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"content": "\u003cp>\u003cem>This week, as we near the end of 2024, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year.\u003c/em>\u003c/p>\n\u003cp>[dropcap]I[/dropcap]t’s just after 11 a.m. on Nov. 25, and inside Little Caesars I hear an employee standing next to the oven in the back, screaming, “MUSTARRRRRRRD!”\u003c/p>\n\u003cp>At the register, my 8-year-old daughter is next to me, hungry and confused. I smile and say softly, “It’s happening.”\u003c/p>\n\u003cp>She doesn’t understand. \u003cem>What does mustard have to do with pizza? What’s happening? Why is my dad smiling? \u003c/em>\u003c/p>\n\u003cp>Maybe it’s too much for her to understand, but I’m sure you will. The sound of a low-wage hourly employee, working at a billion-dollar food chain, momentarily liberating themselves by bellowing lyrics from the top rapper in the game.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s a beautiful thing.\u003c/p>\n\u003cp>It’s art, it’s culture, it’s the reason hip-hop was created. It’s a taste of self-determination over the thunderous drums of the day-to-day struggle. It’s the sound of freedom, however fleeting.\u003c/p>\n\u003cdiv style=\"width: 100%\" align=\"center\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"700\" height=\"800\" src=\"https://www.instagram.com/p/DC4zqmZTdcw/embed\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\n\u003c/div>\n\u003cp>\u003cspan style=\"color: #ffffff\">b\u003c/span>\u003cbr>\nThe roar of “MUSTARD!!!” comes from “tv off,” a standout track on Kendrick Lamar’s latest album, \u003ci>GNX\u003c/i>. Partway through the song, the beat switches to a menacing tempo, and Kendrick shouts producer DJ Mustard’s name in such a tone that he etches it directly into the listener’s central nervous system — causing the word to sporadically spring from a person’s throat at a later date, even when the song isn’t playing.\u003c/p>\n\u003cp>The pizza-making homie was joking on the job, referencing popular culture, but for me it could’ve just as well been a call to an Orisha. His guttural utterance brought one very beautiful thing to mind about this past year: the culture is alive and well.\u003c/p>\n\u003cfigure id=\"attachment_13960077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images.jpg\" alt=\"A Black man in a red hoodie raps on the mic and holds one finger aloft while an arena ceiling bathed in golden light is in the background\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar performs during ‘The Pop Out – Ken & Friends’ at the Forum on June 19, 2024 in Inglewood, California. \u003ccite>(Timothy Norris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>West Coast hip-hop is currently abuzz, and Kendrick is at the top of the pack. After emerging as the clear winner of an epic rap battle against Canadian rapper Drake, which brought arguably the song of the year “Not Like Us,” on Juneteenth Kendrick Lamar hosted \u003cem>The Pop Out: Ken & Friends,\u003c/em> a one-day festival featuring a host of artists from the greater Los Angeles area under the bright lights at The Forum. With narration from the Bay Area’s ambassador E-40, the show was an authentic display of unity and regional talent, livestreamed to the masses. Weeks later, Kendrick was announced as next year’s Super Bowl halftime headliner.\u003c/p>\n\u003cp>All told, 2024 was an immaculate year for the Pulitzer-Prize winning rapper, who I’ve followed since I was downloading his early mixtapes from DatPiff in my college dorm during President Obama’s first term. Kendrick is an artist I’ve only seen once in concert — \u003ca href=\"https://www.youtube.com/watch?v=v7JC3_XH5Kc\">at The New Parish in Oakland\u003c/a>, in 2011 — and yet I identify with his story. We’re both short kids from California, born in 1987 and raised on Tupac. I too am from a “mad city,” but I wasn’t in \u003cem>the game\u003c/em>, just \u003cem>game-\u003c/em>adjacent.\u003c/p>\n\u003cp>And I’m just one of many who can relate. That widespread ability to identify with Kendrick’s story means that this year’s success wasn’t just Kendrick’s. His rise is intertwined with a culture, a coast, a class of people. His listeners are a generation of folks who know what it’s like to sing songs that make ’em feel like a million bucks, despite the economic chasm between \u003cem>the pursuit\u003c/em> and \u003cem>the happiness\u003c/em> growing, exponentially.\u003c/p>\n\u003cfigure id=\"attachment_13969282\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969282\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner-.jpg\" alt=\"\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner-.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar. \u003ccite>(Andre D. Wagner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since I first heard his song “\u003ca href=\"https://www.youtube.com/watch?v=wHbr0Oe2u3Q\" target=\"_blank\" rel=\"noopener\">Heaven & Hell\u003c/a>” during the blog era, I’ve watched K. Dot’s influence grow. Parallel to his tale is my ever-increasing interest in West Coast hip-hop. Last year, I worked with my colleagues at KQED to produce \u003ca href=\"https://www.kqed.org/bayareahiphop%20\">That’s My Word\u003c/a>, a multimedia project inspired by hip-hop’s 50th anniversary, for which we unearthed some of the deepest, dopest parts of the Bay Area’s contributions to hip-hop.\u003c/p>\n\u003cp>After spending a year blowing dust off classic albums and talking to folks about hip-hop history, this year was about understanding the current wave, starting with the Bay and expanding out from there.\u003c/p>\n\u003cp>Over the past year I’ve written about \u003ca href=\"https://www.kqed.org/arts/13956365/larry-june-stanford-blackfest-free\">Larry June\u003c/a>’s free concert at Stanford University (good job), and the rise in popularity of San Francisco’s battle rapping-comedic-bar spitter \u003ca href=\"https://www.kqed.org/arts/13963964/san-franciscos-frak-has-been-wild-n-out\">Frak\u003c/a> (who is also a person). I wrote about being uplifted by the \u003cem>Black Love\u003c/em> album from\u003ca href=\"https://www.kqed.org/arts/13966594/oaklands-kingmakers-black-love-album\" target=\"_blank\" rel=\"noopener\"> Oakland’s Kingmakers Music\u003c/a>, and noted my nostalgia as I covered Oakland’s rising star \u003ca href=\"https://www.kqed.org/arts/13967001/paris-nights-east-oakland-rapper-videos-90s-throwbacks\">Paris Nights\u003c/a> and her ability to remake classic music videos and films. Berkeley’s \u003ca href=\"https://www.kqed.org/arts/13953009/loe-gino-berkeley-birkenstocks-and-bars\">LOE Gino\u003c/a> told me about bringing his authentic Birkenstock-wearing self into his raps, and San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13957335/queens-of-the-underground-latina-takeover-hip-hop\">Lil MC\u003c/a> shared insight on carving out a safe space for women and queer MCs in the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13957337\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957337\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed.jpg\" alt=\"\" width=\"1170\" height=\"658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-768x432.jpg 768w\" sizes=\"auto, (max-width: 1170px) 100vw, 1170px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">LiL MC and members of Iron Lotus Street Dance rock the stage at a Queens of The Underground event. \u003ccite>(Sarah Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/13965374/east-side-san-jose-rap-hustle\">East Side San Jose\u003c/a>, I talked to a handful of artists who simply want to make sure their culture isn’t overshadowed by the tech scions of Silicon Valley, so they make music about their side of town. Authentic artistic expression, despite the big banks down in the shark tank.\u003c/p>\n\u003cp>But what’s been published is just a small sample of what I’ve absorbed. This past summer I took in a LaRussell show at the Pergola in Vallejo, and hit History of the Bay Day in San Francisco. I drove all around the Bay listening to new music from Stockton’s EBK Jaaybo, Oakland’s Kamaiyah and San Francisco’s Lil Bean.\u003c/p>\n\u003cp>My playlists have a bunch of new music from Southern Californian talent too, like 03 Greedo and Vince Staples, as well as Big Sad 1900, BlueBucksClan, Buddy, Blu and even new music from Dre & Snoop. Kendrick’s former label mates Ab-Soul and ScHoolboy Q both dropped projects that should be in the conversation for album of the year, right next to Tyler, The Creator’s.\u003c/p>\n\u003cp>I knew West Coast hip-hop was active before I entered the pizza place on that November day, but the significance of its influence wasn’t clear until after I left.\u003c/p>\n\u003cfigure id=\"attachment_13968611\" class=\"wp-caption aligncenter\" style=\"max-width: 2935px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still.png\" alt=\"man sits on chair while people dance and bike around him\" width=\"2935\" height=\"1651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still.png 2935w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-1920x1080.png 1920w\" sizes=\"auto, (max-width: 2935px) 100vw, 2935px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Velo, Dmonte, Icecold 3000 and Aktive (left to right) ride scraper bikes and go dumb in Kendrick Lamar’s ‘squabble up’ video. \u003ccite>(Kendrick Lamar/YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same morning, Kendrick Lamar released the video for the song “squabble up,” the first single from his latest album. Saturated with cultural references, the video shows a Black Panther statuette and a painting of Black Jesus; a Pan-African flag, visuals inspired by Ice T’s \u003cem>Power\u003c/em> album cover and a reference to a character from 1993 film \u003cem>Menace II Society\u003c/em>. There’s also a scraper bike and a few turf dancers, nods to the hyphy movement, a topic I spent the bulk of last year untangling in a very personal podcast series “\u003ca href=\"https://www.kqed.org/arts/13934874/hyphy-kids-got-trauma\" target=\"_blank\" rel=\"noopener\">Hyphy Kids Got Trauma\u003c/a>,” about my coming of age and the commodification of my culture.\u003c/p>\n\u003cp>Kendrick Lamar’s latest music video, the album itself and the many threads that flow through his art speak to what I see as four generations of existence. He honors those who’ve passed on, shouts out the elders who made it happen, checks in with peers and provides space for the next generation. Culture is passed along.\u003c/p>\n\u003cp>The dances, the fashion, the slang and the teachings over dope beats — it’s all so simple, and yet so spiritual. It’s from the dirt and the have-nots, often shared across the internet and sold online.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And as the big business of Amazon, Spotify, Apple, Cash App, Ticketmaster and others rake in the dough, a pizza-maker reminds me that culture is still free.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s a beautiful thing.\u003c/p>\n\u003cp>It’s art, it’s culture, it’s the reason hip-hop was created. It’s a taste of self-determination over the thunderous drums of the day-to-day struggle. It’s the sound of freedom, however fleeting.\u003c/p>\n\u003cdiv style=\"width: 100%\" align=\"center\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"700\" height=\"800\" src=\"https://www.instagram.com/p/DC4zqmZTdcw/embed\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\n\u003c/div>\n\u003cp>\u003cspan style=\"color: #ffffff\">b\u003c/span>\u003cbr>\nThe roar of “MUSTARD!!!” comes from “tv off,” a standout track on Kendrick Lamar’s latest album, \u003ci>GNX\u003c/i>. Partway through the song, the beat switches to a menacing tempo, and Kendrick shouts producer DJ Mustard’s name in such a tone that he etches it directly into the listener’s central nervous system — causing the word to sporadically spring from a person’s throat at a later date, even when the song isn’t playing.\u003c/p>\n\u003cp>The pizza-making homie was joking on the job, referencing popular culture, but for me it could’ve just as well been a call to an Orisha. His guttural utterance brought one very beautiful thing to mind about this past year: the culture is alive and well.\u003c/p>\n\u003cfigure id=\"attachment_13960077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images.jpg\" alt=\"A Black man in a red hoodie raps on the mic and holds one finger aloft while an arena ceiling bathed in golden light is in the background\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar performs during ‘The Pop Out – Ken & Friends’ at the Forum on June 19, 2024 in Inglewood, California. \u003ccite>(Timothy Norris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>West Coast hip-hop is currently abuzz, and Kendrick is at the top of the pack. After emerging as the clear winner of an epic rap battle against Canadian rapper Drake, which brought arguably the song of the year “Not Like Us,” on Juneteenth Kendrick Lamar hosted \u003cem>The Pop Out: Ken & Friends,\u003c/em> a one-day festival featuring a host of artists from the greater Los Angeles area under the bright lights at The Forum. With narration from the Bay Area’s ambassador E-40, the show was an authentic display of unity and regional talent, livestreamed to the masses. Weeks later, Kendrick was announced as next year’s Super Bowl halftime headliner.\u003c/p>\n\u003cp>All told, 2024 was an immaculate year for the Pulitzer-Prize winning rapper, who I’ve followed since I was downloading his early mixtapes from DatPiff in my college dorm during President Obama’s first term. Kendrick is an artist I’ve only seen once in concert — \u003ca href=\"https://www.youtube.com/watch?v=v7JC3_XH5Kc\">at The New Parish in Oakland\u003c/a>, in 2011 — and yet I identify with his story. We’re both short kids from California, born in 1987 and raised on Tupac. I too am from a “mad city,” but I wasn’t in \u003cem>the game\u003c/em>, just \u003cem>game-\u003c/em>adjacent.\u003c/p>\n\u003cp>And I’m just one of many who can relate. That widespread ability to identify with Kendrick’s story means that this year’s success wasn’t just Kendrick’s. His rise is intertwined with a culture, a coast, a class of people. His listeners are a generation of folks who know what it’s like to sing songs that make ’em feel like a million bucks, despite the economic chasm between \u003cem>the pursuit\u003c/em> and \u003cem>the happiness\u003c/em> growing, exponentially.\u003c/p>\n\u003cfigure id=\"attachment_13969282\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969282\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner-.jpg\" alt=\"\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner-.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar. \u003ccite>(Andre D. Wagner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since I first heard his song “\u003ca href=\"https://www.youtube.com/watch?v=wHbr0Oe2u3Q\" target=\"_blank\" rel=\"noopener\">Heaven & Hell\u003c/a>” during the blog era, I’ve watched K. Dot’s influence grow. Parallel to his tale is my ever-increasing interest in West Coast hip-hop. Last year, I worked with my colleagues at KQED to produce \u003ca href=\"https://www.kqed.org/bayareahiphop%20\">That’s My Word\u003c/a>, a multimedia project inspired by hip-hop’s 50th anniversary, for which we unearthed some of the deepest, dopest parts of the Bay Area’s contributions to hip-hop.\u003c/p>\n\u003cp>After spending a year blowing dust off classic albums and talking to folks about hip-hop history, this year was about understanding the current wave, starting with the Bay and expanding out from there.\u003c/p>\n\u003cp>Over the past year I’ve written about \u003ca href=\"https://www.kqed.org/arts/13956365/larry-june-stanford-blackfest-free\">Larry June\u003c/a>’s free concert at Stanford University (good job), and the rise in popularity of San Francisco’s battle rapping-comedic-bar spitter \u003ca href=\"https://www.kqed.org/arts/13963964/san-franciscos-frak-has-been-wild-n-out\">Frak\u003c/a> (who is also a person). I wrote about being uplifted by the \u003cem>Black Love\u003c/em> album from\u003ca href=\"https://www.kqed.org/arts/13966594/oaklands-kingmakers-black-love-album\" target=\"_blank\" rel=\"noopener\"> Oakland’s Kingmakers Music\u003c/a>, and noted my nostalgia as I covered Oakland’s rising star \u003ca href=\"https://www.kqed.org/arts/13967001/paris-nights-east-oakland-rapper-videos-90s-throwbacks\">Paris Nights\u003c/a> and her ability to remake classic music videos and films. Berkeley’s \u003ca href=\"https://www.kqed.org/arts/13953009/loe-gino-berkeley-birkenstocks-and-bars\">LOE Gino\u003c/a> told me about bringing his authentic Birkenstock-wearing self into his raps, and San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13957335/queens-of-the-underground-latina-takeover-hip-hop\">Lil MC\u003c/a> shared insight on carving out a safe space for women and queer MCs in the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13957337\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957337\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed.jpg\" alt=\"\" width=\"1170\" height=\"658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-768x432.jpg 768w\" sizes=\"auto, (max-width: 1170px) 100vw, 1170px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">LiL MC and members of Iron Lotus Street Dance rock the stage at a Queens of The Underground event. \u003ccite>(Sarah Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/13965374/east-side-san-jose-rap-hustle\">East Side San Jose\u003c/a>, I talked to a handful of artists who simply want to make sure their culture isn’t overshadowed by the tech scions of Silicon Valley, so they make music about their side of town. Authentic artistic expression, despite the big banks down in the shark tank.\u003c/p>\n\u003cp>But what’s been published is just a small sample of what I’ve absorbed. This past summer I took in a LaRussell show at the Pergola in Vallejo, and hit History of the Bay Day in San Francisco. I drove all around the Bay listening to new music from Stockton’s EBK Jaaybo, Oakland’s Kamaiyah and San Francisco’s Lil Bean.\u003c/p>\n\u003cp>My playlists have a bunch of new music from Southern Californian talent too, like 03 Greedo and Vince Staples, as well as Big Sad 1900, BlueBucksClan, Buddy, Blu and even new music from Dre & Snoop. Kendrick’s former label mates Ab-Soul and ScHoolboy Q both dropped projects that should be in the conversation for album of the year, right next to Tyler, The Creator’s.\u003c/p>\n\u003cp>I knew West Coast hip-hop was active before I entered the pizza place on that November day, but the significance of its influence wasn’t clear until after I left.\u003c/p>\n\u003cfigure id=\"attachment_13968611\" class=\"wp-caption aligncenter\" style=\"max-width: 2935px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still.png\" alt=\"man sits on chair while people dance and bike around him\" width=\"2935\" height=\"1651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still.png 2935w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-1920x1080.png 1920w\" sizes=\"auto, (max-width: 2935px) 100vw, 2935px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Velo, Dmonte, Icecold 3000 and Aktive (left to right) ride scraper bikes and go dumb in Kendrick Lamar’s ‘squabble up’ video. \u003ccite>(Kendrick Lamar/YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same morning, Kendrick Lamar released the video for the song “squabble up,” the first single from his latest album. Saturated with cultural references, the video shows a Black Panther statuette and a painting of Black Jesus; a Pan-African flag, visuals inspired by Ice T’s \u003cem>Power\u003c/em> album cover and a reference to a character from 1993 film \u003cem>Menace II Society\u003c/em>. There’s also a scraper bike and a few turf dancers, nods to the hyphy movement, a topic I spent the bulk of last year untangling in a very personal podcast series “\u003ca href=\"https://www.kqed.org/arts/13934874/hyphy-kids-got-trauma\" target=\"_blank\" rel=\"noopener\">Hyphy Kids Got Trauma\u003c/a>,” about my coming of age and the commodification of my culture.\u003c/p>\n\u003cp>Kendrick Lamar’s latest music video, the album itself and the many threads that flow through his art speak to what I see as four generations of existence. He honors those who’ve passed on, shouts out the elders who made it happen, checks in with peers and provides space for the next generation. Culture is passed along.\u003c/p>\n\u003cp>The dances, the fashion, the slang and the teachings over dope beats — it’s all so simple, and yet so spiritual. It’s from the dirt and the have-nots, often shared across the internet and sold online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And as the big business of Amazon, Spotify, Apple, Cash App, Ticketmaster and others rake in the dough, a pizza-maker reminds me that culture is still free.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13968966\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/frisco-tattoo-2017.png\" alt=\"A gold, black and red mural that reads 'There is so much love in this city.'\" width=\"2000\" height=\"1868\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/frisco-tattoo-2017.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/frisco-tattoo-2017-800x747.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/frisco-tattoo-2017-1020x953.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/frisco-tattoo-2017-160x149.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/frisco-tattoo-2017-768x717.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/frisco-tattoo-2017-1536x1435.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/frisco-tattoo-2017-1920x1793.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The side of Frisco Tattoo, Osage Alley, 2017. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>This week, as we near the end of 2024, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year.\u003c/i>\u003c/p>\n\u003cp>[dropcap]F[/dropcap]ifteen years ago, a series of Extremely Fortunate Events aligned that enabled me to buy an apartment.\u003c/p>\n\u003cp>First there was an inheritance from overseas. Then there was an exchange rate that doubled the money. Then there was a building that agreed to give me a fat discount if I bought the apartment before the construction was finished. Most importantly, this all happened before the tech buses arrived in the Mission District and drove property prices up to new and unattainable heights.\u003c/p>\n\u003cp>[aside postid='arts_13968532']Me and this apartment, I always thought, were meant to be. I found her just in the nick of time. And for 15 years, she and I have had quite the love story.\u003c/p>\n\u003cp>The apartment bore witness to romantic relationships, wonderful friendships and far more alcohol-fueled debauchery than anyone should probably be entertaining. She hosted a rotating collection of local art that riddled her walls with holes and her doors with spray paint. She was playground to my menagerie of free-range rats: Foxy Moron (who shared my bed), Thelma and Louise (who ate my blankets), and Daisy, Poppy and Iris (who gnawed on, well, all of my doors).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My 650-square-foot friend even kept me safely in the neighborhood I had called home since 2002, as friends all around me were pushed out by rising rents and Ellis Act evictions.\u003c/p>\n\u003cp>My gratitude for all of this is deep and enduring.\u003c/p>\n\u003cp>But like many passionate affairs, this one finally came to an end. Earlier this year, after months of work repairing all of the damage I had done to her, I sold the longest-running constant in my life to a stranger named David.\u003c/p>\n\u003cp>I had my reasons for letting her go, of course. The desire for more space. Homeowners’ association fees that became unfeasibly high after the pandemic. A building manager who no longer cares about the building. (FIX THE HOLE IN THE STAIRWELL WALL, BRIAN.) Before I really comprehended what was happening, I had moved a 90-minute drive away to a big, affordable house and almost no nightlife whatsoever.\u003c/p>\n\u003cp>Just a few years ago, a move as drastic as this would have been absolutely unthinkable. I have been obsessively clinging to San Francisco for more than two decades. The Mission has been a huge part of my identity from the moment I moved into the neighborhood. As such, my sudden exit has shocked many of my friends — one of my dearest called me a “suburban hoe-bag” via text message the other day and I could not think of a single rebuttal. The drastic nature of the move has shocked me too — but mostly because of how natural it feels.\u003c/p>\n\u003cp>I didn’t move out of the city because of crime, or grime, or any of the other things people think people leave San Francisco over. I still think that San Francisco is the most beautiful place on Earth and that the Mission is the most vibrant corner of it. I moved simply because I realized I no longer needed the city the way that I used to. My days of being out, roaming the streets, dive bar-hopping and trouble-finding have recently, finally, dissipated. (I’m in my mid-40s, so frankly it’s about time.) In large part, this shift occurred because there is finally a human in my life who I can sit at home with night after night without getting in the least bit bored.\u003c/p>\n\u003cp>[aside postID='arts_13969221']At the same time that my pace has been slowing down, I have been watching young creatives moving back into the Mission. I see their artistic communities flourishing in spaces like \u003ca href=\"https://www.adobebooks.com/\">Adobe Books\u003c/a>, \u003ca href=\"https://www.hitgallerysf.com/\">Hit Gallery\u003c/a> and \u003ca href=\"https://houseofseiko.info/\">House of Seiko\u003c/a>. I see them in clusters outside bars, formulating plans inside coffee shops. They remind me of how San Francisco felt when I first moved here — all of the potential, all of the inspiration, the feeling in your gut that anything could happen. For the last year, my own gut has been telling me that now it’s their time. Stepping aside to make space for them is the natural order of things.\u003c/p>\n\u003cp>I experienced some pangs of guilt abandoning my faithful old apartment, but I recognize the beauty in leaving her too. In 2024, she finally got all of the care I failed to give her for so very long. I patched her holes and painted her walls and ceilings. I fixed floorboards, replaced doors and kitchen caulk, and bought her all new faucets. I cleaned her grout and cabinets, scrubbed her windows and gutters. I hired someone to fix the heating system that had been broken for eight years. And in the process of giving the apartment a new life, I’m giving myself the chance for one too. Perhaps one in which I will do myself (and my surroundings) less damage on a weekly basis.\u003c/p>\n\u003cp>In early November, I went back to my empty apartment one last time. I had keys to label and leave behind on the kitchen counters for David. But I couldn’t resist leaving a note too.\u003c/p>\n\u003cp>“I hope this apartment brings you as much joy as it has brought me over the years,” I wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I dream that she and David and the Mission are all getting along famously.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13968966\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/frisco-tattoo-2017.png\" alt=\"A gold, black and red mural that reads 'There is so much love in this city.'\" width=\"2000\" height=\"1868\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/frisco-tattoo-2017.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/frisco-tattoo-2017-800x747.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/frisco-tattoo-2017-1020x953.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/frisco-tattoo-2017-160x149.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/frisco-tattoo-2017-768x717.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/frisco-tattoo-2017-1536x1435.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/frisco-tattoo-2017-1920x1793.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The side of Frisco Tattoo, Osage Alley, 2017. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>This week, as we near the end of 2024, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>ifteen years ago, a series of Extremely Fortunate Events aligned that enabled me to buy an apartment.\u003c/p>\n\u003cp>First there was an inheritance from overseas. Then there was an exchange rate that doubled the money. Then there was a building that agreed to give me a fat discount if I bought the apartment before the construction was finished. Most importantly, this all happened before the tech buses arrived in the Mission District and drove property prices up to new and unattainable heights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Me and this apartment, I always thought, were meant to be. I found her just in the nick of time. And for 15 years, she and I have had quite the love story.\u003c/p>\n\u003cp>The apartment bore witness to romantic relationships, wonderful friendships and far more alcohol-fueled debauchery than anyone should probably be entertaining. She hosted a rotating collection of local art that riddled her walls with holes and her doors with spray paint. She was playground to my menagerie of free-range rats: Foxy Moron (who shared my bed), Thelma and Louise (who ate my blankets), and Daisy, Poppy and Iris (who gnawed on, well, all of my doors).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My 650-square-foot friend even kept me safely in the neighborhood I had called home since 2002, as friends all around me were pushed out by rising rents and Ellis Act evictions.\u003c/p>\n\u003cp>My gratitude for all of this is deep and enduring.\u003c/p>\n\u003cp>But like many passionate affairs, this one finally came to an end. Earlier this year, after months of work repairing all of the damage I had done to her, I sold the longest-running constant in my life to a stranger named David.\u003c/p>\n\u003cp>I had my reasons for letting her go, of course. The desire for more space. Homeowners’ association fees that became unfeasibly high after the pandemic. A building manager who no longer cares about the building. (FIX THE HOLE IN THE STAIRWELL WALL, BRIAN.) Before I really comprehended what was happening, I had moved a 90-minute drive away to a big, affordable house and almost no nightlife whatsoever.\u003c/p>\n\u003cp>Just a few years ago, a move as drastic as this would have been absolutely unthinkable. I have been obsessively clinging to San Francisco for more than two decades. The Mission has been a huge part of my identity from the moment I moved into the neighborhood. As such, my sudden exit has shocked many of my friends — one of my dearest called me a “suburban hoe-bag” via text message the other day and I could not think of a single rebuttal. The drastic nature of the move has shocked me too — but mostly because of how natural it feels.\u003c/p>\n\u003cp>I didn’t move out of the city because of crime, or grime, or any of the other things people think people leave San Francisco over. I still think that San Francisco is the most beautiful place on Earth and that the Mission is the most vibrant corner of it. I moved simply because I realized I no longer needed the city the way that I used to. My days of being out, roaming the streets, dive bar-hopping and trouble-finding have recently, finally, dissipated. (I’m in my mid-40s, so frankly it’s about time.) In large part, this shift occurred because there is finally a human in my life who I can sit at home with night after night without getting in the least bit bored.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the same time that my pace has been slowing down, I have been watching young creatives moving back into the Mission. I see their artistic communities flourishing in spaces like \u003ca href=\"https://www.adobebooks.com/\">Adobe Books\u003c/a>, \u003ca href=\"https://www.hitgallerysf.com/\">Hit Gallery\u003c/a> and \u003ca href=\"https://houseofseiko.info/\">House of Seiko\u003c/a>. I see them in clusters outside bars, formulating plans inside coffee shops. They remind me of how San Francisco felt when I first moved here — all of the potential, all of the inspiration, the feeling in your gut that anything could happen. For the last year, my own gut has been telling me that now it’s their time. Stepping aside to make space for them is the natural order of things.\u003c/p>\n\u003cp>I experienced some pangs of guilt abandoning my faithful old apartment, but I recognize the beauty in leaving her too. In 2024, she finally got all of the care I failed to give her for so very long. I patched her holes and painted her walls and ceilings. I fixed floorboards, replaced doors and kitchen caulk, and bought her all new faucets. I cleaned her grout and cabinets, scrubbed her windows and gutters. I hired someone to fix the heating system that had been broken for eight years. And in the process of giving the apartment a new life, I’m giving myself the chance for one too. Perhaps one in which I will do myself (and my surroundings) less damage on a weekly basis.\u003c/p>\n\u003cp>In early November, I went back to my empty apartment one last time. I had keys to label and leave behind on the kitchen counters for David. But I couldn’t resist leaving a note too.\u003c/p>\n\u003cp>“I hope this apartment brings you as much joy as it has brought me over the years,” I wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I dream that she and David and the Mission are all getting along famously.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>This week, as we near the end of 2024, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year.\u003c/i>\u003c/p>\n\u003cp>[dropcap]I[/dropcap]n June, after a three-decade rest, I started playing the piano again. I like to imagine the years of sheet music marking the time between 1995 and now. They show a repeated, interminable black bar, measure after measure of counted-out anticipation. \u003c/p>\n\u003cp>In high school, I switched to percussion in the school orchestra mainly because it was easy, and let me spend extra time with my more musically accomplished friends. When not crashing cymbals, ringing a triangle or pounding on kettle drums, much of my time in orchestra was spent in this way: waiting out measure after measure of rests. \u003c/p>\n\u003cp>But 29 years? Even \u003ca href=\"https://en.wikipedia.org/wiki/4%E2%80%B233%E2%80%B3\">John Cage\u003c/a> would never. \u003c/p>\n\u003cp>The desire to break that sustained silence came from a feeling that if I didn’t add something like piano to my life, everything might keep being totally fine, but also \u003ci>the same\u003c/i> forever. So here I am, lifting the cover, pulling up my little bench and hovering my hands over the black and white keys. My piano lessons are 30 minutes once a week at the \u003ca href=\"https://sfcmc.org/\">Community Music Center\u003c/a> in the Mission. I walk over after work, carrying \u003ci>Adult Piano Adventures Book 2\u003c/i> and humming my practiced assignments. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s me and a small army of children roaming the music center’s campus, a recently expanded complex of two Victorians stuffed with practice rooms, offices and a recital hall. The other adults are mostly instructors, staff and parents. I love the bustle. It’s as cacophonous as you would imagine: irregular taps on snare drums, shrill woodwinds piercing closed doors, jazz ensembles stopping and starting sporadically. \u003c/p>\n\u003cp>Along with getting a check mark from my teacher on a well-performed piece (emotionally, I am still 10, it seems), one of the things I enjoy most in these weekly sessions is talking out musical notation with him, wrapping my head around keys, chords and their variations. I want to understand this rediscovered language of symbols, its rules and conventions. At home, I lose myself in hours of practice.\u003c/p>\n\u003cp>This, I’ll admit, is somewhat new for me. I have not always been the best at sticking with the harder stuff. As a sporty kid with good eye-hand coordination, I expected all things in life to come to me as easily as basketball and softball did. \u003c/p>\n\u003cp>I barely remember practicing the piano in elementary school. I definitely remember barely practicing percussion in high school. Academically, languages, especially, did not click — and I failed to work at them. I ditched French as soon as I could in high school, picking up statistics as a far more agreeable extra math credit.\u003c/p>\n\u003cp>For some reason — age, or the pressure of a significant monetary commitment — it’s different this time around. To go from plunking around awkwardly, feeling out a piece, to faithfully (if slowly) performing it all the way through brings me an immense sense of accomplishment. Every week, I thrill at my check mark. But I also don’t \u003ci>need\u003c/i> the check. The pleasure of practicing, of marking my own progress, is, as hokey as it sounds, its own reward. \u003c/p>\n\u003cp>None of this is really a surprise. Studies show that engaging in artistic, expressive hobbies has clear mental health benefits. And yet much of my life has been shaped by narrowly focused professionalism. I am a professional arts writer and a professional visual artist. I take pride in doing these things well — and working hard to do them better. Sometimes I feel like even to have those \u003ci>two\u003c/i> identities is holding me back in one or the other field. Should I narrow my focus even more? \u003c/p>\n\u003cp>Amateurism is freeing. Bumbling along, learning a skill, recognizing the vast distance between your current abilities and wherever you might want to be in the future adds an immeasurable richness to daily life. Not only does it give me something to talk to people about (“I started taking piano lessons!”), it breaks me out of the monotony of what can sometimes feel like a plateaued mid-life existence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m not sure where my piano lessons will take me, or how long this particular musical interlude will last. But I do know that tonight I’ll sit down at my electric piano and simply … play.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This week, as we near the end of 2024, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n June, after a three-decade rest, I started playing the piano again. I like to imagine the years of sheet music marking the time between 1995 and now. They show a repeated, interminable black bar, measure after measure of counted-out anticipation. \u003c/p>\n\u003cp>In high school, I switched to percussion in the school orchestra mainly because it was easy, and let me spend extra time with my more musically accomplished friends. When not crashing cymbals, ringing a triangle or pounding on kettle drums, much of my time in orchestra was spent in this way: waiting out measure after measure of rests. \u003c/p>\n\u003cp>But 29 years? Even \u003ca href=\"https://en.wikipedia.org/wiki/4%E2%80%B233%E2%80%B3\">John Cage\u003c/a> would never. \u003c/p>\n\u003cp>The desire to break that sustained silence came from a feeling that if I didn’t add something like piano to my life, everything might keep being totally fine, but also \u003ci>the same\u003c/i> forever. So here I am, lifting the cover, pulling up my little bench and hovering my hands over the black and white keys. My piano lessons are 30 minutes once a week at the \u003ca href=\"https://sfcmc.org/\">Community Music Center\u003c/a> in the Mission. I walk over after work, carrying \u003ci>Adult Piano Adventures Book 2\u003c/i> and humming my practiced assignments. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s me and a small army of children roaming the music center’s campus, a recently expanded complex of two Victorians stuffed with practice rooms, offices and a recital hall. The other adults are mostly instructors, staff and parents. I love the bustle. It’s as cacophonous as you would imagine: irregular taps on snare drums, shrill woodwinds piercing closed doors, jazz ensembles stopping and starting sporadically. \u003c/p>\n\u003cp>Along with getting a check mark from my teacher on a well-performed piece (emotionally, I am still 10, it seems), one of the things I enjoy most in these weekly sessions is talking out musical notation with him, wrapping my head around keys, chords and their variations. I want to understand this rediscovered language of symbols, its rules and conventions. At home, I lose myself in hours of practice.\u003c/p>\n\u003cp>This, I’ll admit, is somewhat new for me. I have not always been the best at sticking with the harder stuff. As a sporty kid with good eye-hand coordination, I expected all things in life to come to me as easily as basketball and softball did. \u003c/p>\n\u003cp>I barely remember practicing the piano in elementary school. I definitely remember barely practicing percussion in high school. Academically, languages, especially, did not click — and I failed to work at them. I ditched French as soon as I could in high school, picking up statistics as a far more agreeable extra math credit.\u003c/p>\n\u003cp>For some reason — age, or the pressure of a significant monetary commitment — it’s different this time around. To go from plunking around awkwardly, feeling out a piece, to faithfully (if slowly) performing it all the way through brings me an immense sense of accomplishment. Every week, I thrill at my check mark. But I also don’t \u003ci>need\u003c/i> the check. The pleasure of practicing, of marking my own progress, is, as hokey as it sounds, its own reward. \u003c/p>\n\u003cp>None of this is really a surprise. Studies show that engaging in artistic, expressive hobbies has clear mental health benefits. And yet much of my life has been shaped by narrowly focused professionalism. I am a professional arts writer and a professional visual artist. I take pride in doing these things well — and working hard to do them better. Sometimes I feel like even to have those \u003ci>two\u003c/i> identities is holding me back in one or the other field. Should I narrow my focus even more? \u003c/p>\n\u003cp>Amateurism is freeing. Bumbling along, learning a skill, recognizing the vast distance between your current abilities and wherever you might want to be in the future adds an immeasurable richness to daily life. Not only does it give me something to talk to people about (“I started taking piano lessons!”), it breaks me out of the monotony of what can sometimes feel like a plateaued mid-life existence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m not sure where my piano lessons will take me, or how long this particular musical interlude will last. But I do know that tonight I’ll sit down at my electric piano and simply … play.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Stand at the back of a punk club like Berkeley’s \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a> nowadays, and the entire crowd will invariably be lit up with a hundred little screens, all recording a moment in time to share online later. But at the primordial 924 Gilman of yesteryear, there was often just a single camera in the crowd, held in Murray Bowles’ hand flicking out far above his head, followed by a quick flash.\u003c/p>\n\u003cfigure id=\"attachment_13968871\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg\" alt=\"A black and white crowd shot at a punk show. Photographer Murray Bowles, a bearded white man in a flannel shirt, is featured mid-frame with his camera raised above his head.\" width=\"2560\" height=\"1917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1920x1438.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles’ signature ‘Hail Mary’ shooting style. \u003ccite>(Christian Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://lastgasp.com/products/hail-murray\">\u003ci>Hail Murray!: The Bay Area Punk Photography of Murray Bowles, 1982–1995\u003c/i>\u003c/a> (Last Gasp; $39.95) is a sprawling, 270-page monograph of black and white photos representing a wildly creative and supercharged era of local underground music. If you attended any \u003ca href=\"https://www.kqed.org/arts/tag/punk\">Bay Area punk\u003c/a> shows from the 1980s through the 1990s, you likely crossed paths with Murray, its de facto chronicler. Wrapped in a decidedly civilian package — an older man with floppy brown hair, bearded, and bespectacled — he looked more like a computer programmer than a punk (and, unbeknownst to many, he actually \u003ci>was\u003c/i> a programmer of note in early Silicon Valley). At first glance, one might be surprised to learn that this understated character was an essential contributor to the chaotic music scene that birthed bands like Operation Ivy, Blatz and Green Day.\u003c/p>\n\u003cfigure id=\"attachment_13968865\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg\" alt=\"A book cover featuring a black and white crowd photo of punk dancing at an outside show. The book title Hail Murray is in red font at the top.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1536x1152.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">‘Hail Murray!: The Punk Photography of Murray Bowles, 1982-1995.’ \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show had ended, while everyone else slept off their hangovers or rotted all night at the 24-hour donut shop, Murray would be hunkered down in the makeshift darkroom set up in his kitchen, spending hours developing pictures of bands. He would later gather up all of the prints and shove them into a shoebox to bring to shows to share and sell for 15¢ a piece, the cost of the paper. (This was later raised to a quarter. Inflation, y’all.) While rifling through Murray’s shoebox, eager eyeballs went on the lookout for pictures of favorite bands or secret crushes, but more than anything else, people were hoping to find a photo of themselves. Being captured in a Murray picture was a stamp of approval. It was a confirmation that you had indeed been there. That you belonged.\u003c/p>\n\u003cp>That manifestation of belonging takes on various forms in the punk scene. It doesn’t matter how shy a person is, or how lacking in musical ability. Everyone has a role. And while bands have always enjoyed the spotlight, they’re just one part of a complex ecosystem. There are zine editors, promoters, the people who feed and house the touring bands, \u003ca href=\"https://www.kqed.org/arts/13830408/going-strong-since-1990-this-low-budget-newsletter-is-a-punk-institution\">Steve List\u003c/a>, the volunteers who sweep the floors and clean the toilets. These often unsung community heroes are the reason the punk scene has been able to function and evolve.\u003c/p>\n\u003cfigure id=\"attachment_13968882\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968882 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg\" alt=\"A young white girl with long brown hair plays a Gibson guitar\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Squat, Nightbreak, San Francisco, 1995. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why do this work that is neither glamorous nor rewarded? Sometimes community service is a calling. As Murray famously said, “I wanted to be more than just a spectator.” There are those people who see something that needs to be done and are compelled to do it. Surely no one embodies this more than Anna Brown, teacher, longtime East Bay punk, and Murray’s most bulldogged advocate, the person who consented to take on the monumental task of compiling, designing, and editing \u003ci>Hail Murray!\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anna first met Murray at a show in 1987; the next thing she knew, she was a regular passenger in his Rabbit Cabriolet, on the way to film screenings, art openings, punk shows and hikes. Murray was notoriously inscrutable, and didn’t often talk about himself. Anna, on the other hand, was articulate, outgoing and tough. Their personalities complementing each other, they became lifelong friends.\u003c/p>\n\u003cfigure id=\"attachment_13968961\" class=\"wp-caption aligncenter\" style=\"max-width: 1277px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg\" alt=\"\" width=\"1277\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-768x481.jpg 768w\" sizes=\"(max-width: 1277px) 100vw, 1277px\">\u003cfigcaption class=\"wp-caption-text\">Anna Brown with friend Aaron, 1993. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ask Anna how long she’s been working on this book, she gets a faraway look in her eye. “I’d always wanted to make this book, ever since I was a teenager,” she tells me. “Murray was into the idea but he was very passive in general.”\u003c/p>\n\u003cp>Around 2010, the two began to tackle the project, mind-boggling in its scope. Murray took dozens of photos, every single weekend, for almost 40 years. What would a body of work of that magnitude look like? How could you even begin to catalog and curate it? They caught a break in 2017 when the documentary team behind \u003ci>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/i> digitized thousands of Murray’s photos, but that still left thousands \u003cem>more\u003c/em> to sift through.\u003c/p>\n\u003cp>[aside postid='arts_13938024']Then in 2019, Murray Bowles died unexpectedly.\u003c/p>\n\u003cp>“When he died, I felt super guilty because we had this whole plan,” Anna tells me. The two friends had planned to spend Murray’s retirement years going around the country doing book tours and gallery shows, the culmination of a life’s work.\u003c/p>\n\u003cp>“I felt really bad that he didn’t get a chance to do any of that stuff, or to see the book,” Anna says. “So I became extremely determined.”\u003c/p>\n\u003cfigure id=\"attachment_13968952\" class=\"wp-caption aligncenter\" style=\"max-width: 1428px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg\" alt=\"\" width=\"1428\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-768x487.jpg 768w\" sizes=\"(max-width: 1428px) 100vw, 1428px\">\u003cfigcaption class=\"wp-caption-text\">Operation Ivy, Gilman Street, Berkeley, 1988. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anna transcribed interviews, received feedback, taught herself Photoshop and InDesign, solicited funding and found a publisher. Along the way, she experimented with different layouts, and how to best encapsulate the life’s work of her friend.\u003c/p>\n\u003cp>“I felt a lot of anxiety about these pictures that are sacred to our people,” she explains. “They mean so much to everyone. It felt like I was handling an incredibly fragile, delicate thing. I knew that everyone was going to have their own ideas about how they wanted the book to be.”\u003c/p>\n\u003cp>[aside postID='arts_13871151']In the end, Anna decided that Bowles’ aesthetic would be best captured as a monograph. Punk may be messy, but \u003cem>Hail Murray!\u003c/em> is impeccably clean and gorgeous. Each 12” x 9” landscape page is devoted to a single black and white photograph, giving it ample space to breathe.\u003c/p>\n\u003cp>Though there’s a multitude of band photos in the book — from lesser-known entities like thrash band Sluglords to well-known groups like Rancid — many of its most compelling images are moments captured between friends. Young people sprawled on the hoods of cars, friends drinking beer on couches or hunkered down in a stairwell, girls carrying other girls through the pit, inexplicable configurations of body parts at a crowded house show where you’re not even sure where one person ends and the next person begins. There is an implied intimacy to the work, underscored by a minimalist approach to titles and descriptions.\u003c/p>\n\u003cfigure id=\"attachment_13968877\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968877 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg\" alt=\"Punk band Special Forces plays at UC Berkeley's Sproul Plaza. Orlando, a tall Black man with a mohawk, stands in front with a microphone.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Special Forces, Sproul Plaza, UC Berkeley, 1985. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the absence of elaborate captions or other explicit context cues, one might ask how \u003cem>Hail Murray!\u003c/em> will be perceived by those outside of the community it chronicles. For punks, part of the excitement was digging through Murray’s photo box, scanning the faces in the crowd and wondering: “Am I in here?” But outsiders to the punk scene may be surprised to see themselves here, too, reflected in the universal quest for fun and belonging.\u003c/p>\n\u003cp>“If Murray’s work is ‘about’ anything, it’s about the joy of punk,” Anna says. “Going through his archives, you come away feeling that Murray’s mission, in simplest terms, was to celebrate the feeling of being there on any given night or afternoon — the collective energy of a singular moment.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Hail Murray!: The Bay Area Punk Photography of Murray Bowles 1982–1995’ is celebrated in a release party with live music by Smokers and Nasty World on Sunday, Dec. 8, at 111 Minna Gallery in San Francisco. 4pm–9pm. \u003ca href=\"https://111minnagallery.com/event/hail-murray-book-party/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Finally, a Book of Murray Bowles’ Bay Area Punk Photography | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stand at the back of a punk club like Berkeley’s \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a> nowadays, and the entire crowd will invariably be lit up with a hundred little screens, all recording a moment in time to share online later. But at the primordial 924 Gilman of yesteryear, there was often just a single camera in the crowd, held in Murray Bowles’ hand flicking out far above his head, followed by a quick flash.\u003c/p>\n\u003cfigure id=\"attachment_13968871\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg\" alt=\"A black and white crowd shot at a punk show. Photographer Murray Bowles, a bearded white man in a flannel shirt, is featured mid-frame with his camera raised above his head.\" width=\"2560\" height=\"1917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1920x1438.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles’ signature ‘Hail Mary’ shooting style. \u003ccite>(Christian Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://lastgasp.com/products/hail-murray\">\u003ci>Hail Murray!: The Bay Area Punk Photography of Murray Bowles, 1982–1995\u003c/i>\u003c/a> (Last Gasp; $39.95) is a sprawling, 270-page monograph of black and white photos representing a wildly creative and supercharged era of local underground music. If you attended any \u003ca href=\"https://www.kqed.org/arts/tag/punk\">Bay Area punk\u003c/a> shows from the 1980s through the 1990s, you likely crossed paths with Murray, its de facto chronicler. Wrapped in a decidedly civilian package — an older man with floppy brown hair, bearded, and bespectacled — he looked more like a computer programmer than a punk (and, unbeknownst to many, he actually \u003ci>was\u003c/i> a programmer of note in early Silicon Valley). At first glance, one might be surprised to learn that this understated character was an essential contributor to the chaotic music scene that birthed bands like Operation Ivy, Blatz and Green Day.\u003c/p>\n\u003cfigure id=\"attachment_13968865\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg\" alt=\"A book cover featuring a black and white crowd photo of punk dancing at an outside show. The book title Hail Murray is in red font at the top.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1536x1152.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">‘Hail Murray!: The Punk Photography of Murray Bowles, 1982-1995.’ \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show had ended, while everyone else slept off their hangovers or rotted all night at the 24-hour donut shop, Murray would be hunkered down in the makeshift darkroom set up in his kitchen, spending hours developing pictures of bands. He would later gather up all of the prints and shove them into a shoebox to bring to shows to share and sell for 15¢ a piece, the cost of the paper. (This was later raised to a quarter. Inflation, y’all.) While rifling through Murray’s shoebox, eager eyeballs went on the lookout for pictures of favorite bands or secret crushes, but more than anything else, people were hoping to find a photo of themselves. Being captured in a Murray picture was a stamp of approval. It was a confirmation that you had indeed been there. That you belonged.\u003c/p>\n\u003cp>That manifestation of belonging takes on various forms in the punk scene. It doesn’t matter how shy a person is, or how lacking in musical ability. Everyone has a role. And while bands have always enjoyed the spotlight, they’re just one part of a complex ecosystem. There are zine editors, promoters, the people who feed and house the touring bands, \u003ca href=\"https://www.kqed.org/arts/13830408/going-strong-since-1990-this-low-budget-newsletter-is-a-punk-institution\">Steve List\u003c/a>, the volunteers who sweep the floors and clean the toilets. These often unsung community heroes are the reason the punk scene has been able to function and evolve.\u003c/p>\n\u003cfigure id=\"attachment_13968882\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968882 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg\" alt=\"A young white girl with long brown hair plays a Gibson guitar\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Squat, Nightbreak, San Francisco, 1995. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why do this work that is neither glamorous nor rewarded? Sometimes community service is a calling. As Murray famously said, “I wanted to be more than just a spectator.” There are those people who see something that needs to be done and are compelled to do it. Surely no one embodies this more than Anna Brown, teacher, longtime East Bay punk, and Murray’s most bulldogged advocate, the person who consented to take on the monumental task of compiling, designing, and editing \u003ci>Hail Murray!\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anna first met Murray at a show in 1987; the next thing she knew, she was a regular passenger in his Rabbit Cabriolet, on the way to film screenings, art openings, punk shows and hikes. Murray was notoriously inscrutable, and didn’t often talk about himself. Anna, on the other hand, was articulate, outgoing and tough. Their personalities complementing each other, they became lifelong friends.\u003c/p>\n\u003cfigure id=\"attachment_13968961\" class=\"wp-caption aligncenter\" style=\"max-width: 1277px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg\" alt=\"\" width=\"1277\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-768x481.jpg 768w\" sizes=\"(max-width: 1277px) 100vw, 1277px\">\u003cfigcaption class=\"wp-caption-text\">Anna Brown with friend Aaron, 1993. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ask Anna how long she’s been working on this book, she gets a faraway look in her eye. “I’d always wanted to make this book, ever since I was a teenager,” she tells me. “Murray was into the idea but he was very passive in general.”\u003c/p>\n\u003cp>Around 2010, the two began to tackle the project, mind-boggling in its scope. Murray took dozens of photos, every single weekend, for almost 40 years. What would a body of work of that magnitude look like? How could you even begin to catalog and curate it? They caught a break in 2017 when the documentary team behind \u003ci>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/i> digitized thousands of Murray’s photos, but that still left thousands \u003cem>more\u003c/em> to sift through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then in 2019, Murray Bowles died unexpectedly.\u003c/p>\n\u003cp>“When he died, I felt super guilty because we had this whole plan,” Anna tells me. The two friends had planned to spend Murray’s retirement years going around the country doing book tours and gallery shows, the culmination of a life’s work.\u003c/p>\n\u003cp>“I felt really bad that he didn’t get a chance to do any of that stuff, or to see the book,” Anna says. “So I became extremely determined.”\u003c/p>\n\u003cfigure id=\"attachment_13968952\" class=\"wp-caption aligncenter\" style=\"max-width: 1428px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg\" alt=\"\" width=\"1428\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-768x487.jpg 768w\" sizes=\"(max-width: 1428px) 100vw, 1428px\">\u003cfigcaption class=\"wp-caption-text\">Operation Ivy, Gilman Street, Berkeley, 1988. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anna transcribed interviews, received feedback, taught herself Photoshop and InDesign, solicited funding and found a publisher. Along the way, she experimented with different layouts, and how to best encapsulate the life’s work of her friend.\u003c/p>\n\u003cp>“I felt a lot of anxiety about these pictures that are sacred to our people,” she explains. “They mean so much to everyone. It felt like I was handling an incredibly fragile, delicate thing. I knew that everyone was going to have their own ideas about how they wanted the book to be.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the end, Anna decided that Bowles’ aesthetic would be best captured as a monograph. Punk may be messy, but \u003cem>Hail Murray!\u003c/em> is impeccably clean and gorgeous. Each 12” x 9” landscape page is devoted to a single black and white photograph, giving it ample space to breathe.\u003c/p>\n\u003cp>Though there’s a multitude of band photos in the book — from lesser-known entities like thrash band Sluglords to well-known groups like Rancid — many of its most compelling images are moments captured between friends. Young people sprawled on the hoods of cars, friends drinking beer on couches or hunkered down in a stairwell, girls carrying other girls through the pit, inexplicable configurations of body parts at a crowded house show where you’re not even sure where one person ends and the next person begins. There is an implied intimacy to the work, underscored by a minimalist approach to titles and descriptions.\u003c/p>\n\u003cfigure id=\"attachment_13968877\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968877 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg\" alt=\"Punk band Special Forces plays at UC Berkeley's Sproul Plaza. Orlando, a tall Black man with a mohawk, stands in front with a microphone.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Special Forces, Sproul Plaza, UC Berkeley, 1985. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the absence of elaborate captions or other explicit context cues, one might ask how \u003cem>Hail Murray!\u003c/em> will be perceived by those outside of the community it chronicles. For punks, part of the excitement was digging through Murray’s photo box, scanning the faces in the crowd and wondering: “Am I in here?” But outsiders to the punk scene may be surprised to see themselves here, too, reflected in the universal quest for fun and belonging.\u003c/p>\n\u003cp>“If Murray’s work is ‘about’ anything, it’s about the joy of punk,” Anna says. “Going through his archives, you come away feeling that Murray’s mission, in simplest terms, was to celebrate the feeling of being there on any given night or afternoon — the collective energy of a singular moment.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hail Murray!: The Bay Area Punk Photography of Murray Bowles 1982–1995’ is celebrated in a release party with live music by Smokers and Nasty World on Sunday, Dec. 8, at 111 Minna Gallery in San Francisco. 4pm–9pm. \u003ca href=\"https://111minnagallery.com/event/hail-murray-book-party/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-best-bay-area-music-of-2024",
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"content": "\u003cp>As the year winds down, we at KQED Arts & Culture have been combing through our playlists, looking back at the local releases that impressed, surprised and inspired us — that made us dance and made us feel. Below, in no particular order, you’ll find 20 of our staff and contributors’ favorite albums and EPs of the year.\u003c/p>\n\u003cp>Just like the eclectic Bay Area scene, this list traverses genres as wide-ranging as hyphy, jazz, dance punk, cumbia and more. We hope you get to the end of it with something you’ve never heard before. Listen to our selections in full below, or check out our \u003ca href=\"https://open.spotify.com/playlist/6LakXNEvGqCJFpv9059e3m\">Spotify playlist\u003c/a>.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/6GF5uzX2s0GsS4eGlM4h3m?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Kehlani, \u003cem>Crash\u003c/em> (Atlantic Records)\u003c/h2>\n\u003cp>Kehlani’s sexy banger “After Hours” revived a classic dancehall riddim that propelled 2000s hits by Nina Sky and Pitbull, but her album \u003ci>Crash\u003c/i> has range that goes far beyond the club. On ballads like “Chapel” and the title track (where she belts, “You kiss me like you wanna make love / to all my fuckin’ demons”), Kehlani yearns to be swallowed whole by an all-consuming love. On “Lose My Wife,” there’s a devil on her shoulder as she confesses to messy after-dark behavior. Yet the true jewel of the album is the unexpected collaboration “Sucia,” which pairs Kehlani with R&B veteran Jill Scott and queer reggaetonera Young Miko for poetic seduction with enchanting intensity.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/39wP7bJBE7c61XHR4Sgp1N?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Ovrkast., \u003cem>Kast Got Wings\u003c/em> (IIIXL Studio)\u003c/h2>\n\u003cp>Over the past year Ovrkast. has produced tracks for Canadian superstar Drake, toured with rising DMV artist Mavi and rocked shows in his hometown of Oakland. On \u003cem>Kast Got Wings\u003c/em>, he joins forces with longtime hip-hop producer Cardo Got Wings for a fifteen-minute tape full of head nodding bars and murky beats. “PAYMEAGRIP” and “Up” are two of the more notable tracks, but nothing holds a candle to the song “Cut Up.” Its dark, cutty sample of a rolling piano is an Ovrkast. staple. Combined with drums that echo the funky, mobby, hyphy energy that emanates from the Bay, and served at the perfect tempo, it makes for a winning combination. On the track Ovrkast. says, “Niggas wanted something to go dumb to, so I gave it.” Meaning: if you like Bay Area hip-hop, this is for you.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/5iXgFaNRHYGLj7GFVdN033?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Sammy Shiblaq, \u003cem>The Project of Liberation\u003c/em> (Empire)\u003c/h2>\n\u003cp>On \u003ci>The Project of Liberation\u003c/i>, Sammy Shiblaq offers 16 soul-stirring tracks about the Palestinian struggle — and they all slap. The Detroit-raised, San José-based rapper puts listeners into the minds of everyday Palestinian people yearning for a normal life, who’ve had their homes bombed or stolen, and whose families and communities have been destroyed by Israel’s bombardment. Trunk-shaking anthems like “Gaza Strip 2 Detroit” and “48 Mile” hit the gas, with taut verses full of pride, indigence and defiance. Meanwhile, with their mournful melodies, “LLTR” and “Peace Without Freedom” make space for grief and heartbreak. Yet even as he takes in the horrors of Gaza’s humanitarian crisis, which human rights groups world-over have called a genocide, Shiblaq doesn’t leave listeners paralyzed with despair, but rather full of determination to work towards a more just world.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/02UIYqY314ZBQyRq6YRsgS?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Shannon & The Clams, \u003cem>The Moon Is In the Wrong Place\u003c/em> (Easy Eye Sound)\u003c/h2>\n\u003cp>This is a gorgeous, gut-wrenching, love-soaked dream of an album born from a waking nightmare. When her fiancé died suddenly in a tragic 2022 accident, the world would have forgiven Shannon Shaw for taking some time away from the stage to heal and recalibrate. Instead, she and her band grieved the loss of Joe Haener by creating 14 gorgeous, multilayered tracks that successfully capture the beauty and wonder of true love, as well as all of the discombobulating darkness that lies in the depths of grief.\u003c/p>\n\u003cp>\u003cem>The Moon Is in the Wrong Place\u003c/em> catapulted Shannon & The Clams into space, adding a layer of otherworldliness to the classic retro rock ‘n’ roll sparkle that the band was already beloved for. Not only is the album the perfect tribute to Haener and his relationship with Shaw, it now stands as a source of comfort for anyone who’s ever lost the love of their life.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/5u1hWyjcalS7ItSE8CVorn?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Siaira Shawn, \u003cem>Ephemera\u003c/em> (Over Everything)\u003c/h2>\n\u003cp>The latest album from this San Francisco-raised, Southern California-based R&B artist is a kaleidoscope of sultry soul and new funk. Shawn’s ability to combine pithy, poetic lyrics with heavenly vocal melodies is forefront in this project. On the song “Racing Home,” Shawn’s storytelling shines as she sings “Where’s the fire?” while passionately rushing home to a lover. Shawn floats on the standout track “Jujitsu,” singing about the dance that one does when they’re learning to properly love. And on the album’s first single, “What’s Better,” produced by Grammy-nominated Bay Area musician Mars Today, Shawn pauses time by speaking to the heart of anyone who has been so caught up in the throes of love that they’ve given jewelry to their partner in an effort to symbolize the depth of the connection. “My initials around your neck / But you don’t belong to me / But you belong to me,” sings Shawn. And in that, there’s a plea to the possessive lover in all of us.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/7b8f4dCFRTPXc0YL0zjuEn?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Paris Nights, \u003cem>Full Package: Act 2\u003c/em> (PlayTooMuch Entertainment)\u003c/h2>\n\u003cp>Unless you’ve been hibernating 24/7 in Siberia, you’ve likely seen “How’s It Goin’ Down,” an instantly hypnotic short video of East Oakland rapper Paris Nights flipping DMX’s classic track. Or you might have even seen her throwbacks to D’Angelo or Lauryn Hill. These viral hits helped her sell out Yoshi’s last month, but it was Paris Nights’ own music that sold me on her star quality. \u003cem>Full Package: Act 2\u003c/em> proves the East Oakland rapper’s skill and finesse on tracks like the fiancé-that-got-away ode “Love of My Life” and the flirtatious “My Way,” in which she raps circles around Kamaiyah. Meanwhile, Paris Nights’ heart is front and center in “From, Your Daughter,” an honest address to her mother reminiscent of Kehlani’s “The Letter.” EP closer “Proud” gives an emotional shoutout to everyone in her close circle. As long as she doesn’t lose that heart on her inevitable path upward, she’ll get the staying power her talent deserves.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3xeBFfWmIJR0mfR1cGCfUd?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Fake Fruit, \u003cem>Mucho Mistrust\u003c/em> (Carpark Records)\u003c/h2>\n\u003cp>I first encountered Fake Fruit opening for the iconic South Bronx sister act ESG. Tasked with hyping a mostly past-middle-age crew of old punks and hip-hop aficionados, Hannah D’Amato, Alex Post and Miles MacDiarmid more than delivered, bringing high-energy, propulsive rock and no small amount of fun to the stage.\u003c/p>\n\u003cp>\u003ci>Mucho Mistrust\u003c/i>, their sophomore album, maintains that intensity, with choruses meant to be screamed back from a sweaty, ecstatically dancing crowd. D’Amato deploys sweetness and raw acidity in equal measure, chronicling what sounds like a rough year. “I hope you had a good time on your sympathy tour,” she deadpans on “Más O Menos,” ramping up the repeated lines to a shriek.\u003c/p>\n\u003cp>The album settles into mellow introspection, exchanging shreds for gentle, dreamy guitar and some well-deployed sax. By the final track, we’ve reached a shaky resolution: Progress isn’t always linear, go easy on yourself.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3719145396/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Esotérica Tropical, \u003cem>Esotérica Tropical\u003c/em> (Self-released)\u003c/h2>\n\u003cp>A shaman and healer from Puerto Rico who found her musical identity in the East Bay, Maria Jose Montijo is known as Majo to friends and Esotérica Tropical on the bandstand. Her eponymous debut album is a wondrous collection of 10 songs and bomba-powered incantations, laced with love, longing and obeisance to ancestral ties, celebrating the natural world and her homeland. Part of what makes the album so enthralling is her fusion of folkloric instruments (harp and drums) with contemporary production via Luis Maurette, Heidi Lewandowski and Adam Partridge. Montijo’s voice is often set amidst an entrancing welter of Afro-Puerto Rican percussion from Julia Cepeda and Denise Solis. Tune-Yards’ Merrill Garbus contributes on “Realismo Mágico,” a song that combines metallic Tom Waits-ian clanks with soaring vocals. She’s not the first to ply these avant-folkloric waters, but Esotérica Tropical flows with a clarity and quenching succor all its own.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2dKS8Oj7T9u7U3UzAtVbJk?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Seiji Oda, \u003cem>a gentle gigg…\u003c/em> (UKNOWME!)\u003c/h2>\n\u003cp>Seiji Oda’s \u003ci>a gentle gigg…\u003c/i> sounds like doing tai chi in a park while an old-school Chevy drives by slapping “Tell Me When To Go.” With fat 808s, gentle xylophone and a whispered cadence, the Oakland rapper taps into a very Bay Area cultural intersection of going dumb at the club Saturday night and waking up to do a mindfulness practice on Sunday. I mean, if you think about it, there’s a strong overlap between the dances of the hyphy movement and age-old somatic healing techniques, or as Oda sagely puts it on the title track, “When I gig all my problems leave through my limbs.”\u003c/p>\n\u003cp>That intuitive Baydrestrian wisdom captivated listeners all over the world. But the three EPs Oda released this year — \u003ci>a gentle gigg…\u003c/i>, \u003ca href=\"https://open.spotify.com/album/1226jmllv5To2StZyFzqK1?si=4qS4ys0WTyS9yPu_R7a2Tw\">\u003ci>Last Summer\u003c/i>\u003c/a> and \u003ca href=\"https://open.spotify.com/album/219hcVDmTTwKVs2FAEy1xZ?si=_ptPYLNjSN6DZ62TuIZMUw\">\u003ci>peace + chaos\u003c/i>\u003c/a> — show he’s not just a viral gimmick, but a talented musician with range who skillfully weaves hyphy, jazz, indie rock and Japanese city pop into a signature sound.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1637895938/size=large/bgcol=ffffff/linkcol=0687f5/license_id=3759/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Sour Widows, \u003cem>Revival of a Friend\u003c/em> (Exploding In Sound Records)\u003c/h2>\n\u003cp>A functional, touring indie rock band out of the Bay Area is rare these days. Simply being able to headline a bicoastal tour behind a new album places you in an elite class. So you really gotta hand it to Oakland’s Sour Widows, who’ve never wavered from making music they love and releasing and touring it exactly how they envisioned it. I remember how they fawned over Boston’s Pile as one of their favorite bands in 2019. Before long, they were on tour with Pile and then eventually, became labelmates on Exploding In Sound Records.\u003c/p>\n\u003cp>Fast forward to 2024, where Maia Sinaiko and Susanna Thomson have dealt with far more loss and tragedy than anyone oughta have to, and along with drummer Max Edelman, have beautifully distilled it into an album about the magic of friendship and the little things in life that get us through the most painful moments. All throughout \u003ci>Revival of a Friend\u003c/i>, they’ve harnessed their desire to write lasting songs, while also wanting to zone out and shred for a minute or two. You feel their catharsis when they see-saw vocally on “Witness” and on “I-90,” which might just be the best song they’ve ever written — filled with idealism, hope and unbridled love for what you desperately wish you could hold onto again.\u003ci>—Adrian Spinelli\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4IczTorllzYqLnPNooQeUM?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>La Doña, \u003cem>Los Altos de la Soledad\u003c/em> (Self-released)\u003c/h2>\n\u003cp>La Doña embraced her boldest ideas on \u003cem>Los Altos de la Soledad\u003c/em>. The ambitious album sees the singer and multi-instrumentalist ascend as a producer, bandleader and storyteller, creating a mosaic of Latin American styles and traditions in her ode to working class, immigrant San Francisco. For the sumptuous bolero “El Regreso,” a cinematic string section and jazz flute by Elena Pinderhughes underscore a sense of longing as La Doña sings the real-life story of her music student who migrated to the U.S. from Guatemala alone. That sensibility of music as oral history continues on protest anthem “Corrido Palestina,” where La Doña affirms the irrepressible determination of anti-war artists and activists. And just as she and her homegirls might go from the protest to the club, she rounds out the album with the reggaeton-meets-cumbia dance floor track “Mejor Que Matarte” and off-kilter party anthem “Cumbia Bellaka.”\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/73tUZvr1SKfltx3RgZxXVf?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Ramirez, \u003ci>The Warlock and the Gorilla\u003c/i> (G59 Records)\u003c/h2>\n\u003cp>Ramirez’s \u003cem>The Warlock and the Gorilla\u003c/em> sounds like a smooth ride through a thunderstorm in hell. The San Francisco MC, whose rap style descends from Memphis’ Three 6 Mafia, has an affinity for the dark side. On his latest project, he does two things really well: He pays tribute to rap classics and adds his own twisted lyrical flavor to the mix. The album contains a refreshingly grimy new interpolation of Silkk the Shocker’s “It Ain’t My Fault,” as well as songs that sample Too Short’s “Freaky Tales,” and King Chip’s “Interior Crocodile Alligator.” The aggressive, uptempo title track could be the soundtrack to a nightmare, and much of his album has demonic tones and references to violence. Yet Ramirez finds time to slip in a message about overcoming oppressive forces on “Casket Dreams,” featuring Pouya. He ends his second verse with the line “Always keep your head up when shit’s feeling too painful,” a reminder that even on a smooth ride through the underworld there’s room for some benevolence to emerge.\u003ci>—Pendarvis Harshaw\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3500570471/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Sam Reider and the Human Hands, \u003cem>The Golem and Other Tales\u003c/em> (Human Hands Music)\u003c/h2>\n\u003cp>A precociously gifted jazz pianist from San Francisco, Sam Reider fell in love with folk music and the accordion as an undergrad in New York City. Today, the Oakland-based artist is one of the most consistently interesting composers working in the unplugged realm where jazz, chamber music and various American folk idioms converge. His most ambitious project yet for his all-star Human Hands, \u003cem>The Golem and Other Tales\u003c/em>, centers on a narrative suite inspired by the Jewish legend of a supernatural creature that a rabbi conjures to life to protect the endangered Jews of Prague. Assigning each instrument to a different character, à la Prokofiev’s \u003cem>Peter and the Wolf\u003c/em>, Reider makes brilliant use of a stellar cast of players, including violinist Alex Hargreaves, alto saxophonist Eddie Barbash and Rising Appalachia fiddler and cellist Duncan Wickel, while artfully deploying an array of influences, from Duke Ellington and Astor Piazzolla to Bernard Herrmann and Raymond Scott.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/6ACmRG5RiVmB0S9Pwqpi1b?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>LaRussell and P-Lo, \u003cem>Majorly Independent\u003c/em> (Good Compenny)\u003c/h2>\n\u003cp>Who knew that a jazz-rap flip of D-Lo’s “No Hoe” was what the Bay Area needed in 2024? Just as I streamed the original track every day on MySpace in 2009, I’ve had LaRussell’s “Yankin’” on repeat in my headphones as I walk out the door to face the day. Delicate keys prance over pounding 808s as LaRussell, young up-and-comer Malachi and hyphy vet D-Lo trade bars that are cocky, comedic and just out-there enough to keep you hanging on every word. That playful spirit is evident in the rest of the project, produced by P-Lo, as LaRussell pays homage to the lineage of Bay Area rap. Richie Rich slides through with an ice-old verse on “What We Doin’.” (His answer? “Smokin’ on herb that’s superb.”) “Lil Lad” is another standout, where LaRussell raps about Bay Area hip-hop as the soundtrack to memories with his dad. \u003ci>Majorly Independent\u003c/i> asserts his place in that legacy.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2436567542/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Tall Tee, \u003cem>Talk To Me\u003c/em> (Self-released)\u003c/h2>\n\u003cp>If you’ve ever found yourself cutting a rug to funk and boogie records from Egyptian Lover to Sandra de Sá at the cultish monthly Sweater Funk parties at the Knockout in the Mission, then \u003cem>Talk To Me\u003c/em> is for you. Dammit, if you just want to listen to music that’s fun as hell, then Tall Tee’s debut album is for you, too. The duo of Joog (from Vallejo) and Flex (from Frisco) have put down a record ripe for all sorts of celebrations. At times they come across like a Fil-Am Chromeo, funkifying their way through the back-and-forth vocals on “Gimme That” and two-step harmonizing on “Distant Lover.” “So Fly” comes with disco panache and yacht rock synths, before delivering a lyrical boogie-breakdown in the shape of “Rapper’s Delight.” There’s a lot to rally behind on \u003cem>Talk To Me\u003c/em>, an apt companion for feeling great.\u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2471383117/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Naked Roommate, \u003cem>Pass the Loofah\u003c/em> (Self-released)\u003c/h2>\n\u003cp>In their second studio album \u003cem>Pass the Loofah\u003c/em>, Naked Roommate return with a distinct blend of sounds that blur the line between dance punk and ’80s electro pop. Every instrumental choice in the album feels intentional yet haphazard, like the rich tenor sax in “Fight Flight” and the grainy, wavy static at the start of “Ducky & Viv.” Nostalgia bleeds through each song in some way or another, and if you listen closely, you can hear how every song is connected as the album progresses. There’s something inherently Bay Area, too, about songs like “Bus.” Beyond the fact that the song is a four-minute, grooving ode to public transportation, its lyrics echo a communal call to journey together, wherever life takes us: “Will you stay still as the world passes by? / Passes by / Passes on by / We take the bus.”\u003cem>—Shannon Faulise\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0uyOPmxwf90ZetNWcyE1Gd?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>John Mackk, \u003cem>Signing Day\u003c/em> (10K Projects)\u003c/h2>\n\u003cp>After it dropped in January, John Mackk’s \u003cem>Signing Day\u003c/em> sent ripple effects through the streets and across social media platforms. The high-octane Oakland rapper’s “Slow It Down,” which features a Bobby Valentino sample, has been one of the most popular songs out of the region over the past calendar year, and has been remixed multiple times with verses from the likes of Mozzy, Mike Sherm, 310babii and more. Produced by Denero “N3ro” Johnson, its combination of quaking bass and heavenly strings creates a catchy dynamic, especially when paired with Mackk’s lyrics. The song’s popularity might only be overshadowed by Mackk’s other 2024 single, “Pose For Me,” (which isn’t on his latest album).\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1423688760/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Osees, \u003cem>Sorcs 80\u003c/em> (Castle Face)\u003c/h2>\n\u003cp>Osees have put out so many albums and changed their name so many times (you might know them for their imperial San Francisco-based run as Thee Oh Sees), you’d imagine fans and critics would’ve gotten fatigue many times over. Yet John Dwyer’s ever-shifting garage-rock project seems to attract a new generation of fans with every new incarnation. Though they’ve been based in L.A. for a decade, you don’t have to look far in the Bay Area music scene to see bands barely of drinking age imitating Dwyer’s jerky presence and jarring whoops. It’s a testament to Osees’ malleability that \u003cem>Sorcs 80\u003c/em> lacks a single guitar and still feels essential. Hearing Dwyer and crew coax such brain-zapping sounds out of their synths is enough to give you faith in the future of rock as a fertile breeding ground for out-there ideas — especially if enough young punks rip off this record.\u003cem>—Daniel Bromfield\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2418799346/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Quinn DeVeaux, \u003cem>Leisure\u003c/em> (Self-released)\u003c/h2>\n\u003cp>Quinn DeVeaux, a longtime singer and guitarist from Oakland, has always rooted his repertoire in blues, R&B, soul and gospel traditions. July’s \u003cem>Leisure\u003c/em> found him once again harnessing those distinctly American genres: A grab bag of styles like soul, rock and country, \u003cem>Leisure\u003c/em> is a rollicking good time that almost jumps out of your speakers. There’s so much energy packed into it, you almost feel like you’re seeing it live.\u003c/p>\n\u003cp>When it was first released, \u003cem>Leisure\u003c/em> felt like a crowd-pleasing record for barbecues and house parties. Recently, however, it has taken on new meaning for me. The way it pays respect to the very best of American music stirs up a strange patriotism: Though many of us may be losing faith in American institutions, \u003cem>Leisure\u003c/em> is a pointed reminder of one of our greatest cultural contributions to the world. Our artistic heritage is something we can’t afford to abandon, and something no one can truly take away — not so long as people like Quinn DeVeaux are keeping it alive.\u003cem>—Jody Amable\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1552304739/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Ian Carey & Wood Metal Plastic, \u003cem>Strange Arts\u003c/em> (Kabocha)\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Strange Arts\u003c/em>, the new album by El Cerrito trumpeter Ian Carey, is less a soundtrack for the visual feast left by his father than a fruitful preliminary dialogue. A maestro of assemblage and collage, Philip Carey created strange and captivating works out of everyday materials. While sorting and archiving the estate after his father’s death in 2022, Ian came to evoke the art’s insistent patterns in the music he wrote for Wood Metal Plastic. Featuring alto saxophonist Kasey Knudsen, bassist Lisa Mezzacappa, drummer Jon Arkin, cellist Jessica Ivry and violinists Alisa Rose and Mia Bella d’Augelli, the seven-piece combo works as a unified ensemble rather than jazz quartet plus strings. Flowing from lush, thickly orchestrated harmonies and quicksilver counterpoint to dissonant undercurrents and skittering cross-section voicings, Carey’s writing unfolds in a bright, liminal dominion where post-bop, free improv and chamber music cavort in playful sympathy.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the year winds down, we at KQED Arts & Culture have been combing through our playlists, looking back at the local releases that impressed, surprised and inspired us — that made us dance and made us feel. Below, in no particular order, you’ll find 20 of our staff and contributors’ favorite albums and EPs of the year.\u003c/p>\n\u003cp>Just like the eclectic Bay Area scene, this list traverses genres as wide-ranging as hyphy, jazz, dance punk, cumbia and more. We hope you get to the end of it with something you’ve never heard before. Listen to our selections in full below, or check out our \u003ca href=\"https://open.spotify.com/playlist/6LakXNEvGqCJFpv9059e3m\">Spotify playlist\u003c/a>.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/6GF5uzX2s0GsS4eGlM4h3m?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Kehlani, \u003cem>Crash\u003c/em> (Atlantic Records)\u003c/h2>\n\u003cp>Kehlani’s sexy banger “After Hours” revived a classic dancehall riddim that propelled 2000s hits by Nina Sky and Pitbull, but her album \u003ci>Crash\u003c/i> has range that goes far beyond the club. On ballads like “Chapel” and the title track (where she belts, “You kiss me like you wanna make love / to all my fuckin’ demons”), Kehlani yearns to be swallowed whole by an all-consuming love. On “Lose My Wife,” there’s a devil on her shoulder as she confesses to messy after-dark behavior. Yet the true jewel of the album is the unexpected collaboration “Sucia,” which pairs Kehlani with R&B veteran Jill Scott and queer reggaetonera Young Miko for poetic seduction with enchanting intensity.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/39wP7bJBE7c61XHR4Sgp1N?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Ovrkast., \u003cem>Kast Got Wings\u003c/em> (IIIXL Studio)\u003c/h2>\n\u003cp>Over the past year Ovrkast. has produced tracks for Canadian superstar Drake, toured with rising DMV artist Mavi and rocked shows in his hometown of Oakland. On \u003cem>Kast Got Wings\u003c/em>, he joins forces with longtime hip-hop producer Cardo Got Wings for a fifteen-minute tape full of head nodding bars and murky beats. “PAYMEAGRIP” and “Up” are two of the more notable tracks, but nothing holds a candle to the song “Cut Up.” Its dark, cutty sample of a rolling piano is an Ovrkast. staple. Combined with drums that echo the funky, mobby, hyphy energy that emanates from the Bay, and served at the perfect tempo, it makes for a winning combination. On the track Ovrkast. says, “Niggas wanted something to go dumb to, so I gave it.” Meaning: if you like Bay Area hip-hop, this is for you.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/5iXgFaNRHYGLj7GFVdN033?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Sammy Shiblaq, \u003cem>The Project of Liberation\u003c/em> (Empire)\u003c/h2>\n\u003cp>On \u003ci>The Project of Liberation\u003c/i>, Sammy Shiblaq offers 16 soul-stirring tracks about the Palestinian struggle — and they all slap. The Detroit-raised, San José-based rapper puts listeners into the minds of everyday Palestinian people yearning for a normal life, who’ve had their homes bombed or stolen, and whose families and communities have been destroyed by Israel’s bombardment. Trunk-shaking anthems like “Gaza Strip 2 Detroit” and “48 Mile” hit the gas, with taut verses full of pride, indigence and defiance. Meanwhile, with their mournful melodies, “LLTR” and “Peace Without Freedom” make space for grief and heartbreak. Yet even as he takes in the horrors of Gaza’s humanitarian crisis, which human rights groups world-over have called a genocide, Shiblaq doesn’t leave listeners paralyzed with despair, but rather full of determination to work towards a more just world.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/02UIYqY314ZBQyRq6YRsgS?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Shannon & The Clams, \u003cem>The Moon Is In the Wrong Place\u003c/em> (Easy Eye Sound)\u003c/h2>\n\u003cp>This is a gorgeous, gut-wrenching, love-soaked dream of an album born from a waking nightmare. When her fiancé died suddenly in a tragic 2022 accident, the world would have forgiven Shannon Shaw for taking some time away from the stage to heal and recalibrate. Instead, she and her band grieved the loss of Joe Haener by creating 14 gorgeous, multilayered tracks that successfully capture the beauty and wonder of true love, as well as all of the discombobulating darkness that lies in the depths of grief.\u003c/p>\n\u003cp>\u003cem>The Moon Is in the Wrong Place\u003c/em> catapulted Shannon & The Clams into space, adding a layer of otherworldliness to the classic retro rock ‘n’ roll sparkle that the band was already beloved for. Not only is the album the perfect tribute to Haener and his relationship with Shaw, it now stands as a source of comfort for anyone who’s ever lost the love of their life.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/5u1hWyjcalS7ItSE8CVorn?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Siaira Shawn, \u003cem>Ephemera\u003c/em> (Over Everything)\u003c/h2>\n\u003cp>The latest album from this San Francisco-raised, Southern California-based R&B artist is a kaleidoscope of sultry soul and new funk. Shawn’s ability to combine pithy, poetic lyrics with heavenly vocal melodies is forefront in this project. On the song “Racing Home,” Shawn’s storytelling shines as she sings “Where’s the fire?” while passionately rushing home to a lover. Shawn floats on the standout track “Jujitsu,” singing about the dance that one does when they’re learning to properly love. And on the album’s first single, “What’s Better,” produced by Grammy-nominated Bay Area musician Mars Today, Shawn pauses time by speaking to the heart of anyone who has been so caught up in the throes of love that they’ve given jewelry to their partner in an effort to symbolize the depth of the connection. “My initials around your neck / But you don’t belong to me / But you belong to me,” sings Shawn. And in that, there’s a plea to the possessive lover in all of us.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/7b8f4dCFRTPXc0YL0zjuEn?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Paris Nights, \u003cem>Full Package: Act 2\u003c/em> (PlayTooMuch Entertainment)\u003c/h2>\n\u003cp>Unless you’ve been hibernating 24/7 in Siberia, you’ve likely seen “How’s It Goin’ Down,” an instantly hypnotic short video of East Oakland rapper Paris Nights flipping DMX’s classic track. Or you might have even seen her throwbacks to D’Angelo or Lauryn Hill. These viral hits helped her sell out Yoshi’s last month, but it was Paris Nights’ own music that sold me on her star quality. \u003cem>Full Package: Act 2\u003c/em> proves the East Oakland rapper’s skill and finesse on tracks like the fiancé-that-got-away ode “Love of My Life” and the flirtatious “My Way,” in which she raps circles around Kamaiyah. Meanwhile, Paris Nights’ heart is front and center in “From, Your Daughter,” an honest address to her mother reminiscent of Kehlani’s “The Letter.” EP closer “Proud” gives an emotional shoutout to everyone in her close circle. As long as she doesn’t lose that heart on her inevitable path upward, she’ll get the staying power her talent deserves.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3xeBFfWmIJR0mfR1cGCfUd?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Fake Fruit, \u003cem>Mucho Mistrust\u003c/em> (Carpark Records)\u003c/h2>\n\u003cp>I first encountered Fake Fruit opening for the iconic South Bronx sister act ESG. Tasked with hyping a mostly past-middle-age crew of old punks and hip-hop aficionados, Hannah D’Amato, Alex Post and Miles MacDiarmid more than delivered, bringing high-energy, propulsive rock and no small amount of fun to the stage.\u003c/p>\n\u003cp>\u003ci>Mucho Mistrust\u003c/i>, their sophomore album, maintains that intensity, with choruses meant to be screamed back from a sweaty, ecstatically dancing crowd. D’Amato deploys sweetness and raw acidity in equal measure, chronicling what sounds like a rough year. “I hope you had a good time on your sympathy tour,” she deadpans on “Más O Menos,” ramping up the repeated lines to a shriek.\u003c/p>\n\u003cp>The album settles into mellow introspection, exchanging shreds for gentle, dreamy guitar and some well-deployed sax. By the final track, we’ve reached a shaky resolution: Progress isn’t always linear, go easy on yourself.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3719145396/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Esotérica Tropical, \u003cem>Esotérica Tropical\u003c/em> (Self-released)\u003c/h2>\n\u003cp>A shaman and healer from Puerto Rico who found her musical identity in the East Bay, Maria Jose Montijo is known as Majo to friends and Esotérica Tropical on the bandstand. Her eponymous debut album is a wondrous collection of 10 songs and bomba-powered incantations, laced with love, longing and obeisance to ancestral ties, celebrating the natural world and her homeland. Part of what makes the album so enthralling is her fusion of folkloric instruments (harp and drums) with contemporary production via Luis Maurette, Heidi Lewandowski and Adam Partridge. Montijo’s voice is often set amidst an entrancing welter of Afro-Puerto Rican percussion from Julia Cepeda and Denise Solis. Tune-Yards’ Merrill Garbus contributes on “Realismo Mágico,” a song that combines metallic Tom Waits-ian clanks with soaring vocals. She’s not the first to ply these avant-folkloric waters, but Esotérica Tropical flows with a clarity and quenching succor all its own.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2dKS8Oj7T9u7U3UzAtVbJk?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Seiji Oda, \u003cem>a gentle gigg…\u003c/em> (UKNOWME!)\u003c/h2>\n\u003cp>Seiji Oda’s \u003ci>a gentle gigg…\u003c/i> sounds like doing tai chi in a park while an old-school Chevy drives by slapping “Tell Me When To Go.” With fat 808s, gentle xylophone and a whispered cadence, the Oakland rapper taps into a very Bay Area cultural intersection of going dumb at the club Saturday night and waking up to do a mindfulness practice on Sunday. I mean, if you think about it, there’s a strong overlap between the dances of the hyphy movement and age-old somatic healing techniques, or as Oda sagely puts it on the title track, “When I gig all my problems leave through my limbs.”\u003c/p>\n\u003cp>That intuitive Baydrestrian wisdom captivated listeners all over the world. But the three EPs Oda released this year — \u003ci>a gentle gigg…\u003c/i>, \u003ca href=\"https://open.spotify.com/album/1226jmllv5To2StZyFzqK1?si=4qS4ys0WTyS9yPu_R7a2Tw\">\u003ci>Last Summer\u003c/i>\u003c/a> and \u003ca href=\"https://open.spotify.com/album/219hcVDmTTwKVs2FAEy1xZ?si=_ptPYLNjSN6DZ62TuIZMUw\">\u003ci>peace + chaos\u003c/i>\u003c/a> — show he’s not just a viral gimmick, but a talented musician with range who skillfully weaves hyphy, jazz, indie rock and Japanese city pop into a signature sound.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1637895938/size=large/bgcol=ffffff/linkcol=0687f5/license_id=3759/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Sour Widows, \u003cem>Revival of a Friend\u003c/em> (Exploding In Sound Records)\u003c/h2>\n\u003cp>A functional, touring indie rock band out of the Bay Area is rare these days. Simply being able to headline a bicoastal tour behind a new album places you in an elite class. So you really gotta hand it to Oakland’s Sour Widows, who’ve never wavered from making music they love and releasing and touring it exactly how they envisioned it. I remember how they fawned over Boston’s Pile as one of their favorite bands in 2019. Before long, they were on tour with Pile and then eventually, became labelmates on Exploding In Sound Records.\u003c/p>\n\u003cp>Fast forward to 2024, where Maia Sinaiko and Susanna Thomson have dealt with far more loss and tragedy than anyone oughta have to, and along with drummer Max Edelman, have beautifully distilled it into an album about the magic of friendship and the little things in life that get us through the most painful moments. All throughout \u003ci>Revival of a Friend\u003c/i>, they’ve harnessed their desire to write lasting songs, while also wanting to zone out and shred for a minute or two. You feel their catharsis when they see-saw vocally on “Witness” and on “I-90,” which might just be the best song they’ve ever written — filled with idealism, hope and unbridled love for what you desperately wish you could hold onto again.\u003ci>—Adrian Spinelli\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4IczTorllzYqLnPNooQeUM?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>La Doña, \u003cem>Los Altos de la Soledad\u003c/em> (Self-released)\u003c/h2>\n\u003cp>La Doña embraced her boldest ideas on \u003cem>Los Altos de la Soledad\u003c/em>. The ambitious album sees the singer and multi-instrumentalist ascend as a producer, bandleader and storyteller, creating a mosaic of Latin American styles and traditions in her ode to working class, immigrant San Francisco. For the sumptuous bolero “El Regreso,” a cinematic string section and jazz flute by Elena Pinderhughes underscore a sense of longing as La Doña sings the real-life story of her music student who migrated to the U.S. from Guatemala alone. That sensibility of music as oral history continues on protest anthem “Corrido Palestina,” where La Doña affirms the irrepressible determination of anti-war artists and activists. And just as she and her homegirls might go from the protest to the club, she rounds out the album with the reggaeton-meets-cumbia dance floor track “Mejor Que Matarte” and off-kilter party anthem “Cumbia Bellaka.”\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/73tUZvr1SKfltx3RgZxXVf?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Ramirez, \u003ci>The Warlock and the Gorilla\u003c/i> (G59 Records)\u003c/h2>\n\u003cp>Ramirez’s \u003cem>The Warlock and the Gorilla\u003c/em> sounds like a smooth ride through a thunderstorm in hell. The San Francisco MC, whose rap style descends from Memphis’ Three 6 Mafia, has an affinity for the dark side. On his latest project, he does two things really well: He pays tribute to rap classics and adds his own twisted lyrical flavor to the mix. The album contains a refreshingly grimy new interpolation of Silkk the Shocker’s “It Ain’t My Fault,” as well as songs that sample Too Short’s “Freaky Tales,” and King Chip’s “Interior Crocodile Alligator.” The aggressive, uptempo title track could be the soundtrack to a nightmare, and much of his album has demonic tones and references to violence. Yet Ramirez finds time to slip in a message about overcoming oppressive forces on “Casket Dreams,” featuring Pouya. He ends his second verse with the line “Always keep your head up when shit’s feeling too painful,” a reminder that even on a smooth ride through the underworld there’s room for some benevolence to emerge.\u003ci>—Pendarvis Harshaw\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3500570471/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Sam Reider and the Human Hands, \u003cem>The Golem and Other Tales\u003c/em> (Human Hands Music)\u003c/h2>\n\u003cp>A precociously gifted jazz pianist from San Francisco, Sam Reider fell in love with folk music and the accordion as an undergrad in New York City. Today, the Oakland-based artist is one of the most consistently interesting composers working in the unplugged realm where jazz, chamber music and various American folk idioms converge. His most ambitious project yet for his all-star Human Hands, \u003cem>The Golem and Other Tales\u003c/em>, centers on a narrative suite inspired by the Jewish legend of a supernatural creature that a rabbi conjures to life to protect the endangered Jews of Prague. Assigning each instrument to a different character, à la Prokofiev’s \u003cem>Peter and the Wolf\u003c/em>, Reider makes brilliant use of a stellar cast of players, including violinist Alex Hargreaves, alto saxophonist Eddie Barbash and Rising Appalachia fiddler and cellist Duncan Wickel, while artfully deploying an array of influences, from Duke Ellington and Astor Piazzolla to Bernard Herrmann and Raymond Scott.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/6ACmRG5RiVmB0S9Pwqpi1b?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>LaRussell and P-Lo, \u003cem>Majorly Independent\u003c/em> (Good Compenny)\u003c/h2>\n\u003cp>Who knew that a jazz-rap flip of D-Lo’s “No Hoe” was what the Bay Area needed in 2024? Just as I streamed the original track every day on MySpace in 2009, I’ve had LaRussell’s “Yankin’” on repeat in my headphones as I walk out the door to face the day. Delicate keys prance over pounding 808s as LaRussell, young up-and-comer Malachi and hyphy vet D-Lo trade bars that are cocky, comedic and just out-there enough to keep you hanging on every word. That playful spirit is evident in the rest of the project, produced by P-Lo, as LaRussell pays homage to the lineage of Bay Area rap. Richie Rich slides through with an ice-old verse on “What We Doin’.” (His answer? “Smokin’ on herb that’s superb.”) “Lil Lad” is another standout, where LaRussell raps about Bay Area hip-hop as the soundtrack to memories with his dad. \u003ci>Majorly Independent\u003c/i> asserts his place in that legacy.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2436567542/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Tall Tee, \u003cem>Talk To Me\u003c/em> (Self-released)\u003c/h2>\n\u003cp>If you’ve ever found yourself cutting a rug to funk and boogie records from Egyptian Lover to Sandra de Sá at the cultish monthly Sweater Funk parties at the Knockout in the Mission, then \u003cem>Talk To Me\u003c/em> is for you. Dammit, if you just want to listen to music that’s fun as hell, then Tall Tee’s debut album is for you, too. The duo of Joog (from Vallejo) and Flex (from Frisco) have put down a record ripe for all sorts of celebrations. At times they come across like a Fil-Am Chromeo, funkifying their way through the back-and-forth vocals on “Gimme That” and two-step harmonizing on “Distant Lover.” “So Fly” comes with disco panache and yacht rock synths, before delivering a lyrical boogie-breakdown in the shape of “Rapper’s Delight.” There’s a lot to rally behind on \u003cem>Talk To Me\u003c/em>, an apt companion for feeling great.\u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2471383117/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Naked Roommate, \u003cem>Pass the Loofah\u003c/em> (Self-released)\u003c/h2>\n\u003cp>In their second studio album \u003cem>Pass the Loofah\u003c/em>, Naked Roommate return with a distinct blend of sounds that blur the line between dance punk and ’80s electro pop. Every instrumental choice in the album feels intentional yet haphazard, like the rich tenor sax in “Fight Flight” and the grainy, wavy static at the start of “Ducky & Viv.” Nostalgia bleeds through each song in some way or another, and if you listen closely, you can hear how every song is connected as the album progresses. There’s something inherently Bay Area, too, about songs like “Bus.” Beyond the fact that the song is a four-minute, grooving ode to public transportation, its lyrics echo a communal call to journey together, wherever life takes us: “Will you stay still as the world passes by? / Passes by / Passes on by / We take the bus.”\u003cem>—Shannon Faulise\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0uyOPmxwf90ZetNWcyE1Gd?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>John Mackk, \u003cem>Signing Day\u003c/em> (10K Projects)\u003c/h2>\n\u003cp>After it dropped in January, John Mackk’s \u003cem>Signing Day\u003c/em> sent ripple effects through the streets and across social media platforms. The high-octane Oakland rapper’s “Slow It Down,” which features a Bobby Valentino sample, has been one of the most popular songs out of the region over the past calendar year, and has been remixed multiple times with verses from the likes of Mozzy, Mike Sherm, 310babii and more. Produced by Denero “N3ro” Johnson, its combination of quaking bass and heavenly strings creates a catchy dynamic, especially when paired with Mackk’s lyrics. The song’s popularity might only be overshadowed by Mackk’s other 2024 single, “Pose For Me,” (which isn’t on his latest album).\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1423688760/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Osees, \u003cem>Sorcs 80\u003c/em> (Castle Face)\u003c/h2>\n\u003cp>Osees have put out so many albums and changed their name so many times (you might know them for their imperial San Francisco-based run as Thee Oh Sees), you’d imagine fans and critics would’ve gotten fatigue many times over. Yet John Dwyer’s ever-shifting garage-rock project seems to attract a new generation of fans with every new incarnation. Though they’ve been based in L.A. for a decade, you don’t have to look far in the Bay Area music scene to see bands barely of drinking age imitating Dwyer’s jerky presence and jarring whoops. It’s a testament to Osees’ malleability that \u003cem>Sorcs 80\u003c/em> lacks a single guitar and still feels essential. Hearing Dwyer and crew coax such brain-zapping sounds out of their synths is enough to give you faith in the future of rock as a fertile breeding ground for out-there ideas — especially if enough young punks rip off this record.\u003cem>—Daniel Bromfield\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2418799346/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Quinn DeVeaux, \u003cem>Leisure\u003c/em> (Self-released)\u003c/h2>\n\u003cp>Quinn DeVeaux, a longtime singer and guitarist from Oakland, has always rooted his repertoire in blues, R&B, soul and gospel traditions. July’s \u003cem>Leisure\u003c/em> found him once again harnessing those distinctly American genres: A grab bag of styles like soul, rock and country, \u003cem>Leisure\u003c/em> is a rollicking good time that almost jumps out of your speakers. There’s so much energy packed into it, you almost feel like you’re seeing it live.\u003c/p>\n\u003cp>When it was first released, \u003cem>Leisure\u003c/em> felt like a crowd-pleasing record for barbecues and house parties. Recently, however, it has taken on new meaning for me. The way it pays respect to the very best of American music stirs up a strange patriotism: Though many of us may be losing faith in American institutions, \u003cem>Leisure\u003c/em> is a pointed reminder of one of our greatest cultural contributions to the world. Our artistic heritage is something we can’t afford to abandon, and something no one can truly take away — not so long as people like Quinn DeVeaux are keeping it alive.\u003cem>—Jody Amable\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1552304739/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Ian Carey & Wood Metal Plastic, \u003cem>Strange Arts\u003c/em> (Kabocha)\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Strange Arts\u003c/em>, the new album by El Cerrito trumpeter Ian Carey, is less a soundtrack for the visual feast left by his father than a fruitful preliminary dialogue. A maestro of assemblage and collage, Philip Carey created strange and captivating works out of everyday materials. While sorting and archiving the estate after his father’s death in 2022, Ian came to evoke the art’s insistent patterns in the music he wrote for Wood Metal Plastic. Featuring alto saxophonist Kasey Knudsen, bassist Lisa Mezzacappa, drummer Jon Arkin, cellist Jessica Ivry and violinists Alisa Rose and Mia Bella d’Augelli, the seven-piece combo works as a unified ensemble rather than jazz quartet plus strings. Flowing from lush, thickly orchestrated harmonies and quicksilver counterpoint to dissonant undercurrents and skittering cross-section voicings, Carey’s writing unfolds in a bright, liminal dominion where post-bop, free improv and chamber music cavort in playful sympathy.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Behind the Scenes of Kendrick Lamar’s ‘Squabble Up’ With Bay Area Turf Dancers",
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"content": "\u003cp>After uniting the West Coast with “Not Like Us” earlier this year, Kendrick Lamar has arrived with another anthem, “squabble up.” The standout track from K.Dot’s surprise new album, \u003cem>GNX\u003c/em>, which hit streaming last Friday, is a funky flip of Debbie Deb’s freestyle classic, “When I Hear Music.” Its music video arrived Monday morning, and Lamar packed it with hip-hop culture (and history) references that lean heavily into his hometown of Compton, and also include an homage to the Bay Area.\u003c/p>\n\u003cp>https://youtu.be/fuV4yQWdn_4?si=-PoFOJhHqeb7Utga\u003c/p>\n\u003cp>In the video, Lamar posts up in an empty Victorian living room, rapping nonchalantly in a Dodgers-blue hoodie while scenes unfold around him, like \u003ca href=\"https://www.artnews.com/art-news/news/kendrick-lamar-henry-taylor-stage-sets-music-festival-lollapalooza-2023-1234675862/\">Henry Taylor paintings\u003c/a> brought to life. David Hammond’s red, green and black \u003ca href=\"https://www.moma.org/collection/works/222169\">\u003cem>African American Flag\u003c/em>\u003c/a> hangs on the wall. Dancers c-walk; girls pose in front of a mall-style airbrushed backdrop; and a lowrider hits the hydraulics. Lamar also slips in references to Black pop culture staples, including Isaac Hayes, \u003cem>Soul Train\u003c/em> and the 1993 film \u003cem>Menace II Society\u003c/em>, which features the \u003ca href=\"https://www.kqed.org/arts/13968340/saafir-dead-oakland-rapper-dies-at-54\">late Oakland rapper Saafir\u003c/a>.\u003c/p>\n\u003cp>About 50 seconds in, we see Lamar crack open a book called \u003cem>How to Be More Like Kendrick for Dummies\u003c/em> as Bay Area turf dancers go stupid and ride scraper bikes around him. Local fans might recognize \u003ca href=\"https://www.instagram.com/dmonte_fashion/\">Dmonte\u003c/a>, \u003ca href=\"https://www.instagram.com/icecold3000/?hl=en\">Icecold 3000\u003c/a> and \u003ca href=\"https://www.instagram.com/aktivetf/\">Aktive\u003c/a> of Turf Feinz and \u003ca href=\"https://www.instagram.com/pti_allgold/?hl=en\">Kiing Velo\u003c/a> (a.k.a. All Gold Niinoo) of Best Alive Dance Crew.\u003c/p>\n\u003cp>“Thank you for phuckin wit east Oakland, west Oakland and Richmond,” Icecold wrote on Instagram.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Icecold 3000 tells KQED the opportunity came about when he least expected it. One day, while playing \u003cem>NBA 2K\u003c/em> with friends, he got an Instagram DM from the video’s director, Calmatic. “He said he needed me to come down to L.A. for something. But he couldn’t tell me what it was because he was on a contract,” Icecold says. [aside postid='arts_13932887,arts_13960019']\u003c/p>\n\u003cp>He and Aktive decided to take a chance and drive down. When they arrived on set, they started to notice it was buzzing with industry figures like L.A. rapper G Perico and dancer Storm DeBarge. Among the many L.A. faces, they ran into Velo and Dmonte, who they knew from the turfing scene in the Bay.\u003c/p>\n\u003cp>“Our chemistry was just so, so electric when we were shooting our takes,” Icecold recalls. “I think we shot like 20 takes almost, and they was asking, ‘Did you just meet each other today? How is the chemistry so high?’ So we had to tell them, we from the same area. We grew up around each other.”\u003c/p>\n\u003cp>As for the \u003ca href=\"https://www.kqed.org/arts/13937384/the-original-scraper-bike-team-cruises-on\">scraper bikes\u003c/a>, they weren’t imported from Oakland. The music video production team recreated their signature colorful wheels. “I think they did a good job with the design, down to the clothes they had us wear. They was really trying to capture the actual essence of the hyphy movement [of the 2000s],” Icecold says.\u003c/p>\n\u003cp>Surprisingly enough, Kendrick Lamar was actually not on set with Icecold and the dancers. He was added into the scene after the fact, in post-production.\u003c/p>\n\u003cp>“So it was basically just everybody else [there], like all the other rappers and artists and people connected to him,” says Icecold.\u003c/p>\n\u003cp>Lamar’s nod to an iconic Bay Area dance style is not the first time the hitmaker has referenced the region in his art. He shot his music video for “Alright,” from his pivotal album \u003cem>To Pimp a Butterfly\u003c/em>, on Treasure Island in 2015. More recently, he tapped Vallejo legend E-40 to host his Juneteenth stadium show in L.A. as he made his victory lap after his beef with Drake. “squabble up” is just his latest show of appreciation for the Bay’s contributions to West Coast hip-hop culture.\u003c/p>\n\u003cp>Icecold 3000, who noted his phone’s been blowing up all day, says he walked away from the experience with a deep sense of gratitude. Not just because Kendrick showed love to the Bay, but because the “squabble up” video reminds audiences that dance is a crucial part of hip-hop. He hopes more artists will include turfing in their videos and keep the art alive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Just him showing love to the dance community first and foremost — I love and respect that,” Icecold says. “I think people forget how big the dancers is, and how important the dancers have always been\u003ci>.”\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After uniting the West Coast with “Not Like Us” earlier this year, Kendrick Lamar has arrived with another anthem, “squabble up.” The standout track from K.Dot’s surprise new album, \u003cem>GNX\u003c/em>, which hit streaming last Friday, is a funky flip of Debbie Deb’s freestyle classic, “When I Hear Music.” Its music video arrived Monday morning, and Lamar packed it with hip-hop culture (and history) references that lean heavily into his hometown of Compton, and also include an homage to the Bay Area.\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/fuV4yQWdn_4'\n title='//www.youtube.com/embed/fuV4yQWdn_4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the video, Lamar posts up in an empty Victorian living room, rapping nonchalantly in a Dodgers-blue hoodie while scenes unfold around him, like \u003ca href=\"https://www.artnews.com/art-news/news/kendrick-lamar-henry-taylor-stage-sets-music-festival-lollapalooza-2023-1234675862/\">Henry Taylor paintings\u003c/a> brought to life. David Hammond’s red, green and black \u003ca href=\"https://www.moma.org/collection/works/222169\">\u003cem>African American Flag\u003c/em>\u003c/a> hangs on the wall. Dancers c-walk; girls pose in front of a mall-style airbrushed backdrop; and a lowrider hits the hydraulics. Lamar also slips in references to Black pop culture staples, including Isaac Hayes, \u003cem>Soul Train\u003c/em> and the 1993 film \u003cem>Menace II Society\u003c/em>, which features the \u003ca href=\"https://www.kqed.org/arts/13968340/saafir-dead-oakland-rapper-dies-at-54\">late Oakland rapper Saafir\u003c/a>.\u003c/p>\n\u003cp>About 50 seconds in, we see Lamar crack open a book called \u003cem>How to Be More Like Kendrick for Dummies\u003c/em> as Bay Area turf dancers go stupid and ride scraper bikes around him. Local fans might recognize \u003ca href=\"https://www.instagram.com/dmonte_fashion/\">Dmonte\u003c/a>, \u003ca href=\"https://www.instagram.com/icecold3000/?hl=en\">Icecold 3000\u003c/a> and \u003ca href=\"https://www.instagram.com/aktivetf/\">Aktive\u003c/a> of Turf Feinz and \u003ca href=\"https://www.instagram.com/pti_allgold/?hl=en\">Kiing Velo\u003c/a> (a.k.a. All Gold Niinoo) of Best Alive Dance Crew.\u003c/p>\n\u003cp>“Thank you for phuckin wit east Oakland, west Oakland and Richmond,” Icecold wrote on Instagram.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Icecold 3000 tells KQED the opportunity came about when he least expected it. One day, while playing \u003cem>NBA 2K\u003c/em> with friends, he got an Instagram DM from the video’s director, Calmatic. “He said he needed me to come down to L.A. for something. But he couldn’t tell me what it was because he was on a contract,” Icecold says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He and Aktive decided to take a chance and drive down. When they arrived on set, they started to notice it was buzzing with industry figures like L.A. rapper G Perico and dancer Storm DeBarge. Among the many L.A. faces, they ran into Velo and Dmonte, who they knew from the turfing scene in the Bay.\u003c/p>\n\u003cp>“Our chemistry was just so, so electric when we were shooting our takes,” Icecold recalls. “I think we shot like 20 takes almost, and they was asking, ‘Did you just meet each other today? How is the chemistry so high?’ So we had to tell them, we from the same area. We grew up around each other.”\u003c/p>\n\u003cp>As for the \u003ca href=\"https://www.kqed.org/arts/13937384/the-original-scraper-bike-team-cruises-on\">scraper bikes\u003c/a>, they weren’t imported from Oakland. The music video production team recreated their signature colorful wheels. “I think they did a good job with the design, down to the clothes they had us wear. They was really trying to capture the actual essence of the hyphy movement [of the 2000s],” Icecold says.\u003c/p>\n\u003cp>Surprisingly enough, Kendrick Lamar was actually not on set with Icecold and the dancers. He was added into the scene after the fact, in post-production.\u003c/p>\n\u003cp>“So it was basically just everybody else [there], like all the other rappers and artists and people connected to him,” says Icecold.\u003c/p>\n\u003cp>Lamar’s nod to an iconic Bay Area dance style is not the first time the hitmaker has referenced the region in his art. He shot his music video for “Alright,” from his pivotal album \u003cem>To Pimp a Butterfly\u003c/em>, on Treasure Island in 2015. More recently, he tapped Vallejo legend E-40 to host his Juneteenth stadium show in L.A. as he made his victory lap after his beef with Drake. “squabble up” is just his latest show of appreciation for the Bay’s contributions to West Coast hip-hop culture.\u003c/p>\n\u003cp>Icecold 3000, who noted his phone’s been blowing up all day, says he walked away from the experience with a deep sense of gratitude. Not just because Kendrick showed love to the Bay, but because the “squabble up” video reminds audiences that dance is a crucial part of hip-hop. He hopes more artists will include turfing in their videos and keep the art alive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Just him showing love to the dance community first and foremost — I love and respect that,” Icecold says. “I think people forget how big the dancers is, and how important the dancers have always been\u003ci>.”\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "political-art-2024-trump-presidency",
"title": "What’s the Use of ‘Political Art’ in 2024?",
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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 is 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 was making 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 is 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 was making 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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"slug": "richie-rich-oakland-rap-larussell-second-act",
"title": "‘Never Underestimate the OG’: Richie Rich's Second Act",
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"headTitle": "‘Never Underestimate the OG’: Richie Rich’s Second Act | KQED",
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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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"title": "How Oakland's Richie Rich Got Back in the Rap Game | KQED",
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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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"title": "How Kev Choice Made Room for Hip-Hop in Classical Music",
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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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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],
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"id": "AlamedaJudge5",
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"location": "Alameda",
"raceName": "Superior Court Judge, Office 5",
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"raceReadTheStory": "",
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"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
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{
"candidateName": "Michael P. Johnson",
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"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
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"candidates": [
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{
"candidateName": "Angela Normand",
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"raceDescription": "Top candidate wins seat.",
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"dateUpdated": "April 1, 2024",
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"timeUpdated": "7:02 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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"candidateParty": "",
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{
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
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"candidates": [
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{
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{
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{
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"voteCount": 7468
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"candidateIncumbent": false,
"candidateParty": "",
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
"totalVotes": 59227,
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
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"timeUpdated": "7:02 PM",
"dateUpdated": "April 1, 2024",
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"timeUpdated": "6:45 PM",
"dateUpdated": "March 28, 2024",
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"timeUpdated": "6:45 PM",
"dateUpdated": "March 28, 2024",
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"timeUpdated": "6:45 PM",
"dateUpdated": "March 28, 2024",
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{
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"timeUpdated": "6:45 PM",
"dateUpdated": "March 28, 2024",
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"timeUpdated": "6:45 PM",
"dateUpdated": "March 28, 2024",
"totalVotes": 17971,
"candidates": [
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"timeUpdated": "6:45 PM",
"dateUpdated": "March 28, 2024",
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"timeUpdated": "6:45 PM",
"dateUpdated": "March 28, 2024",
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"raceName": "Board of Supervisors, District 2",
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"raceType": "top2",
"timeUpdated": "6:54 PM",
"dateUpdated": "March 27, 2024",
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{
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"timeUpdated": "6:54 PM",
"dateUpdated": "March 27, 2024",
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"candidates": [
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"type": "localRace",
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"raceName": "Board of Supervisors, District 4",
"raceDescription": "Candidate with majority vote wins seat. If no candidate reaches majority, top two candidates advance to runoff in general election.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "6:54 PM",
"dateUpdated": "March 27, 2024",
"totalVotes": 12986,
"candidates": [
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"candidateIncumbent": true,
"candidateParty": "",
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{
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"candidateIncumbent": false,
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"MarinLarkspurCC": {
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"type": "localRace",
"location": "Marin",
"raceName": "Larkspur City Council (Short Term)",
"raceDescription": "Top candidate wins seat.",
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"raceType": "top1",
"timeUpdated": "6:54 PM",
"dateUpdated": "March 27, 2024",
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"candidates": [
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{
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},
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"type": "localRace",
"location": "Marin",
"raceName": "Ross Town Council",
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"raceReadTheStory": "",
"raceType": "top3",
"timeUpdated": "6:54 PM",
"dateUpdated": "March 27, 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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"candidateParty": "",
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"candidateParty": "",
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{
"candidateName": "Simon “Peter” Gutierrez Bufete",
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"candidateParty": "",
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},
{
"candidateName": "Calyn Kelley",
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"candidateParty": "",
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{
"candidateName": "Tom Wong",
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"candidateParty": "",
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]
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{
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"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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{
"candidateName": "Amanda Pepper",
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"candidateParty": "",
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{
"candidateName": "Jean Paulsen",
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"candidateParty": "",
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{
"candidateName": "Tara Boyce",
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"candidateParty": "",
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},
{
"candidateName": "Christiaan Vandenheuvel",
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"candidateParty": "",
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{
"candidateName": "Deena Kaplanis",
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"candidateParty": "",
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]
},
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"location": "Alameda",
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},
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{
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{
"candidateName": "Max Roman",
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"candidateParty": "",
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{
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{
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{
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{
"candidateName": "Valerie Arkin",
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"location": "Alameda",
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{
"candidateName": "Matthew B. Gaidos",
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"location": "Alameda",
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{
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{
"candidateName": "Gary Singh",
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"timeUpdated": "9:01 PM",
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{
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{
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"timeUpdated": "9:01 PM",
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{
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{
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{
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{
"candidateName": "Dave Sadoff",
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{
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{
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"timeUpdated": "9:01 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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{
"candidateName": "Jacob Vital",
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{
"candidateName": "Moira “Mimi” Dean",
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{
"candidateName": "Bob Glaze",
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{
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{
"candidateName": "Damaris Villalobos-Galindo",
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"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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{
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"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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"candidates": [
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{
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"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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{
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"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
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{
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]
},
"AlamedaMeasureR": {
"id": "AlamedaMeasureR",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure R",
"raceDescription": "Albany. Business license tax. Passes with 2/3 vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 8856,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4216
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4640
}
]
},
"AlamedaMeasureS": {
"id": "AlamedaMeasureS",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure S",
"raceDescription": "Albany. Appoint city manager. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 8274,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5508
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2766
}
]
},
"AlamedaMeasureT": {
"id": "AlamedaMeasureT",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure T",
"raceDescription": "Albany. Eliminate bond requirement. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 8170,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5793
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2377
}
]
},
"AlamedaMeasureU": {
"id": "AlamedaMeasureU",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure U",
"raceDescription": "Albany. Bonding limit. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7959,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5697
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2262
}
]
},
"AlamedaMeasureV": {
"id": "AlamedaMeasureV",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure V",
"raceDescription": "Albany. Youth voting. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 8767,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5619
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3148
}
]
},
"AlamedaMeasureW": {
"id": "AlamedaMeasureW",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure W",
"raceDescription": "Berkeley. Property transfer tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 51630,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 31461
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 20169
}
]
},
"AlamedaMeasureX": {
"id": "AlamedaMeasureX",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure X",
"raceDescription": "Berkeley. Parcel tax. Passes with 2/3 vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 53242,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 41819
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11423
}
]
},
"AlamedaMeasureY": {
"id": "AlamedaMeasureY",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure Y",
"raceDescription": "Berkeley. Parcel tax. Passes with 2/3 vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 52536,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 39508
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 13028
}
]
},
"AlamedaMeasureZ": {
"id": "AlamedaMeasureZ",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure Z",
"raceDescription": "Berkeley. Sugary drinks and sweetenders tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 52929,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 42280
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 10649
}
]
},
"AlamedaMeasureAA": {
"id": "AlamedaMeasureAA",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure AA",
"raceDescription": "Berkeley. Spending limit. Passes with majority vote. ",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 52282,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 46394
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5888
}
]
},
"AlamedaMeasureBB": {
"id": "AlamedaMeasureBB",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure BB",
"raceDescription": "Berkeley. Affordable housing programs. Passes with majority vote. ",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 52882,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 29623
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 23259
}
]
},
"AlamedaMeasureCC": {
"id": "AlamedaMeasureCC",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure CC",
"raceDescription": "Berkeley. Affordable housing programs. Passes with majority vote. ",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 51633,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 18070
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 33563
}
]
},
"AlamedaMeasureDD": {
"id": "AlamedaMeasureDD",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure DD",
"raceDescription": "Berkeley. CAFO prohibition. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 49700,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 30761
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 18939
}
]
},
"AlamedaMeasureEE": {
"id": "AlamedaMeasureEE",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure EE",
"raceDescription": "Berkeley. Parcel tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 52312,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 23873
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 28439
}
]
},
"AlamedaMeasureFF": {
"id": "AlamedaMeasureFF",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure FF",
"raceDescription": "Berkeley. Parcel tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 52489,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 31942
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 20547
}
]
},
"AlamedaMeasureGG": {
"id": "AlamedaMeasureGG",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure GG",
"raceDescription": "Berkeley. Fossil fuel tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 52229,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 16178
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 36051
}
]
},
"AlamedaMeasureHH": {
"id": "AlamedaMeasureHH",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure HH",
"raceDescription": "Berkeley. Indoor air quality. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 51108,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 22205
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 28903
}
]
},
"AlamedaMeasureII": {
"id": "AlamedaMeasureII",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure II",
"raceDescription": "Dublin. Open Space Initiative. Passes with 50% vote. ",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 25701,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 13649
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 12052
}
]
},
"AlamedaMeasureJJ": {
"id": "AlamedaMeasureJJ",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure JJ",
"raceDescription": "Dublin. Government accountability. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 25445,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 19350
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6095
}
]
},
"AlamedaMeasureK1": {
"id": "AlamedaMeasureK1",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure K1",
"raceDescription": "Hayward. Sales tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 46707,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 38826
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 7881
}
]
},
"AlamedaMeasureLL": {
"id": "AlamedaMeasureLL",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure LL",
"raceDescription": "Newark. Transient occupancy tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 15814,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 12721
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3093
}
]
},
"AlamedaMeasureMM": {
"id": "AlamedaMeasureMM",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure MM",
"raceDescription": "Oakland. Wildfire protection zone. Passes with 2/3 vote. ",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 35275,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 25125
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 10150
}
]
},
"AlamedaMeasureNN": {
"id": "AlamedaMeasureNN",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure NN",
"raceDescription": "Oakland. Parking tax. Passes with 2/3 vote. ",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 159573,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 112971
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 46602
}
]
},
"AlamedaMeasureOO": {
"id": "AlamedaMeasureOO",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure OO",
"raceDescription": "Oakland. Public ethics comission. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 150503,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 110317
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 40186
}
]
},
"AlamedaMeasurePP": {
"id": "AlamedaMeasurePP",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure PP",
"raceDescription": "Pleasanton. Sales tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 34880,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 15983
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 18897
}
]
},
"AlamedaMeasureQQ": {
"id": "AlamedaMeasureQQ",
"type": "localRace",
"location": "Alameda",
"raceName": "Measure QQ",
"raceDescription": "Union City. Gross receipts tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 24809,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 20249
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4560
}
]
},
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7969,
"candidates": [
{
"candidateName": "Jennifer Hansen-Romero",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 2072
},
{
"candidateName": "Peggy (Margaret) McQuaid",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2150
},
{
"candidateName": "Jeremiah Garrett-Pinguelo",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 393
},
{
"candidateName": "Aaron Tiedemann",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 1490
},
{
"candidateName": "Preston Jordan",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 1864
}
]
},
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7865.9493,
"candidates": [
{
"candidateName": "Jennifer Hansen-Romero",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 2002
},
{
"candidateName": "Peggy (Margaret) McQuaid",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2002
},
{
"candidateName": "Jeremiah Garrett-Pinguelo (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Aaron Tiedemann",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 1823.9955
},
{
"candidateName": "Preston Jordan ",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 2037.9538
}
]
},
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7096,
"candidates": [
{
"candidateName": "Jolene Gazmen",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1633
},
{
"candidateName": "Dayna Inkeles",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1972
},
{
"candidateName": "Brian L. Doss",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 718
},
{
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 6949.5470000000005,
"candidates": [
{
"candidateName": "Jolene Gazmen",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1997.5386
},
{
"candidateName": "Dayna Inkeles",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2569.0084
},
{
"candidateName": "Brian L. Doss (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Veronica Davidson",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 2383
}
]
},
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 52493,
"candidates": [
{
"candidateName": "Adena Ishii",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 19978
},
{
"candidateName": "Sophie Hahn",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 19633
},
{
"candidateName": "Kate Harrison",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11853
},
{
"candidateName": "Naomi D. Pete",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 501
},
{
"candidateName": "Logan Bowie",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 528
}
]
},
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 49265,
"candidates": [
{
"candidateName": "Adena Ishii",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 25156
},
{
"candidateName": "Sophie Hahn",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 24109
},
{
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 6873,
"candidates": [
{
"candidateName": "Terry Taplin",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 4787
},
{
"candidateName": "Jenny Guarino",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2086
}
]
},
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 6344,
"candidates": [
{
"candidateName": "Deborah Matthews",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1526
},
{
"candidateName": "John “Chip” Moore",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1459
},
{
"candidateName": "Ben Bartlett",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 3359
}
]
},
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 6096,
"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": 4263
}
]
},
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 8585,
"candidates": [
{
"candidateName": "Nilang Gor",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1063
},
{
"candidateName": "Todd Andrew",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1721
},
{
"candidateName": "Shoshana O’Keefe",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5801
}
]
},
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 8262,
"candidates": [
{
"candidateName": "Nilang Gor (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Todd Andrew",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1995
},
{
"candidateName": "Shoshana O’Keefe",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6267
}
]
},
"AlamedaBerkeleyCityCouncilDistrict6": {
"id": "AlamedaBerkeleyCityCouncilDistrict6",
"type": "localRace",
"location": "Alameda",
"raceName": "Berkeley City Council, District 6",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7332,
"candidates": [
{
"candidateName": "Brent Blackaby",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4405
},
{
"candidateName": "Andy Katz",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2927
}
]
},
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 143599,
"candidates": [
{
"candidateName": "Cristina “Tina” Tostado",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5406
},
{
"candidateName": "Charlene Wang",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 30485
},
{
"candidateName": "Mindy Ruth Pechenuk",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4835
},
{
"candidateName": "Rowena Brown",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 41871
},
{
"candidateName": "Nancy Sidebotham",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2254
},
{
"candidateName": "LeRonne L. Armstrong",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 39258
},
{
"candidateName": "Fabian Robinson",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2794
},
{
"candidateName": "Shawn Danino",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 9695
},
{
"candidateName": "Kanitha Matoury",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5629
},
{
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 127094,
"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": 72315
},
{
"candidateName": "Nancy Sidebotham (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "LeRonne L. Armstrong",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 54779
},
{
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 29613,
"candidates": [
{
"candidateName": "Edward C. Frank",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2581
},
{
"candidateName": "Zac Unger",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 22641
},
{
"candidateName": "Len Raphael",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4391
}
]
},
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 29252,
"candidates": [
{
"candidateName": "Edward C. Frank (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Zac Unger",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 24350
},
{
"candidateName": "Len Raphael",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4902
}
]
},
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 20561,
"candidates": [
{
"candidateName": "Baba Afolabi",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1600
},
{
"candidateName": "Carroll Fife",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 9871
},
{
"candidateName": "Michelle D. Hailey",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1458
},
{
"candidateName": "Warren Mitchell Logan",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6222
},
{
"candidateName": "Shan M. Hirsch",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 609
},
{
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 19506,
"candidates": [
{
"candidateName": "Baba Afolabi (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Carroll Fife",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 11437
},
{
"candidateName": "Michelle D. Hailey (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Warren Mitchell Logan",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 8069
},
{
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 12299,
"candidates": [
{
"candidateName": "Noel Gallo",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 6482
},
{
"candidateName": "Dominic Prado",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1930
},
{
"candidateName": "Erin Armstrong",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3887
}
]
},
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 12059,
"candidates": [
{
"candidateName": "Noel Gallo",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 7120
},
{
"candidateName": "Dominic Prado (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Erin Armstrong",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4939
}
]
},
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 13089,
"candidates": [
{
"candidateName": "Merika Goolsby",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2063
},
{
"candidateName": "Ken Houston",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4428
},
{
"candidateName": "Iris Merriouns",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4132
},
{
"candidateName": "Marcie Hodge",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2466
}
]
},
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 12106,
"candidates": [
{
"candidateName": "Merika Goolsby (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Ken Houston",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6303
},
{
"candidateName": "Iris Merriouns",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5803
},
{
"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": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 137594,
"candidates": [
{
"candidateName": "Brenda Harbin-Forte",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 56752
},
{
"candidateName": "Ryan Richardson",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 80842
}
]
},
"AlamedaOaklandSchoolDirectorDistrict1": {
"id": "AlamedaOaklandSchoolDirectorDistrict1",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland School Director, District 1 ",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 28794,
"candidates": [
{
"candidateName": "Rachel Latta",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 22409
},
{
"candidateName": "Benjamin Salop",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6385
}
]
},
"AlamedaOaklandSchoolDirectorDistrict3": {
"id": "AlamedaOaklandSchoolDirectorDistrict3",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland School Director, District 3 ",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 19777,
"candidates": [
{
"candidateName": "Dwayne Aikens Jr.",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 8847
},
{
"candidateName": "VanCedric Williams",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 10930
}
]
},
"AlamedaOaklandSchoolDirectorDistrict5": {
"id": "AlamedaOaklandSchoolDirectorDistrict5",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland School Director, District 5 ",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 12041,
"candidates": [
{
"candidateName": "Sasha Ritzie-Hernandez",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5578
},
{
"candidateName": "Patrice Berry",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6463
}
]
},
"AlamedaOaklandSchoolDirectorDistrict7": {
"id": "AlamedaOaklandSchoolDirectorDistrict7",
"type": "localRace",
"location": "Alameda",
"raceName": "Oakland School Director, District 7 ",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 12366,
"candidates": [
{
"candidateName": "Clifford Thompson",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 7776
},
{
"candidateName": "Domonic Ware",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4590
}
]
},
"AlamedaSanLeandroCityCouncilDistrict1": {
"id": "AlamedaSanLeandroCityCouncilDistrict1",
"type": "localRace",
"location": "Alameda",
"raceName": "San Leandro City Council, District 1",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 22501,
"candidates": [
{
"candidateName": "Sbeydeh Viveros Walton",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 22501
}
]
},
"AlamedaSanLeandroCityCouncilDistrict2": {
"id": "AlamedaSanLeandroCityCouncilDistrict2",
"type": "localRace",
"location": "Alameda",
"raceName": "San Leandro City Council, District 2",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 28755,
"candidates": [
{
"candidateName": "Ed Hernandez",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 14150
},
{
"candidateName": "Bryan Azevedo",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 14605
}
]
},
"AlamedaSanLeandroCityCouncilDistrict4": {
"id": "AlamedaSanLeandroCityCouncilDistrict4",
"type": "localRace",
"location": "Alameda",
"raceName": "San Leandro City Council, District 4 ",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 22361,
"candidates": [
{
"candidateName": "Fred Simon",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 22361
}
]
},
"AlamedaSanLeandroCityCouncilDistrict6": {
"id": "AlamedaSanLeandroCityCouncilDistrict6",
"type": "localRace",
"location": "Alameda",
"raceName": "San Leandro City Council, District 6 ",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "9:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 27155,
"candidates": [
{
"candidateName": "Robert Aguilar Bulatao",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 10457
},
{
"candidateName": "Dylan Boldt",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 16698
}
]
},
"CCContraCostaCountyBoardofEducationGoverningBoardArea1": {
"id": "CCContraCostaCountyBoardofEducationGoverningBoardArea1",
"type": "localRace",
"location": "Contra Costa",
"raceName": "Contra Costa County Board of Education Governing Board, Area 1",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:39 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 71155,
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"location": "Marin",
"raceName": "Marin Municipal Water District Director, Division 5",
"raceDescription": "Top candidate wins seat.",
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"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
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"candidateParty": "",
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{
"candidateName": "Larry L. Russell",
"candidateIncumbent": true,
"candidateParty": "",
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{
"candidateName": "Dave Keatley",
"candidateIncumbent": false,
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"MarinNorthMarinWaterDistrictDirectorDivision1ShortTerm": {
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"location": "Marin",
"raceName": "North Marin Water District Director, Division 1 — Short Term",
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"dateUpdated": "Dec 3, 2024",
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{
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]
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"MarinNorthMarinWaterDistrictDirectorDivision3": {
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"location": "Marin",
"raceName": "North Marin Water District Director, Division 3",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
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"candidates": [
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"candidateIncumbent": false,
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},
{
"candidateName": "Michael H. Joly",
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]
},
"MarinMeasureAA": {
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"location": "Marin",
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"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
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{
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"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 66819,
"candidates": [
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{
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"MarinMeasureC": {
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"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 1120,
"candidates": [
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"candidateParty": "",
"voteCount": 807
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{
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"candidateIncumbent": false,
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]
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"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 6981,
"candidates": [
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{
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"location": "Marin",
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"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
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"candidates": [
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"candidateIncumbent": false,
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"voteCount": 4123
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{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1762
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]
},
"MarinMeasureH": {
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"location": "Marin",
"raceName": "Measure H",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 4403,
"candidates": [
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"voteCount": 1763
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{
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"candidateIncumbent": false,
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"voteCount": 2640
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]
},
"MarinMeasureI": {
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"type": "localRace",
"location": "Marin",
"raceName": "Measure I",
"raceDescription": "Fairfax. Rent stabilization. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 4733,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2991
},
{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1742
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]
},
"MarinMeasureJ": {
"id": "MarinMeasureJ",
"type": "localRace",
"location": "Marin",
"raceName": "Measure J",
"raceDescription": "Fairfax. Infrastructure bond. Passes with 2/3 vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 4781,
"candidates": [
{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2966
},
{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1815
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]
},
"MarinMeasureK": {
"id": "MarinMeasureK",
"type": "localRace",
"location": "Marin",
"raceName": "Measure K",
"raceDescription": "Larkspur. Rent increase limit. Passes with majority vote. ",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7144,
"candidates": [
{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2710
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4434
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]
},
"MarinMeasureL": {
"id": "MarinMeasureL",
"type": "localRace",
"location": "Marin",
"raceName": "Measure L",
"raceDescription": "Mill Valley. Sales tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 8565,
"candidates": [
{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6623
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1942
}
]
},
"MarinMeasureM": {
"id": "MarinMeasureM",
"type": "localRace",
"location": "Marin",
"raceName": "Measure M",
"raceDescription": "Novato. Sales tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 26157,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 15151
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11006
}
]
},
"MarinMeasureN": {
"id": "MarinMeasureN",
"type": "localRace",
"location": "Marin",
"raceName": "Measure N",
"raceDescription": "San Anselmo. Rent increase limit. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7470,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2756
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4714
}
]
},
"MarinMeasureO": {
"id": "MarinMeasureO",
"type": "localRace",
"location": "Marin",
"raceName": "Measure O",
"raceDescription": "San Anselmo. Tenant benefits. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7560,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2556
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5004
}
]
},
"MarinMeasureP": {
"id": "MarinMeasureP",
"type": "localRace",
"location": "Marin",
"raceName": "Measure P",
"raceDescription": "San Rafael. Parcel tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 23788,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 12375
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11413
}
]
},
"MarinMeasureQ": {
"id": "MarinMeasureQ",
"type": "localRace",
"location": "Marin",
"raceName": "Measure Q",
"raceDescription": "Stinson Beach Fire Protection District. Spending limit. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 332,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 309
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 23
}
]
},
"MarinMeasureR": {
"id": "MarinMeasureR",
"type": "localRace",
"location": "Marin",
"raceName": "Measure R",
"raceDescription": "Stinson Beach Fire Protection District. Parcel tax. Passes with 2/3 vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:57 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 335,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 274
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
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]
},
"NapaNapaCountyBoardofEducationTrusteeArea5": {
"id": "NapaNapaCountyBoardofEducationTrusteeArea5",
"type": "localRace",
"location": "Napa",
"raceName": "Napa County Board of Education, Trustee Area 5",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7504,
"candidates": [
{
"candidateName": "Rory Moran",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2163
},
{
"candidateName": "Gerald Parrott \r",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 5341
}
]
},
"NapaSolanoCountyBoardofEducationTrusteeArea2": {
"id": "NapaSolanoCountyBoardofEducationTrusteeArea2",
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"timeUpdated": "7:25 PM",
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{
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{
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"location": "Napa",
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{
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"candidateParty": "",
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"location": "Napa",
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"timeUpdated": "7:25 PM",
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{
"candidateName": "Kevin “KDub” West",
"candidateIncumbent": false,
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},
"NapaNapaValleyUnifiedSchoolDistrictTrusteeArea4": {
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"type": "localRace",
"location": "Napa",
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"raceDescription": "Top candidate wins seat. ",
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"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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{
"candidateName": "Eve Ryser",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 3877
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},
"NapaNapaValleyUnifiedSchoolDistrictTrusteeArea5": {
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"type": "localRace",
"location": "Napa",
"raceName": "Napa Valley Unified School District, Trustee Area 5",
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"raceType": "top1",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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{
"candidateName": "David T. Gracia",
"candidateIncumbent": true,
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},
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"type": "localRace",
"location": "Napa",
"raceName": "Napa Valley Unified School District, Trustee Area 7",
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"raceType": "top1",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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{
"candidateName": "Julianna Hart",
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"candidateParty": "",
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"location": "Napa",
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"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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{
"candidateName": "Judi Honeychurch",
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"location": "Napa",
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"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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"candidates": [
{
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{
"candidateName": "Pierre Washington",
"candidateIncumbent": false,
"candidateParty": "",
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},
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"location": "Napa",
"raceName": "American Canyon City Council",
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"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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"candidates": [
{
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{
"candidateName": "Elmer Andrei Manaid",
"candidateIncumbent": false,
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{
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{
"candidateName": "Brando R. Cruz",
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"location": "Napa",
"raceName": "Calistoga Mayor",
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"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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"location": "Napa",
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"raceType": "top2",
"timeUpdated": "7:25 PM",
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{
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{
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"raceType": "top1",
"timeUpdated": "7:25 PM",
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{
"candidateName": "Scott Sedgley",
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"location": "Napa",
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"raceType": "top1",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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"candidates": [
{
"candidateName": "Beth Painter",
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]
},
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"id": "NapaNapaCityCouncilDistrict4",
"type": "localRace",
"location": "Napa",
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"raceType": "top1",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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{
"candidateName": "Bernardo “Bernie” Narvaez",
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]
},
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"location": "Napa",
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"raceType": "top1",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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{
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{
"candidateName": "Billy Summers",
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]
},
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"location": "Napa",
"raceName": "St Helena City Council",
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"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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"candidates": [
{
"candidateName": "Michelle Deasy",
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{
"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": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 2117,
"candidates": [
{
"candidateName": "Joe Tagliaboschi",
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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": "",
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]
},
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"type": "localRace",
"location": "Napa",
"raceName": "Napa Valley Unified School District, Measure B",
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"raceType": "yesNo",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 42267,
"candidates": [
{
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"candidateIncumbent": false,
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"voteCount": 23284
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{
"candidateName": "No",
"candidateIncumbent": false,
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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": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 60783,
"candidates": [
{
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{
"candidateName": "No",
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"location": "Napa",
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"raceType": "yesNo",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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{
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{
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"location": "Napa",
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"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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{
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"location": "Napa",
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"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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{
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"location": "Napa",
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"raceType": "yesNo",
"timeUpdated": "7:25 PM",
"dateUpdated": "Dec 3, 2024",
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"candidates": [
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{
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"id": "SFBoardofEducation",
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"location": "San Francisco",
"raceName": "Board of Education",
"raceDescription": "Top four candidates win seat.",
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"raceType": "top4",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
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"candidates": [
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{
"candidateName": "Lefteris Eleftheriou",
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{
"candidateName": "Jaime Huling",
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"voteCount": 168659
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{
"candidateName": "Ann Hsu",
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"voteCount": 81044
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{
"candidateName": "John Jersin",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 122450
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{
"candidateName": "Parag Gupta",
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"voteCount": 139340
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{
"candidateName": "Matt Alexander",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 122698
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{
"candidateName": "Supryia Marie Ray",
"candidateIncumbent": false,
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{
"candidateName": "Virginia Cheung",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 101017
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{
"candidateName": "Min Chang",
"candidateIncumbent": false,
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{
"candidateName": "Maddy Krantz",
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"location": "San Francisco",
"raceName": "Community College Board",
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"raceReadTheStory": "",
"raceType": "top4",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 823294,
"candidates": [
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{
"candidateName": "Leanna C. Louie",
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{
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"voteCount": 162477
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{
"candidateName": "Julio J. Ramos",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 38741
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{
"candidateName": "Aliya Chisti",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 149638
},
{
"candidateName": "Ben Kaplan",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 49320
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{
"candidateName": "Alan Wong",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 140951
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{
"candidateName": "Luis Zamora",
"candidateIncumbent": false,
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"voteCount": 117682
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]
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"type": "localRace",
"location": "San Francisco",
"raceName": "San Francisco Bay Area Rapid Transit District Director, District 7",
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"raceType": "top1",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 161254,
"candidates": [
{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 92729
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{
"candidateName": "Dana Lang",
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"candidateParty": "",
"voteCount": 68525
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]
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"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 137871,
"candidates": [
{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 86966
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{
"candidateName": "Joe Sangirardi",
"candidateIncumbent": false,
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"voteCount": 50905
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]
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"location": "San Francisco",
"raceName": "Measure A",
"raceDescription": "San Francisco Unified School District. School bond. Passes with 55% vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 377297,
"candidates": [
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{
"candidateName": "No",
"candidateIncumbent": false,
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]
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"type": "localRace",
"location": "San Francisco",
"raceName": "Measure B",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 376637,
"candidates": [
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{
"candidateName": "No",
"candidateIncumbent": false,
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]
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"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 370366,
"candidates": [
{
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{
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"candidateIncumbent": false,
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"SFMeasureD": {
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"type": "localRace",
"location": "San Francisco",
"raceName": "Measure D",
"raceDescription": "San Francisco. Commissions and mayoral authority. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 366327,
"candidates": [
{
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"candidateIncumbent": false,
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{
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"candidateIncumbent": false,
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"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 363854,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 192540
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 171314
}
]
},
"SFMeasureF": {
"id": "SFMeasureF",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure F",
"raceDescription": "San Francisco. Police pensions. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 361671,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 163835
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 197836
}
]
},
"SFMeasureG": {
"id": "SFMeasureG",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure G",
"raceDescription": "San Francisco. Affordable housing. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 370824,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 217807
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 153017
}
]
},
"SFMeasureH": {
"id": "SFMeasureH",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure H",
"raceDescription": "San Francisco. Firefighter pensions. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 365942,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 192601
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 173341
}
]
},
"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 363459,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 261318
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 102141
}
]
},
"SFMeasureJ": {
"id": "SFMeasureJ",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure J",
"raceDescription": "San Francisco. City spending. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 362785,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 297972
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 64813
}
]
},
"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 376489,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 206042
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 170447
}
]
},
"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 369575,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 210375
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 159200
}
]
},
"SFMeasureM": {
"id": "SFMeasureM",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure M",
"raceDescription": "San Francisco. Business tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 342310,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 237930
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 104380
}
]
},
"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 363432,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 187979
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 175453
}
]
},
"SFMeasureO": {
"id": "SFMeasureO",
"type": "localRace",
"location": "San Francisco",
"raceName": "Measure O",
"raceDescription": "San Francisco. Reproductive rights. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 373249,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 312914
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 60335
}
]
},
"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 390180,
"candidates": [
{
"candidateName": "London Breed",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 95117
},
{
"candidateName": "Mark Farrell",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 72115
},
{
"candidateName": "Henry Flynn",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1319
},
{
"candidateName": "Keith Freedman",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2079
},
{
"candidateName": "Dylan Hirsch-Shell",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2897
},
{
"candidateName": "Daniel Lurie",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 102720
},
{
"candidateName": "Nelson Mei",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1791
},
{
"candidateName": "Aaron Peskin",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 89215
},
{
"candidateName": "Paul Robertson",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 812
},
{
"candidateName": "Ahsha Safai",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11425
},
{
"candidateName": "Shahram Shariati",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1613
},
{
"candidateName": "Jon Soderstrom",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 412
},
{
"candidateName": "Ellen Zhou",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 8665
}
]
},
"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 331477,
"candidates": [
{
"candidateName": "London Breed",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 149113
},
{
"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": 182364
},
{
"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 35478,
"candidates": [
{
"candidateName": "Sherman D'Silva",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 899
},
{
"candidateName": "Marjan Philhour",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 14755
},
{
"candidateName": "Connie Chan",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 16670
},
{
"candidateName": "Jeremiah Boehner",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1344
},
{
"candidateName": "Jen Nossokoff",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1810
}
]
},
"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 34299,
"candidates": [
{
"candidateName": "Sherman D'Silva (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Marjan Philhour",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 16499
},
{
"candidateName": "Connie Chan",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 17800
},
{
"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 28758,
"candidates": [
{
"candidateName": "Sharon Lai",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 8489
},
{
"candidateName": "Moe Jamil",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3753
},
{
"candidateName": "Wendy Ha Chau",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1565
},
{
"candidateName": "Eduard Navarro",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 879
},
{
"candidateName": "Danny Sauter",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11272
},
{
"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 25568,
"candidates": [
{
"candidateName": "Sharon Lai",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11512
},
{
"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": 14056
},
{
"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 29698,
"candidates": [
{
"candidateName": "Autumn Hope Looijen",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2606
},
{
"candidateName": "Bilal Mahmood",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11840
},
{
"candidateName": "Scotty Jacobs",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2796
},
{
"candidateName": "Allen Jones",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 444
},
{
"candidateName": "Dean Preston",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 12012
}
]
},
"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 27818,
"candidates": [
{
"candidateName": "Autumn Hope Looijen (eliminated)",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 0
},
{
"candidateName": "Bilal Mahmood",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 14741
},
{
"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": 13077
}
]
},
"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 37318,
"candidates": [
{
"candidateName": "Myrna Melgar",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 17532
},
{
"candidateName": "Stephen Martin-Pinto",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5135
},
{
"candidateName": "Edward S. Yee",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1244
},
{
"candidateName": "Matt Boschetto",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 13407
}
]
},
"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 35412,
"candidates": [
{
"candidateName": "Myrna Melgar",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 18916
},
{
"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": 16496
}
]
},
"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 32731,
"candidates": [
{
"candidateName": "Jackie Fielder",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 13844
},
{
"candidateName": "Stephen Jon Torres",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1140
},
{
"candidateName": "Roberto Hernandez",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6606
},
{
"candidateName": "Jaime Gutierrez",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 931
},
{
"candidateName": "Trevor Chandler",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 9042
},
{
"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": "7:55 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 29409,
"candidates": [
{
"candidateName": "Jackie Fielder",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 17546
},
{
"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": 11863
},
{
"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": "7:55 PM",
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"timeUpdated": "7:16 PM",
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"timeUpdated": "7:16 PM",
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"candidateIncumbent": false,
"candidateParty": "",
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{
"candidateName": "Wanda Bowles",
"candidateIncumbent": false,
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},
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"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
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"candidateName": "Pamela Merkadeau",
"candidateIncumbent": true,
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"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
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"candidateIncumbent": true,
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{
"candidateName": "Nic Erridge",
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"candidateParty": "",
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{
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"candidateParty": "",
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{
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"candidateParty": "",
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{
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"candidateIncumbent": false,
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{
"candidateName": "Itzel Negrete",
"candidateIncumbent": false,
"candidateParty": "",
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{
"candidateName": "Mark Wallace",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 272
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{
"candidateName": "Rob Skinner",
"candidateIncumbent": true,
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"location": "San Mateo",
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"raceType": "top1",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 18560,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 10542
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{
"candidateName": "Jo-Ann Byrne Sockolov",
"candidateIncumbent": false,
"candidateParty": "",
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"location": "San Mateo",
"raceName": "Measure K",
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"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 13641,
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"candidateIncumbent": false,
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"voteCount": 8462
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{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 13708,
"candidates": [
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"candidateParty": "",
"voteCount": 9706
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{
"candidateName": "No",
"candidateIncumbent": false,
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"location": "San Mateo",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 49953,
"candidates": [
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"candidateIncumbent": false,
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"voteCount": 38447
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{
"candidateName": "No",
"candidateIncumbent": false,
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"location": "San Mateo",
"raceName": "Measure HH",
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"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
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"voteCount": 1215
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{
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"candidateIncumbent": false,
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"location": "San Mateo",
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"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 20334,
"candidates": [
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"candidateIncumbent": false,
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"voteCount": 13712
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{
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"candidateIncumbent": false,
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"id": "SMMeasureGG",
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"location": "San Mateo",
"raceName": "Measure GG",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 15139,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11203
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{
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"candidateIncumbent": false,
"candidateParty": "",
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},
"SMMeasureU": {
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"type": "localRace",
"location": "San Mateo",
"raceName": "Measure U",
"raceDescription": "Menlo Park City School District. School bond. Passes with 55% vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 14136,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 10174
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{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3962
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]
},
"SMMeasureJ": {
"id": "SMMeasureJ",
"type": "localRace",
"location": "San Mateo",
"raceName": "Measure J",
"raceDescription": "Millbrae Elementary School District. School bond. Passes wtith 55% vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 10950,
"candidates": [
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"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6986
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{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3964
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]
},
"SMMeasureEE": {
"id": "SMMeasureEE",
"type": "localRace",
"location": "San Mateo",
"raceName": "Measure EE",
"raceDescription": "Pacifica School District. Parcel tax. Passes with 2/3 vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 19170,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 13902
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{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5268
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"SMMeasureS": {
"id": "SMMeasureS",
"type": "localRace",
"location": "San Mateo",
"raceName": "Measure S",
"raceDescription": "Ravenswood City School District. Parcel tax. Passes with 2/3 vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7945,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 6249
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{
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"candidateIncumbent": false,
"candidateParty": "",
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},
"SMMeasureX": {
"id": "SMMeasureX",
"type": "localRace",
"location": "San Mateo",
"raceName": "Measure X",
"raceDescription": "San Bruno Park School District. Parcel tax. Passes with 2/3 vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 15828,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11919
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{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3909
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},
"SMMeasureO": {
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"type": "localRace",
"location": "San Mateo",
"raceName": "Measure O",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 15031,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 12419
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{
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"candidateIncumbent": false,
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"voteCount": 2612
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]
},
"SMMeasureY": {
"id": "SMMeasureY",
"type": "localRace",
"location": "San Mateo",
"raceName": "Measure Y",
"raceDescription": "Woodside Elementary School District. Parcel tax. Passes with 2/3 vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 1985,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1536
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{
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"candidateIncumbent": false,
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"voteCount": 449
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"SMMeasureDD": {
"id": "SMMeasureDD",
"type": "localRace",
"location": "San Mateo",
"raceName": "Measure DD",
"raceDescription": "Belmont. Business license tax. Passes with majority vote",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 12925,
"candidates": [
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"candidateParty": "",
"voteCount": 10945
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{
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"candidateIncumbent": false,
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"voteCount": 1980
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"type": "localRace",
"location": "San Mateo",
"raceName": "Measure AA",
"raceDescription": "Colma. Sales tax. Passes with majority vote. ",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 553,
"candidates": [
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"voteCount": 454
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{
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"candidateIncumbent": false,
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]
},
"SMMeasureJJ": {
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"type": "localRace",
"location": "San Mateo",
"raceName": "Measure JJ",
"raceDescription": "East Palo Alto. Rental assistance. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 6278,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4860
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{
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"candidateIncumbent": false,
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"type": "localRace",
"location": "San Mateo",
"raceName": "Measure V",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 13252,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 9831
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{
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"candidateIncumbent": false,
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"SMMeasureR": {
"id": "SMMeasureR",
"type": "localRace",
"location": "San Mateo",
"raceName": "Measure R",
"raceDescription": "Half Moon Bay. Sales tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 6145,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3969
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{
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"candidateIncumbent": false,
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"voteCount": 2176
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]
},
"SMMeasureCC": {
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"type": "localRace",
"location": "San Mateo",
"raceName": "Measure CC",
"raceDescription": "Menlo Park. Transient occupancy tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 15571,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 13009
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{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2562
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]
},
"SMMeasureFF": {
"id": "SMMeasureFF",
"type": "localRace",
"location": "San Mateo",
"raceName": "Measure FF",
"raceDescription": "Millbrae. Term limit. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 9905,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 7729
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{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2176
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]
},
"SMMeasureM": {
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"type": "localRace",
"location": "San Mateo",
"raceName": "Measure M ",
"raceDescription": "Pacifica. Transient occupancy tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 19664,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 15284
},
{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4380
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]
},
"SMMeasureBB": {
"id": "SMMeasureBB",
"type": "localRace",
"location": "San Mateo",
"raceName": "Measure BB",
"raceDescription": "Redwood City. Business license tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 32216,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 26988
},
{
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 5228
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]
},
"SMMeasureQ": {
"id": "SMMeasureQ",
"type": "localRace",
"location": "San Mateo",
"raceName": "Measure Q",
"raceDescription": "San Bruno. Infrastructure bond. Passes with 2/3 vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 17380,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 12703
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4677
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]
},
"SMMeasureL": {
"id": "SMMeasureL",
"type": "localRace",
"location": "San Mateo",
"raceName": "Measure L",
"raceDescription": "San Carlos. Appoint city treasurer. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 14980,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 11206
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 3774
}
]
},
"SMMeasureT": {
"id": "SMMeasureT",
"type": "localRace",
"location": "San Mateo",
"raceName": "Measure T",
"raceDescription": "San Mateo. Affordable housing. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 42554,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 25271
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 17283
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]
},
"SMMeasureW": {
"id": "SMMeasureW",
"type": "localRace",
"location": "San Mateo",
"raceName": "Measure W",
"raceDescription": "South San Francisco. Business lincese tax. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 24535,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 19842
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 4693
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]
},
"SMMeasureI": {
"id": "SMMeasureI",
"type": "localRace",
"location": "San Mateo",
"raceName": "Measure I",
"raceDescription": "Broadmoor Police Protection District. Parcel tax. Passes with 2/3 vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 2085,
"candidates": [
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"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 888
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1197
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]
},
"SMMeasureII": {
"id": "SMMeasureII",
"type": "localRace",
"location": "San Mateo",
"raceName": "Measure II",
"raceDescription": "Pescadero Municipal Advisory Council. Number of members. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:16 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 620,
"candidates": [
{
"candidateName": "Yes",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 450
},
{
"candidateName": "No",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 170
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]
},
"SCCampbellCityCouncilDistrict1": {
"id": "SCCampbellCityCouncilDistrict1",
"type": "localRace",
"location": "Santa Clara",
"raceName": "Campbell City Council, District 1",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 3029,
"candidates": [
{
"candidateName": "Terry Hines",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1599
},
{
"candidateName": "Juan Rodriguez",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1430
}
]
},
"SCCampbellCityCouncilDistrict2": {
"id": "SCCampbellCityCouncilDistrict2",
"type": "localRace",
"location": "Santa Clara",
"raceName": "Campbell City Council, District 2",
"raceDescription": "Top candidate wins seat.",
"raceReadTheStory": "",
"raceType": "top1",
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"dateUpdated": "Dec 5, 2024",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 90597,
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 24265,
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 103124,
"candidates": [
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"location": "Santa Clara",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 7160,
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"location": "Santa Clara",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 7158,
"candidates": [
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"location": "Santa Clara",
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"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 18065,
"candidates": [
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"location": "Santa Clara",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 20980,
"candidates": [
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"candidateIncumbent": false,
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"location": "Santa Clara",
"raceName": "Measure W",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 24905,
"candidates": [
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"location": "Santa Clara",
"raceName": "Measure X",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 40274,
"candidates": [
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"location": "Santa Clara",
"raceName": "Measure Y",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 28676,
"candidates": [
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"candidateIncumbent": false,
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"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure Z",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 55064,
"candidates": [
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"type": "localRace",
"location": "Santa Clara",
"raceName": "Measure AA",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "7:54 PM",
"dateUpdated": "Dec 5, 2024",
"totalVotes": 25605,
"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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"timeUpdated": "7:01 PM",
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{
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"timeUpdated": "7:01 PM",
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"timeUpdated": "7:01 PM",
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{
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"timeUpdated": "8:01 PM",
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{
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]
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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{
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]
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"raceName": "Sonoma County Junior College District, Trustee Area 3 (Rohnert Park Area)",
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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{
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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{
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},
{
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},
{
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{
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"raceName": "Shoreline Unified School District, Trustee Area 1",
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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{
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]
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"raceName": "Windsor Unified School District Governing Board",
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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"candidates": [
{
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},
{
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{
"candidateName": "Bill Adams",
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]
},
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"type": "localRace",
"location": "Sonoma",
"raceName": "Petaluma City (Elementary) and Petaluma Joint Union High School Districts Governing Board, Trustee Area 4",
"raceDescription": "Top candidate wins seat. ",
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"raceType": "top1",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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"candidates": [
{
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},
{
"candidateName": "Ellen Webster",
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"candidateParty": "",
"voteCount": 5527
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]
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"location": "Sonoma",
"raceName": "West Sonoma County Union High School District Governing Board, Trustee Area 2",
"raceDescription": "Top candidate wins seat. ",
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"raceType": "top1",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 5203,
"candidates": [
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"candidateParty": "",
"voteCount": 3030
},
{
"candidateName": "Debbie Ramirez",
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]
},
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"location": "Sonoma",
"raceName": "Oak Grove Union School District Governing Board",
"raceDescription": "Top two candidates win seat.",
"raceReadTheStory": "",
"raceType": "top2",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 3169,
"candidates": [
{
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"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 1205
},
{
"candidateName": "Kali Dukes Wagner",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 865
},
{
"candidateName": "Paloma Escalante De Burrows",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 1099
}
]
},
"SonomaSantaRosaCityCouncilDistrict1": {
"id": "SonomaSantaRosaCityCouncilDistrict1",
"type": "localRace",
"location": "Sonoma",
"raceName": "Santa Rosa City Council, District 1",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 4830,
"candidates": [
{
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"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 4830
}
]
},
"SonomaSantaRosaCityCouncilDistrict3": {
"id": "SonomaSantaRosaCityCouncilDistrict3",
"type": "localRace",
"location": "Sonoma",
"raceName": "Santa Rosa City Council, District 3",
"raceDescription": "Top candidate wins seat. ",
"raceReadTheStory": "",
"raceType": "top1",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 13272,
"candidates": [
{
"candidateName": "Dianna Macdonald",
"candidateIncumbent": true,
"candidateParty": "",
"voteCount": 10798
},
{
"candidateName": "Janice Karrman",
"candidateIncumbent": false,
"candidateParty": "",
"voteCount": 2474
}
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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"timeUpdated": "8:01 PM",
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
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"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 3754,
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 3478,
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 6902,
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 7920,
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"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 6576,
"candidates": [
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"location": "Sonoma",
"raceName": "Measure Z",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 17602,
"candidates": [
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"location": "Sonoma",
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"raceReadTheStory": "",
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 238355,
"candidates": [
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 242253,
"candidates": [
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"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 77893,
"candidates": [
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"location": "Sonoma",
"raceName": "Measure FF",
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"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 77796,
"candidates": [
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"type": "localRace",
"location": "Sonoma",
"raceName": "Measure CC",
"raceDescription": "Cloverdale. Urban growth boundary. Passes with majority vote.",
"raceReadTheStory": "",
"raceType": "yesNo",
"timeUpdated": "8:01 PM",
"dateUpdated": "Dec 3, 2024",
"totalVotes": 3950,
"candidates": [
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{
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"wpLoggedIn": false
},
"localStorageReducer": {},
"browserHistoryReducer": [],
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"articles": []
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {},
"restaurantData": []
},
"reframeReducer": {
"attendee": null
},
"location": {
"pathname": "/artseditorspicks",
"previousPathname": "/"
}
}
