The Brief

The winner of NPR’s 2025 Tiny Desk Contest is the Bay Area’s own Ruby Ibarra.

A research scientist and fiercely poetic lyricist raised in San Lorenzo, Ibarra raps in English alongside the Filipino languages of Tagalog and Bisaya. Her Tiny Desk Contest-winning track, “Bakunawa,” was inspired by the dragon-like serpent of Philippine mythology.

Ibarra sees the Bakunawa and its banishment from society as a metaphor for the way that Filipino history, art and culture as a whole is often shunned and cast aside by the mainstream.

“I just wanted to flip that story,” Ibarra tells KQED. “And this time around, with this song, I wanted to embody the Bakunawa itself.”

The track’s guest artists Ouida, Han Han and June Millington (of the pioneering all-female rock band Fanny) tap into their own inner mythological creature, expressing their powers through musicianship.

Behind the scenes, Ibarra was pregnant while filming the music video for “Bakunawa.” She gave birth to her first child in 2024, the Year of the Dragon. “My daughter,” Ibarra says, “she is my baby dragon, she is my revolution, she is my power.”

“Bakunawa” anchors Ibarra’s upcoming album, the release of which will coincide with a 10-show tour. But first, she has to go to Washington D.C. to perform at NPR’s Tiny Desk.

‘Giving me goosebumps’

When she learned that she won this year’s contest, Ibarra was so surprised that she started crying and her hands started shaking.

“I will say, that typically does not happen to me,” Ibarra says, adding that she’s usually calm and composed. “I think that alone really tells you how much excitement and joy it brought to me.”

Born in the Philippines and raised in the East Bay, Ibarra has been around hip-hop for as long as she can remember. E-40, Hieroglyphics, Lauryn Hill and the late Filipino rapper Francis Magalona were all influences on Ibarra, who started rapping professionally in 2016. She dropped her first album Circa ’91 a year later, and entered the Tiny Desk Contest in 2019 with an attention-grabbing ode to her immigrant mother.

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Gino Lucas

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In 2021, she stepped away from her career as a research scientist to pursue music full-time. In 2023, along with Ouida, she cofounded a Bay Area-based indie collective, BOLO Music Group.

Her music has appeared on Fox’s The Cleaning Lady as well as the soundtracks for the NBA2K23 and NBA2K24 video games.

Now, with this opportunity to bring her art, Filipina heritage and Bay Area culture to the world via NPR’s Tiny Desk, Ibarra joins a long list of legendary artists with humility and appreciation.

“To be there in a few weeks,” she says, “it’s giving me goosebumps.”

Ultimately, she sees it as another way to showcase the diverse culture and creativity that emanated from the Bay Area.

“There’s so much talent here,” she says. “I’m just excited to put on for the Bay.”

The Corporation for Public Broadcasting agreed Monday to fulfill a $36 million, multi-year contract with NPR that it had yanked after pressure from the Trump White House.

The arrangement resolves litigation filed by NPR accusing the corporation of illegally yielding to Trump's demands that the network be financially punished for its news coverage. The argument, part of a broader lawsuit by NPR and several stations against the Trump administration, focused on CPB funding for NPR's operation of a satellite distribution system for local public radio stations. NPR announced Monday it would waive all fees for the stations associated with the satellite service.

The judge in the case had explicitly told CPB's legal team he did not find its defense credible. CPB lawyers had argued that the decision to award the contract to a new consortium of public media institutions was driven by a desire to foster digital innovations more swiftly.

"The settlement is a victory for editorial independence and a step toward upholding the First Amendment rights of NPR and the public media system in our legal challenge to [Trump's] Executive Order," Katherine Maher, President and CEO of NPR, said in a statement. "While we entered into this dispute with CPB reluctantly, we're glad to resolve it in a way that enables us to continue to provide for the stability of the Public Radio Satellite System, offer immediate and direct support to public radio stations across the country, and proceed with our strong and substantive claims against this illegal and unconstitutional Executive Order. We look forward to our day in court in December."

In its submission Monday evening to the court, CPB did not concede that it had acted wrongfully — nor that it had yielded to political pressure from the administration.

Instead, in a statement posted on its website, CPB asserted its side "prevails" as a result of the settlement.

"This is an important moment for public media," said Patricia Harrison, President and CEO of CPB. "We are very pleased that this costly and unnecessary litigation is over, and that our investment in the future through [Public Media Infrastructure] marks an exciting new era for public media." CPB had awarded a rival contract to PMI, a newly created consortium of public radio organizations including several major stations, to ensure the digital distribution system functions properly. That contract will continue, CPB said.

Federal subsidies for public broadcasting stopped on Oct. 1 as a result of a party-line vote over the summer by Congress, called a rescission. Only a skeleton crew remains at CPB, which was created as a nonprofit corporation more than a half-century ago to funnel federal subsidies to public media. While PBS has had layoffs and NPR is monitoring its own finances, many local stations across the country have been hit hard.

Over the course of the litigation this fall, mounting evidence appeared to demonstrate that CPB's board chair and executives had acted against NPR in what turned out to be a futile attempt to salvage the corporation's own future.

In hearings last month in Washington, D.C., U.S. District Court Judge Randolph Moss told CPB's legal team they had not made a credible case for why the corporation reneged on the contract just a day after a top White House official warned senior CPB leaders against doing business with NPR. A trial had been set to start on Dec. 1.

CPB's change of mind — and NPR's ensuing lawsuit — sparked consternation and unease within the larger public media ecosystem. The two organizations had served as partners for decades. But that relationship frayed earlier this year, as the system came under attack from the Trump administration.

Trump's public campaign against NPR and PBS started in earnest soon after he returned to the White House. Trump kicked it into high gear in late March with a series of social media posts.

In early April, CPB leaders sought to get money out the door before Trump took action against public media. On April 2, CPB's board approved the extension of a contract with NPR to distribute public radio programs, including those not produced by NPR. The arrangement stretched back four decades. The amount included millions still due on the then-current contract.

The next day, CPB's board chair and two senior executives met with a top White House budget official who attested to her "intense dislike for NPR." The budget official told them CPB didn't have to "throw the baby out with the bathwater," according to a deposition from CPB executive Clayton Barsoum submitted as part of NPR's legal filings.

And the day after that — just 48 hours after that board vote — CPB reversed itself. CPB executive Kathy Merritt informed NPR's top official over the satellite and distribution service that it had to be spun off: it could not be part of NPR. NPR refused to do so. CPB revised the scope of the contract and solicited new bids. NPR's submission proved unsuccessful.

Meanwhile, the White House was ramping up the pressure. It accused NPR and PBS of bias. On April 14, for example, it issued a formal statement that called their offerings "radical, woke propaganda disguised as 'news'." NPR and PBS's chief executives have rejected the accusations of bias.

On May 1, Trump issued an executive order that no federal money should go to the two public broadcasting networks. NPR and three Colorado public radio stations then filed suit against the White House, saying they were being unlawfully punished because the president did not like their news coverage. They contended the executive order represented a violation of First Amendment protections. Their suit names CPB as a defendant as well for, in their characterization, bending to the president's will. In Monday's legal filing, CPB agreed that the executive order was precisely the sort of government interference that Congress sought to prevent in establishing CPB as it did.

In the summer, Republican leaders in the U.S. Congress, urged on by Trump, pulled back all $1.1 billion for future public broadcasting that had already been approved and signed into law by the president.

Throughout the legal battle, NPR has said, regardless of the outcome of the case, it would work with Public Media Infrastructure.

NPR's broader constitutional case against Trump's executive order purporting to ban federal funding of public media continues. A hearing on its merits is scheduled for December.

Disclosure: This story was reported and written by NPR media correspondent David Folkenflik. It was edited by Deputy Business Editor Emily Kopp and Managing Editors Gerry Holmes and Vickie Walton-James. Under NPR's protocol for reporting on itself, no NPR corporate official or news executive reviewed this story before it was posted publicly.
Copyright 2025 NPR

A long-awaited vision for Huntington Drive is finally coming into focus. In the future, the busy corridor will have dedicated bus lanes, protected bike lanes, two lanes of vehicle traffic in each direction, a thin median and wide sidewalks.

This was the plan chosen by the City for the Huntington Drive Multi-Modal Transportation Improvement Project, which runs on an approximately four-mile stretch of the street between North Mission Road near LAC+USC Medical Center and Alhambra/South Pasadena. This had much more public support than the competing alternative, which featured a wide median rather than wide sidewalks, according to Mary Nemick, a spokesperson for the Bureau of Engineering.

Nemick said the next step is to hire a consultant to create design and engineering documents. This phase is expected to take about two years before groundbreaking can occur.

Currently, Huntington Drive has three vehicular lanes in each direction, the bike lanes are unprotected, and about 25% of the corridor lacks sidewalks. Though pedestrians and bicyclists account for only 1% of peak-hour trips, they account for 54% of severe or fatal injuries from traffic collisions, according to a project document.

The design budget is about $10.5 million, Nemick said, and the overall project cost will be determined after designs are completed.

The project is being funded by some of the money previously allocated for the construction of the 710 Freeway extension, which was abandoned in 2018 after decades of local opposition.

The Columbia Memorial Space Center in Downey held a groundbreaking ceremony Monday for a roughly 40,000-square-foot expansion that will include indoor and outdoor science learning areas and space for special exhibits.

The centerpiece of the buildout will include an interactive display of the Inspiration space shuttle mockup, where visitors can go inside the cargo bay.

Built in 1972, the 35-foot-tall model made of wood, plastic and aluminum functioned as a prototype and fitting tool for all of the orbiters that launched into space.

“We’re super excited to be able to put it on display for the public, really for the first time in forever,” Ben Dickow, president and executive director of the Columbia Memorial Space Center, told LAist.

The expansion will also allow for educational areas, where students can learn about the pioneering engineering and design work that went into building the model at Rockwell International in Downey.

The backstory

Last fall, after sitting in storage for more than a decade, the full-scale model was moved a few blocks to a temporary home.

The Inspiration space shuttle mockup was moved in sections to a temporary home last fall

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Courtesy Columbia Memorial Space Center

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The Space Center said renovation work on the mock up will take months and include rehabs of its 60-foot cargo bay and flight deck.

Dickow said Downey is where all of the Apollo capsules that went to the moon and all of the space shuttles were designed and built.

“This is part of the L.A. story as much as entertainment or anything like that,” Dickow said, adding that it’s a legacy he feels like Angelenos sometimes forget. “The space craft that took humanity to the moon, the space craft that brought humanity into lower earth orbit and built the international space station, these are human firsts... and they all happened right here.”

What’s next? 

The Space Center is looking to raise $50 million that would go toward building plans, special exhibits and more.

Dickow said the new building that will house the space shuttle mockup should be open to the public in about two years.

By early next year, he said the plan is to have the shuttle model available for bi-monthly public visits as it undergoes renovation.