!!! This brotha is real!!!!!!!!"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for Kev Choice’s graduation recital at Southern Illinois University. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While working on his own music, Choice would also regularly pop up behind the keys at jam sessions, open mics or really anywhere there was a piano. Calls for auditions started coming, and he got hired to join Michael Franti and Spearhead on an international tour.\u003c/p>\n\u003cp>Franti had come out of the Bay Area’s underground hip-hop scene, and he attracted a global fan base with his fusion of hip-hop, reggae and funk. The opportunity expanded Choice’s world.\u003c/p>\n\u003cp>“Being a kid from Oakland and, you know, to be walking down the street in Switzerland or France or Belgium,” he reflects, “it blew my mind on what the world looked like and the connection of people to music as well. Like, how strong that was.”\u003c/p>\n\u003cp>The tour pushed Choice to grow his skillset — he had to trade his sheet music and piano for playing by ear on an electric keyboard. He had his own ambitions as a solo artist. But word got out after the Spearhead tour, and he became an in-demand sideman. In the years that followed, he went on the road with alternative and conscious hip-hop artists like Zion I and Lyrics Born.\u003c/p>\n\u003ch2>Around the world with Lauryn Hill\u003c/h2>\n\u003cp>In 2006, Choice got the opportunity of a lifetime: performing with Lauryn Hill. He even worked with her on a demo for a track that became “\u003ca href=\"https://youtu.be/kUvtyBW0Q_A?si=d3791VyTs2p4UAWJ\">Lose Myself\u003c/a>.” (It was featured on the soundtrack of \u003cem>Surf’s Up\u003c/em>, a 2007 animated film about surfing penguins.)\u003c/p>\n\u003cfigure id=\"attachment_13967716\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg\" alt=\"\" width=\"768\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill-160x200.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice and Lauryn Hill on tour in 2006. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says their collaboration came together in a complete whirlwind. One day he got a call to meet Hill at an Emeryville studio. She was one of his idols, so of course, he said yes. It turned out to be an audition.\u003c/p>\n\u003cp>As she started playing her guitar, he began playing along on his keyboard.\u003c/p>\n\u003cp>“I think the other guys were, like, just confused,” he says, laughing. “They were like, what the hell is going on?”\u003c/p>\n\u003cp>Afterwards, Choice got another call: Could he put a band together for her? He scrambled, calling everyone he knew. Before long he was the musical director of an all-Bay Area band that accompanied Hill to shows in Hawaii, Japan and Brazil.\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/OPjcgZPGAq8'\n title='//www.youtube.com/embed/OPjcgZPGAq8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On tour, Choice was inspired by the way Hill carried herself, how she charted her own path and defied expectations.\u003c/p>\n\u003cp>“It gave me the courage that I could achieve anything in this industry,” he says.\u003c/p>\n\u003ch2>Giving it his all as a solo artist\u003c/h2>\n\u003cp>Choice came back to Oakland fired up. He was ready to dedicate himself to his own music, wholeheartedly. It paid off in 2014 when he came out with an album that made waves: \u003ca href=\"https://kevchoice.bandcamp.com/album/oakland-riviera\">\u003cem>Oakland Riviera\u003c/em>\u003c/a>. With lyrics addressing racial injustice, healing and Oakland pride, the project’s elaborate, propulsive instrumentation has a funky, jazzy Afrofuturist vibe.\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/aJoftyUh8a0'\n title='//www.youtube.com/embed/aJoftyUh8a0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At this point, Choice had cemented his reputation in hip-hop and jazz. And after \u003cem>Oakland Riviera\u003c/em>, he got the chance to show the world what he could do with his classical training. The opportunity arrived thanks to \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">Michael Morgan\u003c/a>, the late music director of the Oakland Symphony, who passed away in 2021.\u003c/p>\n\u003cp>Morgan was one of the nation’s few Black leaders of a major orchestra — and Choice had looked up to him since high school. When they met at a Recording Academy mixer, it turned out the maestro was already familiar with the younger man’s work. He invited Choice to compose his first piece for a full orchestra: 2018’s \u003cem>Soul Restoration Suite\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/Tiv9_GovdHY'\n title='//www.youtube.com/embed/Tiv9_GovdHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The five-movement piece took that blend of hip-hop, classical and jazz that Choice had been trying to pull off for decades, and brought it to the next level. Choice conceptualized it as a love letter to Oakland through all of its struggles and triumphs. The first movement tells the story of the Spanish conquest of the area’s Ohlone inhabitants, and Choice’s words flow over lush orchestration.\u003c/p>\n\u003cp>Before this, Choice had composed for quartets and smaller ensembles, but he had never written for a full orchestra before. In Morgan, he found an open-minded mentor who took hip-hop seriously as an art form and appreciated Choice’s personal voice.\u003c/p>\n\u003cp>“I feel like he just kept encouraging me to take what I do as a band director, as a musician, as a hip-hop artist, and use the orchestra to enhance it,” he says. “And keep my original style. Like, don’t try to write like Beethoven. Don’t try to do Stravinsky, do your original music. But using the orchestra as another palette or as more colors to enhance.”\u003c/p>\n\u003cfigure id=\"attachment_13964203\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964203\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morgan had charted a path for Choice and so many others. He used his position and influence to create more space for Black musicians to be themselves in a largely white and notoriously elitist industry.\u003c/p>\n\u003cp>Today, Choice sits on the Oakland Symphony’s board, and he’s made it his mission to create opportunities for the next generation. In fact, if you drive past the intersection of 51st Street and Shattuck Avenue in North Oakland, you’ll see Choice and Michael Morgan in a mural together, looking hopefully out at a starry sky.\u003c/p>\n\u003cp>Like his mentor, who championed public music education, Choice spent nearly eight years teaching at Oakland School for the Arts. Today, he continues to serve the community in the music education program Elevate Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13967779\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An Oakland mural by Hungry Ghost Studio features Michael Morgan (center left) and Kev Choice (center right). \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A singular vision emerges\u003c/h2>\n\u003cp>Back at Choice’s rehearsal space, I chat with saxophonist \u003ca href=\"https://www.ayobrame.com/\">Ayo Brame\u003c/a>.\u003c/p>\n\u003cp>“Kev is definitely the reason I’m a musician today,” he says.\u003c/p>\n\u003cp>Brame is one of Choice’s former students. At only 17 years old, he’s already headlined two sold-out shows at the jazz club Yoshi’s. He says it’s Choice’s versatility that inspires him.\u003c/p>\n\u003cp>“It shows how important that skillset is to know all genres of music and not be like, I don’t play classical or I don’t play rock music,” Brame adds. “He knows all of it. So yeah definitely, that’s one of my inspirations.”\u003c/p>\n\u003cp>These days, Choice might be busy with community work, but he hasn’t lost sight of his own music. His 2024 EP, \u003ca href=\"https://open.spotify.com/album/2WoxdPZgSbsJ6lVlgCGBJe\">\u003cem>All My Love\u003c/em>\u003c/a>, is the clearest distillation yet of his personal voice and vision.\u003c/p>\n\u003cp>It’s a vulnerable project that takes stock of how he’s shown up in relationships over the years. It examines his personal growth and maturation as a man.\u003c/p>\n\u003cp>The project culminates in the bittersweet song “Congratulations.”\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/52eYIEiDLXw'\n title='//www.youtube.com/embed/52eYIEiDLXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Choice raps over moving piano arrangements, accompanied by a string quartet, harp and upright bass. In the lyrics, he speaks to an ex who is now getting married.\u003c/p>\n\u003cp>He’s happy for her and a little regretful, looking back at what went wrong and what could have been.\u003c/p>\n\u003cp>At his piano, Choice breaks down how his arrangements underscore the emotion of the track.\u003c/p>\n\u003cp>“Whenever I play ninth chords or minor chords, sometimes it can be dark. Some people say it may be very sad,” he says. “But I almost feel like it’s more sentimental. I’m thinking about what I was going through. And that chord really offers a lot of space to me for reflection.”\u003c/p>\n\u003cp>As I listen to him play, it’s hard not to feel an appreciation for the complicated beauty of the life lessons all of us go through.\u003c/p>\n\u003cp>Choice says \u003cem>All My Love\u003c/em> is just a teaser for a full-length project that’ll come out later this year. He also recently accepted a position as a tenure-track music professor at San Francisco State University. Over two decades into his career as a musician, educator and community advocate, Choice is finally getting the recognition he deserves.\u003c/p>\n\u003cp>“I feel like as a hip hop artist, I’m always trying to grow, try to get more expressive, try to stay relevant,” Choice affirms. “I don’t want my sound to ever get stale or not continue to evolve.”\u003c/p>\n\u003cp>That growth mindset has been a theme in Choice’s career since the very beginning, and it’s propelled so much more than his personal evolution. The hundreds of students he’s taught, and the countless audience members who’ve seen him live, have left with a little piece of his vision: to look beyond arbitrary boundaries, to come together and to better ourselves and our communities through art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://video.kqed.org/video/brief-but-spectacular-1678142686/\">Judy Heumann\u003c/a> never felt ashamed to use a wheelchair. Rather, what she felt most consistently throughout her life was fury at the many ways she was routinely excluded by a world that treated disabled people as second-class citizens.\u003c/p>\n\u003cp>“Disability isn’t a tragedy,” she said in 1990. “The tragedy is being excluded from contributing to society because of a narrow doorway, or lack of a diploma or job.”\u003c/p>\n\u003cp>[aside postid='arts_13955066']Heumann knew all about being excluded. After losing her ability to walk in 1949 after a bout of polio at 18 months old, the New Yorker was denied a place in her local school because the administration there considered her “a fire hazard.” At 9 or 10, she was permitted to join special education classes in the basement of a Brooklyn school. (“We respected each other,” Huemann later said of her classmates, but “in some way, even when we were that young, we all knew we were being sidelined.”) In 1970, despite being qualified to receive her teaching license, the New York City Board of Education deemed her too much of a risk to allow in classrooms.\u003c/p>\n\u003cp>Heumann quickly realized that even organizations set up to battle discrimination might exclude her. When she called the \u003ca href=\"https://www.kqed.org/news/tag/aclu\">ACLU\u003c/a> for legal assistance in her fight against the Board of Education, the 22-year-old was told that being denied a teaching license for “medical reasons” didn’t count as discrimination. Heumann wrote in her 2020 autobiography \u003cem>Being Heumann\u003c/em>, that she was frustrated to realize that even the 1964 Civil Rights Act excluded her.\u003c/p>\n\u003cp>“[The act is] intended to end discrimination on the basis of race, color, religion and natural origin, but made no mention of disability. There was no law I could quote or legal precedent to cite … There were no disability rights organizations.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was then that Heumann began her lifelong work to methodically and systematically transform America for people with disabilities. She refused to be daunted in the face of much more powerful forces. She refused to back down from any of her battles, no matter what blocked her path. And by the time of her death in 2023, at the age of 75, Heumann’s impact was seismic.\u003c/p>\n\u003cp>Heumann’s life of activism began when she decided to ignore the ACLU’s assessment that she wasn’t being discriminated against. Instead, she sued the Board of Education and won. As a result, Heumann became the first wheelchair-using teacher in New York. In the course of that battle, she also founded and became president of \u003ca href=\"https://www.disabledinaction.org/\">Disabled in Action\u003c/a> (DIA). The disability rights organization used protests, letter-writing campaigns, statements at public hearings and calls to public officials to make headway with their struggles. Its members absolutely refused to blend into the background.\u003c/p>\n\u003cfigure id=\"attachment_13966863\" class=\"wp-caption aligncenter\" style=\"max-width: 1662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest.jpg\" alt=\"Men and women — some of them using wheelchairs — carry protest signs in the street.\" width=\"1662\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest.jpg 1662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-800x963.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-1020x1227.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-768x924.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-1276x1536.jpg 1276w\" sizes=\"(max-width: 1662px) 100vw, 1662px\">\u003cfigcaption class=\"wp-caption-text\">Judy Heumann, protesting at San Francisco’s Civic Center in May 1980. \u003ccite>(San Francisco Chronicle/Hearst Newspapers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We didn’t just come to meetings,” Heumann said in the 2020 documentary \u003ca href=\"https://www.kqed.org/arts/13877373/now-playing-crip-camp-recalls-coming-of-age-through-activism\">\u003cem>Crip Camp\u003c/em>\u003c/a>. “We yelled out at meetings, we challenged people. We were definitely considered a militant organization because we were very strong in our actions; because we disrupted things.”\u003c/p>\n\u003cp>Heumann brought that energy with her when she first came to study at \u003ca href=\"https://www.kqed.org/arts/tag/uc-berkeley\">UC Berkeley\u003c/a>. After earning a degree in speech therapy from Long Island University in 1969, Heumann got her master’s in public health at Berkeley in 1975. On campus, she was energized by the wealth of student organizing taking place during the era and joined the board of the \u003ca href=\"https://thecil.org/\">Center for Independent Living\u003c/a> (CIL) in 1973. CIL had been founded a year earlier by Ed Roberts, the first wheelchair user to attend UC Berkeley.\u003c/p>\n\u003cp>[aside postid='arts_13964200']The organization was determined to act as a support network for people with disabilities, offering accessible transit, personal assistant referrals, help locating suitable housing and jobs, and even running a wheelchair repair shop. CIL’s end goal was self-sufficiency for all disabled people. Heumann’s focus, as always, was turning community frustration into positive action. Her talent for doing so would become abundantly clear in April 1977, when she and around 100 other protesters staged a 24-day sit-in at the Department of Health, Education and Welfare inside San Francisco’s Federal Building.\u003c/p>\n\u003cp>The lengthy protest was all part of an effort to get Section 504 of 1973’s Rehabilitation Act signed and enacted by the Secretary of Health, Education and Welfare. Section 504 prohibited discrimination by any organization that was receiving federal funds. (Incidentally, President Nixon only signed the Rehabilitation Act after Heumann and 50 other protesters shut down a major intersection of Manhattan with a protest outside Nixon’s New York headquarters.)\u003c/p>\n\u003cp>Heumann and her cohorts knew that getting the measure signed would force a major change in how public transport, public buildings, schools and a variety of other institutions accommodated people with disabilities. The sit-in was especially arduous for the protesters due to their reliance on medications, assistants and therapeutic equipment. Nevertheless, they persisted, with Heumann often singing to keep spirits lifted.\u003c/p>\n\u003cfigure id=\"attachment_13877414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877414\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER.jpg\" alt=\"A woman in a wheelchair speaks enthusiastically into a microphone. She is wearing an anorak and glasses.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Judy Heumann at the mic in 1980. \u003ccite>(HolLynn D'Lil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Heumann and her friends had outside support too. Civil rights groups across the Bay Area rushed to support the sit-in. The Black Panthers brought the protesters hot meals on a nightly basis. Union members, multiple civil rights organizations and key leaders at GLIDE (including Rev. Cecil Williams) were vocal supporters who stepped up to offer assistance in whatever way they could.\u003c/p>\n\u003cp>After a lengthy standoff — including attempts to cut off protesters’ access to phones, hot water and food (several, including Heumann, had opted to go on hunger strike regardless) — Secretary of Health, Education, and Welfare Joseph Califano finally signed Section 504. Heumann highlighted to the press that the sustained protest was proof of disabled people’s “stamina, strength [and] intelligence.” She understood how limited public perceptions were at the time.\u003c/p>\n\u003cp>Elated at their victory, Heumann and her fellow protesters knew there was still much to be done. Though on paper, Section 504 meant federally funded entities must accommodate disabled people, excuses were made repeatedly about why action would not be taken immediately. (The American Public Transit Association, for example, said it couldn’t afford to put wheelchair lifts into buses, even though the cost was the same as installing air conditioning). To make matters worse, better legal protections were still badly needed at a federal level to make all public places more accessible, and to make employer discrimination illegal.\u003c/p>\n\u003cp>[aside postid='arts_13919491']During this period, Heumann continued to campaign in earnest as CIL’s senior deputy director. In Oakland, she co-founded the World Institute on Disability (WID) to begin advocating for disability rights around the globe. CIL also set up a new organization to better handle ongoing legal matters. The \u003ca href=\"https://dredf.org/\">Disability Rights Education and Defense Fund\u003c/a> (DREDF) was the first legal organization run by and for people with disabilities. As such, it was inundated with calls from people all over the U.S. seeking advice on how to make their own towns and cities more accessible. But DREDF had already begun formulating a big idea to touch every corner of America in one swoop: the Americans with Disabilities Act (ADA).\u003c/p>\n\u003cp>It took until 1988 for the first version of the ADA to reach Congress. It failed to pass. A second version arrived in May 1989, but when it still hadn’t passed 10 months later, 1,000 protesters descended on Washington, D.C. to make their voices heard. Scores of disabled activists dropped to the ground and literally dragged themselves up the 83 inaccessible steps of the Capitol building. It was an image that lawmakers wouldn’t soon forget.\u003c/p>\n\u003cp>On July 26, 1990, President George H.W. Bush finally signed the ADA into law. “Let the shameful wall of exclusion finally come tumbling down,” he declared.\u003c/p>\n\u003cp>Just three years later, Heumann would take on the role of assistant secretary for the Office of Special Education and Rehabilitative Services in Bill Clinton’s Department of Education. She served for the duration of the president’s term, as she did when Barack Obama gave her the role of special advisor for international disability rights in the Department of State.\u003c/p>\n\u003cp>For the rest of her life, Heumann never, ever stopped advocating for people with disabilities. And when she received praise for the multitude of ways she helped change countless lives for the better, her response was always rooted in humility.\u003c/p>\n\u003cp>As she wrote in her 2021 book, \u003cem>Rolling Warrior\u003c/em>: “All we did was refuse to believe that we were the problem.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was then that Heumann began her lifelong work to methodically and systematically transform America for people with disabilities. She refused to be daunted in the face of much more powerful forces. She refused to back down from any of her battles, no matter what blocked her path. And by the time of her death in 2023, at the age of 75, Heumann’s impact was seismic.\u003c/p>\n\u003cp>Heumann’s life of activism began when she decided to ignore the ACLU’s assessment that she wasn’t being discriminated against. Instead, she sued the Board of Education and won. As a result, Heumann became the first wheelchair-using teacher in New York. In the course of that battle, she also founded and became president of \u003ca href=\"https://www.disabledinaction.org/\">Disabled in Action\u003c/a> (DIA). The disability rights organization used protests, letter-writing campaigns, statements at public hearings and calls to public officials to make headway with their struggles. Its members absolutely refused to blend into the background.\u003c/p>\n\u003cfigure id=\"attachment_13966863\" class=\"wp-caption aligncenter\" style=\"max-width: 1662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest.jpg\" alt=\"Men and women — some of them using wheelchairs — carry protest signs in the street.\" width=\"1662\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest.jpg 1662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-800x963.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-1020x1227.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-768x924.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/judy-protest-1276x1536.jpg 1276w\" sizes=\"(max-width: 1662px) 100vw, 1662px\">\u003cfigcaption class=\"wp-caption-text\">Judy Heumann, protesting at San Francisco’s Civic Center in May 1980. \u003ccite>(San Francisco Chronicle/Hearst Newspapers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We didn’t just come to meetings,” Heumann said in the 2020 documentary \u003ca href=\"https://www.kqed.org/arts/13877373/now-playing-crip-camp-recalls-coming-of-age-through-activism\">\u003cem>Crip Camp\u003c/em>\u003c/a>. “We yelled out at meetings, we challenged people. We were definitely considered a militant organization because we were very strong in our actions; because we disrupted things.”\u003c/p>\n\u003cp>Heumann brought that energy with her when she first came to study at \u003ca href=\"https://www.kqed.org/arts/tag/uc-berkeley\">UC Berkeley\u003c/a>. After earning a degree in speech therapy from Long Island University in 1969, Heumann got her master’s in public health at Berkeley in 1975. On campus, she was energized by the wealth of student organizing taking place during the era and joined the board of the \u003ca href=\"https://thecil.org/\">Center for Independent Living\u003c/a> (CIL) in 1973. CIL had been founded a year earlier by Ed Roberts, the first wheelchair user to attend UC Berkeley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The organization was determined to act as a support network for people with disabilities, offering accessible transit, personal assistant referrals, help locating suitable housing and jobs, and even running a wheelchair repair shop. CIL’s end goal was self-sufficiency for all disabled people. Heumann’s focus, as always, was turning community frustration into positive action. Her talent for doing so would become abundantly clear in April 1977, when she and around 100 other protesters staged a 24-day sit-in at the Department of Health, Education and Welfare inside San Francisco’s Federal Building.\u003c/p>\n\u003cp>The lengthy protest was all part of an effort to get Section 504 of 1973’s Rehabilitation Act signed and enacted by the Secretary of Health, Education and Welfare. Section 504 prohibited discrimination by any organization that was receiving federal funds. (Incidentally, President Nixon only signed the Rehabilitation Act after Heumann and 50 other protesters shut down a major intersection of Manhattan with a protest outside Nixon’s New York headquarters.)\u003c/p>\n\u003cp>Heumann and her cohorts knew that getting the measure signed would force a major change in how public transport, public buildings, schools and a variety of other institutions accommodated people with disabilities. The sit-in was especially arduous for the protesters due to their reliance on medications, assistants and therapeutic equipment. Nevertheless, they persisted, with Heumann often singing to keep spirits lifted.\u003c/p>\n\u003cfigure id=\"attachment_13877414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877414\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER.jpg\" alt=\"A woman in a wheelchair speaks enthusiastically into a microphone. She is wearing an anorak and glasses.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/01078_HolLynnDLil_504-early-rally_folder-0-image-13_REF_COVER-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Judy Heumann at the mic in 1980. \u003ccite>(HolLynn D'Lil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Heumann and her friends had outside support too. Civil rights groups across the Bay Area rushed to support the sit-in. The Black Panthers brought the protesters hot meals on a nightly basis. Union members, multiple civil rights organizations and key leaders at GLIDE (including Rev. Cecil Williams) were vocal supporters who stepped up to offer assistance in whatever way they could.\u003c/p>\n\u003cp>After a lengthy standoff — including attempts to cut off protesters’ access to phones, hot water and food (several, including Heumann, had opted to go on hunger strike regardless) — Secretary of Health, Education, and Welfare Joseph Califano finally signed Section 504. Heumann highlighted to the press that the sustained protest was proof of disabled people’s “stamina, strength [and] intelligence.” She understood how limited public perceptions were at the time.\u003c/p>\n\u003cp>Elated at their victory, Heumann and her fellow protesters knew there was still much to be done. Though on paper, Section 504 meant federally funded entities must accommodate disabled people, excuses were made repeatedly about why action would not be taken immediately. (The American Public Transit Association, for example, said it couldn’t afford to put wheelchair lifts into buses, even though the cost was the same as installing air conditioning). To make matters worse, better legal protections were still badly needed at a federal level to make all public places more accessible, and to make employer discrimination illegal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During this period, Heumann continued to campaign in earnest as CIL’s senior deputy director. In Oakland, she co-founded the World Institute on Disability (WID) to begin advocating for disability rights around the globe. CIL also set up a new organization to better handle ongoing legal matters. The \u003ca href=\"https://dredf.org/\">Disability Rights Education and Defense Fund\u003c/a> (DREDF) was the first legal organization run by and for people with disabilities. As such, it was inundated with calls from people all over the U.S. seeking advice on how to make their own towns and cities more accessible. But DREDF had already begun formulating a big idea to touch every corner of America in one swoop: the Americans with Disabilities Act (ADA).\u003c/p>\n\u003cp>It took until 1988 for the first version of the ADA to reach Congress. It failed to pass. A second version arrived in May 1989, but when it still hadn’t passed 10 months later, 1,000 protesters descended on Washington, D.C. to make their voices heard. Scores of disabled activists dropped to the ground and literally dragged themselves up the 83 inaccessible steps of the Capitol building. It was an image that lawmakers wouldn’t soon forget.\u003c/p>\n\u003cp>On July 26, 1990, President George H.W. Bush finally signed the ADA into law. “Let the shameful wall of exclusion finally come tumbling down,” he declared.\u003c/p>\n\u003cp>Just three years later, Heumann would take on the role of assistant secretary for the Office of Special Education and Rehabilitative Services in Bill Clinton’s Department of Education. She served for the duration of the president’s term, as she did when Barack Obama gave her the role of special advisor for international disability rights in the Department of State.\u003c/p>\n\u003cp>For the rest of her life, Heumann never, ever stopped advocating for people with disabilities. And when she received praise for the multitude of ways she helped change countless lives for the better, her response was always rooted in humility.\u003c/p>\n\u003cp>As she wrote in her 2021 book, \u003cem>Rolling Warrior\u003c/em>: “All we did was refuse to believe that we were the problem.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Filipina Activist So Unstoppable, Her Nickname Was ‘Bullet’",
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"content": "\u003cp>In January 1970, Violeta ‘Bullet’ Marasigan’s husband implored her to not “bring any more work home.”\u003c/p>\n\u003cp>Quoted in a \u003cem>San Francisco Examiner\u003c/em> profile, Pete Marasigan was, the newspaper reported, only half-joking. Because when Violeta Marasigan brought the office home with her, it wasn’t stacks of papers and files. More often than not, it was human beings that needed food or a bed for the night.\u003c/p>\n\u003cp>Marasigan had been in nonstop action since 1968, when she was hired by San Francisco’s United Filipino Association (UFA) as a social worker. Born in the Philippines in 1939, Marasigan had moved to California to study at San Francisco State College. Shortly after graduation, the UFA brought her on to assist the elders — or \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Manong#:~:text=Manong%20(Mah%2Dnoh%2Dng,given%20to%20an%20older%20sister.\">manongs\u003c/a> \u003c/em>— of Manilatown, a 10-block stretch of Filipino businesses, restaurants and social hubs centered around Kearny and Jackson Streets in San Francisco. She was perfect for the position.\u003c/p>\n\u003cp>[aside postid='arts_13929289']“I’m very optimistic,” she later explained. “I think a lot of things can be done if we really put ourselves in it — [and] not half-heartedly.”\u003c/p>\n\u003cp>There was nothing half-hearted about Marasigan. She spent her entire life fighting for Filipinos, both in the Bay and abroad. Her nickname “Bullet” was coined while still in her teens; “Bolet” is a Tagalog version of the name Violeta, but Marasigan’s moniker morphed into “Bullet” once her friends realized how impossible it was to stand in her way. That much became clear to San Francisco as soon as Marasigan joined forces with the UFA.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I started working with the old men,” she told the \u003cem>San Francisco Examiner\u003c/em> in 1970, “I saw that they were discriminated against in terms of their access to social services. A lot of them had been here for over 30 years, but they could still barely speak English or write. These manongs were mostly single retired farmworkers and seamen living on social security retirement benefits.”\u003c/p>\n\u003cp>Marasigan quickly deduced that most of these men — frequently World War II veterans — were not receiving all of the SSI benefits they were entitled to. (Some were receiving less than half of the appropriate amount.) Marasigan took it upon herself to bring these men into the Social Security office and advocate for each of them, one by one, until they each received what they were owed. And they were owed a lot.\u003c/p>\n\u003cp>After the U.S. colonized the Philippines in 1898, Filipino men became a cheap labor source for American companies, particularly in agriculture, canneries and the merchant navy. In the 1920s, 100,000 workers arrived from the Philippines to the U.S. to work. But not only were these men barred from bringing their families with them, by 1933 in California, they had also been prohibited from marrying outside of their race. (That year, the California senate saw fit to add “Malay” to the state’s interracial marriage ban, thereby \u003ca href=\"https://www.cschs.org/wp-content/uploads/2021/05/History-Resources-Articles-Caragozian-Ban-on-Interracial-Marriages.pdf\">preventing Filipino men from marrying\u003c/a> most of the women in their vicinity.)\u003c/p>\n\u003cp>[aside postid='arts_13874853']With so many barriers to building a traditional family structure, it became essential for this first wave of manongs to form their own communities. Manilatown was central to that, and central to Manilatown was the International Hotel (often called the “I-Hotel”). The three-story structure at 838 Kearny Street housed 200 residents — mostly elderly and impoverished Filipino and Chinese men. The UFA’s headquarters, appropriately enough, was situated directly next door.\u003c/p>\n\u003cp>In Autumn of 1968, Marasigan and the UFA faced their biggest challenge yet. Residents at the I-Hotel began receiving eviction notices. (The business that owned the property, Milton Meyer and Company, wanted to turn the hotel into a multi-level parking lot.) Residents, students and other civil rights groups banded together to keep the I-Hotel open; Marasigan was a key player in negotiating the hotel a new three-year lease in 1969.\u003c/p>\n\u003cp>Marasigan couldn’t have known that just four years later, the hotel would be sold to a developer. Then, on Aug. 7, 1977, 400 police officers forced their way through a human chain around the I-Hotel and forcibly dragged out its residents, bringing an end to the hotel — and Manilatown itself — for good.\u003c/p>\n\u003cfigure id=\"attachment_13966696\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966696\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel.jpg\" alt=\"Men and women in 1970s clothing cluster together outside a building with a sign that says 'International Hotel' on it. \" width=\"2000\" height=\"1427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-1536x1096.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-1920x1370.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Protesters gathered outside the International Hotel for days before police forcibly emptied the building. This image was taken on Aug. 3, 1977. \u003ccite>(Dave Randolph/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marasigan was not there to see the end of the hotel she fought so hard to save. She had returned to Manila in 1971, quickly joining the resistance against Ferdinand Marcos, the dictator that placed the Philippines under martial law, put an end to the free press and began violently oppressing civilians. Marasigan proved herself once more to be an outspoken activist, visiting and raising money for political prisoners. For her trouble, Marasigan was arrested in 1982 on explosives charges.\u003c/p>\n\u003cp>[aside postid='arts_13955066']Marasigan spent a year incarcerated at the infamous \u003ca href=\"https://en.wikipedia.org/wiki/Camp_Crame\">Camp Crame\u003c/a> before being fully exonerated. During her time as a political prisoner, Marasigan helped organize inmates, held political discussions and even conducted a 22-day hunger strike. In 1995, looking back on the turbulent time, she told the \u003cem>Examiner\u003c/em>, “The only thing explosive about me was my mouth and my farts.”\u003c/p>\n\u003cp>She expanded: “Filipinos laugh a lot. We laugh at our mistakes. It’s one of the strengths we have. We can also fight.”\u003c/p>\n\u003cp>And fight she did. Undeterred by her time in Camp Crame, in 1984, she co-founded \u003ca href=\"https://en.wikipedia.org/wiki/Gabriela_Women%27s_Party\">Gabriela Women’s Party\u003c/a> — an organization formed after 10,000 women marched against Marcos, defying a ban on protests. That same year, Maragisan also helped found \u003ca href=\"https://seldapilipinas.wordpress.com/about/\">Selda\u003c/a>, an advocacy organization by and for political prisoners. As part of her work with Gabriela and the National Council of Churches in the Philippines (NCCP), Maragisan had a hand in opening two safe havens for women: the \u003ca href=\"http://www.genuinesecurity.org/partners/buklod.htm\">Buklod Center in Olongapo City\u003c/a>, geared towards sex workers, and the \u003ca href=\"https://batiscenterforwomen.wordpress.com/about/history/\">Batis Center for Women\u003c/a> in Quezon City, which focused on female migrant workers.\u003c/p>\n\u003cp>Marasigan finally came back to the Bay in 1988 and, though there was no Manilatown to return to, went straight back to work for Filipino immigrants. She worked as a social worker at \u003ca href=\"https://www.somapilipinas.org/community-1/2018/7/13/west-bay-pilipino-multi-service-center\">West Bay Filipino Multi-Services\u003c/a>, \u003ca href=\"https://www.healthright360.org/parent-program/asian-american-recovery-services/\">Asian American Recovery Services\u003c/a> and the Veterans Equity Center (now known as the \u003ca href=\"https://asianpacificfund.org/affiliate/veterans-equity-center-2/\">Bayanihan Equity Center\u003c/a>).\u003c/p>\n\u003cp>Throughout the 1990s, while based in Daly City, Marasigan remained focused on seniors and veterans, setting up food and clothing banks at two separate Mission Street locations. In 1993, she co-founded the Friends of Filipino American Veterans to conduct “direct action, legal aid, advocacy and outreach programs for the veterans.” In 1994, she was president of the Filipino American Human Rights Advocates. Around this time, the editor in chief of \u003ca href=\"https://en.wikipedia.org/wiki/Filipinas_(magazine)\">\u003cem>Filipinas\u003c/em> magazine\u003c/a> Rene Ciria-Cruz called Marasigan “old reliable,” and noted: “She’s a symbol of activism. When she’s there it lends a validity to the cause being taken up.”\u003c/p>\n\u003cp>Marasigan broadened her focus even further in the ’90s, working more with children and teens — a natural progression, after she’d raised four daughters and a son of her own.\u003c/p>\n\u003cp>[aside postid='arts_13921886']In 1995, Marasigan volunteered with the Bilingual Advisory Council of Balboa Park’s \u003ca href=\"https://www.sfusd.edu/school/james-denman-middle-school\">James Denman Middle School\u003c/a>, was a member of the School Advisory Council and actively worked with teens on AIDS prevention. An article in the \u003cem>San Francisco Examiner\u003c/em> that year reported that she was prone to bluntly asking the teens at the West Bay Filipino Center on Mission St. if they were sexually active.\u003c/p>\n\u003cp>“If they cannot say ‘no’ right away,” she explained, “I grab their hand and say ‘Talk to me.’ I’m straight with them. I answer their questions and I don’t get embarrassed.”\u003c/p>\n\u003cp>Marasigan wasn’t afraid to enter a classroom and tell kids something they’d never heard before — be it about safe sex or their own history.\u003c/p>\n\u003cp>“In the curriculum,” she said at the time, “there is no cultural empowerment of other groups. Last week, we had a support group at Balboa, and we showed them Filipino history in America, and they were so surprised … How could our children have self-esteem in school when they don’t see they are part of the history of America?”\u003c/p>\n\u003cp>Sadly, Marasigan’s life of service was suddenly cut short by an accident in April 2000. She had just gotten out of her parked car when it rolled down the street, knocking her to the ground. She was 61.\u003c/p>\n\u003cp>At a \u003ca href=\"https://www.sfgate.com/bayarea/article/Memorial-Service-Held-at-City-Hall-For-Activist-2784544.php\">packed memorial service\u003c/a> for her at San Francisco’s City Hall, tributes poured in from Mayor Willie Brown, several supervisors (including Tom Ammiano and Mabel Teng) and a plethora of friends and associates. Supervisor Leland Yee didn’t mince words.\u003c/p>\n\u003cp>“Anyone with the name ‘Bullet,’ you don’t want to mess around with,” Yee said. “When you lose someone like that, you lose part of your soul.”\u003c/p>\n\u003cp>One of Marasigan’s final triumphs in life was successfully fighting to re-open the \u003ca href=\"https://www.galingbata.org/\">Filipino Education Center\u003c/a> — a bilingual school and daycare for immigrant children. She believed this was an essential grounding place that would enable future generations of Filipinos to thrive in the Bay.\u003c/p>\n\u003cp>“When we’re gone,” she explained in 1995, “the work will continue.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In January 1970, Violeta ‘Bullet’ Marasigan’s husband implored her to not “bring any more work home.”\u003c/p>\n\u003cp>Quoted in a \u003cem>San Francisco Examiner\u003c/em> profile, Pete Marasigan was, the newspaper reported, only half-joking. Because when Violeta Marasigan brought the office home with her, it wasn’t stacks of papers and files. More often than not, it was human beings that needed food or a bed for the night.\u003c/p>\n\u003cp>Marasigan had been in nonstop action since 1968, when she was hired by San Francisco’s United Filipino Association (UFA) as a social worker. Born in the Philippines in 1939, Marasigan had moved to California to study at San Francisco State College. Shortly after graduation, the UFA brought her on to assist the elders — or \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Manong#:~:text=Manong%20(Mah%2Dnoh%2Dng,given%20to%20an%20older%20sister.\">manongs\u003c/a> \u003c/em>— of Manilatown, a 10-block stretch of Filipino businesses, restaurants and social hubs centered around Kearny and Jackson Streets in San Francisco. She was perfect for the position.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I’m very optimistic,” she later explained. “I think a lot of things can be done if we really put ourselves in it — [and] not half-heartedly.”\u003c/p>\n\u003cp>There was nothing half-hearted about Marasigan. She spent her entire life fighting for Filipinos, both in the Bay and abroad. Her nickname “Bullet” was coined while still in her teens; “Bolet” is a Tagalog version of the name Violeta, but Marasigan’s moniker morphed into “Bullet” once her friends realized how impossible it was to stand in her way. That much became clear to San Francisco as soon as Marasigan joined forces with the UFA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I started working with the old men,” she told the \u003cem>San Francisco Examiner\u003c/em> in 1970, “I saw that they were discriminated against in terms of their access to social services. A lot of them had been here for over 30 years, but they could still barely speak English or write. These manongs were mostly single retired farmworkers and seamen living on social security retirement benefits.”\u003c/p>\n\u003cp>Marasigan quickly deduced that most of these men — frequently World War II veterans — were not receiving all of the SSI benefits they were entitled to. (Some were receiving less than half of the appropriate amount.) Marasigan took it upon herself to bring these men into the Social Security office and advocate for each of them, one by one, until they each received what they were owed. And they were owed a lot.\u003c/p>\n\u003cp>After the U.S. colonized the Philippines in 1898, Filipino men became a cheap labor source for American companies, particularly in agriculture, canneries and the merchant navy. In the 1920s, 100,000 workers arrived from the Philippines to the U.S. to work. But not only were these men barred from bringing their families with them, by 1933 in California, they had also been prohibited from marrying outside of their race. (That year, the California senate saw fit to add “Malay” to the state’s interracial marriage ban, thereby \u003ca href=\"https://www.cschs.org/wp-content/uploads/2021/05/History-Resources-Articles-Caragozian-Ban-on-Interracial-Marriages.pdf\">preventing Filipino men from marrying\u003c/a> most of the women in their vicinity.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With so many barriers to building a traditional family structure, it became essential for this first wave of manongs to form their own communities. Manilatown was central to that, and central to Manilatown was the International Hotel (often called the “I-Hotel”). The three-story structure at 838 Kearny Street housed 200 residents — mostly elderly and impoverished Filipino and Chinese men. The UFA’s headquarters, appropriately enough, was situated directly next door.\u003c/p>\n\u003cp>In Autumn of 1968, Marasigan and the UFA faced their biggest challenge yet. Residents at the I-Hotel began receiving eviction notices. (The business that owned the property, Milton Meyer and Company, wanted to turn the hotel into a multi-level parking lot.) Residents, students and other civil rights groups banded together to keep the I-Hotel open; Marasigan was a key player in negotiating the hotel a new three-year lease in 1969.\u003c/p>\n\u003cp>Marasigan couldn’t have known that just four years later, the hotel would be sold to a developer. Then, on Aug. 7, 1977, 400 police officers forced their way through a human chain around the I-Hotel and forcibly dragged out its residents, bringing an end to the hotel — and Manilatown itself — for good.\u003c/p>\n\u003cfigure id=\"attachment_13966696\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966696\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel.jpg\" alt=\"Men and women in 1970s clothing cluster together outside a building with a sign that says 'International Hotel' on it. \" width=\"2000\" height=\"1427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-1536x1096.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/i-hotel-1920x1370.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Protesters gathered outside the International Hotel for days before police forcibly emptied the building. This image was taken on Aug. 3, 1977. \u003ccite>(Dave Randolph/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marasigan was not there to see the end of the hotel she fought so hard to save. She had returned to Manila in 1971, quickly joining the resistance against Ferdinand Marcos, the dictator that placed the Philippines under martial law, put an end to the free press and began violently oppressing civilians. Marasigan proved herself once more to be an outspoken activist, visiting and raising money for political prisoners. For her trouble, Marasigan was arrested in 1982 on explosives charges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Marasigan spent a year incarcerated at the infamous \u003ca href=\"https://en.wikipedia.org/wiki/Camp_Crame\">Camp Crame\u003c/a> before being fully exonerated. During her time as a political prisoner, Marasigan helped organize inmates, held political discussions and even conducted a 22-day hunger strike. In 1995, looking back on the turbulent time, she told the \u003cem>Examiner\u003c/em>, “The only thing explosive about me was my mouth and my farts.”\u003c/p>\n\u003cp>She expanded: “Filipinos laugh a lot. We laugh at our mistakes. It’s one of the strengths we have. We can also fight.”\u003c/p>\n\u003cp>And fight she did. Undeterred by her time in Camp Crame, in 1984, she co-founded \u003ca href=\"https://en.wikipedia.org/wiki/Gabriela_Women%27s_Party\">Gabriela Women’s Party\u003c/a> — an organization formed after 10,000 women marched against Marcos, defying a ban on protests. That same year, Maragisan also helped found \u003ca href=\"https://seldapilipinas.wordpress.com/about/\">Selda\u003c/a>, an advocacy organization by and for political prisoners. As part of her work with Gabriela and the National Council of Churches in the Philippines (NCCP), Maragisan had a hand in opening two safe havens for women: the \u003ca href=\"http://www.genuinesecurity.org/partners/buklod.htm\">Buklod Center in Olongapo City\u003c/a>, geared towards sex workers, and the \u003ca href=\"https://batiscenterforwomen.wordpress.com/about/history/\">Batis Center for Women\u003c/a> in Quezon City, which focused on female migrant workers.\u003c/p>\n\u003cp>Marasigan finally came back to the Bay in 1988 and, though there was no Manilatown to return to, went straight back to work for Filipino immigrants. She worked as a social worker at \u003ca href=\"https://www.somapilipinas.org/community-1/2018/7/13/west-bay-pilipino-multi-service-center\">West Bay Filipino Multi-Services\u003c/a>, \u003ca href=\"https://www.healthright360.org/parent-program/asian-american-recovery-services/\">Asian American Recovery Services\u003c/a> and the Veterans Equity Center (now known as the \u003ca href=\"https://asianpacificfund.org/affiliate/veterans-equity-center-2/\">Bayanihan Equity Center\u003c/a>).\u003c/p>\n\u003cp>Throughout the 1990s, while based in Daly City, Marasigan remained focused on seniors and veterans, setting up food and clothing banks at two separate Mission Street locations. In 1993, she co-founded the Friends of Filipino American Veterans to conduct “direct action, legal aid, advocacy and outreach programs for the veterans.” In 1994, she was president of the Filipino American Human Rights Advocates. Around this time, the editor in chief of \u003ca href=\"https://en.wikipedia.org/wiki/Filipinas_(magazine)\">\u003cem>Filipinas\u003c/em> magazine\u003c/a> Rene Ciria-Cruz called Marasigan “old reliable,” and noted: “She’s a symbol of activism. When she’s there it lends a validity to the cause being taken up.”\u003c/p>\n\u003cp>Marasigan broadened her focus even further in the ’90s, working more with children and teens — a natural progression, after she’d raised four daughters and a son of her own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1995, Marasigan volunteered with the Bilingual Advisory Council of Balboa Park’s \u003ca href=\"https://www.sfusd.edu/school/james-denman-middle-school\">James Denman Middle School\u003c/a>, was a member of the School Advisory Council and actively worked with teens on AIDS prevention. An article in the \u003cem>San Francisco Examiner\u003c/em> that year reported that she was prone to bluntly asking the teens at the West Bay Filipino Center on Mission St. if they were sexually active.\u003c/p>\n\u003cp>“If they cannot say ‘no’ right away,” she explained, “I grab their hand and say ‘Talk to me.’ I’m straight with them. I answer their questions and I don’t get embarrassed.”\u003c/p>\n\u003cp>Marasigan wasn’t afraid to enter a classroom and tell kids something they’d never heard before — be it about safe sex or their own history.\u003c/p>\n\u003cp>“In the curriculum,” she said at the time, “there is no cultural empowerment of other groups. Last week, we had a support group at Balboa, and we showed them Filipino history in America, and they were so surprised … How could our children have self-esteem in school when they don’t see they are part of the history of America?”\u003c/p>\n\u003cp>Sadly, Marasigan’s life of service was suddenly cut short by an accident in April 2000. She had just gotten out of her parked car when it rolled down the street, knocking her to the ground. She was 61.\u003c/p>\n\u003cp>At a \u003ca href=\"https://www.sfgate.com/bayarea/article/Memorial-Service-Held-at-City-Hall-For-Activist-2784544.php\">packed memorial service\u003c/a> for her at San Francisco’s City Hall, tributes poured in from Mayor Willie Brown, several supervisors (including Tom Ammiano and Mabel Teng) and a plethora of friends and associates. Supervisor Leland Yee didn’t mince words.\u003c/p>\n\u003cp>“Anyone with the name ‘Bullet,’ you don’t want to mess around with,” Yee said. “When you lose someone like that, you lose part of your soul.”\u003c/p>\n\u003cp>One of Marasigan’s final triumphs in life was successfully fighting to re-open the \u003ca href=\"https://www.galingbata.org/\">Filipino Education Center\u003c/a> — a bilingual school and daycare for immigrant children. She believed this was an essential grounding place that would enable future generations of Filipinos to thrive in the Bay.\u003c/p>\n\u003cp>“When we’re gone,” she explained in 1995, “the work will continue.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1964, after \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">Carol Doda danced topless at The Condor\u003c/a> for the first time, nightclubs across San Francisco’s North Beach erupted into a \u003ca href=\"https://www.kqed.org/arts/13958719/who-was-yvonne-dangers-1960s-topless-north-beach-star-deportation\">topless frenzy\u003c/a>. Topless bands, topless clothing stores and even a topless shoe shine all opened in quick succession. But one of the most sensational acts of the time came courtesy of Vicki “Starr” Fernandez, a beautiful transgender woman.\u003c/p>\n\u003cp>[aside postid='arts_13959375']Born in Puerto Rico in 1932, Fernandez ran away to America aged just 14, so that she might live a freer, more authentic life. “As a child,” she told the Bakersfield Californian in 1968, “I was more feminine and pretty than the girls in our school … When I was a teenager, my looks and behavior became an embarrassment to my family. The other kids started making really vicious remarks to me … [In] the States, at least I can dress and act as I please without hurting myself or my family.”\u003c/p>\n\u003cp>Fernandez danced all over North Beach at clubs including Finnochio’s, El Cid, Pierre’s, Mr. D’s and Coke’s. At the Follies Burlesque, Fernandez participated in the “Battle of the Sexes” — a dance-off in which cis women went head-to-head with trans women and drag queens. (The point was that the audience could rarely tell who was who.) Fernandez was frequently billed as “Mister” (or “Mr.”) Vicki Starr, sensationalizing her trans-ness as a way to maximize audience numbers. This kind of publicity undoubtedly carried major risks for her personal safety and legal standing. Still, she boldly and diligently carried on performing, never shying away from talking about her gender identity.\u003c/p>\n\u003cfigure id=\"attachment_13959772\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-scaled.jpg\" alt=\"A nightclub poster featuring two women, one glamorously made-up, the other standing topless, her back turned to the camera.\" width=\"2560\" height=\"1984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-800x620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1020x790.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-768x595.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1536x1190.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-2048x1587.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1920x1488.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A poster from Coke’s advertising performances by Vicki Starr and Roxanne Alegria with the declaration that: ‘Boys will be girls.’ \u003ccite>(Courtesy of the GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1967, Fernandez told \u003cem>San Francisco Chronicle\u003c/em> columnist Merla Zellerbach that she was “working for one reason — to earn money to pay for the conversion operation. As soon as it’s finished, my fiancé and I will get married, possibly adopt children and settle down quietly.” What Fernandez craved, she told the reporter, was “a normal life as a woman.” She was entirely unwilling to give up on that dream, no matter the hurdles in her path. Though Fernandez enjoyed the limelight and relished every opportunity to be her most glamorous self, the nightclubs that made her famous were in many ways merely a means of survival.\u003c/p>\n\u003ch2>Standing up for herself\u003c/h2>\n\u003cp>Fernandez spent much of her life kicking against social and institutional prejudice. From the time she arrived in San Francisco, Fernandez unabashedly lived every moment as the woman that she was. She was a fashionista, always clad in the most elegant styles of the day. She attracted a large, loving and very diverse friend group. She was politically active, keeping files of political pamphlets at home from the likes of George Moscone and Willie Brown, and voting for Harvey Milk when he was a candidate for the Board of Supervisors. Throughout her life, she stood up for and fiercely defended her rights as a woman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the biggest battles of Fernandez’s life started in 1971, when Fernandez’s longterm partner Richard Smith was convicted of homicide and incarcerated. It was far from the domestic bliss she had once envisioned for herself and, making matters worse, she soon found herself restricted from visiting Smith because of her gender identity.\u003c/p>\n\u003cp>One correspondence from the California Men’s Colony in San Luis Obispo reflects the hostile policies of the era:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez remains biologically a male. Accordingly, until such time as a sex change operation is completed, and other approval to visit has been granted, Ms. Fernandez would be expected to enter the institution in male attire and utilize the male rest room.\u003c/p>\u003c/blockquote>\n\u003cp>To Fernandez, these parameters were unacceptable. She quickly sought out the assistance of the San Francisco Neighborhood Legal Assistance Foundation (SFNLAF), and together they went about becoming a thorn in the side of the California Department of Corrections. They started with letters to the California State Prison Solano, in which Smith was originally held, then moved on to the prison in San Luis Obispo, where he was moved in 1974. That year, one letter to its director Raymond Procunier stated:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez was allowed to visit [Smith] for a period of 9 months without any questions raised. She made no attempt to hide her identity in this time. It was evidently only after Ms. Fernandez was discovered to be a trans-sexual that her visiting privilege was suddenly denied.\u003c/p>\u003c/blockquote>\n\u003cp>For years, Fernandez and the SFNLAF badgered the Department of Corrections to change their stance on Fernandez’s clothing restrictions. And for years, the Department of Corrections tried to brush them off. Fernandez refused to back down. She began actively studying and campaigning for prison reform. She sought advice from the Prisoner’s Union, the American Civil Liberties Union and the Prison Law Collective. She contacted \u003ca href=\"https://www.kqed.org/news/11985739/san-franciscans-honor-glide-church-founder-rev-cecil-williams-at-memorial-ceremony\">Rev. Cecil Williams\u003c/a> of Glide Memorial, knowing he was outspoken on the topic of prison reform. She befriended Daniel Castro, the senior consultant for the select committee on corrections. She became a relentless force — and eventually, her work paid off.\u003c/p>\n\u003cp>In 1975, the San Luis Obispo Men’s Colony finally relented and permitted Fernandez to visit Smith in the clothing of her choosing. Access alone was not enough to silence her. When transphobic treatment reared its head in the visitors’ room, Fernandez made sure to document her displeasure in written complaints. One letter from the SFNLAF to H.L. Shaw, then the outside lieutenant of the San Luis Obispo prison, stated:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez has been subjected to further abuse which is uncalled for. Her attempts to hold hands and affectionately touch Mr. Smith in the way common between husband and wife has been precluded. Various sergeants under you have offended Ms. Fernandez by carefully policing her hand holding activities.\u003c/p>\u003c/blockquote>\n\u003cp>It never mattered who she was up against, Fernandez was always ready to fight for equal treatment, no matter the venue.\u003c/p>\n\u003ch2>A loving legacy\u003c/h2>\n\u003cp>Though Fernandez’s life was not the easiest, she refused to live meekly or under anyone’s thumb. Proud of her identity, she fought tooth and nail for every scrap of progress she ever made and every shred of happiness she ever found. She was indefatigable when it came to living out loud, no matter who was judging her. But behind closed doors, she was a sensitive and sentimental soul. In the end, it was those traits that formed the foundation of Fernandez’s lasting cultural legacy.\u003c/p>\n\u003cp>[aside postid='arts_13870056']During an era when many of her contemporaries were trying their best to live under the radar and out of sight, Fernandez proudly documented her community in as many ways as she could. In her death, Fernandez left behind a comprehensive goldmine of photographs, flyers and other ephemera that continues to stand as a reflection of the LGBTQ community from the 1950s through the 1980s. These files reflect a joyful and loving community full of beautiful souls who refused to be relegated to the shadows. Now in the care of San Francisco’s GLBT Historical Society, they offer important insight into a woefully under-documented period of time for LGBTQ people.\u003c/p>\n\u003cp>In 1967, bemoaning the many hardships she faced, Fernandez told the \u003cem>Chronicle\u003c/em>: “If I’d been born all girl, none of this would have happened.”\u003c/p>\n\u003cp>While her life would have undoubtedly been less challenging if that was the case, it was Fernandez’s trans-ness that ultimately made her so special — in her nightclub performances, in her legal battles, and in the keepsakes she ultimately left behind. “You have a very peaceful effect on people,” a friend named Susan wrote to Fernandez in the 1970s. “A harmony that lifts them and can heal them.”\u003c/p>\n\u003cp>The personal documents Fernandez left behind will continue to do so long into the future.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"headline": "The Transgender Topless Dancer Who Went to War with Prison Authorities",
"datePublished": "2024-09-04T11:32:18-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1964, after \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">Carol Doda danced topless at The Condor\u003c/a> for the first time, nightclubs across San Francisco’s North Beach erupted into a \u003ca href=\"https://www.kqed.org/arts/13958719/who-was-yvonne-dangers-1960s-topless-north-beach-star-deportation\">topless frenzy\u003c/a>. Topless bands, topless clothing stores and even a topless shoe shine all opened in quick succession. But one of the most sensational acts of the time came courtesy of Vicki “Starr” Fernandez, a beautiful transgender woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Born in Puerto Rico in 1932, Fernandez ran away to America aged just 14, so that she might live a freer, more authentic life. “As a child,” she told the Bakersfield Californian in 1968, “I was more feminine and pretty than the girls in our school … When I was a teenager, my looks and behavior became an embarrassment to my family. The other kids started making really vicious remarks to me … [In] the States, at least I can dress and act as I please without hurting myself or my family.”\u003c/p>\n\u003cp>Fernandez danced all over North Beach at clubs including Finnochio’s, El Cid, Pierre’s, Mr. D’s and Coke’s. At the Follies Burlesque, Fernandez participated in the “Battle of the Sexes” — a dance-off in which cis women went head-to-head with trans women and drag queens. (The point was that the audience could rarely tell who was who.) Fernandez was frequently billed as “Mister” (or “Mr.”) Vicki Starr, sensationalizing her trans-ness as a way to maximize audience numbers. This kind of publicity undoubtedly carried major risks for her personal safety and legal standing. Still, she boldly and diligently carried on performing, never shying away from talking about her gender identity.\u003c/p>\n\u003cfigure id=\"attachment_13959772\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-scaled.jpg\" alt=\"A nightclub poster featuring two women, one glamorously made-up, the other standing topless, her back turned to the camera.\" width=\"2560\" height=\"1984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-800x620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1020x790.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-768x595.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1536x1190.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-2048x1587.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240606_134527-1920x1488.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A poster from Coke’s advertising performances by Vicki Starr and Roxanne Alegria with the declaration that: ‘Boys will be girls.’ \u003ccite>(Courtesy of the GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1967, Fernandez told \u003cem>San Francisco Chronicle\u003c/em> columnist Merla Zellerbach that she was “working for one reason — to earn money to pay for the conversion operation. As soon as it’s finished, my fiancé and I will get married, possibly adopt children and settle down quietly.” What Fernandez craved, she told the reporter, was “a normal life as a woman.” She was entirely unwilling to give up on that dream, no matter the hurdles in her path. Though Fernandez enjoyed the limelight and relished every opportunity to be her most glamorous self, the nightclubs that made her famous were in many ways merely a means of survival.\u003c/p>\n\u003ch2>Standing up for herself\u003c/h2>\n\u003cp>Fernandez spent much of her life kicking against social and institutional prejudice. From the time she arrived in San Francisco, Fernandez unabashedly lived every moment as the woman that she was. She was a fashionista, always clad in the most elegant styles of the day. She attracted a large, loving and very diverse friend group. She was politically active, keeping files of political pamphlets at home from the likes of George Moscone and Willie Brown, and voting for Harvey Milk when he was a candidate for the Board of Supervisors. Throughout her life, she stood up for and fiercely defended her rights as a woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the biggest battles of Fernandez’s life started in 1971, when Fernandez’s longterm partner Richard Smith was convicted of homicide and incarcerated. It was far from the domestic bliss she had once envisioned for herself and, making matters worse, she soon found herself restricted from visiting Smith because of her gender identity.\u003c/p>\n\u003cp>One correspondence from the California Men’s Colony in San Luis Obispo reflects the hostile policies of the era:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez remains biologically a male. Accordingly, until such time as a sex change operation is completed, and other approval to visit has been granted, Ms. Fernandez would be expected to enter the institution in male attire and utilize the male rest room.\u003c/p>\u003c/blockquote>\n\u003cp>To Fernandez, these parameters were unacceptable. She quickly sought out the assistance of the San Francisco Neighborhood Legal Assistance Foundation (SFNLAF), and together they went about becoming a thorn in the side of the California Department of Corrections. They started with letters to the California State Prison Solano, in which Smith was originally held, then moved on to the prison in San Luis Obispo, where he was moved in 1974. That year, one letter to its director Raymond Procunier stated:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez was allowed to visit [Smith] for a period of 9 months without any questions raised. She made no attempt to hide her identity in this time. It was evidently only after Ms. Fernandez was discovered to be a trans-sexual that her visiting privilege was suddenly denied.\u003c/p>\u003c/blockquote>\n\u003cp>For years, Fernandez and the SFNLAF badgered the Department of Corrections to change their stance on Fernandez’s clothing restrictions. And for years, the Department of Corrections tried to brush them off. Fernandez refused to back down. She began actively studying and campaigning for prison reform. She sought advice from the Prisoner’s Union, the American Civil Liberties Union and the Prison Law Collective. She contacted \u003ca href=\"https://www.kqed.org/news/11985739/san-franciscans-honor-glide-church-founder-rev-cecil-williams-at-memorial-ceremony\">Rev. Cecil Williams\u003c/a> of Glide Memorial, knowing he was outspoken on the topic of prison reform. She befriended Daniel Castro, the senior consultant for the select committee on corrections. She became a relentless force — and eventually, her work paid off.\u003c/p>\n\u003cp>In 1975, the San Luis Obispo Men’s Colony finally relented and permitted Fernandez to visit Smith in the clothing of her choosing. Access alone was not enough to silence her. When transphobic treatment reared its head in the visitors’ room, Fernandez made sure to document her displeasure in written complaints. One letter from the SFNLAF to H.L. Shaw, then the outside lieutenant of the San Luis Obispo prison, stated:\u003c/p>\n\u003cblockquote>\u003cp>Ms. Fernandez has been subjected to further abuse which is uncalled for. Her attempts to hold hands and affectionately touch Mr. Smith in the way common between husband and wife has been precluded. Various sergeants under you have offended Ms. Fernandez by carefully policing her hand holding activities.\u003c/p>\u003c/blockquote>\n\u003cp>It never mattered who she was up against, Fernandez was always ready to fight for equal treatment, no matter the venue.\u003c/p>\n\u003ch2>A loving legacy\u003c/h2>\n\u003cp>Though Fernandez’s life was not the easiest, she refused to live meekly or under anyone’s thumb. Proud of her identity, she fought tooth and nail for every scrap of progress she ever made and every shred of happiness she ever found. She was indefatigable when it came to living out loud, no matter who was judging her. But behind closed doors, she was a sensitive and sentimental soul. In the end, it was those traits that formed the foundation of Fernandez’s lasting cultural legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During an era when many of her contemporaries were trying their best to live under the radar and out of sight, Fernandez proudly documented her community in as many ways as she could. In her death, Fernandez left behind a comprehensive goldmine of photographs, flyers and other ephemera that continues to stand as a reflection of the LGBTQ community from the 1950s through the 1980s. These files reflect a joyful and loving community full of beautiful souls who refused to be relegated to the shadows. Now in the care of San Francisco’s GLBT Historical Society, they offer important insight into a woefully under-documented period of time for LGBTQ people.\u003c/p>\n\u003cp>In 1967, bemoaning the many hardships she faced, Fernandez told the \u003cem>Chronicle\u003c/em>: “If I’d been born all girl, none of this would have happened.”\u003c/p>\n\u003cp>While her life would have undoubtedly been less challenging if that was the case, it was Fernandez’s trans-ness that ultimately made her so special — in her nightclub performances, in her legal battles, and in the keepsakes she ultimately left behind. “You have a very peaceful effect on people,” a friend named Susan wrote to Fernandez in the 1970s. “A harmony that lifts them and can heal them.”\u003c/p>\n\u003cp>The personal documents Fernandez left behind will continue to do so long into the future.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Movie Theaters We Have Lost’: The Pussycat Theater in Oakland",
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"content": "\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the Pussycat Theater in Oakland, which showed adult films before it closed in 1989.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_4.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_4-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_4-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_5-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_6-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_7-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_8.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_8.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_8-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_8-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_8-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_8-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_8-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_8-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_Note.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_Note.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_Note-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_Note-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_Note-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_Note-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_Note-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_Note-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\n",
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"excerpt": "Briana Loewinsohn illustrates Oakland's Pussycat Theater, which showed adult films before it closed in 1989.",
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"title": "Remembering the Pussycat Movie Theater in Oakland | KQED",
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"headline": "‘Movie Theaters We Have Lost’: The Pussycat Theater in Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the Pussycat Theater in Oakland, which showed adult films before it closed in 1989.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Pussycat_3-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"location": "Alameda",
"raceName": "Superior Court Judge, Office 5",
"raceDescription": "Top candidate wins seat.",
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"raceDescription": "Top candidate wins seat.",
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
"totalVotes": 240853,
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{
"candidateName": "Michael P. Johnson",
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"location": "Alameda",
"raceName": "Board of Education, Trustee Area 2",
"raceDescription": "Top candidate wins seat.",
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
"totalVotes": 33580,
"candidates": [
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"candidateName": "Angela Normand",
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"type": "localRace",
"location": "Alameda",
"raceName": "Board of Education, Trustee Area 5",
"raceDescription": "Top candidate wins seat.",
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"dateUpdated": "April 1, 2024",
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"candidates": [
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"candidateName": "Guadalupe \"Lupe\" Angulo",
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{
"candidateName": "Janevette Cole",
"candidateIncumbent": true,
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"type": "localRace",
"location": "Alameda",
"raceName": "Board of Education, Trustee Area 6",
"raceDescription": "Top candidate wins seat.",
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"candidates": [
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"timeUpdated": "7:02 PM",
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"timeUpdated": "7:02 PM",
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"candidates": [
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{
"candidateName": "Nikki Fortunato Bas",
"candidateIncumbent": false,
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{
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"candidateIncumbent": false,
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"candidateIncumbent": false,
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{
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"candidateIncumbent": false,
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{
"candidateName": "Gregory Hodge",
"candidateIncumbent": false,
"candidateParty": "",
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"candidateIncumbent": false,
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{
"candidateName": "Gerald Pechenuk",
"candidateIncumbent": false,
"candidateParty": "",
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"timeUpdated": "7:02 PM",
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"candidates": [
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"timeUpdated": "7:02 PM",
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"timeUpdated": "7:02 PM",
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
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"candidates": [
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
"totalVotes": 22692,
"candidates": [
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"candidateIncumbent": false,
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
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"candidates": [
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"candidateParty": "",
"voteCount": 3673
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"candidateIncumbent": false,
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"location": "Alameda",
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
"totalVotes": 5898,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
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"candidateIncumbent": false,
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"type": "localRace",
"location": "Alameda",
"raceName": "Measure H",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
"totalVotes": 33331,
"candidates": [
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"candidateParty": "",
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3913
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"AlamedaMeasureI": {
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"type": "localRace",
"location": "Alameda",
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"raceDescription": "Hayward Unified School District. School bond. Passes with 55% vote.",
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
"totalVotes": 21929,
"candidates": [
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"voteCount": 14151
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"candidateIncumbent": false,
"candidateParty": "",
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"location": "Alameda",
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
"totalVotes": 12338,
"candidates": [
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"timeUpdated": "6:45 PM",
"dateUpdated": "March 28, 2024",
"totalVotes": 45776,
"candidates": [
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"candidateIncumbent": true,
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"type": "localRace",
"location": "Contra Costa",
"raceName": "Board of Supervisors, District 3",
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"raceType": "top1",
"timeUpdated": "6:45 PM",
"dateUpdated": "March 28, 2024",
"totalVotes": 25120,
"candidates": [
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"candidateIncumbent": true,
"candidateParty": "",
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"type": "localRace",
"location": "Contra Costa",
"raceName": "Board of Supervisors, District 5",
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"raceReadTheStory": "https://www.kqed.org/elections/results/contracosta/supervisor-5th-district",
"raceType": "top2",
"timeUpdated": "6:45 PM",
"dateUpdated": "March 28, 2024",
"totalVotes": 37045,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 14338
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{
"candidateName": "Jelani Killings",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5683
},
{
"candidateName": "Shanelle Scales-Preston",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 12993
},
{
"candidateName": "Iztaccuauhtli Hector Gonzalez",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4031
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"CCMeasureA": {
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"type": "localRace",
"location": "Contra Costa",
"raceName": "Measure A",
"raceDescription": "Martinez. Appoint City Clerk. Passes with a majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "6:45 PM",
"dateUpdated": "March 28, 2024",
"totalVotes": 11513,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 7554
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3959
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"CCMeasureB": {
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"type": "localRace",
"location": "Contra Costa",
"raceName": "Measure B",
"raceDescription": "Antioch Unified School District. School bond. Passes with 55% vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "6:45 PM",
"dateUpdated": "March 28, 2024",
"totalVotes": 17971,
"candidates": [
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"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 10397
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{
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"timeUpdated": "7:43 PM",
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{
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{
"candidateName": "Walter Pizarro",
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{
"candidateName": "John T. Van Geffen",
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]
},
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"dateUpdated": "Nov 20, 2024",
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{
"candidateName": "Rinu Nair",
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]
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{
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{
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{
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{
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{
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{
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{
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"dateUpdated": "Nov 20, 2024",
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{
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{
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{
"candidateName": "Tara Boyce",
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"candidateParty": "",
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},
{
"candidateName": "Christiaan Vandenheuvel",
"candidateIncumbent": false,
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{
"candidateName": "Deena Kaplanis",
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]
},
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"location": "Alameda",
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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{
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{
"candidateName": "Patricio R. Urbi",
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{
"candidateName": "Jatinder (JP) K. Sahi",
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]
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"location": "Alameda",
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"dateUpdated": "Nov 20, 2024",
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{
"candidateName": "Michelle Parnala",
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]
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"location": "Alameda",
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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{
"candidateName": "Michael Gonzales",
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]
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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"candidates": [
{
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"candidateParty": "",
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},
{
"candidateName": "Vikas Minglani",
"candidateIncumbent": false,
"candidateParty": "",
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{
"candidateName": "Gabriel Anguiano Jr.",
"candidateIncumbent": false,
"candidateParty": "",
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},
{
"candidateName": "Austin Block",
"candidateIncumbent": false,
"candidateParty": "",
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},
{
"candidateName": "Phuong Nguyen",
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"candidateParty": "",
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]
},
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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"candidates": [
{
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"candidateParty": "",
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},
{
"candidateName": "Kelly Mokashi",
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"candidateParty": "",
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]
},
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"type": "localRace",
"location": "Alameda",
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"raceDescription": "Top candidate wins seat. ",
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"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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"candidates": [
{
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"candidateParty": "",
"voteCount": 3306
},
{
"candidateName": "Charlie Jones",
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"candidateParty": "",
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]
},
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"id": "AlamedaSanLorenzoUnifiedSchoolDistrictGoverningBoardArea5",
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"location": "Alameda",
"raceName": "San Lorenzo Unified School District Governing Board, Area 5",
"raceDescription": "Top candidate wins seat. ",
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"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 3695,
"candidates": [
{
"candidateName": "Alicia Gonzalez",
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"candidateParty": "",
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},
{
"candidateName": "Penny Peck",
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"candidateParty": "",
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]
},
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"id": "AlamedaSunolGlenUnifiedSchoolDistrictGoverningBoard",
"type": "localRace",
"location": "Alameda",
"raceName": "Sunol Glen Unified School District Governing Board",
"raceDescription": "Top candidate wins seat. ",
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"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 633,
"candidates": [
{
"candidateName": "Ryan Jergensen",
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"candidateParty": "",
"voteCount": 264
},
{
"candidateName": "Erin Choin",
"candidateIncumbent": false,
"candidateParty": "",
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}
]
},
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"id": "AlamedaBoardofSupervisorsDistrict5",
"type": "localRace",
"location": "Alameda",
"raceName": "Board of Supervisors, District 5",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 141857,
"candidates": [
{
"candidateName": "John J. Bauters",
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"candidateParty": "",
"voteCount": 70721
},
{
"candidateName": "Nikki Fortunato Bas",
"candidateIncumbent": false,
"candidateParty": "",
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}
]
},
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"id": "AlamedaAlamedaCityCouncil",
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"location": "Alameda",
"raceName": "Alameda City Council",
"raceDescription": "Top two candidates win seat. ",
"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 61690,
"candidates": [
{
"candidateName": "Trish Herrera Spencer",
"candidateIncumbent": true,
"candidateParty": "",
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},
{
"candidateName": "Thushan Amarasiriwardena",
"candidateIncumbent": false,
"candidateParty": "",
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},
{
"candidateName": "Michele Pryor",
"candidateIncumbent": false,
"candidateParty": "",
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},
{
"candidateName": "Greg Boller",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 14193
},
{
"candidateName": "Steve Slauson",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6004
}
]
},
"AlamedaAlamedaAuditor": {
"id": "AlamedaAlamedaAuditor",
"type": "localRace",
"location": "Alameda",
"raceName": "Alameda Auditor",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 27745,
"candidates": [
{
"candidateName": "Kevin R. Kearney",
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"candidateParty": "",
"voteCount": 27745
}
]
},
"AlamedaAlamedaTreasurer": {
"id": "AlamedaAlamedaTreasurer",
"type": "localRace",
"location": "Alameda",
"raceName": "Alameda Treasurer",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 27488,
"candidates": [
{
"candidateName": "Kevin Kennedy",
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"candidateParty": "",
"voteCount": 27488
}
]
},
"AlamedaBerkeleyRentStabilizationBoardCommissioner": {
"id": "AlamedaBerkeleyRentStabilizationBoardCommissioner",
"type": "localRace",
"location": "Alameda",
"raceName": "Berkeley Rent Stabilization Board Commissioner",
"raceDescription": "Top four candidates win seat. ",
"raceReadTheStory": "",
"raceType": "top4",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 138141,
"candidates": [
{
"candidateName": "Alfred Twu",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 22919
},
{
"candidateName": "Carole Marasovic",
"candidateIncumbent": false,
"candidateParty": "",
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},
{
"candidateName": "Xavier Johnson",
"candidateIncumbent": true,
"candidateParty": "",
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},
{
"candidateName": "Avery Arbaugh",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 19802
},
{
"candidateName": "Andy Kelley",
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"candidateParty": "",
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},
{
"candidateName": "Dominique Walker",
"candidateIncumbent": true,
"candidateParty": "",
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]
},
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"id": "AlamedaBerkeleySchoolDirector",
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"location": "Alameda",
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"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 84728,
"candidates": [
{
"candidateName": "Norma J.F. Harrison",
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"candidateParty": "",
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},
{
"candidateName": "Jen Corn",
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"candidateParty": "",
"voteCount": 30818
},
{
"candidateName": "Laura Babitt",
"candidateIncumbent": true,
"candidateParty": "",
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},
{
"candidateName": "Ana Vasudeo",
"candidateIncumbent": true,
"candidateParty": "",
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},
{
"candidateName": "Adbur Sikder",
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"candidateParty": "",
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]
},
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"location": "Alameda",
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"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 25487,
"candidates": [
{
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"candidateParty": "",
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},
{
"candidateName": "Sherry Hu",
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"candidateParty": "",
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},
{
"candidateName": "Jean Josey",
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"candidateParty": "",
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},
{
"candidateName": "Shawn Costello",
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"candidateParty": "",
"voteCount": 825
}
]
},
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"id": "AlamedaDublinCityCouncilArea1",
"type": "localRace",
"location": "Alameda",
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"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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"candidates": [
{
"candidateName": "Michael McCorriston",
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"candidateParty": "",
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}
]
},
"AlamedaDublinCityCouncilArea3": {
"id": "AlamedaDublinCityCouncilArea3",
"type": "localRace",
"location": "Alameda",
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"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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"candidates": [
{
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"candidateParty": "",
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},
{
"candidateName": "John Morada",
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"candidateParty": "",
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]
},
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"id": "AlamedaEmeryvilleCityCouncil",
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"location": "Alameda",
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"raceType": "top3",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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"candidates": [
{
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"candidateParty": "",
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},
{
"candidateName": "Sam Gould",
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"candidateParty": "",
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},
{
"candidateName": "Mia Esperanza Brown",
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"candidateParty": "",
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},
{
"candidateName": "Sukhdeep Kaur",
"candidateIncumbent": true,
"candidateParty": "",
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},
{
"candidateName": "Courtney Welch",
"candidateIncumbent": true,
"candidateParty": "",
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},
{
"candidateName": "Matthew Solomon",
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"candidateParty": "",
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]
},
"AlamedaFremontMayor": {
"id": "AlamedaFremontMayor",
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"location": "Alameda",
"raceName": "Fremont Mayor",
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"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 77254,
"candidates": [
{
"candidateName": "Rohan Marfatia",
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"candidateParty": "",
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},
{
"candidateName": "Vinnie Bacon",
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"candidateParty": "",
"voteCount": 25060
},
{
"candidateName": "Hiu Ng",
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"candidateParty": "",
"voteCount": 6897
},
{
"candidateName": "Raj Salwan",
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"candidateParty": "",
"voteCount": 36373
}
]
},
"AlamedaFremontCityCouncilDistrict1": {
"id": "AlamedaFremontCityCouncilDistrict1",
"type": "localRace",
"location": "Alameda",
"raceName": "Fremont City Council, District 1",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 11765,
"candidates": [
{
"candidateName": "Teresa Keng",
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"candidateParty": "",
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},
{
"candidateName": "Pravesh Kumar",
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"candidateParty": "",
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},
{
"candidateName": "Ranvir Sandhu",
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"candidateParty": "",
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}
]
},
"AlamedaFremontCityCouncilDistrict5": {
"id": "AlamedaFremontCityCouncilDistrict5",
"type": "localRace",
"location": "Alameda",
"raceName": "Fremont City Council, District 5",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 15636,
"candidates": [
{
"candidateName": "Sterling Jefferson Engle",
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"candidateParty": "",
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},
{
"candidateName": "Chandra Wagh",
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"candidateParty": "",
"voteCount": 5254
},
{
"candidateName": "Yajing Zhang",
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"candidateParty": "",
"voteCount": 7425
}
]
},
"AlamedaFremontCityCouncilDistrict6": {
"id": "AlamedaFremontCityCouncilDistrict6",
"type": "localRace",
"location": "Alameda",
"raceName": "Fremont City Council, District 6",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 11222,
"candidates": [
{
"candidateName": "Raymond Liu",
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"candidateParty": "",
"voteCount": 5629
},
{
"candidateName": "Teresa Cox",
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"candidateParty": "",
"voteCount": 5593
}
]
},
"AlamedaHaywardCityCouncil": {
"id": "AlamedaHaywardCityCouncil",
"type": "localRace",
"location": "Alameda",
"raceName": "Hayward City Council",
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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"location": "Alameda",
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"timeUpdated": "7:43 PM",
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{
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{
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]
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{
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{
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{
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{
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{
"candidateName": "Matthew B. Gaidos",
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"location": "Alameda",
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{
"candidateName": "Marcus Bourlard",
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{
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]
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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{
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"candidateName": "Lance Nishihira",
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]
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{
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{
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]
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{
"candidateName": "Raymond Ojeda",
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]
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"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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{
"candidateName": "Joseph Grcar",
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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{
"candidateName": "Dana Lang",
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{
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{
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{
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{
"candidateName": "Dave Sadoff",
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{
"candidateName": "Rich Halket",
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{
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"timeUpdated": "7:43 PM",
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{
"candidateName": "Richard De Vera",
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"dateUpdated": "Nov 20, 2024",
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{
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{
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"dateUpdated": "Nov 20, 2024",
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{
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{
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{
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{
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{
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{
"candidateName": "Matt Bogdanowicz",
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{
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{
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{
"candidateName": "Moira “Mimi” Dean",
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"candidateName": "Luis Reynoso",
"candidateIncumbent": false,
"candidateParty": "",
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"candidateName": "Damaris Villalobos-Galindo",
"candidateIncumbent": false,
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"id": "AlamedaMeasureK",
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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"AlamedaMeasureM": {
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"dateUpdated": "Nov 20, 2024",
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"AlamedaMeasureN": {
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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"AlamedaMeasureO": {
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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"dateUpdated": "Nov 20, 2024",
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"AlamedaMeasureQ": {
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"location": "Alameda",
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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{
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"AlamedaMeasureC": {
"id": "AlamedaMeasureC",
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"location": "Alameda",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 8959,
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{
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"AlamedaMeasureR": {
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"location": "Alameda",
"raceName": "Measure R",
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"raceReadTheStory": "",
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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{
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"AlamedaMeasureS": {
"id": "AlamedaMeasureS",
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"location": "Alameda",
"raceName": "Measure S",
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"raceReadTheStory": "",
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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{
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"AlamedaMeasureT": {
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"location": "Alameda",
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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"candidateIncumbent": false,
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{
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"AlamedaMeasureU": {
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"location": "Alameda",
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"raceReadTheStory": "",
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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"AlamedaMeasureV": {
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"location": "Alameda",
"raceName": "Measure V",
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"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
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"AlamedaMeasureW": {
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"location": "Alameda",
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 51584,
"candidates": [
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"AlamedaMeasureX": {
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 53196,
"candidates": [
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"candidateParty": "",
"voteCount": 41788
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{
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"candidateIncumbent": false,
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"AlamedaMeasureY": {
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 52490,
"candidates": [
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"candidateIncumbent": false,
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"candidateIncumbent": false,
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"AlamedaMeasureZ": {
"id": "AlamedaMeasureZ",
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"location": "Alameda",
"raceName": "Measure Z",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 52885,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 42252
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"candidateIncumbent": false,
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"voteCount": 10633
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"AlamedaMeasureAA": {
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"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 52237,
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{
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"candidateIncumbent": false,
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"AlamedaMeasureBB": {
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"location": "Alameda",
"raceName": "Measure BB",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 52834,
"candidates": [
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"candidateParty": "",
"voteCount": 29589
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{
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"candidateIncumbent": false,
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"voteCount": 23245
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"AlamedaMeasureCC": {
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"type": "localRace",
"location": "Alameda",
"raceName": "Measure CC",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 51587,
"candidates": [
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"AlamedaMeasureDD": {
"id": "AlamedaMeasureDD",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure DD",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 49656,
"candidates": [
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"candidateParty": "",
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"AlamedaMeasureEE": {
"id": "AlamedaMeasureEE",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure EE",
"raceDescription": "Berkeley. Parcel tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 52264,
"candidates": [
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"voteCount": 23850
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"candidateIncumbent": false,
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},
"AlamedaMeasureFF": {
"id": "AlamedaMeasureFF",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure FF",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 52442,
"candidates": [
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"voteCount": 31922
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{
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"candidateIncumbent": false,
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"voteCount": 20520
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},
"AlamedaMeasureGG": {
"id": "AlamedaMeasureGG",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure GG",
"raceDescription": "Berkeley. Fossil fuel tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 52182,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 16161
},
{
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"candidateIncumbent": false,
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"voteCount": 36021
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},
"AlamedaMeasureHH": {
"id": "AlamedaMeasureHH",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure HH",
"raceDescription": "Berkeley. Indoor air quality. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 51064,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 22175
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{
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"candidateIncumbent": false,
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"AlamedaMeasureII": {
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"type": "localRace",
"location": "Alameda",
"raceName": "Measure II",
"raceDescription": "Dublin. Open Space Initiative. Passes with 50% vote. ",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 25675,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 13635
},
{
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"candidateIncumbent": false,
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"voteCount": 12040
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},
"AlamedaMeasureJJ": {
"id": "AlamedaMeasureJJ",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure JJ",
"raceDescription": "Dublin. Government accountability. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 25420,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 19334
},
{
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"candidateIncumbent": false,
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"voteCount": 6086
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]
},
"AlamedaMeasureK1": {
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"type": "localRace",
"location": "Alameda",
"raceName": "Measure K1",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 46657,
"candidates": [
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"candidateIncumbent": false,
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},
"AlamedaMeasureLL": {
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"type": "localRace",
"location": "Alameda",
"raceName": "Measure LL",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 15792,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 12702
},
{
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"candidateIncumbent": false,
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"voteCount": 3090
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]
},
"AlamedaMeasureMM": {
"id": "AlamedaMeasureMM",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure MM",
"raceDescription": "Oakland. Wildfire protection zone. Passes with 2/3 vote. ",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 35248,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 25105
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"candidateIncumbent": false,
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},
"AlamedaMeasureNN": {
"id": "AlamedaMeasureNN",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure NN",
"raceDescription": "Oakland. Parking tax. Passes with 2/3 vote. ",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 159424,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
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},
{
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"candidateIncumbent": false,
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"voteCount": 46550
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]
},
"AlamedaMeasureOO": {
"id": "AlamedaMeasureOO",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure OO",
"raceDescription": "Oakland. Public ethics comission. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 150368,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
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},
{
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"candidateIncumbent": false,
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"voteCount": 40142
}
]
},
"AlamedaMeasurePP": {
"id": "AlamedaMeasurePP",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure PP",
"raceDescription": "Pleasanton. Sales tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 34840,
"candidates": [
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"candidateParty": "",
"voteCount": 15963
},
{
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"candidateIncumbent": false,
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"voteCount": 18877
}
]
},
"AlamedaMeasureQQ": {
"id": "AlamedaMeasureQQ",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure QQ",
"raceDescription": "Union City. Gross receipts tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 24778,
"candidates": [
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"candidateParty": "",
"voteCount": 20223
},
{
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"candidateIncumbent": false,
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"voteCount": 4555
}
]
},
"AlamedaAlbanyCityCouncil": {
"id": "AlamedaAlbanyCityCouncil",
"type": "localRace",
"location": "Alameda",
"raceName": "Albany City Council",
"raceDescription": "Top three candidates win seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top3",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 7963,
"candidates": [
{
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"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 2070
},
{
"candidateName": "Peggy (Margaret) McQuaid",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2150
},
{
"candidateName": "Jeremiah Garrett-Pinguelo",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 392
},
{
"candidateName": "Aaron Tiedemann",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 1488
},
{
"candidateName": "Preston Jordan",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 1863
}
]
},
"AlamedaAlbanyCityCouncilFinalRound": {
"id": "AlamedaAlbanyCityCouncilFinalRound",
"type": "localRace",
"location": "Alameda",
"raceName": "Albany City Council Final Round",
"raceDescription": "Top three candidates win seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.",
"raceReadTheStory": "",
"raceType": "top3",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 8077.9238,
"candidates": [
{
"candidateName": "Jennifer Hansen-Romero",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 2070
},
{
"candidateName": "Peggy (Margaret) McQuaid",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2150
},
{
"candidateName": "Jeremiah Garrett-Pinguelo (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Aaron Tiedemann",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 1821.944
},
{
"candidateName": "Preston Jordan ",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 2035.9798
}
]
},
"AlamedaAlbanyBoardofEducation": {
"id": "AlamedaAlbanyBoardofEducation",
"type": "localRace",
"location": "Alameda",
"raceName": "Albany Board of Education",
"raceDescription": "Top two candidates win seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 7091,
"candidates": [
{
"candidateName": "Jolene Gazmen",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1631
},
{
"candidateName": "Dayna Inkeles",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1970
},
{
"candidateName": "Brian L. Doss",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 717
},
{
"candidateName": "Veronica Davidson",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 2773
}
]
},
"AlamedaAlbanyBoardofEducationFinalRound": {
"id": "AlamedaAlbanyBoardofEducationFinalRound",
"type": "localRace",
"location": "Alameda",
"raceName": "Albany Board of Education Final Round",
"raceDescription": "Top two candidates win seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.",
"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 6944.475,
"candidates": [
{
"candidateName": "Jolene Gazmen",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1995.305
},
{
"candidateName": "Dayna Inkeles",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2568.17
},
{
"candidateName": "Brian L. Doss (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Veronica Davidson",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 2381
}
]
},
"AlamedaBerkeleyMayor": {
"id": "AlamedaBerkeleyMayor",
"type": "localRace",
"location": "Alameda",
"raceName": "Berkeley Mayor",
"raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 52448,
"candidates": [
{
"candidateName": "Adena Ishii",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 19960
},
{
"candidateName": "Sophie Hahn",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 19623
},
{
"candidateName": "Kate Harrison",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11841
},
{
"candidateName": "Naomi D. Pete",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 498
},
{
"candidateName": "Logan Bowie",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 526
}
]
},
"AlamedaBerkeleyMayorFinalRound": {
"id": "AlamedaBerkeleyMayorFinalRound",
"type": "localRace",
"location": "Alameda",
"raceName": "Berkeley Mayor Final Round",
"raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 49223,
"candidates": [
{
"candidateName": "Adena Ishii",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 25131
},
{
"candidateName": "Sophie Hahn",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 24092
},
{
"candidateName": "Kate Harrison (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Naomi D. Pete (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Logan Bowie (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
}
]
},
"AlamedaBerkeleyCityCouncilDistrict2": {
"id": "AlamedaBerkeleyCityCouncilDistrict2",
"type": "localRace",
"location": "Alameda",
"raceName": "Berkeley City Council, District 2",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 6865,
"candidates": [
{
"candidateName": "Terry Taplin",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 4782
},
{
"candidateName": "Jenny Guarino",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2083
}
]
},
"AlamedaBerkeleyCityCouncilDistrict3": {
"id": "AlamedaBerkeleyCityCouncilDistrict3",
"type": "localRace",
"location": "Alameda",
"raceName": "Berkeley City Council, District 3",
"raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 6342,
"candidates": [
{
"candidateName": "Deborah Matthews",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1526
},
{
"candidateName": "John “Chip” Moore",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1458
},
{
"candidateName": "Ben Bartlett",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 3358
}
]
},
"AlamedaBerkeleyCityCouncilDistrict3FinalRound": {
"id": "AlamedaBerkeleyCityCouncilDistrict3FinalRound",
"type": "localRace",
"location": "Alameda",
"raceName": "Berkeley City Council, District 3 Final Round",
"raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 6095,
"candidates": [
{
"candidateName": "Deborah Matthews",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1833
},
{
"candidateName": "John “Chip” Moore (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Ben Bartlett",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 4262
}
]
},
"AlamedaBerkeleyCityCouncilDistrict5": {
"id": "AlamedaBerkeleyCityCouncilDistrict5",
"type": "localRace",
"location": "Alameda",
"raceName": "Berkeley City Council, District 5",
"raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 8579,
"candidates": [
{
"candidateName": "Nilang Gor",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1063
},
{
"candidateName": "Todd Andrew",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1719
},
{
"candidateName": "Shoshana O’Keefe",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5797
}
]
},
"AlamedaBerkeleyCityCouncilDistrict5FinalRound": {
"id": "AlamedaBerkeleyCityCouncilDistrict5FinalRound",
"type": "localRace",
"location": "Alameda",
"raceName": "Berkeley City Council, District 5 Final Round",
"raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 8256,
"candidates": [
{
"candidateName": "Nilang Gor (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Todd Andrew",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1993
},
{
"candidateName": "Shoshana O’Keefe",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6263
}
]
},
"AlamedaBerkeleyCityCouncilDistrict6": {
"id": "AlamedaBerkeleyCityCouncilDistrict6",
"type": "localRace",
"location": "Alameda",
"raceName": "Berkeley City Council, District 6",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 7326,
"candidates": [
{
"candidateName": "Brent Blackaby",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4403
},
{
"candidateName": "Andy Katz",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2923
}
]
},
"AlamedaOaklandCityCouncilAtLarge": {
"id": "AlamedaOaklandCityCouncilAtLarge",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Council, At Large",
"raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 143482,
"candidates": [
{
"candidateName": "Cristina “Tina” Tostado",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5400
},
{
"candidateName": "Charlene Wang",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 30461
},
{
"candidateName": "Mindy Ruth Pechenuk",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4830
},
{
"candidateName": "Rowena Brown",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 41842
},
{
"candidateName": "Nancy Sidebotham",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2254
},
{
"candidateName": "LeRonne L. Armstrong",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 39223
},
{
"candidateName": "Fabian Robinson",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2790
},
{
"candidateName": "Shawn Danino",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 9687
},
{
"candidateName": "Kanitha Matoury",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5623
},
{
"candidateName": "Selika Thomas",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1372
}
]
},
"AlamedaOaklandCityCouncilAtLargeFinalRound": {
"id": "AlamedaOaklandCityCouncilAtLargeFinalRound",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Council, At Large Final Round",
"raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 126987,
"candidates": [
{
"candidateName": "Cristina “Tina” Tostado (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Charlene Wang (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Mindy Ruth Pechenuk (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Rowena Brown",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 72260
},
{
"candidateName": "Nancy Sidebotham (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "LeRonne L. Armstrong",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 54727
},
{
"candidateName": "Fabian Robinson (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Shawn Danino (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Kanitha Matoury (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Selika Thomas (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
}
]
},
"AlamedaOaklandCityCouncilDistrict1": {
"id": "AlamedaOaklandCityCouncilDistrict1",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Council, District 1 ",
"raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 29595,
"candidates": [
{
"candidateName": "Edward C. Frank",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2579
},
{
"candidateName": "Zac Unger",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 22628
},
{
"candidateName": "Len Raphael",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4388
}
]
},
"AlamedaOaklandCityCouncilDistrict1FinalRound": {
"id": "AlamedaOaklandCityCouncilDistrict1FinalRound",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Council, District 1 Final Round",
"raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 29234,
"candidates": [
{
"candidateName": "Edward C. Frank (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Zac Unger",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 24336
},
{
"candidateName": "Len Raphael",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4898
}
]
},
"AlamedaOaklandCityCouncilDistrict3": {
"id": "AlamedaOaklandCityCouncilDistrict3",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Council, District 3 ",
"raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 20538,
"candidates": [
{
"candidateName": "Baba Afolabi",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1598
},
{
"candidateName": "Carroll Fife",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 9860
},
{
"candidateName": "Michelle D. Hailey",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1456
},
{
"candidateName": "Warren Mitchell Logan",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6216
},
{
"candidateName": "Shan M. Hirsch",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 607
},
{
"candidateName": "Meron Semedar",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 801
}
]
},
"AlamedaOaklandCityCouncilDistrict3FinalRound": {
"id": "AlamedaOaklandCityCouncilDistrict3FinalRound",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Council, District 3 Final Round",
"raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 19485,
"candidates": [
{
"candidateName": "Baba Afolabi (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Carroll Fife",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 11423
},
{
"candidateName": "Michelle D. Hailey (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Warren Mitchell Logan",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 8062
},
{
"candidateName": "Shan M. Hirsch (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Meron Semedar (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
}
]
},
"AlamedaOaklandCityCouncilDistrict5": {
"id": "AlamedaOaklandCityCouncilDistrict5",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Council, District 5",
"raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 12285,
"candidates": [
{
"candidateName": "Noel Gallo",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 6476
},
{
"candidateName": "Dominic Prado",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1928
},
{
"candidateName": "Erin Armstrong",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3881
}
]
},
"AlamedaOaklandCityCouncilDistrict5FinalRound": {
"id": "AlamedaOaklandCityCouncilDistrict5FinalRound",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Council, District 5 Final Round",
"raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 12044,
"candidates": [
{
"candidateName": "Noel Gallo",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 7114
},
{
"candidateName": "Dominic Prado (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Erin Armstrong",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4930
}
]
},
"AlamedaOaklandCityCouncilDistrict7": {
"id": "AlamedaOaklandCityCouncilDistrict7",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Council, District 7",
"raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 13074,
"candidates": [
{
"candidateName": "Merika Goolsby",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2061
},
{
"candidateName": "Ken Houston",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4423
},
{
"candidateName": "Iris Merriouns",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4127
},
{
"candidateName": "Marcie Hodge",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2463
}
]
},
"AlamedaOaklandCityCouncilDistrict7FinalRound": {
"id": "AlamedaOaklandCityCouncilDistrict7FinalRound",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Council, District 7 Final Round",
"raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 12090,
"candidates": [
{
"candidateName": "Merika Goolsby (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Ken Houston",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6295
},
{
"candidateName": "Iris Merriouns",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5795
},
{
"candidateName": "Marcie Hodge (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
}
]
},
"AlamedaOaklandCityAttorney": {
"id": "AlamedaOaklandCityAttorney",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland City Attorney",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:43 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 137482,
"candidates": [
{
"candidateName": "Brenda Harbin-Forte",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 56700
},
{
"candidateName": "Ryan Richardson",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 80782
}
]
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"dateUpdated": "Nov 20, 2024",
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"dateUpdated": "Nov 20, 2024",
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"timeUpdated": "7:18 PM",
"dateUpdated": "Nov 20, 2024",
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"timeUpdated": "7:18 PM",
"dateUpdated": "Nov 20, 2024",
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{
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},
"MarinMeasureO": {
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"type": "localRace",
"location": "Marin",
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"raceType": "yesNo",
"timeUpdated": "7:18 PM",
"dateUpdated": "Nov 20, 2024",
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{
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},
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"location": "Marin",
"raceName": "Measure P",
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"timeUpdated": "7:18 PM",
"dateUpdated": "Nov 20, 2024",
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"candidateName": "Yes",
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{
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},
"MarinMeasureQ": {
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"dateUpdated": "Nov 20, 2024",
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{
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"raceType": "yesNo",
"timeUpdated": "7:18 PM",
"dateUpdated": "Nov 20, 2024",
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{
"candidateName": "No",
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},
"NapaNapaCountyBoardofEducationTrusteeArea5": {
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"location": "Napa",
"raceName": "Napa County Board of Education, Trustee Area 5",
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{
"candidateName": "Gerald Parrott \r",
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},
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{
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{
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{
"candidateName": "Scott Owens",
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"location": "Napa",
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{
"candidateName": "Kevin “KDub” West",
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"NapaNapaValleyUnifiedSchoolDistrictTrusteeArea4": {
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"location": "Napa",
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"raceType": "top1",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
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{
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{
"candidateName": "Eve Ryser",
"candidateIncumbent": true,
"candidateParty": "",
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},
"NapaNapaValleyUnifiedSchoolDistrictTrusteeArea5": {
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"type": "localRace",
"location": "Napa",
"raceName": "Napa Valley Unified School District, Trustee Area 5",
"raceDescription": "Top candidate wins seat. ",
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"timeUpdated": "7:06 PM",
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{
"candidateName": "David T. Gracia",
"candidateIncumbent": true,
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"location": "Napa",
"raceName": "Napa Valley Unified School District, Trustee Area 7",
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"raceType": "top1",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
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{
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{
"candidateName": "Julianna Hart",
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"location": "Napa",
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"raceType": "top1",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
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{
"candidateName": "Judi Honeychurch",
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"location": "Napa",
"raceName": "American Canyon Mayor",
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"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
"totalVotes": 8400,
"candidates": [
{
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"candidateParty": "",
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{
"candidateName": "Pierre Washington",
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"candidateParty": "",
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]
},
"NapaAmericanCanyonCityCouncil": {
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"location": "Napa",
"raceName": "American Canyon City Council",
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"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
"totalVotes": 12790,
"candidates": [
{
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{
"candidateName": "Elmer Andrei Manaid",
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{
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{
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"type": "localRace",
"location": "Napa",
"raceName": "Calistoga Mayor",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
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"candidates": [
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"location": "Napa",
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"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
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{
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{
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"raceType": "top1",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
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{
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"type": "localRace",
"location": "Napa",
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"raceType": "top1",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
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"candidates": [
{
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]
},
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"id": "NapaNapaCityCouncilDistrict4",
"type": "localRace",
"location": "Napa",
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"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
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"type": "localRace",
"location": "Napa",
"raceName": "St Helena Mayor",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
"totalVotes": 2452,
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{
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]
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"type": "localRace",
"location": "Napa",
"raceName": "St Helena City Council",
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"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
"totalVotes": 3883,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1476
},
{
"candidateName": "Hector R. Marroquin",
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{
"candidateName": "Aaron Barak",
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]
},
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"id": "NapaYountvilleTownCouncil",
"type": "localRace",
"location": "Napa",
"raceName": "Yountville Town Council",
"raceDescription": "Top two candidates win seat.",
"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
"totalVotes": 2014,
"candidates": [
{
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"candidateParty": "",
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{
"candidateName": "Robert Moore",
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{
"candidateName": "Pam Reeves",
"candidateIncumbent": true,
"candidateParty": "",
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{
"candidateName": "Eric E. Knight",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 714
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]
},
"NapaMeasureBSchool": {
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"type": "localRace",
"location": "Napa",
"raceName": "Napa Valley Unified School District, Measure B",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
"totalVotes": 39634,
"candidates": [
{
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"candidateIncumbent": false,
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"voteCount": 21558
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{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 18076
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]
},
"NapaMeasureU": {
"id": "NapaMeasureU",
"type": "localRace",
"location": "Napa",
"raceName": "Measure U",
"raceDescription": "Napa Valley Transportation Authority. Transporation sales tax. Passes with 2/3 vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
"totalVotes": 56876,
"candidates": [
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"voteCount": 41246
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{
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"candidateIncumbent": false,
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},
"NapaMeasureG": {
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"location": "Napa",
"raceName": "Measure G",
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"raceType": "yesNo",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
"totalVotes": 32557,
"candidates": [
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"voteCount": 18487
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{
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"candidateIncumbent": false,
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"voteCount": 14070
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]
},
"NapaMeasureA1": {
"id": "NapaMeasureA1",
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"location": "Napa",
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"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
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"location": "Napa",
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"raceType": "yesNo",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
"totalVotes": 2530,
"candidates": [
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"candidateIncumbent": false,
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"id": "NapaMeasureBStHelena",
"type": "localRace",
"location": "Napa",
"raceName": "St. Helena, Measure B",
"raceDescription": "St. Helena. Winery and planned agritourism overlay. Passes with majority vote. ",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:06 PM",
"dateUpdated": "Nov 18, 2024",
"totalVotes": 2549,
"candidates": [
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"candidateIncumbent": false,
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"voteCount": 1253
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{
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"candidateIncumbent": false,
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]
},
"SFBoardofEducation": {
"id": "SFBoardofEducation",
"type": "localRace",
"location": "San Francisco",
"raceName": "Board of Education",
"raceDescription": "Top four candidates win seat.",
"raceReadTheStory": "",
"raceType": "top4",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 1012357,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 45718
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{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 22268
},
{
"candidateName": "Jaime Huling",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 168598
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{
"candidateName": "Ann Hsu",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 81002
},
{
"candidateName": "John Jersin",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 122389
},
{
"candidateName": "Parag Gupta",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 139286
},
{
"candidateName": "Matt Alexander",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 122657
},
{
"candidateName": "Supryia Marie Ray",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 127793
},
{
"candidateName": "Virginia Cheung",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 100974
},
{
"candidateName": "Min Chang",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 48530
},
{
"candidateName": "Maddy Krantz",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 33142
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]
},
"SFCommunityCollegeBoard": {
"id": "SFCommunityCollegeBoard",
"type": "localRace",
"location": "San Francisco",
"raceName": "Community College Board",
"raceDescription": "Top four candidates win seat.",
"raceReadTheStory": "",
"raceType": "top4",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 822909,
"candidates": [
{
"candidateName": "Ruth Ferguson",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 114084
},
{
"candidateName": "Leanna C. Louie",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 50333
},
{
"candidateName": "Heather McCarty",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 162401
},
{
"candidateName": "Julio J. Ramos",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 38722
},
{
"candidateName": "Aliya Chisti",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 149559
},
{
"candidateName": "Ben Kaplan",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 49292
},
{
"candidateName": "Alan Wong",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 140893
},
{
"candidateName": "Luis Zamora",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 117625
}
]
},
"SFBARTBoardofDirectorsDistrict7": {
"id": "SFBARTBoardofDirectorsDistrict7",
"type": "localRace",
"location": "San Francisco",
"raceName": "San Francisco Bay Area Rapid Transit District Director, District 7",
"raceDescription": "Top two candidates win seat. Includes votes from San Francisco and Alameda County.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 161104,
"candidates": [
{
"candidateName": "Victor E. Flores",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 92644
},
{
"candidateName": "Dana Lang",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 68460
}
]
},
"SFBARTBoardofDirectorsDistrict9": {
"id": "SFBARTBoardofDirectorsDistrict9",
"type": "localRace",
"location": "San Francisco",
"raceName": "San Francisco Bay Area Rapid Transit District Director, District 9",
"raceDescription": "Top two candidates win seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 137793,
"candidates": [
{
"candidateName": "Edward Wright",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 86922
},
{
"candidateName": "Joe Sangirardi",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 50871
}
]
},
"SFMeasureA": {
"id": "SFMeasureA",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure A",
"raceDescription": "San Francisco Unified School District. School bond. Passes with 55% vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 377147,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 282851
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 94296
}
]
},
"SFMeasureB": {
"id": "SFMeasureB",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure B",
"raceDescription": "San Francisco. Community health and safety bond. Passes with 2/3 vote. ",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 376495,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 274092
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 102403
}
]
},
"SFMeasureC": {
"id": "SFMeasureC",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure C",
"raceDescription": "San Francisco. Inspector General position. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 370218,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 225619
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 144599
}
]
},
"SFMeasureD": {
"id": "SFMeasureD",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure D",
"raceDescription": "San Francisco. Commissions and mayoral authority. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 366180,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 158636
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 207544
}
]
},
"SFMeasureE": {
"id": "SFMeasureE",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure E",
"raceDescription": "San Francisco. Commissions task force. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 363712,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 192469
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 171243
}
]
},
"SFMeasureF": {
"id": "SFMeasureF",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure F",
"raceDescription": "San Francisco. Police pensions. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 361522,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 163748
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 197774
}
]
},
"SFMeasureG": {
"id": "SFMeasureG",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure G",
"raceDescription": "San Francisco. Affordable housing. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 370674,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 217706
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 152968
}
]
},
"SFMeasureH": {
"id": "SFMeasureH",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure H",
"raceDescription": "San Francisco. Firefighter pensions. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 365803,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 192498
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 173305
}
]
},
"SFMeasureI": {
"id": "SFMeasureI",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure I",
"raceDescription": "San Francisco. Nurse and 911 operator pensions. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 363323,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 261223
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 102100
}
]
},
"SFMeasureJ": {
"id": "SFMeasureJ",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure J",
"raceDescription": "San Francisco. City spending. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 362659,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 297850
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 64809
}
]
},
"SFMeasureK": {
"id": "SFMeasureK",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure K",
"raceDescription": "San Francisco. Permanently closing Upper Great Highway to private vehicles. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 376348,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 205956
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 170392
}
]
},
"SFMeasureL": {
"id": "SFMeasureL",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure L",
"raceDescription": "San Francisco. Transportation network companies tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 369432,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 210295
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 159137
}
]
},
"SFMeasureM": {
"id": "SFMeasureM",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure M",
"raceDescription": "San Francisco. Business tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 342175,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 237835
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 104340
}
]
},
"SFMeasureN": {
"id": "SFMeasureN",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure N",
"raceDescription": "San Francisco. Student loan reimbursement. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 363291,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 187881
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 175410
}
]
},
"SFMeasureO": {
"id": "SFMeasureO",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure O",
"raceDescription": "San Francisco. Reproductive rights. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 373099,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 312797
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 60302
}
]
},
"SFMayorRound1": {
"id": "SFMayorRound1",
"type": "localRace",
"location": "San Francisco",
"raceName": "San Francisco Mayor Round 1",
"raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 390012,
"candidates": [
{
"candidateName": "London Breed",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 95079
},
{
"candidateName": "Mark Farrell",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 72083
},
{
"candidateName": "Henry Flynn",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1318
},
{
"candidateName": "Keith Freedman",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2076
},
{
"candidateName": "Dylan Hirsch-Shell",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2896
},
{
"candidateName": "Daniel Lurie",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 102676
},
{
"candidateName": "Nelson Mei",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1791
},
{
"candidateName": "Aaron Peskin",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 89179
},
{
"candidateName": "Paul Robertson",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 811
},
{
"candidateName": "Ahsha Safai",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11418
},
{
"candidateName": "Shahram Shariati",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1610
},
{
"candidateName": "Jon Soderstrom",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 413
},
{
"candidateName": "Ellen Zhou",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 8662
}
]
},
"SFMayorRound3": {
"id": "SFMayorRound3",
"type": "localRace",
"location": "San Francisco",
"raceName": "San Francisco Mayor Final Round",
"raceDescription": "Top candidate wins seat. This is the latest ranked choice data provided by the Department of Elections office.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 331345,
"candidates": [
{
"candidateName": "London Breed",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 149060
},
{
"candidateName": "Mark Farrell (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Henry Flynn (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Keith Freedman (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Dylan Hirsch-Shell (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Daniel Lurie",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 182285
},
{
"candidateName": "Nelson Mei (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Aaron Peskin (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Paul Robertson (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Ahsha Safai (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Shahram Shariati (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Jon Soderstrom (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Ellen Zhou (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
}
]
},
"SFBoardofSupervisorsDistrict1": {
"id": "SFBoardofSupervisorsDistrict1",
"type": "localRace",
"location": "San Francisco",
"raceName": "Board of Supervisors, District 1 Round One",
"raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 35458,
"candidates": [
{
"candidateName": "Sherman D'Silva",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 898
},
{
"candidateName": "Marjan Philhour",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 14749
},
{
"candidateName": "Connie Chan",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 16659
},
{
"candidateName": "Jeremiah Boehner",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1344
},
{
"candidateName": "Jen Nossokoff",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1808
}
]
},
"SFBoardofSupervisorsDistrict1FinalRound": {
"id": "SFBoardofSupervisorsDistrict1FinalRound",
"type": "localRace",
"location": "San Francisco",
"raceName": "Board of Supervisors, District 1 Final Round",
"raceDescription": "Top candidate wins seat. This is the latest ranked choice data provided by the Department of Elections office.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 34279,
"candidates": [
{
"candidateName": "Sherman D'Silva (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Marjan Philhour",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 16492
},
{
"candidateName": "Connie Chan",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 17787
},
{
"candidateName": "Jeremiah Boehner (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Jen Nossokoff (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
}
]
},
"SFBoardofSupervisorsDistrict3": {
"id": "SFBoardofSupervisorsDistrict3",
"type": "localRace",
"location": "San Francisco",
"raceName": "Board of Supervisors, District 3 Round One",
"raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 28743,
"candidates": [
{
"candidateName": "Sharon Lai",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 8483
},
{
"candidateName": "Moe Jamil",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3752
},
{
"candidateName": "Wendy Ha Chau",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1561
},
{
"candidateName": "Eduard Navarro",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 879
},
{
"candidateName": "Danny Sauter",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11268
},
{
"candidateName": "Matthew Susk",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2800
}
]
},
"SFBoardofSupervisorsDistrict3FinalRound": {
"id": "SFBoardofSupervisorsDistrict3FinalRound",
"type": "localRace",
"location": "San Francisco",
"raceName": "Board of Supervisors, District 3 Final Round",
"raceDescription": "Top candidate wins seat. This is the latest ranked choice data provided by the Department of Elections office.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 25553,
"candidates": [
{
"candidateName": "Sharon Lai",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11501
},
{
"candidateName": "Moe Jamil (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Wendy Ha Chau (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Eduard Navarro (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Danny Sauter",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 14052
},
{
"candidateName": "Matthew Susk (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
}
]
},
"SFBoardofSupervisorsDistrict5": {
"id": "SFBoardofSupervisorsDistrict5",
"type": "localRace",
"location": "San Francisco",
"raceName": "Board of Supervisors, District 5",
"raceDescription": "Top candidate wins seat. This result reflects redistributed votes. The results of the instant runoff will change as more first-choice votes are counted.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 29674,
"candidates": [
{
"candidateName": "Autumn Hope Looijen",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2602
},
{
"candidateName": "Bilal Mahmood",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11828
},
{
"candidateName": "Scotty Jacobs",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2795
},
{
"candidateName": "Allen Jones",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 444
},
{
"candidateName": "Dean Preston",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 12005
}
]
},
"SFBoardofSupervisorsDistrict5FinalRound": {
"id": "SFBoardofSupervisorsDistrict5FinalRound",
"type": "localRace",
"location": "San Francisco",
"raceName": "Board of Supervisors, District 5 Final Round",
"raceDescription": "Top candidate wins seat. This is the latest ranked choice data provided by the Department of Elections office.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 27796,
"candidates": [
{
"candidateName": "Autumn Hope Looijen (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Bilal Mahmood",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 14726
},
{
"candidateName": "Scotty Jacobs (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Allen Jones (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Dean Preston",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 13070
}
]
},
"SFBoardofSupervisorsDistrict7": {
"id": "SFBoardofSupervisorsDistrict7",
"type": "localRace",
"location": "San Francisco",
"raceName": "Board of Supervisors, District 7 Round One",
"raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 37300,
"candidates": [
{
"candidateName": "Myrna Melgar",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 17524
},
{
"candidateName": "Stephen Martin-Pinto",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5133
},
{
"candidateName": "Edward S. Yee",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1243
},
{
"candidateName": "Matt Boschetto",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 13400
}
]
},
"SFBoardofSupervisorsDistrict7FinalRound": {
"id": "SFBoardofSupervisorsDistrict7FinalRound",
"type": "localRace",
"location": "San Francisco",
"raceName": "Board of Supervisors, District 7 Final Round",
"raceDescription": "Top candidate wins seat. This is the latest ranked choice data provided by the Department of Elections office.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 35394,
"candidates": [
{
"candidateName": "Myrna Melgar",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 18908
},
{
"candidateName": "Stephen Martin-Pinto (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Edward S. Yee (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Matt Boschetto",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 16486
}
]
},
"SFBoardofSupervisorsDistrict9": {
"id": "SFBoardofSupervisorsDistrict9",
"type": "localRace",
"location": "San Francisco",
"raceName": "Board of Supervisors, District 9 Round One",
"raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 32718,
"candidates": [
{
"candidateName": "Jackie Fielder",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 13840
},
{
"candidateName": "Stephen Jon Torres",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1138
},
{
"candidateName": "Roberto Hernandez",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6604
},
{
"candidateName": "Jaime Gutierrez",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 931
},
{
"candidateName": "Trevor Chandler",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 9037
},
{
"candidateName": "Julian Bermudez",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 600
},
{
"candidateName": "H. Brown",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 568
}
]
},
"SFBoardofSupervisorsDistrict9FinalRound": {
"id": "SFBoardofSupervisorsDistrict9FinalRound",
"type": "localRace",
"location": "San Francisco",
"raceName": "Board of Supervisors, District 9 Final Round",
"raceDescription": "Top candidate wins seat. This is the latest ranked choice data provided by the Department of Elections office.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 29397,
"candidates": [
{
"candidateName": "Jackie Fielder",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 17542
},
{
"candidateName": "Stephen Jon Torres (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Roberto Hernandez (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Jaime Gutierrez (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Trevor Chandler",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11855
},
{
"candidateName": "Julian Bermudez (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "H. Brown (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
}
]
},
"SFBoardofSupervisorsDistrict11": {
"id": "SFBoardofSupervisorsDistrict11",
"type": "localRace",
"location": "San Francisco",
"raceName": "Board of Supervisors, District 11 First Round",
"raceDescription": "Top candidate wins seat. This result only reflects voters’ first-choice candidate. If votes are redistributed in an instant runoff, they are not reflected in this result.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 27901,
"candidates": [
{
"candidateName": "Oscar Flores",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2892
},
{
"candidateName": "Michael Lai",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 8668
},
{
"candidateName": "Roger Marenco",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 603
},
{
"candidateName": "Jose Morales",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 628
},
{
"candidateName": "Ernest “EJ” Jones",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5436
},
{
"candidateName": "Adlah Chisti",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1432
},
{
"candidateName": "Chyanne Chen",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 8242
}
]
},
"SFBoardofSupervisorsDistrict11FinalRound": {
"id": "SFBoardofSupervisorsDistrict11FinalRound",
"type": "localRace",
"location": "San Francisco",
"raceName": "Board of Supervisors, District 11 Final Round",
"raceDescription": "Top candidate wins seat. This is the latest ranked choice data provided by the Department of Elections office.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 23784,
"candidates": [
{
"candidateName": "Oscar Flores (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Michael Lai",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11794
},
{
"candidateName": "Roger Marenco (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Jose Morales (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Ernest “EJ” Jones (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Adlah Chisti (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Chyanne Chen",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11990
}
]
},
"SFCityAttorney": {
"id": "SFCityAttorney",
"type": "localRace",
"location": "San Francisco",
"raceName": "City Attorney ",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 329051,
"candidates": [
{
"candidateName": "David Chiu",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 272757
},
{
"candidateName": "Richard T. Woon",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 56294
}
]
},
"SFDistrictAttorney": {
"id": "SFDistrictAttorney",
"type": "localRace",
"location": "San Francisco",
"raceName": "District Attorney",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 347243,
"candidates": [
{
"candidateName": "Brooke Jenkins ",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 228910
},
{
"candidateName": "Ryan Khojasteh",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 118333
}
]
},
"SFSheriff": {
"id": "SFSheriff",
"type": "localRace",
"location": "San Francisco",
"raceName": "Sheriff ",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 314749,
"candidates": [
{
"candidateName": "Michael Juan",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 63736
},
{
"candidateName": "Paul Miyamoto",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 251013
}
]
},
"SFTreasurer": {
"id": "SFTreasurer",
"type": "localRace",
"location": "San Francisco",
"raceName": "Treasurer ",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:07 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 300298,
"candidates": [
{
"candidateName": "José Cisneros",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 300298
}
]
},
"SMCountyBoardofEducationTrusteeArea4": {
"id": "SMCountyBoardofEducationTrusteeArea4",
"type": "localRace",
"location": "San Mateo",
"raceName": "County Board of Education, Trustee Area 4",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 36231,
"candidates": [
{
"candidateName": "Priya Hays",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 10513
},
{
"candidateName": "Chelsea Bonini",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 25718
}
]
},
"SMCountyBoardofEducationTrusteeArea5": {
"id": "SMCountyBoardofEducationTrusteeArea5",
"type": "localRace",
"location": "San Mateo",
"raceName": "County Board of Education, Trustee Area 5",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 41732,
"candidates": [
{
"candidateName": "Maurice Goodman",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 14535
},
{
"candidateName": "Mike O’Neill",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 27197
}
]
},
"SMCountyBoardofEducationTrusteeArea6": {
"id": "SMCountyBoardofEducationTrusteeArea6",
"type": "localRace",
"location": "San Mateo",
"raceName": "County Board of Education, Trustee Area 6",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 39689,
"candidates": [
{
"candidateName": "Patricia Love",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 27924
},
{
"candidateName": "Ester Adut",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11765
}
]
},
"SMSanMateoCountyCommunityCollegeDistrictGoverningBoardTrusteeArea1": {
"id": "SMSanMateoCountyCommunityCollegeDistrictGoverningBoardTrusteeArea1",
"type": "localRace",
"location": "San Mateo",
"raceName": "San Mateo County Community College District, Governing Board, Trustee Area 1",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 63674,
"candidates": [
{
"candidateName": "Keith Holden",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 20120
},
{
"candidateName": "Lisa A. Petrides",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 43554
}
]
},
"SMCabrilloUnifiedSchoolDistrictGoverningBoardTrusteeAreaB": {
"id": "SMCabrilloUnifiedSchoolDistrictGoverningBoardTrusteeAreaB",
"type": "localRace",
"location": "San Mateo",
"raceName": "Cabrillo Unified School District, Governing Board, Trustee Area B",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 2499,
"candidates": [
{
"candidateName": "Breanna Lafontaine",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1590
},
{
"candidateName": "Glenn Wilson",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 909
}
]
},
"SMCabrilloUnifiedSchoolDistrictGoverningBoardTrusteeAreaD": {
"id": "SMCabrilloUnifiedSchoolDistrictGoverningBoardTrusteeAreaD",
"type": "localRace",
"location": "San Mateo",
"raceName": "Cabrillo Unified School District, Governing Board, Trustee Area D",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 2579,
"candidates": [
{
"candidateName": "Sophia Layne",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 841
},
{
"candidateName": "Peter Cerneka",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1738
}
]
},
"SMSouthSanFranciscoUnifiedSchoolDistrictGoverningBoardTrusteeAreaA": {
"id": "SMSouthSanFranciscoUnifiedSchoolDistrictGoverningBoardTrusteeAreaA",
"type": "localRace",
"location": "San Mateo",
"raceName": "South San Francisco Unified School District, Governing Board, Trustee Area A",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 5129,
"candidates": [
{
"candidateName": "Patricia “Pat” Murray",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 4006
},
{
"candidateName": "Samuel M. Chetcuti",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1123
}
]
},
"SMSequoiaUnionHighSchoolDistrictGoverningBoardTrusteeAreaB": {
"id": "SMSequoiaUnionHighSchoolDistrictGoverningBoardTrusteeAreaB",
"type": "localRace",
"location": "San Mateo",
"raceName": "Sequoia Union High School District, Governing Board, Trustee Area B",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 22129,
"candidates": [
{
"candidateName": "Mary Beth Thompson",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 14114
},
{
"candidateName": "Daniel Torunian",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1962
},
{
"candidateName": "Jacob Yuryev",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6053
}
]
},
"SMSequoiaUnionHighSchoolDistrictGoverningBoardTrusteeAreaE": {
"id": "SMSequoiaUnionHighSchoolDistrictGoverningBoardTrusteeAreaE",
"type": "localRace",
"location": "San Mateo",
"raceName": "Sequoia Union High School District, Governing Board, Trustee Area E",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 10416,
"candidates": [
{
"candidateName": "Tonga Victoria Afuhaamango",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3099
},
{
"candidateName": "Maria E. Cruz",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5517
},
{
"candidateName": "Jon Bryant",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1800
}
]
},
"SMBrisbaneSchoolDistrictGoverningBoard": {
"id": "SMBrisbaneSchoolDistrictGoverningBoard",
"type": "localRace",
"location": "San Mateo",
"raceName": "Brisbane School District, Governing Board",
"raceDescription": "Top two candidates win seat. ",
"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 5509,
"candidates": [
{
"candidateName": "Karen Lentz",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 1800
},
{
"candidateName": "Nancy E. Lacsamana",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1134
},
{
"candidateName": "Gaby Makstman",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 515
},
{
"candidateName": "Krystal Alcaraz",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 882
},
{
"candidateName": "Christine Oquendo",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1178
}
]
},
"SMJeffersonElementarySchoolDistrictGoverningBoard": {
"id": "SMJeffersonElementarySchoolDistrictGoverningBoard",
"type": "localRace",
"location": "San Mateo",
"raceName": "Jefferson Elementary School District, Governing Board",
"raceDescription": "Top two candidates win seat. ",
"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 34773,
"candidates": [
{
"candidateName": "Nadia Flamenco",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 12982
},
{
"candidateName": "Andrea Jordan",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 11172
},
{
"candidateName": "Cheryll Catuar",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 10619
}
]
},
"SMLasLomitasElementarySchoolDistrictGoverningBoardFullTerm": {
"id": "SMLasLomitasElementarySchoolDistrictGoverningBoardFullTerm",
"type": "localRace",
"location": "San Mateo",
"raceName": "Las Lomitas Elementary School District, Governing Board — Full Term",
"raceDescription": "Top two candidates win seat. ",
"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 8165,
"candidates": [
{
"candidateName": "Kimberly Legg",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2577
},
{
"candidateName": "Jason Morimoto",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3595
},
{
"candidateName": "Pooya Sarabandi",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1993
}
]
},
"SMLasLomitasElementarySchoolDistrictGoverningBoardShortTerm": {
"id": "SMLasLomitasElementarySchoolDistrictGoverningBoardShortTerm",
"type": "localRace",
"location": "San Mateo",
"raceName": "Las Lomitas Elementary School District, Governing Board — Short Term",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 5285,
"candidates": [
{
"candidateName": "Paige Winikoff",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 3858
},
{
"candidateName": "Shauna Smith",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1427
}
]
},
"SMSanBrunoParkSchoolDistrictGoverningBoardTrusteeArea1": {
"id": "SMSanBrunoParkSchoolDistrictGoverningBoardTrusteeArea1",
"type": "localRace",
"location": "San Mateo",
"raceName": "San Bruno Park School District, Governing Board, Trustee Area 1",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 3178,
"candidates": [
{
"candidateName": "Kingsley Ma",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1859
},
{
"candidateName": "Jennifer M. Blanco",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 1319
}
]
},
"SMWoodsideElementarySchoolDistrictGoverningBoard": {
"id": "SMWoodsideElementarySchoolDistrictGoverningBoard",
"type": "localRace",
"location": "San Mateo",
"raceName": "Woodside Elementary School District, Governing Board",
"raceDescription": "Top two candidates win seat. ",
"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 2539,
"candidates": [
{
"candidateName": "Sherry Lin",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 926
},
{
"candidateName": "Matthew Murphy",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 892
},
{
"candidateName": "Zackary Simkover",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 721
}
]
},
"SMBoardofSupervisorsDistrict4": {
"id": "SMBoardofSupervisorsDistrict4",
"type": "localRace",
"location": "San Mateo",
"raceName": "Board of Supervisors, District 4",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 46320,
"candidates": [
{
"candidateName": "Antonio Lopez",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 20033
},
{
"candidateName": "Lisa Gauthier",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 26287
}
]
},
"SMBelmontMayor": {
"id": "SMBelmontMayor",
"type": "localRace",
"location": "San Mateo",
"raceName": "Belmont Mayor",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
"totalVotes": 10928,
"candidates": [
{
"candidateName": "Julia Mates",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 10928
}
]
},
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"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
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"dateUpdated": "Nov 20, 2024",
"totalVotes": 19088,
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"timeUpdated": "7:35 PM",
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"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
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"timeUpdated": "7:35 PM",
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"timeUpdated": "7:35 PM",
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"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
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"timeUpdated": "7:35 PM",
"dateUpdated": "Nov 20, 2024",
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"timeUpdated": "7:55 PM",
"dateUpdated": "Nov 20, 2024",
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"timeUpdated": "7:55 PM",
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"timeUpdated": "7:55 PM",
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"timeUpdated": "7:55 PM",
"dateUpdated": "Nov 20, 2024",
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{
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"candidateIncumbent": false,
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"location": "Santa Clara",
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"timeUpdated": "7:55 PM",
"dateUpdated": "Nov 20, 2024",
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"timeUpdated": "7:55 PM",
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"timeUpdated": "7:55 PM",
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"timeUpdated": "7:30 PM",
"dateUpdated": "Nov 19, 2024",
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{
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{
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{
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{
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"timeUpdated": "7:30 PM",
"dateUpdated": "Nov 19, 2024",
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"candidates": [
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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]
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"timeUpdated": "7:30 PM",
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{
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"timeUpdated": "7:30 PM",
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"timeUpdated": "7:30 PM",
"dateUpdated": "Nov 19, 2024",
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{
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"timeUpdated": "7:30 PM",
"dateUpdated": "Nov 19, 2024",
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{
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"timeUpdated": "7:30 PM",
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{
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"timeUpdated": "7:30 PM",
"dateUpdated": "Nov 19, 2024",
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{
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"location": "Solano",
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"timeUpdated": "7:30 PM",
"dateUpdated": "Nov 19, 2024",
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"location": "Solano",
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"raceType": "yesNo",
"timeUpdated": "7:30 PM",
"dateUpdated": "Nov 19, 2024",
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{
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"location": "Solano",
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"raceType": "yesNo",
"timeUpdated": "7:30 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 42669,
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{
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"location": "Solano",
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"raceType": "yesNo",
"timeUpdated": "7:30 PM",
"dateUpdated": "Nov 19, 2024",
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{
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"type": "localRace",
"location": "Sonoma",
"raceName": "Sonoma County Board of Education, Trustee Area 3 (Central County)",
"raceDescription": "Top candidate wins seat. ",
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"raceType": "top1",
"timeUpdated": "7:14 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 29215,
"candidates": [
{
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"candidateParty": "",
"voteCount": 10690
},
{
"candidateName": "Mary Watts",
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"voteCount": 18525
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]
},
"SonomaMarinCountyBoardofEducationTrusteeArea7": {
"id": "SonomaMarinCountyBoardofEducationTrusteeArea7",
"type": "localRace",
"location": "Sonoma",
"raceName": "Marin County Board of Education, Trustee Area 7\r\n",
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"raceType": "top1",
"timeUpdated": "7:14 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 13491,
"candidates": [
{
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"candidateParty": "",
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},
{
"candidateName": "Jill Manning-Sartori",
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]
},
"SonomaSonomaCountyJuniorCollegeDistrictTrusteeArea3RohnertParkArea": {
"id": "SonomaSonomaCountyJuniorCollegeDistrictTrusteeArea3RohnertParkArea",
"type": "localRace",
"location": "Sonoma",
"raceName": "Sonoma County Junior College District, Trustee Area 3 (Rohnert Park Area)",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:14 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 21246,
"candidates": [
{
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"candidateIncumbent": false,
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"voteCount": 10142
},
{
"candidateName": "Andre L. Bailey",
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]
},
"SonomaHealdsburgUnifiedSchoolDistrictGoverningBoard": {
"id": "SonomaHealdsburgUnifiedSchoolDistrictGoverningBoard",
"type": "localRace",
"location": "Sonoma",
"raceName": "Healdsburg Unified School District Governing Board",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:14 PM",
"dateUpdated": "Nov 19, 2024",
"totalVotes": 15004,
"candidates": [
{
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"candidateIncumbent": false,
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},
{
"candidateName": "Rose McAllister",
"candidateIncumbent": true,
"candidateParty": "",
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{
"candidateName": "Judy Velasquez",
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"candidateParty": "",
"voteCount": 4062
},
{
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{
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{
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{
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{
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"timeUpdated": "7:14 PM",
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"timeUpdated": "7:14 PM",
"dateUpdated": "Nov 19, 2024",
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"timeUpdated": "7:14 PM",
"dateUpdated": "Nov 19, 2024",
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"timeUpdated": "7:14 PM",
"dateUpdated": "Nov 19, 2024",
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{
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"raceType": "yesNo",
"timeUpdated": "7:14 PM",
"dateUpdated": "Nov 19, 2024",
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"raceType": "yesNo",
"timeUpdated": "7:14 PM",
"dateUpdated": "Nov 19, 2024",
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"SonomaMeasureN": {
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"location": "Sonoma",
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