The team from the Coterie Den in San Jose on April 18, 2024. From left to right: website designer Wyatt Perkins, Vizions Management, engineer Isandro, owner LJame$, event coordinator Ruby Rodriguez and photographer Danny Cardona. (Martin do Nascimento/KQED)
Oakland, San Francisco and Vallejo might get all the glory when it comes to producing the Bay Area’s brightest hip-hop talent, but don’t sleep on San José. Not only is it the hometown of the late hyphy architect Traxamillion — who produced all-time 2000s classics like Keak Da Sneak’s “Super Hyphy” and The Jacka’s “Glamorous Lifestyle” — but it’s also where DJ and producer Peanut Butter Wolf started Stones Throw Records, the iconic independent label that put out classic material by Madlib, MF Doom and J Dilla during that same decade.
Though San José is the Bay’s most populous city, today it’s often overlooked when it comes to culture — more known for its tech workers in Tesla Cybertrucks than its music scene. But it doesn’t take much digging to see that there’s a groundswell of local artists working hard to put the 408 back on the map, and take their music beyond the Bay.
It’s an artist-run, D.I.Y. creative space in a basement below a Japantown nail shop. Follow its winding staircase, and inside you’ll find a recording studio; a video, photo and podcast set; and a community event space decorated with murals and canvases by local artists. The Coterie Den is usually bustling with creatives in action, and regularly hosts fashion markets, open mics and gallery shows that are open to the public.
Twenty-eight-year-old rapper and event producer LJame$, aka Lucas Milan, founded the Coterie Den in late 2021 with two business partners. At the time, he felt discouraged by San José’s lack of venues and resources for up-and-coming artists, especially in hip-hop. He came close to burnout and thought about quitting music altogether.
LJame$, aka Lucas Milan, at the Coterie Den in San José on April 18, 2024. (Martin do Nascimento/KQED)
That changed when he and his business partners found the former grocery storage space that would become the Coterie Den. They rolled up their sleeves and put up drywall, soundproofed the studio and hired artists to repaint its salmon-colored walls with graffiti lettering and murals. Pouring his energy into the project reignited LJame$’ passion for creating, and the chance to lift up others became his motivation.
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“Artists can come, put that work in, get their practice in, [get] those reps — right? Like you go to the gym to shoot a shot,” says LJame$, who’s now the Coterie Den’s sole owner.
He runs the studio while also working a tech job by day, and pretty much doesn’t sleep. But he says it’s worth it. He has a team of 10 hungry creatives working alongside him — some of whom are as young as 19.
Engineer Isandro Biaco at the Coterie Den in San José on April 18, 2024. (Martin do Nascimento/KQED)
In-house engineer Isandro — who gets constant props from everyone who stops by during our interview — taught himself to mix and master music, and saved up money from construction work for his own studio equipment. Becoming the Coterie Den’s full-time engineer has opened up new opportunities: In 2022, his own single “Heart2Heart” took off on TikTok, and it was his Coterie Den comrades who instructed him on how to parlay the attention into his budding solo music career.
“I didn’t know what to do with all this hype,” he says. “I didn’t know that you had to be consistent and drop songs and keep feeding the people to grow a fan base. … With the Den, and having the resources here, and having all these dope-ass creative people excited to show me, ‘Yo, this is how you do it,’ we’re able to make it happen.”
Spending an afternoon with the Coterie Den crew, it’s easy to appreciate their collaborative, sibling-like energy. “I tangibly see sometimes how I’ve grown through journal entries. We journal a lot,” reflects LJame$. “I see some of the notes from earlier meetings to now. Like, ‘Man, we want to start an open mic’ to now [having] launched a successful open mic in here.”
Event coordinator Ruby Rodriguez at the Coterie Den in San José on April 18, 2024. (Martin do Nascimento/KQED)
A hip-hop incubator
When I visit the Coterie Den during their open mic season finale in late April, Say Sum Entertainment — a young, multicultural music collective co-hosting the event — is setting up a merch table as aspiring rappers and singers file in. Tonight, the artists will be scored on song structure, beat selection and stage presence by a judges’ panel consisting of LJame$, Isandro and Say Sum founder John John. The open mic winner will get free studio time at the Coterie Den and a booking at Sam Sum’s next showcase.
The Coterie Den’s open mics are where Say Sum Entertainment began to take off, and the collective now has a network of over 100 artists all around the Bay Area who support one another. “Something that we want to keep growing is the community, to keep letting people know that the Bay Area is not all about competition, especially when it comes to music,” says John John.
“I have to give the Coterie Den their flowers, because they helped me grow a lot as an artist — and even as a human being,” says rapper, content creator and Sam Sum Entertainment member 3DDev. He remembers a turning point in his music career, when he got constructive criticism at a Coterie Den open mic: “You feel like you’re on American Idol. The next day I went to the studio and made sure I took the time to polish my skills.”
Artists sign in to participate in the open mic at the Coterie Den in San José on April 18, 2024. (Martin do Nascimento/KQED)
It’s certainly nerve-wracking to get live feedback in front of your peers, and there’s a nervous, excited energy in the room as showtime approaches. I chat with rapper 401k$ey, who with a sheepish grin says it’s his second time ever getting up on stage. LJame$ starts calling artists up.
A rapper with twin braids and a curly mustache named Mr. Amoroso kicks the night off with a sermon about chasing paper that gets everyone nodding in agreement. A singer named Chlo breaks into Tinashe-esque choreography while delivering a diss track to “bitches who try to read a book by its cover.” And Westside Moe charms the room with romantic verses that take everyone back to the Ja Rule and Ashanti era of hip-hop love songs.
Chlo performs at the open mic night at the Coterie Den in San José on April 18, 2024. (Martin do Nascimento/KQED)
The judges heap generous praise but also don’t pull back on critiques. A common refrain is that people need to lower their backing vocals and let the audience hear them. When some of the shyer artists forget to introduce themselves or let on that they’re nervous, the judges emphasize confidence and personal branding.
When 401k$sey goes on, the sheepish demeanor falls away and he’s shoulder-shimmying across the stage while hyping the crowd with a call-and-response hook about rolling up to the club. Everyone loses it when he suddenly switches to rapping full force in Tagalog.
“Pare!” Isandro exclaims in Tagalog from the judges’ table. “Yeah, bruh, for the second performance, I’m blown away. It looks like you been doing this shit.”
At the end of the night, Mr. Amoroso takes the crown, and everyone ends the night with smiles, hugs and fuel for their next moves.
From left to right: John John, LJame$ and Isandro. LJame$ reviews the performance of a contestant at the open mic night at the Coterie Den in San José on April 18, 2024. (Martin do Nascimento/KQED)
A melting pot in Japantown
The Coterie Den is one of the newer businesses in Japantown, home to some eateries and shops that have been around since the 1940s and ’50s. As San José’s Japanese American population ages or moves away to suburbs, the neighborhood is becoming more multicultural — something reflected in its artistic expression.
LJame$, who is Chicano, has been organizing car shows and artist markets with his team in Japantown, and he says it took a while for some of the old-school neighborhood merchants to embrace the Coterie Den crew. He has a supporter in fellow business owner My Nguyen, who co-founded nearby streetwear boutique Headliners in 2011. With the addition of Coldwater, known for its airbrushed sportswear and in-house streetwear brand Jubo, there’s now a critical mass of establishments rooted in hip-hop culture in the neighborhood.
“Being a young, Brown gentleman in here — and Japantown [has] a board and they have a whole business association and a very tight-knit community,” LJame$ says. “My stuck up for me a lot. I appreciate him for doing that and opening up doors for us.”
401k$ey performs at the open mic night at the Coterie Den in San José on April 18, 2024. (Martin do Nascimento/KQED)
The crowd at Coterie Den — Chicano, Filipino, Vietnamese, Black, white — reflects that sense of solidarity. “I want to showcase that to the world because coexisting, being in places where we can all absorb the culture and learn and listen and talk to one another — that’s special,” LJame$ says. “And the world needs more of that. Not just only in the creative scene, but everywhere.”
“It’s like San José itself is a culture, but everybody kind of has their own culture,” says the Coterie Den’s event coordinator, Ruby Rodriguez.
The audience watches performances during the open mic night at the Coterie Den in San Jose on April 18, 2024. (Martin do Nascimento/KQED)
She has a major hand in the Coterie Den’s gatherings, including an even bigger open mic at last weekend’s Culture Night Market at Discovery Meadows. On May 26, the Coterie Den is hosting a Japantown vintage and thrift market; on June 2, they’re sponsoring a Sunday Funday networking event and day party at nightclub Fuze SJ; and on June 3, the Coterie Den will open its doors for more networking and live performances at Innovative Meetup.
The Coterie Den team is passionate about their neighborhood. But their vision doesn’t stop there. They want to take their music beyond San José, and even beyond the Bay.
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“I want to have one of these in LA. I want to have one in New York. I want to take this exact culture that we’re building, and just transcend the region,” LJame$ says. “I think we have something special to show of course for our city, of course for the Bay area. … And I feel like it needs to be spread across the nation.”
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When he isn't writing or editing, you'll find him eating most everything he can get his hands on.","avatar":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twitter":"theluketsai","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]}],"headData":{"title":"Luke Tsai | KQED","description":"Food Editor","ogImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ltsai"},"tpham":{"type":"authors","id":"11753","meta":{"index":"authors_1716337520","id":"11753","found":true},"name":"Thien Pham","firstName":"Thien","lastName":"Pham","slug":"tpham","email":"thiendog@gmail.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":null,"avatar":"https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]}],"headData":{"title":"Thien Pham | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/fa68ed7d6a785e5294a7bb79a3f409c3?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/tpham"},"rockyrivera":{"type":"authors","id":"11846","meta":{"index":"authors_1716337520","id":"11846","found":true},"name":"Rocky Rivera","firstName":"Rocky","lastName":"Rivera","slug":"rockyrivera","email":"ms.rocky.rivera@gmail.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":"Rocky Rivera is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book last year, entitled \u003cem>Snakeskin: Essays by Rocky Rivera\u003c/em> and writes the Frisco Foodies column.","avatar":"https://secure.gravatar.com/avatar/946241ee2c59e6040607dfc75240d91b?s=600&d=blank&r=g","twitter":null,"facebook":"https://m.facebook.com/rockyriveramusic","instagram":"https://instagram.com/rockyrivera","linkedin":null,"sites":[{"site":"arts","roles":["author"]}],"headData":{"title":"Rocky Rivera | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/946241ee2c59e6040607dfc75240d91b?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/946241ee2c59e6040607dfc75240d91b?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/rockyrivera"},"nvoynovskaya":{"type":"authors","id":"11387","meta":{"index":"authors_1716337520","id":"11387","found":true},"name":"Nastia Voynovskaya","firstName":"Nastia","lastName":"Voynovskaya","slug":"nvoynovskaya","email":"nvoynovskaya@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Associate Editor","bio":"Nastia Voynovskaya is a Russian-born journalist raised in the Bay Area and Tampa, Florida. She's the associate editor at KQED Arts & Culture. She's the recipient of the 2018 Society of Professional Journalists-Northern California award for arts & culture reporting. In 2021, a retrospective of the 2010s she edited and creative directed, Our Turbulent Decade, received the SPJ-NorCal award for web design. Nastia's work has been published in NPR Music, \u003cem>San Francisco Chronicle\u003c/em>, VICE, Paste Magazine, Bandcamp and SF MoMA Open Space. Previously, she served as music editor at \u003cem>East Bay Express\u003c/em> and online editor at \u003cem>Hi-Fructose Magazine\u003c/em>. She holds a B.A. in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13959765":{"type":"posts","id":"arts_13959765","meta":{"index":"posts_1716263798","site":"arts","id":"13959765","found":true},"guestAuthors":[],"slug":"best-filipino-restaurant-oakland-tipunan-ghost-kitchen","title":"The Best Filipino Restaurant in the Bay Area Isn’t a Restaurant at All","publishDate":1718308825,"format":"standard","headTitle":"The Best Filipino Restaurant in the Bay Area Isn’t a Restaurant at All | KQED","labelTerm":{},"content":"\u003cp>\u003cstrong>\u003cem>Frisco Foodies is a recurring column in which a San Francisco local shares food memories of growing up in a now rapidly changing city.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[dropcap]I[/dropcap]n 1986, when my family first moved to San Francisco from Angeles City, in the Philippines, we were enamored with American fast food: seafood pizza at Shakey’s and Uno’s deep dish on Friday nights, a bucket of KFC with corn and coleslaw, and a “choco shake” from the “McDo’s” drive-thru on Gellert on the way to Lolo’s house.\u003c/p>\n\u003cp>But on special occasions, we would gather the family for a big Filipino feast. We’d head to Fiesta Filipina in Daly City and eat pancit palabok and lechon kawali in an upscale setting, amongst other Filipinos who longed for that sense of community. I remember shifting uncomfortably on the bamboo chairs that mirrored my own living room set at home, my mom always urging me to order the fresh young coconut juice with the red straw peeking out of its top hat, and the halo-halo for dessert. Though we usually ate these dishes at home, the experience of enjoying them out among our people was what made growing up Pinay in The City feel special.\u003c/p>\n\u003cp>Back then, there were so many big Filipino family restaurants to choose from. If you grew up Filipino on the Peninsula in the ’80s and ’90s, you know how to finish the vintage restaurant jingle, “Tito Rey’s…” To this day, any Gen Xer or elder Millennial worth their soy sauce will respond, “…Night or Day!” The bustling 200-seat eatery-turned-nightclub in South San Francisco, with its full bar and ballroom, accommodated the large wave of Filipinos who immigrated to the Bay Area after World War II, increasing the population fivefold. Sadly, the restaurant is no longer around, but the memories of that jingle — and a time when newly-immigrated parents like mine had a place to dine, drink and dance the night away — are burned into my brain.\u003c/p>\n\u003cfigure id=\"attachment_13959780\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/FF-5-1980s-filipino-restaurant.jpg\" alt=\"Vintage photo of a man singing karaoke at a Filipino restaurant in the 1980s. A group of children seated at a table look on.\" width=\"2000\" height=\"1372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/FF-5-1980s-filipino-restaurant.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/FF-5-1980s-filipino-restaurant-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/FF-5-1980s-filipino-restaurant-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/FF-5-1980s-filipino-restaurant-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/FF-5-1980s-filipino-restaurant-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/FF-5-1980s-filipino-restaurant-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/FF-5-1980s-filipino-restaurant-1920x1317.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A young Rocky Rivera (2nd from the right, in green) watches a karaoke singer at a restaurant in Angeles City in the Philippines during the mid-1980s. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And as we grew older, it was South City establishments like Tito Rey’s and Solita’s that allowed my dance troupe to use their restaurant as a venue because they always had a ballroom — or, at the very least, a dance floor. It was there that I learned that a “Filipino goodbye” was the opposite of an \u003ca href=\"https://slate.com/human-interest/2023/09/irish-goodbye-exit-why-chronic-illness.html\">Irish one\u003c/a>. Kids like me would whine to their parents “Can we go now?” while they made their leisurely rounds bidding farewell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s hard to imagine doing the same now that I’m the parent. It seems like most of today’s Filipino restaurants have either gone fine dining or fast fusion — and, in the meantime, all of those big, family-focused spots have closed. None of the new places are jumping on a Saturday night with a live cover band and couples dressed to the nines, cha-cha-ing it up to the latest hits. Those “third places” for Bay Area Filipinos have largely disappeared, even as our food has finally hit the mainstream. Few places are providing for our need to be fed \u003ci>and\u003c/i> entertained.\u003c/p>\n\u003cp>To be honest, not many of them are serving the kind of Filipino food I want to eat either. This upbringing of abundance made my palate sharp, discerning and always waxing nostalgic. I constantly compare the food at local Fil-Am restaurants to my own mother or grandmother’s style of cooking. And since both sides of my family hail from Pampanga, the culinary capital of the Philippines, I’m not often impressed.\u003c/p>\n\u003cfigure id=\"attachment_13957299\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-16-BL-KQED.jpg\" alt=\"Pork sisig in a plastic takeout container.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-16-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-16-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-16-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-16-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-16-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-16-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-16-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An order of Tipunan’s pork sisig, served in a takeout container. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Until one day in 2020 when I \u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">really needed a plate of comfort food\u003c/a> and found it at Tipunan in Oakland — in my opinion, the best classic Filipino food in all of the Bay Area. Deep in the throes of the pandemic, the restaurant’s rich pork belly kare-kare and tangy sinigang provided solace when I was grieving the loss of my mother, strengthening my connection to the motherland that I felt was jeopardized after her passing. And when my father-in-law passed six months after that, we put a plate of his favorite — pork sisig — on our family altar, again courtesy of Tipunan. We ate a lot of takeout during that time, with condolences offered in the form of Venmo pings and food delivery gift cards. It was the ideal consolation for the void we all felt, except for one thing: The place didn’t exist. Which is to say, it didn’t have a physical restaurant space beyond its DoorDash ordering menu.\u003c/p>\n\u003cp style=\"text-align: center\">***\u003c/p>\n\u003cp>On a recent Friday, Chef Kai Torres-Cansino meets me in the small dining area of Oakland Food Hall, a ghost kitchen facility off East 12th, along with her partner in life and business, Jojo Cansino. They are the founders of Tipunan, which in Tagalog means “gathering place”— an irony not lost on me when I made a vow to finally track them down. Before they moved into this new space in Jingletown, there was no dine-in portion of the restaurant, just a kitchen a few blocks away off East 18th. Even now, the handful of picnic tables outside their new facility are mostly occupied by DoorDash drivers rather than actual customers.\u003c/p>\n\u003cfigure id=\"attachment_13957303\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957303\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-43-BL-KQED.jpg\" alt=\"Exterior of the Oakland Food Hall ghost kitchen facility.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-43-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-43-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-43-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-43-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-43-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-43-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-43-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Oakland Food Hall, which markets itself as a “restaurant co-op” primarily specializing in to-go meals. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside these ghost kitchens, Chef Kai cooks her homestyle dishes from Bicol and Pampanga, the cities in the Philippines where her mother and father grew up, respectively. These recipes were passed down from generation to generation, and growing up, she remembers experiencing them most vividly during big reunions with her father’s side of the family in Pampanga.\u003c/p>\n\u003cp>“Have you tried my tocino?” she asks, referring to the specialty dish of sweet marinated pork. “I really love it because it’s really Kapampangan tocino.” She tells me about how she tweaked the recipe to make it taste more similar to the carabao style that’s popular in her hometown. “It’s a little bit sweet-and-sour taste but very Kapampangan. It’s so good,” she says with pride.\u003c/p>\n\u003cp>Growing up, she learned how to cook from her mom: first chopping tomatoes, then moving up to boiling water and, later, sautéeing and grilling. Her family owned bowling lanes in Manila and Pampanga, so they always ran a cafe on-site, giving Kai the experience to know what good food should taste like — and, more importantly, how to make it to order.\u003c/p>\n\u003cfigure id=\"attachment_13957298\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957298\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-14-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-14-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-14-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-14-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-14-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-14-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-14-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-14-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A spread of Filipino dishes includes kare-kare, a classic stew with a thick savory peanut sauce. For dining in, the Oakland Food Hall offers a handful of seats inside and several picnic tables outside — though often these are occupied by delivery app drivers. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During this visit to Tipunan, I’ve ordered my usuals: pork rib sinigang, pork sisig, crispy pork belly kare-kare and turon, or caramelized banana lumpia, for dessert. As usual, the sinigang is perfectly sour with tamarind. The kare-kare comes with its savory peanut sauce, bok choy and cabbage kept separate from the ulam, like my Lola used to do, to prevent it from getting soggy — and of course, the crispy pork belly, which takes at least 24 hours to prepare, is spectacular. They also offer healthier tofu versions of their sisig and kare-kare, though Chef Kai stresses that she’s “not a fan of fusion.” “That’s why the food is very classic,” she says.\u003c/p>\n\u003cp>Serving classic Filipino food is easier said than done, as many in the diaspora are extra harsh on businesses that don’t match their taste of home cooking. Any Filipino restaurant will share the same review: “It’s good, but not as good as my Nanay’s and Lola’s.” But Tipunan’s many four- and five-star reviews on DoorDash differ, likening the chef’s cooking to their own family’s spread, a feeling that hits the heart as much as it fills the stomach.\u003c/p>\n\u003cp>While Chef Kai has the seasoned palate, her partner, Jojo, is the one who surprised her with a business proposal. “The idea came about because at home, I don’t do any of the cooking because I am usually busy at work,”Jojo explains. “My wife does all the cooking.” So Jojo proposed starting their own business, at first just selling Kai’s prized banana bread and then, eventually, her Filipino home cooking.\u003c/p>\n\u003cfigure id=\"attachment_13957302\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-38-BL-KQED.jpg\" alt=\"A touch screen menu for a Filipino restaurant.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-38-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-38-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-38-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-38-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-38-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-38-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-38-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">At Oakland Food Hall, food from over 20 restaurants can be ordered online or on a touchscreen. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have the spirit of an entrepreneur and I’ve been working for myself for, maybe, fifteen years. And [Kai] was working for a corporate food service,” Jojo recalls. She says she inherited that knack for business from her grandmother, Corazon M. Espino, the first woman governor of the Nueva Vizcaya province in the Philippines. Because she and Kai started the business during the pandemic, they prioritized starting small with a kitchen that had a low start-up cost. For a whole year, it was just the two of them working late into the night and washing dishes afterward. When they got an opportunity to relocate to Oakland Food Hall, it was the streamlined system and better access point for delivery drivers that sealed the deal.\u003c/p>\n\u003cp>I must admit that I panicked during the time Tipunan went offline to move locations. I thought to myself that it was too good to be true, wondering about the volatility of starting their business in Oakland, which only has two other traditional Filipino restaurants in the entire city. When they finally went back online, I vowed to track down who was behind this mysterious restaurant with zero social media presence and not even a storefront to promote their business. But now, seeing Tipunan thrive amongst the other kitchens in the food hall, I have hope in this scrappy contender borne from a shared entrepreneurial spirit and love for our culture’s traditional recipes.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13921079,arts_13939383,arts_13956683']\u003c/span>As I look around the massive building that houses over twenty partner restaurants in one place, I marvel at its capacity to feed the community, while also employing multiple businesses in one location. It touts itself as a “restaurant co-op” whose mission is “to become your go-to spot for to-go meal.” Inside is a maze of kitchens that are more similar to studios in Hollywood lots than actual restaurants. It’s hard to tell if these “cloud” or “ghost kitchens” are good or bad for the actual workers, but they were a necessity during the pandemic when we were all forced to stay at home indefinitely.\u003c/p>\n\u003cp>And since Tipunan moved in from their previous ghost kitchen in May of 2022, they’ve increased their staff to five and expanded their menu to include bulgogi tacos and burritos. “Some people lost their job and closed their restaurants during the pandemic, and we were the lucky ones because that’s when Tipunanan was born,” says Kai. Unlike a full-service restaurant, they’ve been able to experiment with new items and ideas with lower risk, first introducing them to existing customers before branching out.\u003c/p>\n\u003cp>Deep down, however, Jojo still wishes they could open a dine-in location. In fact, the couple first met at a \u003ca href=\"https://thefortsf.com/\">Filipino restaurant on the Peninsula \u003c/a>— one that still has events and live music on Saturday nights. “I want to have a space like that, where people on the weekends say, ‘Hey what are you doing? Let’s go hang out at Tipunan. Let’s get something to eat.’ And when you get there, there’s entertainment, we have fun and we create memories,” she says. The most important thing, however, is that they now have a business that’s able to support five employees. “That to me, is rewarding by itself.”\u003c/p>\n\u003cfigure id=\"attachment_13957300\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-20-BL-KQED.jpg\" alt='Two Filipino women in black \"Tipunan\" shirts sit laughinh on a picnic table.' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-20-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-20-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-20-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-20-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-20-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-20-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-20-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Founders Jojo Cansino (left) and Chef Kai Torres-Cansino sit on a picnic table outside of Tipunan’s ghost kitchen facility. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With so many full-fledged restaurants in the Bay Area still unable to operate seven days a week, those childhood memories of being out and about eating FIlipino food with my family feel like \u003ca href=\"https://www.foundsf.org/index.php?title=DALY_CITY:_THE_NEW_FILIPINOTOWN\">ancient history\u003c/a>. Hearing elders belt out karaoke hits, their voices hoarse with raucous laughter and drowned in San Miguel beer, felt like a piece of home — except it was right there in South City. A place to find the love of your life, even, like Kai and Jojo did.\u003c/p>\n\u003cp>For now, I’m just grateful that a place like Tipunan exists to preserve those old recipes and to feed us during all of those important family celebrations — even if we’re laying out the takeout cartons on the dining room table at home.\u003c/p>\n\u003cp>And, for Chef Kai, at least, the idea of running one of those big family restaurants that used to rule the Bay Area’s Filipino scene is more than a little daunting. “At this kitchen, we’re already here 12 hours a day. How much more at a dine-in to maintain the consistency and quality, and then have the entertainment and bar? I’m gonna be drunk every night!” she laughs.\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://tipunan.com/\">\u003ci>Tipunan\u003c/i>\u003c/a>\u003ci> is open for \u003c/i>\u003ca href=\"https://tipunan.com/order-online\">\u003ci>online orders\u003c/i>\u003c/a>\u003ci>, with pickup available at 2353 E.12th St. in Oakland.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera, \u003cem> in 2021\u003c/em>\u003cem>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Tipunan is serving the Bay's most delicious, most traditional Filipino food out of an Oakland ghost kitchen.","status":"publish","parent":0,"modified":1718329755,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":2438},"headData":{"title":"The Bay Area's Best Filipino Restaurant Is Run Out of a Ghost Kitchen | KQED","description":"Tipunan is serving the Bay's most delicious, most traditional Filipino food out of an Oakland ghost kitchen.","ogTitle":"The Best Filipino Restaurant in the Bay Area Isn’t a Restaurant at All","ogDescription":"","ogImgId":"","twTitle":"The Best Filipino Restaurant in the Bay Area Isn’t a Restaurant at All","twDescription":"","twImgId":"","socialTitle":"The Bay Area's Best Filipino Restaurant Is Run Out of a Ghost Kitchen %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Best Filipino Restaurant in the Bay Area Isn’t a Restaurant at All","datePublished":"2024-06-13T13:00:25-07:00","dateModified":"2024-06-13T18:49:15-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Frisco Foodies","sourceUrl":"https://www.kqed.org/arts/tag/frisco-foodies","sticky":false,"nprStoryId":"kqed-13959765","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13959765/best-filipino-restaurant-oakland-tipunan-ghost-kitchen","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Frisco Foodies is a recurring column in which a San Francisco local shares food memories of growing up in a now rapidly changing city.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n 1986, when my family first moved to San Francisco from Angeles City, in the Philippines, we were enamored with American fast food: seafood pizza at Shakey’s and Uno’s deep dish on Friday nights, a bucket of KFC with corn and coleslaw, and a “choco shake” from the “McDo’s” drive-thru on Gellert on the way to Lolo’s house.\u003c/p>\n\u003cp>But on special occasions, we would gather the family for a big Filipino feast. We’d head to Fiesta Filipina in Daly City and eat pancit palabok and lechon kawali in an upscale setting, amongst other Filipinos who longed for that sense of community. I remember shifting uncomfortably on the bamboo chairs that mirrored my own living room set at home, my mom always urging me to order the fresh young coconut juice with the red straw peeking out of its top hat, and the halo-halo for dessert. Though we usually ate these dishes at home, the experience of enjoying them out among our people was what made growing up Pinay in The City feel special.\u003c/p>\n\u003cp>Back then, there were so many big Filipino family restaurants to choose from. If you grew up Filipino on the Peninsula in the ’80s and ’90s, you know how to finish the vintage restaurant jingle, “Tito Rey’s…” To this day, any Gen Xer or elder Millennial worth their soy sauce will respond, “…Night or Day!” The bustling 200-seat eatery-turned-nightclub in South San Francisco, with its full bar and ballroom, accommodated the large wave of Filipinos who immigrated to the Bay Area after World War II, increasing the population fivefold. Sadly, the restaurant is no longer around, but the memories of that jingle — and a time when newly-immigrated parents like mine had a place to dine, drink and dance the night away — are burned into my brain.\u003c/p>\n\u003cfigure id=\"attachment_13959780\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/FF-5-1980s-filipino-restaurant.jpg\" alt=\"Vintage photo of a man singing karaoke at a Filipino restaurant in the 1980s. A group of children seated at a table look on.\" width=\"2000\" height=\"1372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/FF-5-1980s-filipino-restaurant.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/FF-5-1980s-filipino-restaurant-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/FF-5-1980s-filipino-restaurant-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/FF-5-1980s-filipino-restaurant-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/FF-5-1980s-filipino-restaurant-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/FF-5-1980s-filipino-restaurant-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/FF-5-1980s-filipino-restaurant-1920x1317.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A young Rocky Rivera (2nd from the right, in green) watches a karaoke singer at a restaurant in Angeles City in the Philippines during the mid-1980s. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And as we grew older, it was South City establishments like Tito Rey’s and Solita’s that allowed my dance troupe to use their restaurant as a venue because they always had a ballroom — or, at the very least, a dance floor. It was there that I learned that a “Filipino goodbye” was the opposite of an \u003ca href=\"https://slate.com/human-interest/2023/09/irish-goodbye-exit-why-chronic-illness.html\">Irish one\u003c/a>. Kids like me would whine to their parents “Can we go now?” while they made their leisurely rounds bidding farewell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s hard to imagine doing the same now that I’m the parent. It seems like most of today’s Filipino restaurants have either gone fine dining or fast fusion — and, in the meantime, all of those big, family-focused spots have closed. None of the new places are jumping on a Saturday night with a live cover band and couples dressed to the nines, cha-cha-ing it up to the latest hits. Those “third places” for Bay Area Filipinos have largely disappeared, even as our food has finally hit the mainstream. Few places are providing for our need to be fed \u003ci>and\u003c/i> entertained.\u003c/p>\n\u003cp>To be honest, not many of them are serving the kind of Filipino food I want to eat either. This upbringing of abundance made my palate sharp, discerning and always waxing nostalgic. I constantly compare the food at local Fil-Am restaurants to my own mother or grandmother’s style of cooking. And since both sides of my family hail from Pampanga, the culinary capital of the Philippines, I’m not often impressed.\u003c/p>\n\u003cfigure id=\"attachment_13957299\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-16-BL-KQED.jpg\" alt=\"Pork sisig in a plastic takeout container.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-16-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-16-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-16-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-16-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-16-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-16-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-16-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An order of Tipunan’s pork sisig, served in a takeout container. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Until one day in 2020 when I \u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">really needed a plate of comfort food\u003c/a> and found it at Tipunan in Oakland — in my opinion, the best classic Filipino food in all of the Bay Area. Deep in the throes of the pandemic, the restaurant’s rich pork belly kare-kare and tangy sinigang provided solace when I was grieving the loss of my mother, strengthening my connection to the motherland that I felt was jeopardized after her passing. And when my father-in-law passed six months after that, we put a plate of his favorite — pork sisig — on our family altar, again courtesy of Tipunan. We ate a lot of takeout during that time, with condolences offered in the form of Venmo pings and food delivery gift cards. It was the ideal consolation for the void we all felt, except for one thing: The place didn’t exist. Which is to say, it didn’t have a physical restaurant space beyond its DoorDash ordering menu.\u003c/p>\n\u003cp style=\"text-align: center\">***\u003c/p>\n\u003cp>On a recent Friday, Chef Kai Torres-Cansino meets me in the small dining area of Oakland Food Hall, a ghost kitchen facility off East 12th, along with her partner in life and business, Jojo Cansino. They are the founders of Tipunan, which in Tagalog means “gathering place”— an irony not lost on me when I made a vow to finally track them down. Before they moved into this new space in Jingletown, there was no dine-in portion of the restaurant, just a kitchen a few blocks away off East 18th. Even now, the handful of picnic tables outside their new facility are mostly occupied by DoorDash drivers rather than actual customers.\u003c/p>\n\u003cfigure id=\"attachment_13957303\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957303\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-43-BL-KQED.jpg\" alt=\"Exterior of the Oakland Food Hall ghost kitchen facility.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-43-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-43-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-43-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-43-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-43-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-43-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-43-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Oakland Food Hall, which markets itself as a “restaurant co-op” primarily specializing in to-go meals. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside these ghost kitchens, Chef Kai cooks her homestyle dishes from Bicol and Pampanga, the cities in the Philippines where her mother and father grew up, respectively. These recipes were passed down from generation to generation, and growing up, she remembers experiencing them most vividly during big reunions with her father’s side of the family in Pampanga.\u003c/p>\n\u003cp>“Have you tried my tocino?” she asks, referring to the specialty dish of sweet marinated pork. “I really love it because it’s really Kapampangan tocino.” She tells me about how she tweaked the recipe to make it taste more similar to the carabao style that’s popular in her hometown. “It’s a little bit sweet-and-sour taste but very Kapampangan. It’s so good,” she says with pride.\u003c/p>\n\u003cp>Growing up, she learned how to cook from her mom: first chopping tomatoes, then moving up to boiling water and, later, sautéeing and grilling. Her family owned bowling lanes in Manila and Pampanga, so they always ran a cafe on-site, giving Kai the experience to know what good food should taste like — and, more importantly, how to make it to order.\u003c/p>\n\u003cfigure id=\"attachment_13957298\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957298\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-14-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-14-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-14-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-14-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-14-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-14-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-14-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-14-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A spread of Filipino dishes includes kare-kare, a classic stew with a thick savory peanut sauce. For dining in, the Oakland Food Hall offers a handful of seats inside and several picnic tables outside — though often these are occupied by delivery app drivers. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During this visit to Tipunan, I’ve ordered my usuals: pork rib sinigang, pork sisig, crispy pork belly kare-kare and turon, or caramelized banana lumpia, for dessert. As usual, the sinigang is perfectly sour with tamarind. The kare-kare comes with its savory peanut sauce, bok choy and cabbage kept separate from the ulam, like my Lola used to do, to prevent it from getting soggy — and of course, the crispy pork belly, which takes at least 24 hours to prepare, is spectacular. They also offer healthier tofu versions of their sisig and kare-kare, though Chef Kai stresses that she’s “not a fan of fusion.” “That’s why the food is very classic,” she says.\u003c/p>\n\u003cp>Serving classic Filipino food is easier said than done, as many in the diaspora are extra harsh on businesses that don’t match their taste of home cooking. Any Filipino restaurant will share the same review: “It’s good, but not as good as my Nanay’s and Lola’s.” But Tipunan’s many four- and five-star reviews on DoorDash differ, likening the chef’s cooking to their own family’s spread, a feeling that hits the heart as much as it fills the stomach.\u003c/p>\n\u003cp>While Chef Kai has the seasoned palate, her partner, Jojo, is the one who surprised her with a business proposal. “The idea came about because at home, I don’t do any of the cooking because I am usually busy at work,”Jojo explains. “My wife does all the cooking.” So Jojo proposed starting their own business, at first just selling Kai’s prized banana bread and then, eventually, her Filipino home cooking.\u003c/p>\n\u003cfigure id=\"attachment_13957302\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-38-BL-KQED.jpg\" alt=\"A touch screen menu for a Filipino restaurant.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-38-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-38-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-38-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-38-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-38-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-38-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-38-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">At Oakland Food Hall, food from over 20 restaurants can be ordered online or on a touchscreen. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have the spirit of an entrepreneur and I’ve been working for myself for, maybe, fifteen years. And [Kai] was working for a corporate food service,” Jojo recalls. She says she inherited that knack for business from her grandmother, Corazon M. Espino, the first woman governor of the Nueva Vizcaya province in the Philippines. Because she and Kai started the business during the pandemic, they prioritized starting small with a kitchen that had a low start-up cost. For a whole year, it was just the two of them working late into the night and washing dishes afterward. When they got an opportunity to relocate to Oakland Food Hall, it was the streamlined system and better access point for delivery drivers that sealed the deal.\u003c/p>\n\u003cp>I must admit that I panicked during the time Tipunan went offline to move locations. I thought to myself that it was too good to be true, wondering about the volatility of starting their business in Oakland, which only has two other traditional Filipino restaurants in the entire city. When they finally went back online, I vowed to track down who was behind this mysterious restaurant with zero social media presence and not even a storefront to promote their business. But now, seeing Tipunan thrive amongst the other kitchens in the food hall, I have hope in this scrappy contender borne from a shared entrepreneurial spirit and love for our culture’s traditional recipes.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13921079,arts_13939383,arts_13956683","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>As I look around the massive building that houses over twenty partner restaurants in one place, I marvel at its capacity to feed the community, while also employing multiple businesses in one location. It touts itself as a “restaurant co-op” whose mission is “to become your go-to spot for to-go meal.” Inside is a maze of kitchens that are more similar to studios in Hollywood lots than actual restaurants. It’s hard to tell if these “cloud” or “ghost kitchens” are good or bad for the actual workers, but they were a necessity during the pandemic when we were all forced to stay at home indefinitely.\u003c/p>\n\u003cp>And since Tipunan moved in from their previous ghost kitchen in May of 2022, they’ve increased their staff to five and expanded their menu to include bulgogi tacos and burritos. “Some people lost their job and closed their restaurants during the pandemic, and we were the lucky ones because that’s when Tipunanan was born,” says Kai. Unlike a full-service restaurant, they’ve been able to experiment with new items and ideas with lower risk, first introducing them to existing customers before branching out.\u003c/p>\n\u003cp>Deep down, however, Jojo still wishes they could open a dine-in location. In fact, the couple first met at a \u003ca href=\"https://thefortsf.com/\">Filipino restaurant on the Peninsula \u003c/a>— one that still has events and live music on Saturday nights. “I want to have a space like that, where people on the weekends say, ‘Hey what are you doing? Let’s go hang out at Tipunan. Let’s get something to eat.’ And when you get there, there’s entertainment, we have fun and we create memories,” she says. The most important thing, however, is that they now have a business that’s able to support five employees. “That to me, is rewarding by itself.”\u003c/p>\n\u003cfigure id=\"attachment_13957300\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-20-BL-KQED.jpg\" alt='Two Filipino women in black \"Tipunan\" shirts sit laughinh on a picnic table.' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-20-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-20-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-20-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-20-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-20-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-20-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240503-TIPUNAN-20-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Founders Jojo Cansino (left) and Chef Kai Torres-Cansino sit on a picnic table outside of Tipunan’s ghost kitchen facility. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With so many full-fledged restaurants in the Bay Area still unable to operate seven days a week, those childhood memories of being out and about eating FIlipino food with my family feel like \u003ca href=\"https://www.foundsf.org/index.php?title=DALY_CITY:_THE_NEW_FILIPINOTOWN\">ancient history\u003c/a>. Hearing elders belt out karaoke hits, their voices hoarse with raucous laughter and drowned in San Miguel beer, felt like a piece of home — except it was right there in South City. A place to find the love of your life, even, like Kai and Jojo did.\u003c/p>\n\u003cp>For now, I’m just grateful that a place like Tipunan exists to preserve those old recipes and to feed us during all of those important family celebrations — even if we’re laying out the takeout cartons on the dining room table at home.\u003c/p>\n\u003cp>And, for Chef Kai, at least, the idea of running one of those big family restaurants that used to rule the Bay Area’s Filipino scene is more than a little daunting. “At this kitchen, we’re already here 12 hours a day. How much more at a dine-in to maintain the consistency and quality, and then have the entertainment and bar? I’m gonna be drunk every night!” she laughs.\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://tipunan.com/\">\u003ci>Tipunan\u003c/i>\u003c/a>\u003ci> is open for \u003c/i>\u003ca href=\"https://tipunan.com/order-online\">\u003ci>online orders\u003c/i>\u003c/a>\u003ci>, with pickup available at 2353 E.12th St. in Oakland.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera, \u003cem> in 2021\u003c/em>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959765/best-filipino-restaurant-oakland-tipunan-ghost-kitchen","authors":["11846"],"categories":["arts_1","arts_12276"],"tags":["arts_10278","arts_14183","arts_1297","arts_18971","arts_1143","arts_4200"],"featImg":"arts_13957301","label":"source_arts_13959765"},"arts_13959669":{"type":"posts","id":"arts_13959669","meta":{"index":"posts_1716263798","site":"arts","id":"13959669","found":true},"guestAuthors":[],"slug":"the-laundromat-pizza-outer-richmond-musicians-bands-staff","title":"Your Favorite Local Band Member Is Serving You Pizza in the Outer Richmond","publishDate":1718224460,"format":"standard","headTitle":"Your Favorite Local Band Member Is Serving You Pizza in the Outer Richmond | KQED","labelTerm":{},"content":"\u003cp>On Wednesday evenings, Alex Wolfert feels like he’s on stage — even if none of his three bands is performing that night.\u003c/p>\n\u003cp>That’s because Wolfert, 24, works Wednesdays at \u003ca href=\"https://www.thelaundromatsf.com/\">The Laundromat\u003c/a> — a bagels-in-the-morning, pizzas-and-wine-in-the-evening spot in San Francisco’s Outer Richmond that doubles as a micro-community of the city’s indie musicians. Hours pass to the hum of vinyl LPs from its sizable collection, dough and industry advice are thrown and caught, band tees are complimented. Co-workers’ demos are played on shared rides home, and employees cover shifts when others play shows or go on tour.\u003c/p>\n\u003cp>But mainly, The Laundromat’s supportive, tight-knit staff show that the artist’s tradition of working behind a counter on the nights not spent on stage is alive and well in an increasingly unaffordable, tech-centered city.\u003c/p>\n\u003cfigure id=\"attachment_13959564\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert serves orders at The Laundromat, where he works alongside other musicians from San Francisco bands. Wolfert plays in Uncle Chris, Double Helix Peace Treaty and Starfish Prime. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a typical shift, Wolfert, with his easy smile, might step outside to wipe down a table, passing the hour-long line and white horizon of Ocean Beach. His thoughts will race: He needs to text Joey he can record this week; Korey wants to rehearse next week; that one party needs water; two tables need to be set. Then he’ll grab a mushroom combo, balancing dipping dishes of honey and ranch between his fingers, and slide them all onto a crowded table.\u003c/p>\n\u003cp>As the phone rings, he’ll notice the Groove Armada record is on the penultimate track of Side B.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One! More! Song!” he chirps in these moments over the beat to co-workers, Max Edelman, 29 (drummer for alt-rock band \u003ca href=\"https://www.instagram.com/sourwidows\">Sour Widows\u003c/a> and black metal band \u003ca href=\"https://www.instagram.com/rokeblackmetal/\">Roke\u003c/a>), and Eva Treadway, 29 (guitarist in the ’60s-style pop band \u003ca href=\"https://www.instagram.com/theshesmusic/\">The She’s\u003c/a> and the noisy ’90s-style rock group \u003ca href=\"https://www.instagram.com/world_smasher/\">World Smasher\u003c/a>). Edelman might be pouring a skin-contact orange wine into one patron’s glass while Treadway — wearing a baseball cap with the word “Laundromat” in a squiggly font, designed by \u003ca href=\"https://www.instagram.com/secret.cobra.information/\">Trey Flanigan\u003c/a> of local band \u003ca href=\"https://pardoner.bandcamp.com/\">Pardoner\u003c/a> — pours a chilled red into another. A sausage pie’s ready for delivery. The phone’s ringing again.\u003c/p>\n\u003cfigure id=\"attachment_13959565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway and Max Edelman work behind the bar at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Busy nights like these are exhilarating to Wolfert. It’s like when his fingers are on the bass strings at Kilowatt or the Knockout. He plays with the jazz-inspired indie-pop group \u003ca href=\"https://www.kqed.org/news/11985883/uncle-chris-dove-on-the-ocean\">Uncle Chris,\u003c/a> the rock-driven songwriting-forward alt-pop of \u003ca href=\"https://www.instagram.com/starfishprime999/\">Starfish Prime\u003c/a> and the gritty, edgy sounds of \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a>. Working at The Laundromat can be like the climax of a song, he says. The crowd is rapt. The band’s locked in. The sound engineer is waving a symbol he can half see. His friends are in the front row making heart hands.\u003c/p>\n\u003cp>There’s a beast flowing through the air at that moment, he says. At The Laundromat, it’s caught and upheld by his co-workers, who are also his friends and some of his favorite musicians, similarly running pizzas or laughing in passing.\u003c/p>\n\u003cp>“There are parallels in service as in performance,” says Treadway just before their shift on a recent Wednesday. “We have our flow and we’re putting on a little bit of a show. Like, you’re providing this environment, you’re helping to curate it and you’re helping it to run, and you’re really fucking leaning on the people around you as your team.”\u003c/p>\n\u003cp>Navigating this organized chaos comes naturally to people who’ve worked together in a collaborative way artistically, Treadway adds, “because so much of being in a band is compromise and truly working together and doing hard things together. I don’t know anyone that’s a working musician in San Francisco that’s not working really, really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13959557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway poses for a portrait at The Laundromat. Treadway plays in The She’s and World Smasher. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musicians have worked service jobs since the beginning of undercompensated music and undercompensated labor. But the marriage’s harmony largely depends on institutional support – especially in San Francisco, where rents are always going up, prices are high and \u003ca href=\"https://www.sfgate.com/local/article/under-100k-low-income-san-francisco-18168899.php\">anyone making less than $100,000 a year is considered low-income\u003c/a>. The Tenderloin rehearsal space shared by two of Wolfert’s bands, a tight room split between five bands total, costs $800 a month. He lives with four roommates, one of whom is a bandmate.\u003c/p>\n\u003cp>When asked how to best support San Francisco’s musicians, Treadway says to tip well and pay in cash. Break out of the “transaction” mindset. Sometimes people forget their waiter is “a cool person who’s working really hard, who has their own interests, who maybe has their own band,” they add.\u003c/p>\n\u003cp>“Supporting your local restaurant is supporting your local musicians,” says Treadway. “Never forget it.”\u003c/p>\n\u003cfigure id=\"attachment_13959555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Edelman poses for a portrait at The Laundromat. Edelman plays in the bands Sour Widows and Roke. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s music scene is a fragile ecosystem, one supported through ticket and merch sales and prenegotiated percentages of the bar. And it’s supported most directly by the musicians themselves, waiting tables and humming a song idea as they grab Table Three’s vegan cheese.\u003c/p>\n\u003cp>Local music survives, says Wolfert, because of places like The Laundromat, and because people in the scene help each other out. Musicians hook other musicians up with places to practice or record; they ask local acts to open when they headline; they let them know when their neighborhood pizza place is hiring.\u003c/p>\n\u003cfigure id=\"attachment_13959563\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert talks with a co-worker at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a musician, I feel like you’re working so many different jobs all at once,” says Edelman. “And then you work your job. And you’re not being paid, usually, for the music aspect.” Edelman, who’s tended bar at The Laundromat for more than a year, learned about the job from an Instagram post by Treadway, right after the two returned to San Francisco from playing South by Southwest.\u003c/p>\n\u003cp>Treadway calls The Laundromat “a project”; Edelman opts for a musician-artist space as well as a culinary spot. Wolfert jokes that people say from the outside, it looks like “a little cult.” (The Laundromat’s musician staff also includes Keith Frerichs of \u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a>, who is absent on this particular day to prepare for a North American tour.)\u003c/p>\n\u003cp>When Wolfert worked at a prior pizza place, he says he felt validated as a musician. But there’s validation, and then there’s encouragement from managers and owners. Here, your co-workers and bosses will proactively sit down around a calendar of your upcoming tour dates. They’ll work together to cover shifts; they’ll make it happen.\u003c/p>\n\u003cfigure id=\"attachment_13959559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959559\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bumper stickers by Christopher DeLoach (@thatscoolthankyou on Instagram) hang at the entrance to The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laundromat co-owners Kevin Rodgers and Jenna O’Connell don’t play music themselves, but both have histories of working with musicians in the service industry. The Laundromat, Rodgers says, is the most musician-concentrated workplace in his career. With so many band members and music lovers on staff, Rodgers says, they all just get it.\u003c/p>\n\u003cp>“Feeling like you’re in a place where your actual artistic endeavors are supported, that feels really important to me as someone who has played music my whole life,” says Treadway. “What makes people whole is being able to participate in their artistic endeavors.”\u003c/p>\n\u003cp>Ever since Treadway started in San Francisco’s music scene, people have said that the scene is dying. That everyone’s moving to L.A. They don’t think that’s true.\u003c/p>\n\u003cp>“There’s always going to be music in San Francisco,” Treadway says. “It’s in the DNA of the city, and has been since before any of us even were considered to exist.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a> are currently touring North America, and play \u003ca href=\"https://dice.fm/event/wkpon-the-umbrellas-pocket-full-of-crumbs-and-latitude-29th-jun-kilowatt-san-francisco-tickets?\">Saturday, June 29, at Kilowatt in San Francisco\u003c/a>. \u003ca href=\"https://www.sourwidows.com/\">Sour Widows\u003c/a> begins a U.S. tour this month, and plays \u003ca href=\"https://theindependentsf.com/event/13375114/sour-widows/\">Saturday, July 13, at the Independent\u003c/a> in San Francisco. \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a> plays \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/credit-electric-w-dutch-interior-amp-double-helix-peace-treaty-doors-700-pm-music-730-pm\">Wednesday, August 14, at the 4 Star Theater\u003c/a> in San Francisco.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"At The Laundromat, a musician-friendly staff supports each other behind the counter — and on stage.","status":"publish","parent":0,"modified":1718293618,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1493},"headData":{"title":"At The Laundromat, Your Favorite Musician Is Also Your Server | KQED","description":"A musician-friendly staff at the Outer Richmond pizza restaurant supports each other behind the counter — and on stage.","ogTitle":"Your Favorite Local Band Member Is Serving You Pizza in the Outer Richmond","ogDescription":"At The Laundromat, a musician-friendly staff supports each other behind the counter — and on stage.","ogImgId":"","twTitle":"Your Favorite Local Band Member Is Serving You Pizza in the Outer Richmond","twDescription":"At The Laundromat, a musician-friendly staff supports each other behind the counter — and on stage.","twImgId":"","socialTitle":"At The Laundromat, Your Favorite Musician Is Also Your Server %%page%% %%sep%% KQED","socialDescription":"A musician-friendly staff at the Outer Richmond pizza restaurant supports each other behind the counter — and on stage.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Your Favorite Local Band Member Is Serving You Pizza in the Outer Richmond","datePublished":"2024-06-12T13:34:20-07:00","dateModified":"2024-06-13T08:46:58-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13959669","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13959669/the-laundromat-pizza-outer-richmond-musicians-bands-staff","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday evenings, Alex Wolfert feels like he’s on stage — even if none of his three bands is performing that night.\u003c/p>\n\u003cp>That’s because Wolfert, 24, works Wednesdays at \u003ca href=\"https://www.thelaundromatsf.com/\">The Laundromat\u003c/a> — a bagels-in-the-morning, pizzas-and-wine-in-the-evening spot in San Francisco’s Outer Richmond that doubles as a micro-community of the city’s indie musicians. Hours pass to the hum of vinyl LPs from its sizable collection, dough and industry advice are thrown and caught, band tees are complimented. Co-workers’ demos are played on shared rides home, and employees cover shifts when others play shows or go on tour.\u003c/p>\n\u003cp>But mainly, The Laundromat’s supportive, tight-knit staff show that the artist’s tradition of working behind a counter on the nights not spent on stage is alive and well in an increasingly unaffordable, tech-centered city.\u003c/p>\n\u003cfigure id=\"attachment_13959564\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert serves orders at The Laundromat, where he works alongside other musicians from San Francisco bands. Wolfert plays in Uncle Chris, Double Helix Peace Treaty and Starfish Prime. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a typical shift, Wolfert, with his easy smile, might step outside to wipe down a table, passing the hour-long line and white horizon of Ocean Beach. His thoughts will race: He needs to text Joey he can record this week; Korey wants to rehearse next week; that one party needs water; two tables need to be set. Then he’ll grab a mushroom combo, balancing dipping dishes of honey and ranch between his fingers, and slide them all onto a crowded table.\u003c/p>\n\u003cp>As the phone rings, he’ll notice the Groove Armada record is on the penultimate track of Side B.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One! More! Song!” he chirps in these moments over the beat to co-workers, Max Edelman, 29 (drummer for alt-rock band \u003ca href=\"https://www.instagram.com/sourwidows\">Sour Widows\u003c/a> and black metal band \u003ca href=\"https://www.instagram.com/rokeblackmetal/\">Roke\u003c/a>), and Eva Treadway, 29 (guitarist in the ’60s-style pop band \u003ca href=\"https://www.instagram.com/theshesmusic/\">The She’s\u003c/a> and the noisy ’90s-style rock group \u003ca href=\"https://www.instagram.com/world_smasher/\">World Smasher\u003c/a>). Edelman might be pouring a skin-contact orange wine into one patron’s glass while Treadway — wearing a baseball cap with the word “Laundromat” in a squiggly font, designed by \u003ca href=\"https://www.instagram.com/secret.cobra.information/\">Trey Flanigan\u003c/a> of local band \u003ca href=\"https://pardoner.bandcamp.com/\">Pardoner\u003c/a> — pours a chilled red into another. A sausage pie’s ready for delivery. The phone’s ringing again.\u003c/p>\n\u003cfigure id=\"attachment_13959565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway and Max Edelman work behind the bar at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Busy nights like these are exhilarating to Wolfert. It’s like when his fingers are on the bass strings at Kilowatt or the Knockout. He plays with the jazz-inspired indie-pop group \u003ca href=\"https://www.kqed.org/news/11985883/uncle-chris-dove-on-the-ocean\">Uncle Chris,\u003c/a> the rock-driven songwriting-forward alt-pop of \u003ca href=\"https://www.instagram.com/starfishprime999/\">Starfish Prime\u003c/a> and the gritty, edgy sounds of \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a>. Working at The Laundromat can be like the climax of a song, he says. The crowd is rapt. The band’s locked in. The sound engineer is waving a symbol he can half see. His friends are in the front row making heart hands.\u003c/p>\n\u003cp>There’s a beast flowing through the air at that moment, he says. At The Laundromat, it’s caught and upheld by his co-workers, who are also his friends and some of his favorite musicians, similarly running pizzas or laughing in passing.\u003c/p>\n\u003cp>“There are parallels in service as in performance,” says Treadway just before their shift on a recent Wednesday. “We have our flow and we’re putting on a little bit of a show. Like, you’re providing this environment, you’re helping to curate it and you’re helping it to run, and you’re really fucking leaning on the people around you as your team.”\u003c/p>\n\u003cp>Navigating this organized chaos comes naturally to people who’ve worked together in a collaborative way artistically, Treadway adds, “because so much of being in a band is compromise and truly working together and doing hard things together. I don’t know anyone that’s a working musician in San Francisco that’s not working really, really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13959557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway poses for a portrait at The Laundromat. Treadway plays in The She’s and World Smasher. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musicians have worked service jobs since the beginning of undercompensated music and undercompensated labor. But the marriage’s harmony largely depends on institutional support – especially in San Francisco, where rents are always going up, prices are high and \u003ca href=\"https://www.sfgate.com/local/article/under-100k-low-income-san-francisco-18168899.php\">anyone making less than $100,000 a year is considered low-income\u003c/a>. The Tenderloin rehearsal space shared by two of Wolfert’s bands, a tight room split between five bands total, costs $800 a month. He lives with four roommates, one of whom is a bandmate.\u003c/p>\n\u003cp>When asked how to best support San Francisco’s musicians, Treadway says to tip well and pay in cash. Break out of the “transaction” mindset. Sometimes people forget their waiter is “a cool person who’s working really hard, who has their own interests, who maybe has their own band,” they add.\u003c/p>\n\u003cp>“Supporting your local restaurant is supporting your local musicians,” says Treadway. “Never forget it.”\u003c/p>\n\u003cfigure id=\"attachment_13959555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Edelman poses for a portrait at The Laundromat. Edelman plays in the bands Sour Widows and Roke. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s music scene is a fragile ecosystem, one supported through ticket and merch sales and prenegotiated percentages of the bar. And it’s supported most directly by the musicians themselves, waiting tables and humming a song idea as they grab Table Three’s vegan cheese.\u003c/p>\n\u003cp>Local music survives, says Wolfert, because of places like The Laundromat, and because people in the scene help each other out. Musicians hook other musicians up with places to practice or record; they ask local acts to open when they headline; they let them know when their neighborhood pizza place is hiring.\u003c/p>\n\u003cfigure id=\"attachment_13959563\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert talks with a co-worker at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a musician, I feel like you’re working so many different jobs all at once,” says Edelman. “And then you work your job. And you’re not being paid, usually, for the music aspect.” Edelman, who’s tended bar at The Laundromat for more than a year, learned about the job from an Instagram post by Treadway, right after the two returned to San Francisco from playing South by Southwest.\u003c/p>\n\u003cp>Treadway calls The Laundromat “a project”; Edelman opts for a musician-artist space as well as a culinary spot. Wolfert jokes that people say from the outside, it looks like “a little cult.” (The Laundromat’s musician staff also includes Keith Frerichs of \u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a>, who is absent on this particular day to prepare for a North American tour.)\u003c/p>\n\u003cp>When Wolfert worked at a prior pizza place, he says he felt validated as a musician. But there’s validation, and then there’s encouragement from managers and owners. Here, your co-workers and bosses will proactively sit down around a calendar of your upcoming tour dates. They’ll work together to cover shifts; they’ll make it happen.\u003c/p>\n\u003cfigure id=\"attachment_13959559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959559\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bumper stickers by Christopher DeLoach (@thatscoolthankyou on Instagram) hang at the entrance to The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laundromat co-owners Kevin Rodgers and Jenna O’Connell don’t play music themselves, but both have histories of working with musicians in the service industry. The Laundromat, Rodgers says, is the most musician-concentrated workplace in his career. With so many band members and music lovers on staff, Rodgers says, they all just get it.\u003c/p>\n\u003cp>“Feeling like you’re in a place where your actual artistic endeavors are supported, that feels really important to me as someone who has played music my whole life,” says Treadway. “What makes people whole is being able to participate in their artistic endeavors.”\u003c/p>\n\u003cp>Ever since Treadway started in San Francisco’s music scene, people have said that the scene is dying. That everyone’s moving to L.A. They don’t think that’s true.\u003c/p>\n\u003cp>“There’s always going to be music in San Francisco,” Treadway says. “It’s in the DNA of the city, and has been since before any of us even were considered to exist.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a> are currently touring North America, and play \u003ca href=\"https://dice.fm/event/wkpon-the-umbrellas-pocket-full-of-crumbs-and-latitude-29th-jun-kilowatt-san-francisco-tickets?\">Saturday, June 29, at Kilowatt in San Francisco\u003c/a>. \u003ca href=\"https://www.sourwidows.com/\">Sour Widows\u003c/a> begins a U.S. tour this month, and plays \u003ca href=\"https://theindependentsf.com/event/13375114/sour-widows/\">Saturday, July 13, at the Independent\u003c/a> in San Francisco. \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a> plays \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/credit-electric-w-dutch-interior-amp-double-helix-peace-treaty-doors-700-pm-music-730-pm\">Wednesday, August 14, at the 4 Star Theater\u003c/a> in San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959669/the-laundromat-pizza-outer-richmond-musicians-bands-staff","authors":["11603"],"categories":["arts_1","arts_12276","arts_69","arts_235"],"tags":["arts_22185","arts_10278","arts_21788","arts_14730","arts_1146"],"featImg":"arts_13959562","label":"source_arts_13959669"},"arts_13959601":{"type":"posts","id":"arts_13959601","meta":{"index":"posts_1716263798","site":"arts","id":"13959601","found":true},"guestAuthors":[],"slug":"brat-pack-documentary-by-andrew-mccarthy-review-hulu-brats","title":"Andrew McCarthy Hunts the ‘Brat Pack’ Blowback in New Hulu Documentary","publishDate":1718131433,"format":"standard","headTitle":"Andrew McCarthy Hunts the ‘Brat Pack’ Blowback in New Hulu Documentary | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>He’s 61 now, well-off and trim. He has many accomplishments as an actor but there’s this one thing he finds hard to shake: Back in 1985, he got called something.\u003c/p>\n\u003cp>During the Reagan administration, rising star Andrew McCarthy was lumped into an amorphous group of young actors who were changing Hollywood. They were called the “Brat Pack.”\u003c/p>\n\u003cp>[aside postid='arts_13959577']Now, it’s never nice to be called a “brat” or to lose your individuality to a pack, but McCarthy and the members of this collective — Emilio Estevez, Molly Ringwald, Demi Moore, Ally Sheedy, Judd Nelson, Rob Lowe and maybe Anthony Michael Hall — seemed to implode.\u003c/p>\n\u003cp>“That changed my life,” says McCarthy, who starred in \u003cem>Pretty in Pink\u003c/em> and \u003cem>St. Elmo’s Fire\u003c/em>. After being branded, the so-called bratty actors scattered, not wanting to work together again. The stigma, McCarthy says, was “defining.” He has PTSD, he suggests.\u003c/p>\n\u003cp>Now almost 40 years later, McCarthy hit the road to star in and direct his new Hulu documentary \u003cem>Brats\u003c/em>, trying to get a handle on the label and how some of the pack handled it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First stop is a wary Estevez, who acknowledges that the Brat Pack term had some early benefits but was ultimately “more damage than good.”\u003c/p>\n\u003cp>“It created the perception that we were lightweights,” he adds.\u003c/p>\n\u003cfigure id=\"attachment_13959605\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png\" alt=\"A handsome middle-aged man sits at a kitchen counter, laughing warmly.\" width=\"1620\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1536x975.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Rob Lowe in a scene from new documentary, ‘Brats.’ \u003ccite>(Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are visits to Sheedy, Moore, Lowe, Jon Cryer, Tim Hutton and Lea Thompson — all who commiserate with McCarthy. (Ringwald and Nelson are notable absences, perhaps still nursing wounds.) These visits have the feeling of therapy sessions.\u003c/p>\n\u003cp>“Marty Scorsese, Steven Spielberg is not going to call up somebody who’s in the Brat Pack,” McCarthy tells Estevez, who admits to pulling out of a movie at the prospect of teaming up with McCarthy.\u003c/p>\n\u003cp>[aside postid='arts_13958881'](Not to be rude, but the Brat Pack-adjacent Tom Cruise did a movie with Scorsese, \u003cem>The Color of Money\u003c/em>, Moore became the hottest thing in Hollywood in the ’90s and Robert Downey Jr., also Pack-adjacent, just took home an Oscar.)\u003c/p>\n\u003cp>As he pays one former colleague after another a visit at their well-appointed homes, the heat of injustice has dissipated. Moore’s estate with its tasteful wood panels, shaded pool, massive glass walls and Japanese-inspired minimalism doesn’t exactly scream, “That label from 1985 really destroyed my life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AUjGATC7tWs\u003c/p>\n\u003cp>The doc is scored well, with songs by The Cure, Lou Reed and Steve Winwood, “Forever Young” by Alphaville and a haunting “Don’t You (Forget About Me)” cover by Zoe Fox and the Rocket Clocks.\u003c/p>\n\u003cp>But McCarthy’s visual style is too fragmented, happy to capture his scrambling camera and sound operators in the frame and changing up his shots from guerilla-style jerky iPhone images to tasteful, polished portraits. His use of old clips is excellent, incorporating not just scenes from movies but TV interview outtakes, too.\u003c/p>\n\u003cp>[aside postid='arts_13958762']A more interesting thing happens in McCarthy’s road movie by the halfway mark — it becomes a sort of celebration of Brat Pack movies. Cultural observer Malcolm Gladwell talks about the generational transition in Hollywood, while Susannah Gora, who wrote \u003cem>You Couldn’t Ignore Me if You Tried\u003c/em> about the Brat Pack’s impact, notes that teens in the Midwest were singing British New Wave synth-pop tunes thanks to McCarthy.\u003c/p>\n\u003cp>Pop culture critic Ira Madison III zeroes in on the lack of diversity in Brat Pack movies, \u003cem>Less Than Zero\u003c/em> writer Bret Easton Ellis notes the influence the movies had on his work, and screenwriter Michael Oates Palmer comments that Brat Pack movies were the first to take “young people’s lives seriously.”\u003c/p>\n\u003cp>These are the building blocks of a better movie — Gladwell cutely mentions that he used parts of Cryer’s character Duckie from \u003cem>Pretty in Pink\u003c/em> as his identity in high school — but McCarthy isn’t willing to stray.\u003c/p>\n\u003cp>He comes across as a very thoughtful guy, able to quote Tennessee Williams and Eugene O’Neill, reserved, shy and wry, so often deep in his feelings. But this bratty label he cannot shake. He also wrote about it in \u003cem>Brat: An ’80s Story\u003c/em>. It is his \u003cem>Moby Dick\u003c/em>.\u003c/p>\n\u003cp>That analogy works when he finally harpoons his white whale — David Blum, who at 29 in 1985, hoping to snag some attention in the journalism world, coined the phrase “Brat Pack” — a flip play on the Rat Pack — for \u003cem>New York\u003c/em> magazine.\u003c/p>\n\u003cp>[aside postid='arts_13958101']McCarthy sits down with Blum at the conclusion of the film — the aggrieved actor and the journalist meeting for the first time four decades after being dragged into the ’80s cultural lexicon. This is the “You can’t handle the truth” moment.\u003c/p>\n\u003cp>And yet McCarthy is so nice that while he makes his case well, he sort of also understands Blum’s position and kind of likes him, too. Will Blum finally admit that the label is scathing? “I mean, I guess in retrospect, yes. At the time, no. I was proud of the creation of the phrase,” says the writer. They end their meeting with a hug.\u003c/p>\n\u003cp>Like a Brat Pack movie.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Brats’ begins streaming on Hulu on June 13, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In ‘Brats,’ Andrew McCarthy tracks down his former cohorts to discuss being branded ‘The Brat Pack’ in the ’80s.","status":"publish","parent":0,"modified":1718133584,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":942},"headData":{"title":"‘Brats’ Documentary: Andrew McCarthy and ’80s Pals Reunite | KQED","description":"In ‘Brats,’ Andrew McCarthy tracks down his former cohorts to discuss being branded ‘The Brat Pack’ in the ’80s.","ogTitle":"Andrew McCarthy Hunts the ‘Brat Pack’ Blowback in New Hulu Documentary","ogDescription":"","ogImgId":"","twTitle":"Andrew McCarthy Hunts the ‘Brat Pack’ Blowback in New Hulu Documentary","twDescription":"","twImgId":"","socialTitle":"‘Brats’ Documentary: Andrew McCarthy and ’80s Pals Reunite %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Andrew McCarthy Hunts the ‘Brat Pack’ Blowback in New Hulu Documentary","datePublished":"2024-06-11T11:43:53-07:00","dateModified":"2024-06-11T12:19:44-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Mark Kennedy, Associated Press","nprStoryId":"kqed-13959601","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13959601/brat-pack-documentary-by-andrew-mccarthy-review-hulu-brats","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>He’s 61 now, well-off and trim. He has many accomplishments as an actor but there’s this one thing he finds hard to shake: Back in 1985, he got called something.\u003c/p>\n\u003cp>During the Reagan administration, rising star Andrew McCarthy was lumped into an amorphous group of young actors who were changing Hollywood. They were called the “Brat Pack.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13959577","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Now, it’s never nice to be called a “brat” or to lose your individuality to a pack, but McCarthy and the members of this collective — Emilio Estevez, Molly Ringwald, Demi Moore, Ally Sheedy, Judd Nelson, Rob Lowe and maybe Anthony Michael Hall — seemed to implode.\u003c/p>\n\u003cp>“That changed my life,” says McCarthy, who starred in \u003cem>Pretty in Pink\u003c/em> and \u003cem>St. Elmo’s Fire\u003c/em>. After being branded, the so-called bratty actors scattered, not wanting to work together again. The stigma, McCarthy says, was “defining.” He has PTSD, he suggests.\u003c/p>\n\u003cp>Now almost 40 years later, McCarthy hit the road to star in and direct his new Hulu documentary \u003cem>Brats\u003c/em>, trying to get a handle on the label and how some of the pack handled it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>First stop is a wary Estevez, who acknowledges that the Brat Pack term had some early benefits but was ultimately “more damage than good.”\u003c/p>\n\u003cp>“It created the perception that we were lightweights,” he adds.\u003c/p>\n\u003cfigure id=\"attachment_13959605\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png\" alt=\"A handsome middle-aged man sits at a kitchen counter, laughing warmly.\" width=\"1620\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1536x975.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Rob Lowe in a scene from new documentary, ‘Brats.’ \u003ccite>(Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are visits to Sheedy, Moore, Lowe, Jon Cryer, Tim Hutton and Lea Thompson — all who commiserate with McCarthy. (Ringwald and Nelson are notable absences, perhaps still nursing wounds.) These visits have the feeling of therapy sessions.\u003c/p>\n\u003cp>“Marty Scorsese, Steven Spielberg is not going to call up somebody who’s in the Brat Pack,” McCarthy tells Estevez, who admits to pulling out of a movie at the prospect of teaming up with McCarthy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958881","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>(Not to be rude, but the Brat Pack-adjacent Tom Cruise did a movie with Scorsese, \u003cem>The Color of Money\u003c/em>, Moore became the hottest thing in Hollywood in the ’90s and Robert Downey Jr., also Pack-adjacent, just took home an Oscar.)\u003c/p>\n\u003cp>As he pays one former colleague after another a visit at their well-appointed homes, the heat of injustice has dissipated. Moore’s estate with its tasteful wood panels, shaded pool, massive glass walls and Japanese-inspired minimalism doesn’t exactly scream, “That label from 1985 really destroyed my life.”\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/AUjGATC7tWs'\n title='//www.youtube.com/embed/AUjGATC7tWs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The doc is scored well, with songs by The Cure, Lou Reed and Steve Winwood, “Forever Young” by Alphaville and a haunting “Don’t You (Forget About Me)” cover by Zoe Fox and the Rocket Clocks.\u003c/p>\n\u003cp>But McCarthy’s visual style is too fragmented, happy to capture his scrambling camera and sound operators in the frame and changing up his shots from guerilla-style jerky iPhone images to tasteful, polished portraits. His use of old clips is excellent, incorporating not just scenes from movies but TV interview outtakes, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958762","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>A more interesting thing happens in McCarthy’s road movie by the halfway mark — it becomes a sort of celebration of Brat Pack movies. Cultural observer Malcolm Gladwell talks about the generational transition in Hollywood, while Susannah Gora, who wrote \u003cem>You Couldn’t Ignore Me if You Tried\u003c/em> about the Brat Pack’s impact, notes that teens in the Midwest were singing British New Wave synth-pop tunes thanks to McCarthy.\u003c/p>\n\u003cp>Pop culture critic Ira Madison III zeroes in on the lack of diversity in Brat Pack movies, \u003cem>Less Than Zero\u003c/em> writer Bret Easton Ellis notes the influence the movies had on his work, and screenwriter Michael Oates Palmer comments that Brat Pack movies were the first to take “young people’s lives seriously.”\u003c/p>\n\u003cp>These are the building blocks of a better movie — Gladwell cutely mentions that he used parts of Cryer’s character Duckie from \u003cem>Pretty in Pink\u003c/em> as his identity in high school — but McCarthy isn’t willing to stray.\u003c/p>\n\u003cp>He comes across as a very thoughtful guy, able to quote Tennessee Williams and Eugene O’Neill, reserved, shy and wry, so often deep in his feelings. But this bratty label he cannot shake. He also wrote about it in \u003cem>Brat: An ’80s Story\u003c/em>. It is his \u003cem>Moby Dick\u003c/em>.\u003c/p>\n\u003cp>That analogy works when he finally harpoons his white whale — David Blum, who at 29 in 1985, hoping to snag some attention in the journalism world, coined the phrase “Brat Pack” — a flip play on the Rat Pack — for \u003cem>New York\u003c/em> magazine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958101","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>McCarthy sits down with Blum at the conclusion of the film — the aggrieved actor and the journalist meeting for the first time four decades after being dragged into the ’80s cultural lexicon. This is the “You can’t handle the truth” moment.\u003c/p>\n\u003cp>And yet McCarthy is so nice that while he makes his case well, he sort of also understands Blum’s position and kind of likes him, too. Will Blum finally admit that the label is scathing? “I mean, I guess in retrospect, yes. At the time, no. I was proud of the creation of the phrase,” says the writer. They end their meeting with a hug.\u003c/p>\n\u003cp>Like a Brat Pack movie.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Brats’ begins streaming on Hulu on June 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959601/brat-pack-documentary-by-andrew-mccarthy-review-hulu-brats","authors":["byline_arts_13959601"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75","arts_990"],"tags":["arts_10493","arts_13672","arts_5234","arts_769","arts_585"],"featImg":"arts_13959604","label":"arts_140"},"arts_13959808":{"type":"posts","id":"arts_13959808","meta":{"index":"posts_1716263798","site":"arts","id":"13959808","found":true},"guestAuthors":[],"slug":"golden-boy-pizza-north-beach-sf-late-night","title":"Golden Boy Pizza Is Where You Want To End Your Night","publishDate":1718311524,"format":"aside","headTitle":"Golden Boy Pizza Is Where You Want To End Your Night | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13959812\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy.jpg\" alt=\"Two men devour a pizza straight out of the box while standing in a crowd of other customers.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eating a Golden Boy slice while standing on the sidewalk late at night is an indelible San Francisco experience. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>If you’re a lifelong San Franciscan, chances are you’ve grabbed a slice at \u003ca href=\"https://goldenboypizza.com/\">Golden Boy Pizza\u003c/a>.\u003c/p>\n\u003cp>Or to be more specific: If your misspent youth involved hanging around the vicinity of North Beach late at night, you’ve probably burned the roof of your mouth scarfing down a Golden Boy clam-and-garlic slice while standing on the sidewalk well past midnight.\u003c/p>\n\u003cp>Ever since Golden Boy’s original Green Street location opened in 1978, the pizzeria has been an indelible fixture of San Francisco’s late-night scene. Pre-pandemic, and for the bulk of its 40-plus-year heyday as an after-hours hangout, Golden Boy was open past 2 a.m. on the weekend, making it the ideal place to hit up after a punk show or a reckless night of bar-hopping. Back then, the restaurant itself doubled as a neighborhood dive bar of sorts, with pizza eaters squeezing shoulder-to-shoulder at the counter to enjoy pitchers of cold Stella and a thrash metal–heavy playlist with their meal.\u003c/p>\n\u003cp>Times change, of course. These days, Golden Boy is strictly takeout only. It now closes at 9 p.m. on weekdays, and 11 p.m. on weekends. But even in its streamlined form, the restaurant remains one of the best spots in the city to grab a bite late at night. At a little before 10 o’clock on a recent Friday night, you could still spot the pizzeria’s iconic neon sign (an enormous hand, lit up in red and green, its index finger pointing the way) from several blocks away. The line outside seemed as long as it had ever been, maybe nine or 10 customers deep — an ethnically diverse crowd, mostly in their 20s or 30s. Because there isn’t any dine-in option, some took off in their cars as they’d gotten their pizzas. A few took their slices into the cocktail bar next door; a few more, like us, found a spot on the sidewalk where they could lean against a wall and eat their pizza standing up, like a proper street food.\u003c/p>\n\u003cfigure id=\"attachment_13959811\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959811\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2.jpg\" alt=\"Illustration: A line of customers waiting outside of Golden Boy Pizza.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Even though it’s no longer open past 2 a.m. on the weekend, Golden Boy Pizza remains a popular late-night destination in North Beach. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I love about Golden Boy is its commitment to selling just pizza, nothing else — no perfunctory salad or chicken wings. (If you want a balanced, multicourse meal, there are plenty of other places in North Beach that’ll do the job.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pizza, meanwhile, is uniquely and idiosyncratically Bay Area. A Golden Boy pie’s thick crust and rectangular shape predate the region’s recent wave of trendy, right-angled Detroit-style pizzas by about 40 years — though no one would confuse the two styles. According to its official backstory, a Golden Boy “San Francilian” pie is basically “\u003ca href=\"https://www.goldenboypizza.com/sanfrancisco.php\">focaccia with pizza topping\u003c/a>.” That description might lead you to imagine a pizza with a spongy or bready texture, but the most remarkable thing about a Golden Boy slice is how light and airy it is once you’ve bitten into its golden-brown, impeccably crunchy bottom. Though I’ve never tested the theory, I \u003ci>feel\u003c/i> like I could eat 100 slices without feeling uncomfortably full.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13958926,arts_13958466,arts_13954597']\u003c/span>\u003c/span>It’s a tempting prospect, too, because the pizza’s components are so well-balanced and delicious — the juicy, thick red sauce (hands-down one of the best in the Bay); the generous amount of stretchy cheese; the charred, squared-off edges on each coveted corner slice. The toppings list is short and sweet, not veering far beyond pepperoni, sausage and a few simple vegetables. The clam-and-garlic pie is the cult favorite of the bunch, topped with chewy baby clams, enough garlic to bowl you over and linger on your breath, and a flurry of chopped parsley to act as a fresh counterpoint. How good is it? If we were sculpting a Mount Rushmore of Bay Area pizzas, it would easily snag one of the four spots.\u003c/p>\n\u003cp>Golden Boy also does a more standard combination pizza, as well as a tasty vegetarian pie that subs in pesto for the red sauce. During our recent visit, however, we found ourselves gravitating toward the simplest pizzas — the plain cheese slice and the classic, no-frills pepperoni. Without any fussy toppings to distract, we marinated in that perfect union of cheese, sauce and ethereal crust.\u003c/p>\n\u003cp>I don’t know if this is the best slice in San Francisco, but it sure \u003ci>felt\u003c/i> like it was. Standing there hunched over outside in the lamplight, balancing the pizza box in one hand and a can of soda in the other while we ate. Cars whizzed past. A saxophone guy on the opposite street corner was playing something plaintive and jazzy. In that moment, it was hard to imagine anything better.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://goldenboypizza.com/\">\u003ci>Golden Boy Pizza’s\u003c/i>\u003c/a>\u003ci> original North Beach location is open Sunday through Thursday 11:30 a.m.–9 p.m. and Friday to Saturday 11:30 a.m.–11 p.m. at 542 Green St. in San Francisco. There’s also a San Mateo location and a forthcoming location at 1447 Taraval St., in the Parkside neighborhood of SF.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The legendary North Beach pizzeria is still drawing long lines and serving delicious, square late-night slices. ","status":"publish","parent":0,"modified":1718311524,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":981},"headData":{"title":"Golden Boy Pizza Is a Late-Night Classic in San Francisco | KQED","description":"The legendary North Beach pizzeria is still drawing long lines and serving delicious, square late-night slices. ","ogTitle":"Golden Boy Pizza Is Where You Want To End Your Night","ogDescription":"","ogImgId":"","twTitle":"Golden Boy Pizza Is Where You Want To End Your Night","twDescription":"","twImgId":"","socialTitle":"Golden Boy Pizza Is a Late-Night Classic in San Francisco %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Golden Boy Pizza Is Where You Want To End Your Night","datePublished":"2024-06-13T13:45:24-07:00","dateModified":"2024-06-13T13:45:24-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"The Midnight Diners","sourceUrl":"https://www.kqed.org/arts/tag/the-midnight-diners","sticky":false,"nprStoryId":"kqed-13959808","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13959808/golden-boy-pizza-north-beach-sf-late-night","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13959812\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy.jpg\" alt=\"Two men devour a pizza straight out of the box while standing in a crowd of other customers.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eating a Golden Boy slice while standing on the sidewalk late at night is an indelible San Francisco experience. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>If you’re a lifelong San Franciscan, chances are you’ve grabbed a slice at \u003ca href=\"https://goldenboypizza.com/\">Golden Boy Pizza\u003c/a>.\u003c/p>\n\u003cp>Or to be more specific: If your misspent youth involved hanging around the vicinity of North Beach late at night, you’ve probably burned the roof of your mouth scarfing down a Golden Boy clam-and-garlic slice while standing on the sidewalk well past midnight.\u003c/p>\n\u003cp>Ever since Golden Boy’s original Green Street location opened in 1978, the pizzeria has been an indelible fixture of San Francisco’s late-night scene. Pre-pandemic, and for the bulk of its 40-plus-year heyday as an after-hours hangout, Golden Boy was open past 2 a.m. on the weekend, making it the ideal place to hit up after a punk show or a reckless night of bar-hopping. Back then, the restaurant itself doubled as a neighborhood dive bar of sorts, with pizza eaters squeezing shoulder-to-shoulder at the counter to enjoy pitchers of cold Stella and a thrash metal–heavy playlist with their meal.\u003c/p>\n\u003cp>Times change, of course. These days, Golden Boy is strictly takeout only. It now closes at 9 p.m. on weekdays, and 11 p.m. on weekends. But even in its streamlined form, the restaurant remains one of the best spots in the city to grab a bite late at night. At a little before 10 o’clock on a recent Friday night, you could still spot the pizzeria’s iconic neon sign (an enormous hand, lit up in red and green, its index finger pointing the way) from several blocks away. The line outside seemed as long as it had ever been, maybe nine or 10 customers deep — an ethnically diverse crowd, mostly in their 20s or 30s. Because there isn’t any dine-in option, some took off in their cars as they’d gotten their pizzas. A few took their slices into the cocktail bar next door; a few more, like us, found a spot on the sidewalk where they could lean against a wall and eat their pizza standing up, like a proper street food.\u003c/p>\n\u003cfigure id=\"attachment_13959811\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959811\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2.jpg\" alt=\"Illustration: A line of customers waiting outside of Golden Boy Pizza.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Even though it’s no longer open past 2 a.m. on the weekend, Golden Boy Pizza remains a popular late-night destination in North Beach. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I love about Golden Boy is its commitment to selling just pizza, nothing else — no perfunctory salad or chicken wings. (If you want a balanced, multicourse meal, there are plenty of other places in North Beach that’ll do the job.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pizza, meanwhile, is uniquely and idiosyncratically Bay Area. A Golden Boy pie’s thick crust and rectangular shape predate the region’s recent wave of trendy, right-angled Detroit-style pizzas by about 40 years — though no one would confuse the two styles. According to its official backstory, a Golden Boy “San Francilian” pie is basically “\u003ca href=\"https://www.goldenboypizza.com/sanfrancisco.php\">focaccia with pizza topping\u003c/a>.” That description might lead you to imagine a pizza with a spongy or bready texture, but the most remarkable thing about a Golden Boy slice is how light and airy it is once you’ve bitten into its golden-brown, impeccably crunchy bottom. Though I’ve never tested the theory, I \u003ci>feel\u003c/i> like I could eat 100 slices without feeling uncomfortably full.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958926,arts_13958466,arts_13954597","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>It’s a tempting prospect, too, because the pizza’s components are so well-balanced and delicious — the juicy, thick red sauce (hands-down one of the best in the Bay); the generous amount of stretchy cheese; the charred, squared-off edges on each coveted corner slice. The toppings list is short and sweet, not veering far beyond pepperoni, sausage and a few simple vegetables. The clam-and-garlic pie is the cult favorite of the bunch, topped with chewy baby clams, enough garlic to bowl you over and linger on your breath, and a flurry of chopped parsley to act as a fresh counterpoint. How good is it? If we were sculpting a Mount Rushmore of Bay Area pizzas, it would easily snag one of the four spots.\u003c/p>\n\u003cp>Golden Boy also does a more standard combination pizza, as well as a tasty vegetarian pie that subs in pesto for the red sauce. During our recent visit, however, we found ourselves gravitating toward the simplest pizzas — the plain cheese slice and the classic, no-frills pepperoni. Without any fussy toppings to distract, we marinated in that perfect union of cheese, sauce and ethereal crust.\u003c/p>\n\u003cp>I don’t know if this is the best slice in San Francisco, but it sure \u003ci>felt\u003c/i> like it was. Standing there hunched over outside in the lamplight, balancing the pizza box in one hand and a can of soda in the other while we ate. Cars whizzed past. A saxophone guy on the opposite street corner was playing something plaintive and jazzy. In that moment, it was hard to imagine anything better.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://goldenboypizza.com/\">\u003ci>Golden Boy Pizza’s\u003c/i>\u003c/a>\u003ci> original North Beach location is open Sunday through Thursday 11:30 a.m.–9 p.m. and Friday to Saturday 11:30 a.m.–11 p.m. at 542 Green St. in San Francisco. There’s also a San Mateo location and a forthcoming location at 1447 Taraval St., in the Parkside neighborhood of SF.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959808/golden-boy-pizza-north-beach-sf-late-night","authors":["11743","11753"],"categories":["arts_1","arts_12276"],"tags":["arts_10278","arts_1297","arts_8805","arts_5732","arts_14730","arts_1146","arts_21928"],"featImg":"arts_13959810","label":"source_arts_13959808"},"arts_13909788":{"type":"posts","id":"arts_13909788","meta":{"index":"posts_1716263798","site":"arts","id":"13909788","found":true},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1646181795,"format":"standard","title":"MC Hammer ‘Will Beat Yo' Ass’—and Other Hard Tales of the MTV-Friendly Rapper","headTitle":"MC Hammer ‘Will Beat Yo’ Ass’—and Other Hard Tales of the MTV-Friendly Rapper | KQED","content":"\u003cp>Last week, MC Hammer started trending on Twitter for a viral photo of Big Syke, Suge Knight, Snoop Dogg, Tupac and Hammer lined up together at the 1996 Grammys, in all of their ’90s finery. Hammer stood on the far right, arms neatly crossed behind his back, smiling while everyone else mean-mugged. The tweet read: “I don’t think I’ve ever seen anyone more out of place than Hammer was in this photo lol.”\u003c/p>\n\u003cp>Twitter did not hesitate to set the record straight about the Oakland legend, explaining in no uncertain terms that Hammer—despite his legendarily flappy pants, pop superstardom, and ability to win over your mom—did not come to play.\u003c/p>\n\u003cp>https://twitter.com/J_Ran85/status/1497067106818478090\u003c/p>\n\u003cp>https://twitter.com/KieseLaymon/status/1497222235651719202\u003c/p>\n\u003cp>https://twitter.com/SHARMONJONES/status/1497083798919561224\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/CerromeRussell/status/1497059859090579458\u003c/p>\n\u003cp>The Twitter explosion reflected the vast gulf between what hip-hop knows about MC Hammer and what mainstream pop culture \u003cem>thinks\u003c/em> it knows about MC Hammer. Because the Oakland rapper spent the early ’90s shuffling from side-to-side at the top of the charts, and filling commercial breaks with entreaties to buy \u003ca href=\"https://www.youtube.com/watch?v=6eydWVvFV2w\" target=\"_blank\" rel=\"noopener noreferrer\">sneakers\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=BHp3xXBBDfk\" target=\"_blank\" rel=\"noopener noreferrer\">Taco Bell\u003c/a>, Hammer is too often treated like the Carlton Banks of hip-hop. But stories of Hammer’s more streetwise traits have been rife in both the East Bay and the wider hip-hop community for years.\u003c/p>\n\u003cp>For those not in the know, here are interviews with five MCs that will put Hammer in a whole new light.\u003c/p>\n\u003ch2>\u003cstrong>MC Serch\u003c/strong>\u003c/h2>\n\u003cp>MC Serch of New York’s 3rd Bass has claimed repeatedly that MC Hammer put out a hit on the group over a lyric in their song, “\u003ca href=\"https://www.youtube.com/watch?v=_8sDxQhHkds\" target=\"_blank\" rel=\"noopener noreferrer\">The Cactus.\u003c/a>” The line in question—”The cactus turned Hammer’s mother out”—was purportedly a play on the title of 3rd Bass’ 1989 \u003cem>The Cactus Album\u003c/em> and Hammer’s record from the same year, “\u003ca href=\"https://www.youtube.com/watch?v=YtpWTOk0Ghg\" target=\"_blank\" rel=\"noopener noreferrer\">Turn This Mutha Out\u003c/a>.”\u003c/p>\n\u003cp>In 2015, Serch told the \u003cem>Ed Lover Show\u003c/em> about receiving death threats from Hammer’s brother, Louis Burrell, in the middle of a flight to Los Angeles. “We’re in the air,” Serch says, “and Carmen Ashhurst-Watson, who was the president of Def Jam at the time, picks up the phone and hears someone say ‘Is 3rd Bass on their way to L.A.?’ And she goes ‘Yeah.’ And the voice says ‘Good. They’re dead. This is Louis Burrell.'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vQFlRUCp5r0\u003c/p>\n\u003cp>Serch claims the $50,000 hit was confirmed by fellow Def Jam artist Eric B., and was supposed to be carried out by the Los Angeles crips. In a later interview, Serch said fear and anger over the incident has never left him.\u003c/p>\n\u003cp>“I’m not good,” \u003ca href=\"https://www.youtube.com/watch?v=W3B7KBrnqCI\" target=\"_blank\" rel=\"noopener noreferrer\">he told Vlad TV in 2018\u003c/a>. “I’ve been through 25 years of therapy three days a week. I am not good. I wish I could be good. But when somebody tries to kill you over a rap lyric? … Understand what it feels like to not know that you can turn a corner without someone trying to kill you for $50,000.”\u003c/p>\n\u003ch2>\u003cstrong>Redman\u003c/strong>\u003c/h2>\n\u003cp>Redman also made the mistake of dissing Hammer during an interlude on 1992’s \u003cem>Whut? Thee Album\u003c/em> titled “Funky Uncles.” “Everybody yelling ‘Hammertime! Hammertime!'” the track went. “He ain’t shit, mama ain’t shit, daddy ain’t shit, ain’t nobody shit.”\u003c/p>\n\u003cp>Redman says he was subsequently chased out of Oakland by Hammer affiliates. (“We had to get the fuck out of here. They wasn’t playin’. We was almost boxed in,” he \u003ca href=\"https://www.youtube.com/watch?v=0fyqEYQQW2U\" target=\"_blank\" rel=\"noopener noreferrer\">told Vlad TV in 2016\u003c/a>.) And in 1995, when both MCs were on set for the \u003ca href=\"https://www.youtube.com/watch?v=s8VoRj9Vd4o\" target=\"_blank\" rel=\"noopener noreferrer\">final episode of \u003cem>Yo! MTV Raps\u003c/em>\u003c/a>, Hammer approached Redman and reportedly said, “Red? I’m gonna tell you something. You’re young. But I don’t allow nobody to talk about my mama. You understand me?”\u003c/p>\n\u003cp>Redman later admitted that his response to Hammer was, “Yes, sir!” He elaborated: “I got the message. I heard about [Hammer] and I seen [his] work … I’m good, my brother. Because I’ve gotta come to the west coast and get money. I like it out there. I like the Bay Area. So fuck that, you’re right. I won’t talk about your mama.”\u003c/p>\n\u003cp>Redman admits he learned his lesson. “That goddamn MC Hammer? Very serious about beef. Y’all motherfuckers laugh and y’all joke about Hammer? No, no, no, no … When anybody that talked shit came to the Bay Area, they was in for it. ‘Cause we seen it. I seen it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0fyqEYQQW2U\u003c/p>\n\u003ch2>\u003cstrong>Too Short\u003c/strong>\u003c/h2>\n\u003cp>In a 2018 interview, Too Short expressed respect for MC Hammer, having come up around the same time. “Hammer was a big dog,” Too Short said. “He got respect in the streets. He came from a respected crew. They handled business. Him and his brother Louis and the crew.”\u003c/p>\n\u003cp>Asked about the alleged hit Hammer put out on MC Serch, Too Short said the only part he didn’t believe was the $50,000—because Hammer would never have to pay for such services.\u003c/p>\n\u003cp>“Without spending any money, he coulda told people to fuck [MC Serch] the fuck up,” Too Short said. “I know who Hammer was affiliated with and he wouldn’t have to pay to tell somebody to fuck somebody up. His people would just do it. We’re from Oakland. Like, he wouldn’t even have to say it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aOHupZPsWD0\u003c/p>\n\u003ch2>\u003cstrong>E-40 and Fat Joe\u003c/strong>\u003c/h2>\n\u003cp>During a 2020 chat with E-40 for \u003cem>All Urban Central\u003c/em>, Fat Joe mentioned encountering Hammer one time in the Las Vegas airport. Joe said Hammer greeted him warmly, then proceeded to explain that he wasn’t to be trifled with. “He was like, ‘You know I get it poppin’ for real’,” Joe recalled.\u003c/p>\n\u003cp>E-40 was in no way surprised by this news. “Well, he’s from Oakland for one,” the Vallejo rapper responded. “He’s from the Town. He’s highly respected and connected, you know what I mean? All the fixtures and factors know him, he knows them. He rocks it. He’s heavy. His brother’s gangsta … [Hammer] is far from a sucka. And Hammer’s physically fit. You know, he’ll put hands on you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tuwwd7eb-lA\u003c/p>\n\u003ch2>\u003cstrong>OutKast\u003c/strong>\u003c/h2>\n\u003cp>It’s possible that Big Boi puts it best here, and the most succinctly: “Hammer will beat yo’ ass.”\u003c/p>\n\u003cp>https://twitter.com/__Eddie313/status/1497071531930832899\u003c/p>\n\u003cp>Let’s end with an apt word from the man himself…\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=otCpCn0l4Wo\u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1223,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":21},"modified":1705007144,"excerpt":"As Redman put it: 'That goddamn MC Hammer? Very serious about beef.'","headData":{"twImgId":"","twTitle":"MC Hammer ‘Will Beat Yo' Ass’—and Other Hard Tales of the MTV-Friendly Rapper","socialTitle":"MC Hammer vs. MC Serch—and Other Hip-Hop Beefs%%page%% %%sep%% KQED","ogTitle":"MC Hammer ‘Will Beat Yo' Ass’—and Other Hard Tales of the MTV-Friendly Rapper","ogImgId":"","twDescription":"","description":"As Redman put it: 'That goddamn MC Hammer? Very serious about beef.'","title":"MC Hammer vs. MC Serch—and Other Hip-Hop Beefs | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"MC Hammer ‘Will Beat Yo' Ass’—and Other Hard Tales of the MTV-Friendly Rapper","datePublished":"2022-03-01T16:43:15-08:00","dateModified":"2024-01-11T13:05:44-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"mc-hammer-oakland-redman-too-short-crips-louis-burrell-mc-serch-hit-e40","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"WpOldSlug":"mc-hammer-will-beat-yo-ass-and-other-hard-tales-of-the-mtv-friendly-rapper","articleAge":"0","path":"/arts/13909788/mc-hammer-oakland-redman-too-short-crips-louis-burrell-mc-serch-hit-e40","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, MC Hammer started trending on Twitter for a viral photo of Big Syke, Suge Knight, Snoop Dogg, Tupac and Hammer lined up together at the 1996 Grammys, in all of their ’90s finery. Hammer stood on the far right, arms neatly crossed behind his back, smiling while everyone else mean-mugged. The tweet read: “I don’t think I’ve ever seen anyone more out of place than Hammer was in this photo lol.”\u003c/p>\n\u003cp>Twitter did not hesitate to set the record straight about the Oakland legend, explaining in no uncertain terms that Hammer—despite his legendarily flappy pants, pop superstardom, and ability to win over your mom—did not come to play.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1497067106818478090"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1497222235651719202"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1497083798919561224"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1497059859090579458"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The Twitter explosion reflected the vast gulf between what hip-hop knows about MC Hammer and what mainstream pop culture \u003cem>thinks\u003c/em> it knows about MC Hammer. Because the Oakland rapper spent the early ’90s shuffling from side-to-side at the top of the charts, and filling commercial breaks with entreaties to buy \u003ca href=\"https://www.youtube.com/watch?v=6eydWVvFV2w\" target=\"_blank\" rel=\"noopener noreferrer\">sneakers\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=BHp3xXBBDfk\" target=\"_blank\" rel=\"noopener noreferrer\">Taco Bell\u003c/a>, Hammer is too often treated like the Carlton Banks of hip-hop. But stories of Hammer’s more streetwise traits have been rife in both the East Bay and the wider hip-hop community for years.\u003c/p>\n\u003cp>For those not in the know, here are interviews with five MCs that will put Hammer in a whole new light.\u003c/p>\n\u003ch2>\u003cstrong>MC Serch\u003c/strong>\u003c/h2>\n\u003cp>MC Serch of New York’s 3rd Bass has claimed repeatedly that MC Hammer put out a hit on the group over a lyric in their song, “\u003ca href=\"https://www.youtube.com/watch?v=_8sDxQhHkds\" target=\"_blank\" rel=\"noopener noreferrer\">The Cactus.\u003c/a>” The line in question—”The cactus turned Hammer’s mother out”—was purportedly a play on the title of 3rd Bass’ 1989 \u003cem>The Cactus Album\u003c/em> and Hammer’s record from the same year, “\u003ca href=\"https://www.youtube.com/watch?v=YtpWTOk0Ghg\" target=\"_blank\" rel=\"noopener noreferrer\">Turn This Mutha Out\u003c/a>.”\u003c/p>\n\u003cp>In 2015, Serch told the \u003cem>Ed Lover Show\u003c/em> about receiving death threats from Hammer’s brother, Louis Burrell, in the middle of a flight to Los Angeles. “We’re in the air,” Serch says, “and Carmen Ashhurst-Watson, who was the president of Def Jam at the time, picks up the phone and hears someone say ‘Is 3rd Bass on their way to L.A.?’ And she goes ‘Yeah.’ And the voice says ‘Good. They’re dead. This is Louis Burrell.'”\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/vQFlRUCp5r0'\n title='//www.youtube.com/embed/vQFlRUCp5r0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Serch claims the $50,000 hit was confirmed by fellow Def Jam artist Eric B., and was supposed to be carried out by the Los Angeles crips. In a later interview, Serch said fear and anger over the incident has never left him.\u003c/p>\n\u003cp>“I’m not good,” \u003ca href=\"https://www.youtube.com/watch?v=W3B7KBrnqCI\" target=\"_blank\" rel=\"noopener noreferrer\">he told Vlad TV in 2018\u003c/a>. “I’ve been through 25 years of therapy three days a week. I am not good. I wish I could be good. But when somebody tries to kill you over a rap lyric? … Understand what it feels like to not know that you can turn a corner without someone trying to kill you for $50,000.”\u003c/p>\n\u003ch2>\u003cstrong>Redman\u003c/strong>\u003c/h2>\n\u003cp>Redman also made the mistake of dissing Hammer during an interlude on 1992’s \u003cem>Whut? Thee Album\u003c/em> titled “Funky Uncles.” “Everybody yelling ‘Hammertime! Hammertime!'” the track went. “He ain’t shit, mama ain’t shit, daddy ain’t shit, ain’t nobody shit.”\u003c/p>\n\u003cp>Redman says he was subsequently chased out of Oakland by Hammer affiliates. (“We had to get the fuck out of here. They wasn’t playin’. We was almost boxed in,” he \u003ca href=\"https://www.youtube.com/watch?v=0fyqEYQQW2U\" target=\"_blank\" rel=\"noopener noreferrer\">told Vlad TV in 2016\u003c/a>.) And in 1995, when both MCs were on set for the \u003ca href=\"https://www.youtube.com/watch?v=s8VoRj9Vd4o\" target=\"_blank\" rel=\"noopener noreferrer\">final episode of \u003cem>Yo! MTV Raps\u003c/em>\u003c/a>, Hammer approached Redman and reportedly said, “Red? I’m gonna tell you something. You’re young. But I don’t allow nobody to talk about my mama. You understand me?”\u003c/p>\n\u003cp>Redman later admitted that his response to Hammer was, “Yes, sir!” He elaborated: “I got the message. I heard about [Hammer] and I seen [his] work … I’m good, my brother. Because I’ve gotta come to the west coast and get money. I like it out there. I like the Bay Area. So fuck that, you’re right. I won’t talk about your mama.”\u003c/p>\n\u003cp>Redman admits he learned his lesson. “That goddamn MC Hammer? Very serious about beef. Y’all motherfuckers laugh and y’all joke about Hammer? No, no, no, no … When anybody that talked shit came to the Bay Area, they was in for it. ‘Cause we seen it. I seen it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0fyqEYQQW2U'\n title='//www.youtube.com/embed/0fyqEYQQW2U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>Too Short\u003c/strong>\u003c/h2>\n\u003cp>In a 2018 interview, Too Short expressed respect for MC Hammer, having come up around the same time. “Hammer was a big dog,” Too Short said. “He got respect in the streets. He came from a respected crew. They handled business. Him and his brother Louis and the crew.”\u003c/p>\n\u003cp>Asked about the alleged hit Hammer put out on MC Serch, Too Short said the only part he didn’t believe was the $50,000—because Hammer would never have to pay for such services.\u003c/p>\n\u003cp>“Without spending any money, he coulda told people to fuck [MC Serch] the fuck up,” Too Short said. “I know who Hammer was affiliated with and he wouldn’t have to pay to tell somebody to fuck somebody up. His people would just do it. We’re from Oakland. Like, he wouldn’t even have to say it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aOHupZPsWD0'\n title='//www.youtube.com/embed/aOHupZPsWD0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>E-40 and Fat Joe\u003c/strong>\u003c/h2>\n\u003cp>During a 2020 chat with E-40 for \u003cem>All Urban Central\u003c/em>, Fat Joe mentioned encountering Hammer one time in the Las Vegas airport. Joe said Hammer greeted him warmly, then proceeded to explain that he wasn’t to be trifled with. “He was like, ‘You know I get it poppin’ for real’,” Joe recalled.\u003c/p>\n\u003cp>E-40 was in no way surprised by this news. “Well, he’s from Oakland for one,” the Vallejo rapper responded. “He’s from the Town. He’s highly respected and connected, you know what I mean? All the fixtures and factors know him, he knows them. He rocks it. He’s heavy. His brother’s gangsta … [Hammer] is far from a sucka. And Hammer’s physically fit. You know, he’ll put hands on you.”\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/tuwwd7eb-lA'\n title='//www.youtube.com/embed/tuwwd7eb-lA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>OutKast\u003c/strong>\u003c/h2>\n\u003cp>It’s possible that Big Boi puts it best here, and the most succinctly: “Hammer will beat yo’ ass.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1497071531930832899"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Let’s end with an apt word from the man himself…\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/otCpCn0l4Wo'\n title='//www.youtube.com/embed/otCpCn0l4Wo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13909788/mc-hammer-oakland-redman-too-short-crips-louis-burrell-mc-serch-hit-e40","authors":["11242"],"categories":["arts_1","arts_69","arts_75"],"tags":["arts_1601","arts_10342","arts_831","arts_1143","arts_19347","arts_3478","arts_1553"],"featImg":"arts_13909802","label":"arts"},"arts_13959754":{"type":"posts","id":"arts_13959754","meta":{"index":"posts_1716263798","site":"arts","id":"13959754","found":true},"guestAuthors":[],"slug":"cellski-rap-top-chefs-family-not-a-group-midway","title":"A Lakeview Rap Legend Returns With a Live Band","publishDate":1718305808,"format":"standard","headTitle":"A Lakeview Rap Legend Returns With a Live Band | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It was a scene straight out of the Apollo Theater: A full band on stage, vamping a steady groove. Two female backup singers approaching the mic with a singing chant: “Cell-ski… Cell-ski…” And then, walking in from the wings and past the rhythm section, Cellski himself, launching into “It’s On,” the first track from his 1994 album \u003cem>Mr. Predicter\u003c/em>. \u003c/p>\n\u003cp>It was a February night earlier this year at a packed-to-the-gills Brick & Mortar Music Hall in San Francisco, but with the band in the pocket and Cellski on his game — and the crowd in the palm of his hand — the show felt timeless. \u003c/p>\n\u003cp>[aside postID='arts_13922141']Now, Cellski’s back for a victory lap, and he’s bringing a lineup of rap veterans along. When he performs in San Francisco on Saturday, he’ll be joined by C-Bo, Dru Down, RBL Posse, D-Lo, J Stalin, B-Legit, Ramirez 187 and other special guests. \u003c/p>\n\u003cp>And then there’s the band, the \u003ca href=\"https://www.instagram.com/topchefsband/\">Top Chefs\u003c/a>, a tight ensemble of younger musicians from the Frisco collective \u003ca href=\"https://www.kqed.org/arts/tag/family-not-a-group\">Family Not a Group\u003c/a>. Part of what made the February show a success was its cross-generational aspect: today’s upcoming hip-hop artists backing up the legends and soaking up game.\u003c/p>\n\u003cp>With so many guests on this weekend’s bill, it’s unclear whether Cellski will perform \u003cem>Mr. Predicter\u003c/em> in its entirety, as he recently did to celebrate its 30th anniversary. But expect hits from the canon of San Francisco rap, tributes to the recently departed Lakeview rapper \u003ca href=\"https://www.youtube.com/watch?v=RfHv9mNs98Y\">Baldhead Rick\u003c/a>, and Cellski, a true street legend, leading the party. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>Cellski performs with the Top Chefs and a slate of guests on Saturday, June 15, at the Midway in San Francisco. \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/chemical-baby-presents-cellski-friends-101696\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Cellski celebrates the 30th anniversary of his debut album with a stacked lineup of special guests. ","status":"publish","parent":0,"modified":1718320457,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":313},"headData":{"title":"A Lakeview Rap Legend Returns With a Live Band | KQED","description":"Cellski celebrates the 30th anniversary of his debut album with a stacked lineup of special guests. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Lakeview Rap Legend Returns With a Live Band","datePublished":"2024-06-13T12:10:08-07:00","dateModified":"2024-06-13T16:14:17-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13959754","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13959754/cellski-rap-top-chefs-family-not-a-group-midway","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a scene straight out of the Apollo Theater: A full band on stage, vamping a steady groove. Two female backup singers approaching the mic with a singing chant: “Cell-ski… Cell-ski…” And then, walking in from the wings and past the rhythm section, Cellski himself, launching into “It’s On,” the first track from his 1994 album \u003cem>Mr. Predicter\u003c/em>. \u003c/p>\n\u003cp>It was a February night earlier this year at a packed-to-the-gills Brick & Mortar Music Hall in San Francisco, but with the band in the pocket and Cellski on his game — and the crowd in the palm of his hand — the show felt timeless. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13922141","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Now, Cellski’s back for a victory lap, and he’s bringing a lineup of rap veterans along. When he performs in San Francisco on Saturday, he’ll be joined by C-Bo, Dru Down, RBL Posse, D-Lo, J Stalin, B-Legit, Ramirez 187 and other special guests. \u003c/p>\n\u003cp>And then there’s the band, the \u003ca href=\"https://www.instagram.com/topchefsband/\">Top Chefs\u003c/a>, a tight ensemble of younger musicians from the Frisco collective \u003ca href=\"https://www.kqed.org/arts/tag/family-not-a-group\">Family Not a Group\u003c/a>. Part of what made the February show a success was its cross-generational aspect: today’s upcoming hip-hop artists backing up the legends and soaking up game.\u003c/p>\n\u003cp>With so many guests on this weekend’s bill, it’s unclear whether Cellski will perform \u003cem>Mr. Predicter\u003c/em> in its entirety, as he recently did to celebrate its 30th anniversary. But expect hits from the canon of San Francisco rap, tributes to the recently departed Lakeview rapper \u003ca href=\"https://www.youtube.com/watch?v=RfHv9mNs98Y\">Baldhead Rick\u003c/a>, and Cellski, a true street legend, leading the party. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>Cellski performs with the Top Chefs and a slate of guests on Saturday, June 15, at the Midway in San Francisco. \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/chemical-baby-presents-cellski-friends-101696\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959754/cellski-rap-top-chefs-family-not-a-group-midway","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_5397","arts_21930","arts_831","arts_974","arts_1146","arts_585"],"featImg":"arts_13959762","label":"arts_140"},"arts_13959801":{"type":"posts","id":"arts_13959801","meta":{"index":"posts_1716263798","site":"arts","id":"13959801","found":true},"guestAuthors":[],"slug":"treasure-movie-review-stephen-fry-lena-dunham","title":"‘Treasure’ Could Have Gone Terribly Wrong","publishDate":1718323793,"format":"standard","headTitle":"‘Treasure’ Could Have Gone Terribly Wrong | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>There are so many ways that \u003cem>Treasure\u003c/em> could go wrong. The left-field casting of lit-Brit Stephen Fry as a Polish Holocaust survivor and Manhattan enfant terrible Lena Dunham as his unhappy daughter. The clichés and stereotypes of a cross-generational roots trip to the Old Country. The inevitable tonal shifts from awkwardness to farce to pathos.\u003c/p>\n\u003cp>So it’s a relief to report that \u003cem>Treasure\u003c/em> (opening Friday June 14 at the Rialto Cinemas 9, Opera Plaza Cinemas 4, Century Tanforan 20 and Century 20 Redwood Downtown) delivers a memorably meandering journey with a couple of knockout sequences. German writer-director Julia von Heinz brings a blend of tenderness and toughness to her stripped-back adaptation of \u003cem>Too Many Men\u003c/em>, the 2001 autobiographical novel by New York writer Lily Brett. Rewarding up to a point, the film would have benefitted from more of a willingness to look — and venture — into the abyss.\u003c/p>\n\u003cfigure id=\"attachment_13959834\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Treasure\u003c/em> is keenly interested in the complicated Polish experience of World War II and its Soviet afterlife, as well as the immense suffering of the Jewish population. The freshest element of the film, though, is its allusive depiction of the difficulties of being a child of Holocaust survivors.\u003c/p>\n\u003cp>Set in 1991, a hazy patch of the past that initially puts us at some distance from the characters and place, \u003cem>Treasure\u003c/em> opens with Ruth and Edek at a cheerless Warsaw airport. We gather that the trip is Ruth’s idea; a music journalist in her mid-30s, she’s decided she wants to see where her dad grew up.\u003c/p>\n\u003cp>Ruth is underwritten — not a fatal flaw, since the film spins on what’s gone unsaid between her and her father — so we fill her in with Dunham’s screen persona: intelligent, underachieving, unsentimental, unlucky in love and self-aware (up to a point). Ruth is witheringly uncharismatic, but gets her juice from Dunham’s overriding quality as an actress: unpredictability.\u003c/p>\n\u003cfigure id=\"attachment_13959832\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham and Stephen Fry in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fry plays Edek as a 20th Century Tevye, complete with bushy gray beard and booming voice. But where the Yiddish-speaking original bore the burdens of shtetl life on a milk wagon, Edek labors to give the impression of a man whose pain, if not every iota of sadness, is in the past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet we can see that Edek’s resistance to Ruth’s train itinerary isn’t philosophical but molecular. He refuses to ride the rails to Lodz or anywhere else, hiring a taxi driver instead as their chauffeur-slash-tour guide.\u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em> kicks into gear when Edek and Ruth find his childhood home. The family living in the barely maintained apartment are suspicious of the Jewish visitors’ motives, but nevertheless offer basic European hospitality. The appearance of the teapot rocks Edek; it was his grandmother’s. \u003c/p>\n\u003cp>It rocks us, too. The tea set is the only thing of quality this poor Polish family has. Whether obtained through opportunism (they nabbed the apartment when Edek’s family was deported) or luck (it was among the possessions left behind), it is a symbol of dignity. After decades of Soviet-era depradations, it is also a liquid asset if American Jews want to purchase their heirloom.\u003c/p>\n\u003cfigure id=\"attachment_13959833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Fry in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the film’s recurring “jokes” is that the Poles know the value of a dollar far better than the Americans. The implications of the teapot transaction are quite profound, actually, because they reveal Ruth’s desire to connect with relatives she never knew, as well as her urge to make a gesture (in the form of a gift) to Edek. \u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em>, like every work related to the Holocaust, is concerned with how the past informs and influences the present. What are the moments we treasure, or are scarred by? What is the value of memories, after all? Are they worth the price?\u003c/p>\n\u003cp>The movie subtly yet viscerally brings this home with a pair of parallel scenes. A visit to a Jewish cemetery in Lodz at Ruth’s request leaves Edek unmoved. “We don’t have a family plot,” he declares. At Auschwitz, however, he loses it, kicking the weeds at an unmarked site where he last saw his family after getting off the transport train.\u003c/p>\n\u003cfigure id=\"attachment_13959831\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Fry, Lena Dunham and Zbigniew Zamachowski in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If memory serves, Steven Spielberg’s coda to \u003cem>Schindler’s List\u003c/em> was a gathering of the individuals whom the German industrialist saved from the Nazis along with their generations of offspring. The group portrait was a powerful statement: Life itself is a declaration of victory.\u003c/p>\n\u003cp>Edek’s journey may be more wrenching, but Ruth’s ultimately comes to feel like the movie’s raison d’etre. Late one night in the hotel, she takes a needle to her skin in what we are initially led to think is an act of self-harm. Actually, Ruth is inking herself; much later we see the tattoo itself, and recognize it as an act of commemoration and of identification. \u003c/p>\n\u003cp>This initiative of Ruth’s, like other peak moments in \u003cem>Treasure\u003c/em>, has built-in contradictions. According to a longstanding interpretation of Jewish law, body art is a taboo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em> leaves us thinking about what children of survivors needed growing up, and didn’t get. I wish it was more specific, though, about Ruth’s circumstances and articulated her pain more effectively. Admittedly, that would make her reconciliation with Edek more difficult. And it likely wouldn’t make for as satisfying an ending.\u003c/p>\n\n","blocks":[],"excerpt":"Stephen Fry and Lena Dunham visit the Old Country in an adaptation of the novel 'Too Many Men.'","status":"publish","parent":0,"modified":1718323793,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":978},"headData":{"title":"Film Review: ‘Treasure’ Could Have Gone Terribly Wrong | KQED","description":"Stephen Fry and Lena Dunham visit the Old Country in an adaptation of the novel 'Too Many Men.'","ogTitle":"Film Review: ‘Treasure’ Could Have Gone Terribly Wrong","ogDescription":"","ogImgId":"","twTitle":"‘Treasure’ Could Have Gone Terribly Wrong","twDescription":"","twImgId":"","socialTitle":"Film Review: ‘Treasure’ Could Have Gone Terribly Wrong %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Treasure’ Could Have Gone Terribly Wrong","datePublished":"2024-06-13T17:09:53-07:00","dateModified":"2024-06-13T17:09:53-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13959801","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13959801/treasure-movie-review-stephen-fry-lena-dunham","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are so many ways that \u003cem>Treasure\u003c/em> could go wrong. The left-field casting of lit-Brit Stephen Fry as a Polish Holocaust survivor and Manhattan enfant terrible Lena Dunham as his unhappy daughter. The clichés and stereotypes of a cross-generational roots trip to the Old Country. The inevitable tonal shifts from awkwardness to farce to pathos.\u003c/p>\n\u003cp>So it’s a relief to report that \u003cem>Treasure\u003c/em> (opening Friday June 14 at the Rialto Cinemas 9, Opera Plaza Cinemas 4, Century Tanforan 20 and Century 20 Redwood Downtown) delivers a memorably meandering journey with a couple of knockout sequences. German writer-director Julia von Heinz brings a blend of tenderness and toughness to her stripped-back adaptation of \u003cem>Too Many Men\u003c/em>, the 2001 autobiographical novel by New York writer Lily Brett. Rewarding up to a point, the film would have benefitted from more of a willingness to look — and venture — into the abyss.\u003c/p>\n\u003cfigure id=\"attachment_13959834\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-1-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Treasure\u003c/em> is keenly interested in the complicated Polish experience of World War II and its Soviet afterlife, as well as the immense suffering of the Jewish population. The freshest element of the film, though, is its allusive depiction of the difficulties of being a child of Holocaust survivors.\u003c/p>\n\u003cp>Set in 1991, a hazy patch of the past that initially puts us at some distance from the characters and place, \u003cem>Treasure\u003c/em> opens with Ruth and Edek at a cheerless Warsaw airport. We gather that the trip is Ruth’s idea; a music journalist in her mid-30s, she’s decided she wants to see where her dad grew up.\u003c/p>\n\u003cp>Ruth is underwritten — not a fatal flaw, since the film spins on what’s gone unsaid between her and her father — so we fill her in with Dunham’s screen persona: intelligent, underachieving, unsentimental, unlucky in love and self-aware (up to a point). Ruth is witheringly uncharismatic, but gets her juice from Dunham’s overriding quality as an actress: unpredictability.\u003c/p>\n\u003cfigure id=\"attachment_13959832\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-6-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lena Dunham and Stephen Fry in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fry plays Edek as a 20th Century Tevye, complete with bushy gray beard and booming voice. But where the Yiddish-speaking original bore the burdens of shtetl life on a milk wagon, Edek labors to give the impression of a man whose pain, if not every iota of sadness, is in the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet we can see that Edek’s resistance to Ruth’s train itinerary isn’t philosophical but molecular. He refuses to ride the rails to Lodz or anywhere else, hiring a taxi driver instead as their chauffeur-slash-tour guide.\u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em> kicks into gear when Edek and Ruth find his childhood home. The family living in the barely maintained apartment are suspicious of the Jewish visitors’ motives, but nevertheless offer basic European hospitality. The appearance of the teapot rocks Edek; it was his grandmother’s. \u003c/p>\n\u003cp>It rocks us, too. The tea set is the only thing of quality this poor Polish family has. Whether obtained through opportunism (they nabbed the apartment when Edek’s family was deported) or luck (it was among the possessions left behind), it is a symbol of dignity. After decades of Soviet-era depradations, it is also a liquid asset if American Jews want to purchase their heirloom.\u003c/p>\n\u003cfigure id=\"attachment_13959833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-5-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Fry in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the film’s recurring “jokes” is that the Poles know the value of a dollar far better than the Americans. The implications of the teapot transaction are quite profound, actually, because they reveal Ruth’s desire to connect with relatives she never knew, as well as her urge to make a gesture (in the form of a gift) to Edek. \u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em>, like every work related to the Holocaust, is concerned with how the past informs and influences the present. What are the moments we treasure, or are scarred by? What is the value of memories, after all? Are they worth the price?\u003c/p>\n\u003cp>The movie subtly yet viscerally brings this home with a pair of parallel scenes. A visit to a Jewish cemetery in Lodz at Ruth’s request leaves Edek unmoved. “We don’t have a family plot,” he declares. At Auschwitz, however, he loses it, kicking the weeds at an unmarked site where he last saw his family after getting off the transport train.\u003c/p>\n\u003cfigure id=\"attachment_13959831\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/TREASURE-Still-8-Courtesy-Bleecker-Street-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Fry, Lena Dunham and Zbigniew Zamachowski in ‘Treasure.’ \u003ccite>(Bleecker Street and FilmNation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If memory serves, Steven Spielberg’s coda to \u003cem>Schindler’s List\u003c/em> was a gathering of the individuals whom the German industrialist saved from the Nazis along with their generations of offspring. The group portrait was a powerful statement: Life itself is a declaration of victory.\u003c/p>\n\u003cp>Edek’s journey may be more wrenching, but Ruth’s ultimately comes to feel like the movie’s raison d’etre. Late one night in the hotel, she takes a needle to her skin in what we are initially led to think is an act of self-harm. Actually, Ruth is inking herself; much later we see the tattoo itself, and recognize it as an act of commemoration and of identification. \u003c/p>\n\u003cp>This initiative of Ruth’s, like other peak moments in \u003cem>Treasure\u003c/em>, has built-in contradictions. According to a longstanding interpretation of Jewish law, body art is a taboo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Treasure\u003c/em> leaves us thinking about what children of survivors needed growing up, and didn’t get. I wish it was more specific, though, about Ruth’s circumstances and articulated her pain more effectively. Admittedly, that would make her reconciliation with Edek more difficult. And it likely wouldn’t make for as satisfying an ending.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959801/treasure-movie-review-stephen-fry-lena-dunham","authors":["22"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_9830","arts_769"],"featImg":"arts_13959835","label":"arts_140"},"arts_13959579":{"type":"posts","id":"arts_13959579","meta":{"index":"posts_1716263798","site":"arts","id":"13959579","found":true},"guestAuthors":[],"slug":"too-short-danyel-smith-dwayne-wiggins-thats-oakland-baby","title":"Too Short, Danyel Smith and D’Wayne Wiggins Chop It Up About The Town","publishDate":1718129748,"format":"standard","headTitle":"Too Short, Danyel Smith and D’Wayne Wiggins Chop It Up About The Town | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The city of Oakland is well known for punching above its weight when it comes to its influence on popular culture. In sports, entertainment, politics and more, the small town in the East Bay has produced numerous people who’ve left their mark on the world.\u003c/p>\n\u003cp>Every once in a while, these stars descend from the cosmos and come together under one roof. This week offers just such an occasion.\u003c/p>\n\u003cp>On Wednesday, June 12 the nonprofit community-based organization \u003ca href=\"https://urbanpeacemovement.org/\">Urban Peace Movement\u003c/a> presents “\u003ca href=\"https://www.eventbrite.com/e/thats-oakland-baby-tickets-908637157197?\">That’s Oakland, Baby!\u003c/a>”, a free town hall discussion with hip-hop icon \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a>, author and pop culture historian \u003ca href=\"https://www.kqed.org/arts/13894159/from-oakland-to-black-girl-songbook-danyel-smith-stays-true-to-the-town\">Danyel Smith\u003c/a>, and legendary musician \u003ca href=\"https://www.kqed.org/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre\">D’Wayne Wiggins\u003c/a> (of Tony! Toni! Toné!).\u003c/p>\n\u003cfigure id=\"attachment_13959582\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-scaled.jpg\" alt=\"Woman talking while sitting with laptop on knees in tall chair, man sits beside her on stage\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Author Danyel Smith, on stage in San Francisco at The Battery, discussing her book, ‘Shine Bright: A Personal History of Black Women in Pop’ in June 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The talented trio will discuss their individual journeys to stardom; all hail from East Oakland and represent a wide array of family and community experiences. They’ll also discuss the longstanding legacy of Oakland, covering the Town’s unique culture, deep musical history, the push toward innovation and the righteous fight for social justice.\u003c/p>\n\u003cp>Throughout their careers all three panelists have exhibited the indomitable spirit of resistance that’s ever-present in the people who come from the jewel of the East Bay. The conversation, taking place at the Oakland Tech’s auditorium, will be accompanied by a set from mix master \u003ca href=\"https://www.instagram.com/1djslowpoke/?hl=en\" target=\"_blank\" rel=\"noopener\">DJ Slowpoke\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Given all that’s happening in Oakland right now — changes in population, conversations about public safety and the latest wave of talented artists preparing to make their mark on the world — it’s the perfect time for the stars to align.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘That’s Oakland, Baby!’ takes place June 12, 6–9:30 p.m. at the Oakland Technical High School auditorium (300-340 42nd St.). Doors open at 5:30 p.m. \u003ca href=\"https://www.eventbrite.com/e/thats-oakland-baby-tickets-908637157197?\">Reserve a free ticket here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The talented trio discuss their individual journeys from East Oakland to stardom at a free June 12 event.","status":"publish","parent":0,"modified":1718147818,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":347},"headData":{"title":"Too Short, Danyel Smith and D’Wayne Wiggins: ‘That’s Oakland, Baby!’ | KQED","description":"The talented trio discuss their individual journeys from East Oakland to stardom at a free June 12 event.","ogTitle":"Too Short, Danyel Smith and D’Wayne Wiggins Chop It Up About The Town","ogDescription":"","ogImgId":"","twTitle":"Too Short, Danyel Smith and D’Wayne Wiggins Chop It Up About The Town","twDescription":"","twImgId":"","socialTitle":"Too Short, Danyel Smith and D’Wayne Wiggins: ‘That’s Oakland, Baby!’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Too Short, Danyel Smith and D’Wayne Wiggins Chop It Up About The Town","datePublished":"2024-06-11T11:15:48-07:00","dateModified":"2024-06-11T16:16:58-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13959579","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13959579/too-short-danyel-smith-dwayne-wiggins-thats-oakland-baby","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The city of Oakland is well known for punching above its weight when it comes to its influence on popular culture. In sports, entertainment, politics and more, the small town in the East Bay has produced numerous people who’ve left their mark on the world.\u003c/p>\n\u003cp>Every once in a while, these stars descend from the cosmos and come together under one roof. This week offers just such an occasion.\u003c/p>\n\u003cp>On Wednesday, June 12 the nonprofit community-based organization \u003ca href=\"https://urbanpeacemovement.org/\">Urban Peace Movement\u003c/a> presents “\u003ca href=\"https://www.eventbrite.com/e/thats-oakland-baby-tickets-908637157197?\">That’s Oakland, Baby!\u003c/a>”, a free town hall discussion with hip-hop icon \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a>, author and pop culture historian \u003ca href=\"https://www.kqed.org/arts/13894159/from-oakland-to-black-girl-songbook-danyel-smith-stays-true-to-the-town\">Danyel Smith\u003c/a>, and legendary musician \u003ca href=\"https://www.kqed.org/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre\">D’Wayne Wiggins\u003c/a> (of Tony! Toni! Toné!).\u003c/p>\n\u003cfigure id=\"attachment_13959582\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-scaled.jpg\" alt=\"Woman talking while sitting with laptop on knees in tall chair, man sits beside her on stage\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/IMG_0840-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Author Danyel Smith, on stage in San Francisco at The Battery, discussing her book, ‘Shine Bright: A Personal History of Black Women in Pop’ in June 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The talented trio will discuss their individual journeys to stardom; all hail from East Oakland and represent a wide array of family and community experiences. They’ll also discuss the longstanding legacy of Oakland, covering the Town’s unique culture, deep musical history, the push toward innovation and the righteous fight for social justice.\u003c/p>\n\u003cp>Throughout their careers all three panelists have exhibited the indomitable spirit of resistance that’s ever-present in the people who come from the jewel of the East Bay. The conversation, taking place at the Oakland Tech’s auditorium, will be accompanied by a set from mix master \u003ca href=\"https://www.instagram.com/1djslowpoke/?hl=en\" target=\"_blank\" rel=\"noopener\">DJ Slowpoke\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given all that’s happening in Oakland right now — changes in population, conversations about public safety and the latest wave of talented artists preparing to make their mark on the world — it’s the perfect time for the stars to align.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘That’s Oakland, Baby!’ takes place June 12, 6–9:30 p.m. at the Oakland Technical High School auditorium (300-340 42nd St.). Doors open at 5:30 p.m. \u003ca href=\"https://www.eventbrite.com/e/thats-oakland-baby-tickets-908637157197?\">Reserve a free ticket here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959579/too-short-danyel-smith-dwayne-wiggins-thats-oakland-baby","authors":["11491"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_11615"],"tags":["arts_10278","arts_1143","arts_585","arts_3478"],"featImg":"arts_13959581","label":"arts_140"},"arts_13959859":{"type":"posts","id":"arts_13959859","meta":{"index":"posts_1716263798","site":"arts","id":"13959859","found":true},"guestAuthors":[],"slug":"inside-out-2-review-pixar-teen-movie-amy-poehler-maya-hawke","title":"New Emotions Emerge in ‘Inside Out 2’ — Including Nostalgia for the Original Film","publishDate":1718386503,"format":"standard","headTitle":"New Emotions Emerge in ‘Inside Out 2’ — Including Nostalgia for the Original Film | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>As \u003cem>Inside Out 2\u003c/em> gets under way, things are looking up for Riley, the hockey-loving kid who moved with her parents from Minnesota to San Francisco in the first \u003ca href=\"https://www.kqed.org/arts/10782253/why-the-key-character-in-inside-out-is-the-one-who-isnt-there\">\u003cem>Inside Out\u003c/em>\u003c/a>. She’s adjusted to her new life, school and friends, and her five personified emotions — who share the high-tech headquarters of her brain — have learned to work together in relative harmony. Joy, voiced by \u003ca href=\"https://www.kqed.org/pop/tag/amy-poehler\">Amy Poehler\u003c/a>, is still mostly in charge, but now she and Sadness — the incomparable Phyllis Smith — make a great team, along with the other key emotions, Anger, Fear and Disgust.\u003c/p>\n\u003cp>[aside postid='arts_13959577']But now Riley is 13, which means pimples, growth spurts and a much more complicated emotional life. The director Kelsey Mann, taking over for the first film’s Pete Docter, cleverly dramatizes the onset of puberty as a huge disruption for Joy and Company, who don’t know why their usual routine is suddenly causing Riley to undergo wild mood swings. It turns out, a new emotion has joined headquarters: Anxiety, voiced by a terrific Maya Hawke.\u003c/p>\n\u003cp>Anxiety has brought along her own team of emotions. They’re basically the three E’s: Envy, Ennui and Embarrassment, voiced by \u003ca href=\"https://www.kqed.org/arts/tag/ayo-edebiri\">Ayo Edebiri\u003c/a>, Adèle Exarchopoulos and Paul Walter Hauser. Some of this stretches conceptual credibility: Surely this isn’t the first time in her life that Riley has experienced some of those feelings. But that’s part of the whimsical pleasure of the \u003cem>Inside Out\u003c/em> films: It’s fun to feel your own brain arguing with how it’s represented. It’s also fun to see new regions of Riley’s mental landscape, like the giant ravine that fuels her contemptuous side — naturally, it’s called the Sar-chasm.\u003c/p>\n\u003cfigure class=\"wp-block-embed npr-promo-card insettwocolumn\">\n\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/div>\n\u003c/figure>\n\u003cp>The story kicks into gear when Riley is sent to an elite three-day hockey camp, where she’s forced to make some tough decisions, like whether to stick with her two closest friends or hang out with the cool older kids. As the pressure on Riley mounts and the competition gets more cutthroat, it’s Anxiety who emerges as the movie’s villain.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LEjhY15eCx0&t=15s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hawke does a great job of making the character’s polite bundle-of-nerves routine a little more annoying — and sinister — in every scene. Anxiety basically engineers a hostile takeover of Riley’s mind, banishing Joy, Sadness, Fear, Anger and Disgust to the outskirts of consciousness, and setting out to mold Riley into a more successful version of herself. What she’s unwittingly doing is making Riley more ambitious and conniving.\u003c/p>\n\u003cp>\u003cem>Inside Out 2\u003c/em>, in other words, is something of an anti-stress movie, where unchecked drivenness can destroy a person’s true sense of self. It’s hard to argue with that, but it’s also hard not to push back a little. This isn’t the first Pixar movie that’s tried to teach us to lighten up and let things go, a lesson that dates as far back as the first \u003cem>Toy Story. \u003c/em>But it’s always struck me as a bit rich coming from Pixar, given the hyper-ambition and perfectionism that have long defined the studio’s brand.\u003c/p>\n\u003cp>Fortunately, there is a better, deeper message at the heart of \u003cem>Inside Out 2\u003c/em>, that encourages us to take a more expansive view of ourselves — to acknowledge that we all have the capacity for good and bad. As in the first movie, the goal is to strive for balance, embrace complexity and learn to be OK with imperfection.\u003c/p>\n\u003cp>[aside postid='arts_13958728']I’m trying to do that myself with \u003cem>Inside Out 2\u003c/em>, which, despite its many pleasures, is a pretty imperfect movie. It isn’t nearly as emotionally overwhelming as its predecessor, but how could it be? The first \u003cem>Inside Out\u003c/em> was a piercing lament for childhood’s end, with Joy and Sadness’ frenemy dynamic as its irresistible core.\u003c/p>\n\u003cp>Now, Riley’s older and maturing, and it’s natural that her latest adventure should hit us differently. But there are also some bewildering choices here that suggest the story could have used, well, a rethink. There’s one overlong sequence, in which Joy and her friends encounter memories of old cartoon and video-game characters buried deep in Riley’s mind; it’s a cheap gag, and it almost pulled me out of the movie entirely. And there’s a recurring joke, involving Riley’s sense of Nostalgia, that strikes a weirdly sour note. Ironically, it made me feel a little nostalgic myself — for the days when Pixar would have known to leave a bit like that on the cutting-room floor.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Inside Out 2’ is released nationwide on June 14, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"‘Inside Out 2’ catches up with protagonist Riley at age 13, just as Anxiety enters her emotional life. ","status":"publish","parent":0,"modified":1718386503,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":837},"headData":{"title":"‘Inside Out 2’ Review: Teen Emotions Show Up, Anxiety Included | KQED","description":"‘Inside Out 2’ catches up with protagonist Riley at age 13, just as Anxiety enters her emotional life. ","ogTitle":"New Emotions Emerge in ‘Inside Out 2’ — Including Nostalgia for the Original Film","ogDescription":"","ogImgId":"","twTitle":"New Emotions Emerge in ‘Inside Out 2’ — Including Nostalgia for the Original Film","twDescription":"","twImgId":"","socialTitle":"‘Inside Out 2’ Review: Teen Emotions Show Up, Anxiety Included %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"New Emotions Emerge in ‘Inside Out 2’ — Including Nostalgia for the Original Film","datePublished":"2024-06-14T10:35:03-07:00","dateModified":"2024-06-14T10:35:03-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Justin Chang, NPR","nprStoryId":"nx-s1-4992700","nprHtmlLink":"https://www.npr.org/2024/06/04/nx-s1-4992700/inside-out-2-review","nprRetrievedStory":"1","nprPubDate":"2024-06-14T11:51:40.924-04:00","nprStoryDate":"2024-06-14T11:51:40.924-04:00","nprLastModifiedDate":"2024-06-14T11:51:40.924-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13959859/inside-out-2-review-pixar-teen-movie-amy-poehler-maya-hawke","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As \u003cem>Inside Out 2\u003c/em> gets under way, things are looking up for Riley, the hockey-loving kid who moved with her parents from Minnesota to San Francisco in the first \u003ca href=\"https://www.kqed.org/arts/10782253/why-the-key-character-in-inside-out-is-the-one-who-isnt-there\">\u003cem>Inside Out\u003c/em>\u003c/a>. She’s adjusted to her new life, school and friends, and her five personified emotions — who share the high-tech headquarters of her brain — have learned to work together in relative harmony. Joy, voiced by \u003ca href=\"https://www.kqed.org/pop/tag/amy-poehler\">Amy Poehler\u003c/a>, is still mostly in charge, but now she and Sadness — the incomparable Phyllis Smith — make a great team, along with the other key emotions, Anger, Fear and Disgust.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13959577","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But now Riley is 13, which means pimples, growth spurts and a much more complicated emotional life. The director Kelsey Mann, taking over for the first film’s Pete Docter, cleverly dramatizes the onset of puberty as a huge disruption for Joy and Company, who don’t know why their usual routine is suddenly causing Riley to undergo wild mood swings. It turns out, a new emotion has joined headquarters: Anxiety, voiced by a terrific Maya Hawke.\u003c/p>\n\u003cp>Anxiety has brought along her own team of emotions. They’re basically the three E’s: Envy, Ennui and Embarrassment, voiced by \u003ca href=\"https://www.kqed.org/arts/tag/ayo-edebiri\">Ayo Edebiri\u003c/a>, Adèle Exarchopoulos and Paul Walter Hauser. Some of this stretches conceptual credibility: Surely this isn’t the first time in her life that Riley has experienced some of those feelings. But that’s part of the whimsical pleasure of the \u003cem>Inside Out\u003c/em> films: It’s fun to feel your own brain arguing with how it’s represented. It’s also fun to see new regions of Riley’s mental landscape, like the giant ravine that fuels her contemptuous side — naturally, it’s called the Sar-chasm.\u003c/p>\n\u003cfigure class=\"wp-block-embed npr-promo-card insettwocolumn\">\n\u003cdiv class=\"wp-block-embed__wrapper\">\u003c/div>\n\u003c/figure>\n\u003cp>The story kicks into gear when Riley is sent to an elite three-day hockey camp, where she’s forced to make some tough decisions, like whether to stick with her two closest friends or hang out with the cool older kids. As the pressure on Riley mounts and the competition gets more cutthroat, it’s Anxiety who emerges as the movie’s villain.\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/LEjhY15eCx0'\n title='//www.youtube.com/embed/LEjhY15eCx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hawke does a great job of making the character’s polite bundle-of-nerves routine a little more annoying — and sinister — in every scene. Anxiety basically engineers a hostile takeover of Riley’s mind, banishing Joy, Sadness, Fear, Anger and Disgust to the outskirts of consciousness, and setting out to mold Riley into a more successful version of herself. What she’s unwittingly doing is making Riley more ambitious and conniving.\u003c/p>\n\u003cp>\u003cem>Inside Out 2\u003c/em>, in other words, is something of an anti-stress movie, where unchecked drivenness can destroy a person’s true sense of self. It’s hard to argue with that, but it’s also hard not to push back a little. This isn’t the first Pixar movie that’s tried to teach us to lighten up and let things go, a lesson that dates as far back as the first \u003cem>Toy Story. \u003c/em>But it’s always struck me as a bit rich coming from Pixar, given the hyper-ambition and perfectionism that have long defined the studio’s brand.\u003c/p>\n\u003cp>Fortunately, there is a better, deeper message at the heart of \u003cem>Inside Out 2\u003c/em>, that encourages us to take a more expansive view of ourselves — to acknowledge that we all have the capacity for good and bad. As in the first movie, the goal is to strive for balance, embrace complexity and learn to be OK with imperfection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958728","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I’m trying to do that myself with \u003cem>Inside Out 2\u003c/em>, which, despite its many pleasures, is a pretty imperfect movie. It isn’t nearly as emotionally overwhelming as its predecessor, but how could it be? The first \u003cem>Inside Out\u003c/em> was a piercing lament for childhood’s end, with Joy and Sadness’ frenemy dynamic as its irresistible core.\u003c/p>\n\u003cp>Now, Riley’s older and maturing, and it’s natural that her latest adventure should hit us differently. But there are also some bewildering choices here that suggest the story could have used, well, a rethink. There’s one overlong sequence, in which Joy and her friends encounter memories of old cartoon and video-game characters buried deep in Riley’s mind; it’s a cheap gag, and it almost pulled me out of the movie entirely. And there’s a recurring joke, involving Riley’s sense of Nostalgia, that strikes a weirdly sour note. Ironically, it made me feel a little nostalgic myself — for the days when Pixar would have known to leave a bit like that on the cutting-room floor.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Inside Out 2’ is released nationwide on June 14, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959859/inside-out-2-review-pixar-teen-movie-amy-poehler-maya-hawke","authors":["byline_arts_13959859"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_4262","arts_1900","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13959864","label":"arts_140"},"arts_13959775":{"type":"posts","id":"arts_13959775","meta":{"index":"posts_1716263798","site":"arts","id":"13959775","found":true},"guestAuthors":[],"slug":"consent-jill-ciment-book-review-metoo-memoir","title":"In ‘Consent,’ an Author Asks: ‘Me Too? Did I Have the Agency to Consent?’","publishDate":1718307919,"format":"standard","headTitle":"In ‘Consent,’ an Author Asks: ‘Me Too? Did I Have the Agency to Consent?’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In 1996, novelist Jill Ciment published a memoir called \u003cem>Half a Life. \u003c/em>It is primarily about her hardscrabble childhood in California’s San Fernando Valley, dominated by her difficult, volatile father, whom Ciment realized in hindsight was autistic. But about halfway through, Ciment’s life takes a turn, when at 16, she signs up for figure drawing classes, which she pays for with earnings from a part-time job. She develops a crush on the teacher, a married artist 30 years her senior named Arnold Mesches. Within a year, they are having an affair. Or, as she puts it, “Arnold was having an affair. I was going steady.”\u003c/p>\n\u003cp>That relationship is the subject of Ciment’s follow-up memoir, \u003cem>Consent. Half a Life\u003c/em> was written when she was in her 40s and Arnold (as she refers to him) was in his 70s — at which point they had been married for more than 25 years. Now, eight years after his death at 93, she reconsiders their relationship in light of the #MeToo movement\u003cem>.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13959155']Her remarkable new book — at once forthright, thoughtful, and moving — broaches many questions: “Does a story’s ending excuse its beginning?” “Can a love that starts with such an asymmetrical balance of power ever right itself?” “How do I convey yearning for a kiss while at the same time acknowledge the predatory act of an older man kissing a teenager?”\u003c/p>\n\u003cp>You don’t have to read \u003cem>Half a Life\u003c/em> to appreciate \u003cem>Consent\u003c/em>. In fact, the second memoir\u003cem>, \u003c/em>which both scrutinizes and amplifies what Ciment first wrote about her relationship with Arnold, is a far more interesting book.\u003c/p>\n\u003cp>She describes their first kiss differently in the two memoirs. In the earlier version, she initiated the kiss and Arnold kissed her back, but then stopped himself and said, “Sweetheart, I can’t sleep with you. I’d like to, but I can’t … It wouldn’t be fair to you.” In the new book, he draws her to him and kisses her, and “I fervently kissed him back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The age of consent in California is 18. Had Arnold groomed her with extra attention in class, or with furtive glances down her blouse? What about whispering to her, “I wish you were older”? Her reply in both books: “I’m old enough.”\u003c/p>\n\u003cp>“Me too?” she wonders now. “Did I have the agency to consent?”\u003c/p>\n\u003cp>[aside postid='arts_13959530']Arnold read and discussed the first memoir with her — commenting, for example, that he would never have called a student “sweetheart.” But he was not alive to respond to \u003cem>Consent, \u003c/em>and Ciment tries to imagine his reactions.\u003c/p>\n\u003cp>She questions her earlier assertion that she would never love anyone more than Arnold: “Could I have felt so sure of my love at 17 that I knew nothing would surpass it? Or was my 45-year-old self, in the middle of the marriage and the memoir, trying to burnish the story with love lest it read like a reenactment of Humbert Humbert and Lolita’s cross-country road trip?” Was she protecting Arnold\u003cem>, \u003c/em>even though the statute of limitations had long passed?\u003c/p>\n\u003cp>In a particularly astute passage, Ciment highlights how language reflects changing social attitudes and colors our views — which makes it difficult to judge past behavior by today’s moral codes:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>“If Arnold kissed me first, should I refer to him in the language of today — \u003cem>sexual offender, transgressor, abuser of power? \u003c/em>Or do I refer to him in the language of the late ’90s, when my 45-year-old self wrote the scene? The president at that time was Clinton, and the blue dress was in the news. Men who preyed on younger women were called \u003cem>letches, cradle-robbers, dogs. \u003c/em>Or do I refer to him in the language of 1970, at the apex of the sexual revolution, when the kiss took place — \u003cem>Casanova, silver fox?”\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Time also alters the words that might be used to describe teenaged Ciment: a \u003cem>victim\u003c/em> or \u003cem>survivor\u003c/em> in today’s parlance, a \u003cem>bimbo\u003c/em> or \u003cem>vixen\u003c/em> in the ’90s, a \u003cem>cool chick\u003c/em> in the ’70s.\u003c/p>\n\u003cp>It turns out there was plenty Ciment omitted in \u003cem>Half a Life\u003c/em>, including uncomfortable details like the fact that Arnold had not just a wife but another longstanding mistress when they first got together. And that, ever the teacher, he instructed her on sexual techniques and helped her prepare a portfolio of explicit sexual drawings from the female point of view for her application to CalArts school.\u003c/p>\n\u003cp>These early elisions provide a pointed reminder that all writing is selective, and memoirs are certainly no exception.\u003c/p>\n\u003cp>[aside postid='arts_13959550']Ciment’s frankness extends to the disadvantages of being a much younger wife, including Arnold’s inevitable physical diminution, the constant specter of loss, and — more amusingly — being asked how much she’s paid to take care of the old man dozing on a park bench beside her. You don’t have to be a Freudian to note that in Arnold, who was the same age as her father, Ciment found an attentive paternal figure who “showed me who I might become.”\u003c/p>\n\u003cp>But \u003cem>Consent\u003c/em> — whose working title was \u003cem>The Other Half — \u003c/em>makes clear that she found much more. Their “half century of intimacy” included physical and mental stimulation, companionship, power shifts, financial worries, successful creative careers, illnesses, and, through it all, artistic collaborations in which “he was my first audience, as I was his first viewer.”\u003c/p>\n\u003cp>Despite their many conversations about the subject, they never reached a firm consensus about who initiated that first kiss. No such uncertainty exists about their heartbreaking last one. This is a book poised to fuel plenty of discussion.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Consent’ by Jill Ciment is out now, via Pantheon\u003c/em>.\u003c/p>\n\n","blocks":[],"excerpt":"Jill Ciment had a long marriage to an older teacher she met when she was 17. Her new memoir reconsiders the relationship.","status":"publish","parent":0,"modified":1718307919,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1019},"headData":{"title":"Book Review: ‘Consent’ by Jill Ciment Asks Many Hard Questions | KQED","description":"Jill Ciment had a long marriage to an older teacher she met when she was 17. Her new memoir reconsiders the relationship.","ogTitle":"In ‘Consent’ an Author Asks: ‘Me Too? Did I Have the Agency to Consent?’","ogDescription":"","ogImgId":"","twTitle":"In ‘Consent’ an Author Asks: ‘Me Too? Did I Have the Agency to Consent?’","twDescription":"","twImgId":"","socialTitle":"Book Review: ‘Consent’ by Jill Ciment Asks Many Hard Questions %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"In ‘Consent,’ an Author Asks: ‘Me Too? Did I Have the Agency to Consent?’","datePublished":"2024-06-13T12:45:19-07:00","dateModified":"2024-06-13T12:45:19-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Heller McAlpin, NPR","nprStoryId":"nx-s1-4998478","nprHtmlLink":"https://www.npr.org/2024/06/10/nx-s1-4998478/jill-ciment-memoir-consent-half-a-life-metoo-movement","nprRetrievedStory":"1","nprPubDate":"2024-06-10T11:16:53.287-04:00","nprStoryDate":"2024-06-10T11:16:53.287-04:00","nprLastModifiedDate":"2024-06-10T11:21:53.547-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13959775/consent-jill-ciment-book-review-metoo-memoir","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1996, novelist Jill Ciment published a memoir called \u003cem>Half a Life. \u003c/em>It is primarily about her hardscrabble childhood in California’s San Fernando Valley, dominated by her difficult, volatile father, whom Ciment realized in hindsight was autistic. But about halfway through, Ciment’s life takes a turn, when at 16, she signs up for figure drawing classes, which she pays for with earnings from a part-time job. She develops a crush on the teacher, a married artist 30 years her senior named Arnold Mesches. Within a year, they are having an affair. Or, as she puts it, “Arnold was having an affair. I was going steady.”\u003c/p>\n\u003cp>That relationship is the subject of Ciment’s follow-up memoir, \u003cem>Consent. Half a Life\u003c/em> was written when she was in her 40s and Arnold (as she refers to him) was in his 70s — at which point they had been married for more than 25 years. Now, eight years after his death at 93, she reconsiders their relationship in light of the #MeToo movement\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13959155","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Her remarkable new book — at once forthright, thoughtful, and moving — broaches many questions: “Does a story’s ending excuse its beginning?” “Can a love that starts with such an asymmetrical balance of power ever right itself?” “How do I convey yearning for a kiss while at the same time acknowledge the predatory act of an older man kissing a teenager?”\u003c/p>\n\u003cp>You don’t have to read \u003cem>Half a Life\u003c/em> to appreciate \u003cem>Consent\u003c/em>. In fact, the second memoir\u003cem>, \u003c/em>which both scrutinizes and amplifies what Ciment first wrote about her relationship with Arnold, is a far more interesting book.\u003c/p>\n\u003cp>She describes their first kiss differently in the two memoirs. In the earlier version, she initiated the kiss and Arnold kissed her back, but then stopped himself and said, “Sweetheart, I can’t sleep with you. I’d like to, but I can’t … It wouldn’t be fair to you.” In the new book, he draws her to him and kisses her, and “I fervently kissed him back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The age of consent in California is 18. Had Arnold groomed her with extra attention in class, or with furtive glances down her blouse? What about whispering to her, “I wish you were older”? Her reply in both books: “I’m old enough.”\u003c/p>\n\u003cp>“Me too?” she wonders now. “Did I have the agency to consent?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13959530","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Arnold read and discussed the first memoir with her — commenting, for example, that he would never have called a student “sweetheart.” But he was not alive to respond to \u003cem>Consent, \u003c/em>and Ciment tries to imagine his reactions.\u003c/p>\n\u003cp>She questions her earlier assertion that she would never love anyone more than Arnold: “Could I have felt so sure of my love at 17 that I knew nothing would surpass it? Or was my 45-year-old self, in the middle of the marriage and the memoir, trying to burnish the story with love lest it read like a reenactment of Humbert Humbert and Lolita’s cross-country road trip?” Was she protecting Arnold\u003cem>, \u003c/em>even though the statute of limitations had long passed?\u003c/p>\n\u003cp>In a particularly astute passage, Ciment highlights how language reflects changing social attitudes and colors our views — which makes it difficult to judge past behavior by today’s moral codes:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>“If Arnold kissed me first, should I refer to him in the language of today — \u003cem>sexual offender, transgressor, abuser of power? \u003c/em>Or do I refer to him in the language of the late ’90s, when my 45-year-old self wrote the scene? The president at that time was Clinton, and the blue dress was in the news. Men who preyed on younger women were called \u003cem>letches, cradle-robbers, dogs. \u003c/em>Or do I refer to him in the language of 1970, at the apex of the sexual revolution, when the kiss took place — \u003cem>Casanova, silver fox?”\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Time also alters the words that might be used to describe teenaged Ciment: a \u003cem>victim\u003c/em> or \u003cem>survivor\u003c/em> in today’s parlance, a \u003cem>bimbo\u003c/em> or \u003cem>vixen\u003c/em> in the ’90s, a \u003cem>cool chick\u003c/em> in the ’70s.\u003c/p>\n\u003cp>It turns out there was plenty Ciment omitted in \u003cem>Half a Life\u003c/em>, including uncomfortable details like the fact that Arnold had not just a wife but another longstanding mistress when they first got together. And that, ever the teacher, he instructed her on sexual techniques and helped her prepare a portfolio of explicit sexual drawings from the female point of view for her application to CalArts school.\u003c/p>\n\u003cp>These early elisions provide a pointed reminder that all writing is selective, and memoirs are certainly no exception.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13959550","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Ciment’s frankness extends to the disadvantages of being a much younger wife, including Arnold’s inevitable physical diminution, the constant specter of loss, and — more amusingly — being asked how much she’s paid to take care of the old man dozing on a park bench beside her. You don’t have to be a Freudian to note that in Arnold, who was the same age as her father, Ciment found an attentive paternal figure who “showed me who I might become.”\u003c/p>\n\u003cp>But \u003cem>Consent\u003c/em> — whose working title was \u003cem>The Other Half — \u003c/em>makes clear that she found much more. Their “half century of intimacy” included physical and mental stimulation, companionship, power shifts, financial worries, successful creative careers, illnesses, and, through it all, artistic collaborations in which “he was my first audience, as I was his first viewer.”\u003c/p>\n\u003cp>Despite their many conversations about the subject, they never reached a firm consensus about who initiated that first kiss. No such uncertainty exists about their heartbreaking last one. This is a book poised to fuel plenty of discussion.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Consent’ by Jill Ciment is out now, via Pantheon\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13959775/consent-jill-ciment-book-review-metoo-memoir","authors":["byline_arts_13959775"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_9054","arts_21679","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13959783","label":"arts_140"},"arts_13958336":{"type":"posts","id":"arts_13958336","meta":{"index":"posts_1716263798","site":"arts","id":"13958336","found":true},"guestAuthors":[],"slug":"the-coterie-den-recording-photography-video-studio-san-jose","title":"At the Coterie Den, San José Artists Work, Play and Dream","publishDate":1716414309,"format":"standard","headTitle":"At the Coterie Den, San José Artists Work, Play and Dream | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Oakland, San Francisco and Vallejo might get all the glory when it comes to producing the Bay Area’s brightest hip-hop talent, but don’t sleep on San José. Not only is it the hometown of the late \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\">hyphy architect Traxamillion\u003c/a> — who produced all-time 2000s classics like Keak Da Sneak’s “Super Hyphy” and The Jacka’s “Glamorous Lifestyle” — but it’s also where \u003ca href=\"https://www.kqed.org/arts/13939767/peanut-butter-wolf-san-jose-hip-hop-1980s-1990s\">DJ and producer Peanut Butter Wolf\u003c/a> started Stones Throw Records, the iconic independent label that put out classic material by Madlib, MF Doom and J Dilla during that same decade.\u003c/p>\n\u003cp>Though San José is the Bay’s most populous city, today it’s often overlooked when it comes to culture — more known for its tech workers in Tesla Cybertrucks than its music scene. But it doesn’t take much digging to see that there’s a groundswell of local artists working hard to put the 408 back on the map, and take their music beyond the Bay.\u003c/p>\n\u003cp>Their home base? \u003ca href=\"https://thecoterieden.com/?gclid=CjwKCAjwr7ayBhAPEiwA6EIGxNSvr7d6O2ylnXK4DCPlGvZlHPFCsD2nQclmHc5j3ls2ijcGDyQu3hoCZVoQAvD_BwE\">The Coterie Den\u003c/a>.\u003c/p>\n\u003cp>It’s an artist-run, D.I.Y. creative space in a basement below a Japantown nail shop. Follow its winding staircase, and inside you’ll find a recording studio; a video, photo and podcast set; and a community event space decorated with murals and canvases by local artists. The Coterie Den is usually bustling with creatives in action, and regularly hosts fashion markets, open mics and gallery shows that are open to the public.\u003c/p>\n\u003cp>Twenty-eight-year-old rapper and event producer \u003ca href=\"https://www.instagram.com/ljames408/\">LJame$\u003c/a>, aka Lucas Milan, founded the Coterie Den in late 2021 with two business partners. At the time, he felt discouraged by San José’s lack of venues and resources for up-and-coming artists, especially in hip-hop. He came close to burnout and thought about quitting music altogether.\u003c/p>\n\u003cfigure id=\"attachment_13956255\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956255\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">LJame$, aka Lucas Milan, at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That changed when he and his business partners found the former grocery storage space that would become the Coterie Den. They rolled up their sleeves and put up drywall, soundproofed the studio and hired artists to repaint its salmon-colored walls with graffiti lettering and murals. Pouring his energy into the project reignited LJame$’ passion for creating, and the chance to lift up others became his motivation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Artists can come, put that work in, get their practice in, [get] those reps — right? Like you go to the gym to shoot a shot,” says LJame$, who’s now the Coterie Den’s sole owner.\u003c/p>\n\u003cp>He runs the studio while also working a tech job by day, and pretty much doesn’t sleep. But he says it’s worth it. He has a team of 10 hungry creatives working alongside him — some of whom are as young as 19.\u003c/p>\n\u003cfigure id=\"attachment_13958339\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Engineer Isandro Biaco at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In-house engineer \u003ca href=\"https://www.instagram.com/isandro.flp/\">Isandro\u003c/a> — who gets constant props from everyone who stops by during our interview — taught himself to mix and master music, and saved up money from construction work for his own studio equipment. Becoming the Coterie Den’s full-time engineer has opened up new opportunities: In 2022, his own single “\u003ca href=\"https://youtu.be/doblhgONeJU?si=gQcyHUZt-Ze7x6U2\">Heart2Heart\u003c/a>” took off on TikTok, and it was his Coterie Den comrades who instructed him on how to parlay the attention into his budding solo music career.\u003c/p>\n\u003cp>“I didn’t know what to do with all this hype,” he says. “I didn’t know that you had to be consistent and drop songs and keep feeding the people to grow a fan base. … With the Den, and having the resources here, and having all these dope-ass creative people excited to show me, ‘Yo, this is how you do it,’ we’re able to make it happen.”\u003c/p>\n\u003cp>Spending an afternoon with the Coterie Den crew, it’s easy to appreciate their collaborative, sibling-like energy. “I tangibly see sometimes how I’ve grown through journal entries. We journal a lot,” reflects LJame$. “I see some of the notes from earlier meetings to now. Like, ‘Man, we want to start an open mic’ to now [having] launched a successful open mic in here.”\u003c/p>\n\u003cfigure id=\"attachment_13958341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Event coordinator Ruby Rodriguez at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A hip-hop incubator\u003c/h2>\n\u003cp>When I visit the Coterie Den during their open mic season finale in late April, \u003ca href=\"https://www.instagram.com/saysumentertainment/\">Say Sum Entertainment\u003c/a> — a young, multicultural music collective co-hosting the event — is setting up a merch table as aspiring rappers and singers file in. Tonight, the artists will be scored on song structure, beat selection and stage presence by a judges’ panel consisting of LJame$, Isandro and Say Sum founder \u003ca href=\"https://www.instagram.com/415johnjohn/\">John John\u003c/a>. The open mic winner will get free studio time at the Coterie Den and a booking at Sam Sum’s next showcase.\u003c/p>\n\u003cp>The Coterie Den’s open mics are where Say Sum Entertainment began to take off, and the collective now has a network of over 100 artists all around the Bay Area who support one another. “Something that we want to keep growing is the community, to keep letting people know that the Bay Area is not all about competition, especially when it comes to music,” says John John.\u003c/p>\n\u003cp>“I have to give the Coterie Den their flowers, because they helped me grow a lot as an artist — and even as a human being,” says rapper, content creator and Sam Sum Entertainment member \u003ca href=\"https://www.instagram.com/3ddev/\">3DDev\u003c/a>. He remembers a turning point in his music career, when he got constructive criticism at a Coterie Den open mic: “You feel like you’re on \u003cem>American Idol\u003c/em>. The next day I went to the studio and made sure I took the time to polish my skills.”\u003c/p>\n\u003cfigure id=\"attachment_13958344\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958344\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artists sign in to participate in the open mic at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s certainly nerve-wracking to get live feedback in front of your peers, and there’s a nervous, excited energy in the room as showtime approaches. I chat with rapper \u003ca href=\"https://www.instagram.com/401ksey/\">401k$ey\u003c/a>, who with a sheepish grin says it’s his second time ever getting up on stage. LJame$ starts calling artists up.\u003c/p>\n\u003cp>A rapper with twin braids and a curly mustache named \u003ca href=\"https://www.instagram.com/estevanamoroso/\">Mr. Amoroso\u003c/a> kicks the night off with a sermon about chasing paper that gets everyone nodding in agreement. A singer named \u003ca href=\"https://www.instagram.com/chloe12354/\">Chlo\u003c/a> breaks into Tinashe-esque choreography while delivering a diss track to “bitches who try to read a book by its cover.” And \u003ca href=\"https://www.instagram.com/westsidemoe_/\">Westside Moe\u003c/a> charms the room with romantic verses that take everyone back to the Ja Rule and Ashanti era of hip-hop love songs.\u003c/p>\n\u003cfigure id=\"attachment_13956261\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chlo performs at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The judges heap generous praise but also don’t pull back on critiques. A common refrain is that people need to lower their backing vocals and let the audience hear them. When some of the shyer artists forget to introduce themselves or let on that they’re nervous, the judges emphasize confidence and personal branding.\u003c/p>\n\u003cp>When 401k$sey goes on, the sheepish demeanor falls away and he’s shoulder-shimmying across the stage while hyping the crowd with a call-and-response hook about rolling up to the club. Everyone loses it when he suddenly switches to rapping full force in Tagalog.\u003c/p>\n\u003cp>“Pare!” Isandro exclaims in Tagalog from the judges’ table. “Yeah, bruh, for the second performance, I’m blown away. It looks like you been doing this shit.”\u003c/p>\n\u003cp>At the end of the night, Mr. Amoroso takes the crown, and everyone ends the night with smiles, hugs and fuel for their next moves.\u003c/p>\n\u003cfigure id=\"attachment_13958343\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: John John, LJame$ and Isandro. LJame$ reviews the performance of a contestant at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A melting pot in Japantown\u003c/h2>\n\u003cp>The Coterie Den is one of the newer businesses in \u003ca href=\"https://www.kqed.org/arts/13904788/san-jose-japantown-changes-minato-gombei-shuei-do-santo-market\">Japantown\u003c/a>, home to some eateries and shops that have been around since the 1940s and ’50s. As San José’s Japanese American population ages or moves away to suburbs, the neighborhood is becoming more multicultural — something reflected in its artistic expression. [aside postid='arts_13904788']\u003c/p>\n\u003cp>LJame$, who is Chicano, has been organizing car shows and artist markets with his team in Japantown, and he says it took a while for some of the old-school neighborhood merchants to embrace the Coterie Den crew. He has a supporter in fellow business owner My Nguyen, who co-founded nearby streetwear boutique \u003ca href=\"https://www.instagram.com/headliners/?hl=en\">Headliners\u003c/a> in 2011. With the addition of \u003ca href=\"https://www.instagram.com/coldwater.sj/\">Coldwater\u003c/a>, known for its \u003ca href=\"https://www.instagram.com/madebyrila/\">airbrushed sportswear\u003c/a> and in-house streetwear brand \u003ca href=\"https://www.instagram.com/juboclothing/\">Jubo\u003c/a>, there’s now a critical mass of establishments rooted in hip-hop culture in the neighborhood.\u003c/p>\n\u003cp>“Being a young, Brown gentleman in here — and Japantown [has] a board and they have a whole business association and a very tight-knit community,” LJame$ says. “My stuck up for me a lot. I appreciate him for doing that and opening up doors for us.”\u003c/p>\n\u003cfigure id=\"attachment_13958345\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">401k$ey performs at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crowd at Coterie Den — Chicano, Filipino, Vietnamese, Black, white — reflects that sense of solidarity. “I want to showcase that to the world because coexisting, being in places where we can all absorb the culture and learn and listen and talk to one another — that’s special,” LJame$ says. “And the world needs more of that. Not just only in the creative scene, but everywhere.”\u003c/p>\n\u003cp>“It’s like San José itself is a culture, but everybody kind of has their own culture,” says the Coterie Den’s event coordinator, \u003ca href=\"https://www.instagram.com/ruuubess/\">Ruby Rodriguez\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956258\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956258\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The audience watches performances during the open mic night at the Coterie Den in San Jose on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She has a major hand in the Coterie Den’s gatherings, including an even bigger open mic at last weekend’s Culture Night Market at Discovery Meadows. On May 26, the Coterie Den is hosting a \u003ca href=\"https://www.instagram.com/p/C7O98w8RUYI/?img_index=1\">Japantown vintage and thrift market\u003c/a>; on June 2, they’re sponsoring a \u003ca href=\"https://thecoterieden.com/packages/ols/categories/sunday-funday-tickets\">Sunday Funday\u003c/a> networking event and day party at nightclub Fuze SJ; and on June 3, the Coterie Den will open its doors for more networking and live performances at \u003ca href=\"https://thecoterieden.com/packages/ols/categories/innovative-meet-up-tickets\">Innovative Meetup\u003c/a>.\u003c/p>\n\u003cp>The Coterie Den team is passionate about their neighborhood. But their vision doesn’t stop there. They want to take their music beyond San José, and even beyond the Bay.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I want to have one of these in LA. I want to have one in New York. I want to take this exact culture that we’re building, and just transcend the region,” LJame$ says. “I think we have something special to show of course for our city, of course for the Bay area. … And I feel like it needs to be spread across the nation.”\u003c/p>\n\n","blocks":[],"excerpt":"The creative studio, founded by rapper LJame$, wants to take San José’s hip-hop scene nationwide. ","status":"publish","parent":0,"modified":1716502776,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1965},"headData":{"title":"At the Coterie Den, San José Artists Work, Play and Dream | KQED","description":"The creative studio, founded by rapper LJame$, wants to take San José’s hip-hop scene nationwide. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At the Coterie Den, San José Artists Work, Play and Dream","datePublished":"2024-05-22T14:45:09-07:00","dateModified":"2024-05-23T15:19:36-07:00","image":"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-07_qut-1020x680.jpg","author":{"@type":"Person","name":"Nastia Voynovskaya","jobTitle":"Associate Editor","url":"https://www.kqed.org/author/nvoynovskaya"}},"authorsData":[{"type":"authors","id":"11387","meta":{"index":"authors_1716337520","id":"11387","found":true},"name":"Nastia Voynovskaya","firstName":"Nastia","lastName":"Voynovskaya","slug":"nvoynovskaya","email":"nvoynovskaya@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Associate Editor","bio":"Nastia Voynovskaya is a Russian-born journalist raised in the Bay Area and Tampa, Florida. She's the associate editor at KQED Arts & Culture. She's the recipient of the 2018 Society of Professional Journalists-Northern California award for arts & culture reporting. In 2021, a retrospective of the 2010s she edited and creative directed, Our Turbulent Decade, received the SPJ-NorCal award for web design. Nastia's work has been published in NPR Music, \u003cem>San Francisco Chronicle\u003c/em>, VICE, Paste Magazine, Bandcamp and SF MoMA Open Space. Previously, she served as music editor at \u003cem>East Bay Express\u003c/em> and online editor at \u003cem>Hi-Fructose Magazine\u003c/em>. She holds a B.A. in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"}],"imageData":{"ogImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-07_qut-1020x680.jpg","width":1020,"height":680,"mimeType":"image/jpeg"},"ogImageWidth":"1020","ogImageHeight":"680","twitterImageUrl":"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-07_qut-1020x680.jpg","twImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-07_qut-1020x680.jpg","width":1020,"height":680,"mimeType":"image/jpeg"},"twitterCard":"summary_large_image"},"tagData":{"tags":["bay area hip-hop","editorspick","featured-arts","Hip Hop","San Jose"]}},"sticky":false,"nprStoryId":"kqed-13958336","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958336/the-coterie-den-recording-photography-video-studio-san-jose","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland, San Francisco and Vallejo might get all the glory when it comes to producing the Bay Area’s brightest hip-hop talent, but don’t sleep on San José. Not only is it the hometown of the late \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\">hyphy architect Traxamillion\u003c/a> — who produced all-time 2000s classics like Keak Da Sneak’s “Super Hyphy” and The Jacka’s “Glamorous Lifestyle” — but it’s also where \u003ca href=\"https://www.kqed.org/arts/13939767/peanut-butter-wolf-san-jose-hip-hop-1980s-1990s\">DJ and producer Peanut Butter Wolf\u003c/a> started Stones Throw Records, the iconic independent label that put out classic material by Madlib, MF Doom and J Dilla during that same decade.\u003c/p>\n\u003cp>Though San José is the Bay’s most populous city, today it’s often overlooked when it comes to culture — more known for its tech workers in Tesla Cybertrucks than its music scene. But it doesn’t take much digging to see that there’s a groundswell of local artists working hard to put the 408 back on the map, and take their music beyond the Bay.\u003c/p>\n\u003cp>Their home base? \u003ca href=\"https://thecoterieden.com/?gclid=CjwKCAjwr7ayBhAPEiwA6EIGxNSvr7d6O2ylnXK4DCPlGvZlHPFCsD2nQclmHc5j3ls2ijcGDyQu3hoCZVoQAvD_BwE\">The Coterie Den\u003c/a>.\u003c/p>\n\u003cp>It’s an artist-run, D.I.Y. creative space in a basement below a Japantown nail shop. Follow its winding staircase, and inside you’ll find a recording studio; a video, photo and podcast set; and a community event space decorated with murals and canvases by local artists. The Coterie Den is usually bustling with creatives in action, and regularly hosts fashion markets, open mics and gallery shows that are open to the public.\u003c/p>\n\u003cp>Twenty-eight-year-old rapper and event producer \u003ca href=\"https://www.instagram.com/ljames408/\">LJame$\u003c/a>, aka Lucas Milan, founded the Coterie Den in late 2021 with two business partners. At the time, he felt discouraged by San José’s lack of venues and resources for up-and-coming artists, especially in hip-hop. He came close to burnout and thought about quitting music altogether.\u003c/p>\n\u003cfigure id=\"attachment_13956255\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956255\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-03-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">LJame$, aka Lucas Milan, at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That changed when he and his business partners found the former grocery storage space that would become the Coterie Den. They rolled up their sleeves and put up drywall, soundproofed the studio and hired artists to repaint its salmon-colored walls with graffiti lettering and murals. Pouring his energy into the project reignited LJame$’ passion for creating, and the chance to lift up others became his motivation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Artists can come, put that work in, get their practice in, [get] those reps — right? Like you go to the gym to shoot a shot,” says LJame$, who’s now the Coterie Den’s sole owner.\u003c/p>\n\u003cp>He runs the studio while also working a tech job by day, and pretty much doesn’t sleep. But he says it’s worth it. He has a team of 10 hungry creatives working alongside him — some of whom are as young as 19.\u003c/p>\n\u003cfigure id=\"attachment_13958339\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-04_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Engineer Isandro Biaco at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In-house engineer \u003ca href=\"https://www.instagram.com/isandro.flp/\">Isandro\u003c/a> — who gets constant props from everyone who stops by during our interview — taught himself to mix and master music, and saved up money from construction work for his own studio equipment. Becoming the Coterie Den’s full-time engineer has opened up new opportunities: In 2022, his own single “\u003ca href=\"https://youtu.be/doblhgONeJU?si=gQcyHUZt-Ze7x6U2\">Heart2Heart\u003c/a>” took off on TikTok, and it was his Coterie Den comrades who instructed him on how to parlay the attention into his budding solo music career.\u003c/p>\n\u003cp>“I didn’t know what to do with all this hype,” he says. “I didn’t know that you had to be consistent and drop songs and keep feeding the people to grow a fan base. … With the Den, and having the resources here, and having all these dope-ass creative people excited to show me, ‘Yo, this is how you do it,’ we’re able to make it happen.”\u003c/p>\n\u003cp>Spending an afternoon with the Coterie Den crew, it’s easy to appreciate their collaborative, sibling-like energy. “I tangibly see sometimes how I’ve grown through journal entries. We journal a lot,” reflects LJame$. “I see some of the notes from earlier meetings to now. Like, ‘Man, we want to start an open mic’ to now [having] launched a successful open mic in here.”\u003c/p>\n\u003cfigure id=\"attachment_13958341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-06_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Event coordinator Ruby Rodriguez at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A hip-hop incubator\u003c/h2>\n\u003cp>When I visit the Coterie Den during their open mic season finale in late April, \u003ca href=\"https://www.instagram.com/saysumentertainment/\">Say Sum Entertainment\u003c/a> — a young, multicultural music collective co-hosting the event — is setting up a merch table as aspiring rappers and singers file in. Tonight, the artists will be scored on song structure, beat selection and stage presence by a judges’ panel consisting of LJame$, Isandro and Say Sum founder \u003ca href=\"https://www.instagram.com/415johnjohn/\">John John\u003c/a>. The open mic winner will get free studio time at the Coterie Den and a booking at Sam Sum’s next showcase.\u003c/p>\n\u003cp>The Coterie Den’s open mics are where Say Sum Entertainment began to take off, and the collective now has a network of over 100 artists all around the Bay Area who support one another. “Something that we want to keep growing is the community, to keep letting people know that the Bay Area is not all about competition, especially when it comes to music,” says John John.\u003c/p>\n\u003cp>“I have to give the Coterie Den their flowers, because they helped me grow a lot as an artist — and even as a human being,” says rapper, content creator and Sam Sum Entertainment member \u003ca href=\"https://www.instagram.com/3ddev/\">3DDev\u003c/a>. He remembers a turning point in his music career, when he got constructive criticism at a Coterie Den open mic: “You feel like you’re on \u003cem>American Idol\u003c/em>. The next day I went to the studio and made sure I took the time to polish my skills.”\u003c/p>\n\u003cfigure id=\"attachment_13958344\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958344\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-02_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artists sign in to participate in the open mic at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s certainly nerve-wracking to get live feedback in front of your peers, and there’s a nervous, excited energy in the room as showtime approaches. I chat with rapper \u003ca href=\"https://www.instagram.com/401ksey/\">401k$ey\u003c/a>, who with a sheepish grin says it’s his second time ever getting up on stage. LJame$ starts calling artists up.\u003c/p>\n\u003cp>A rapper with twin braids and a curly mustache named \u003ca href=\"https://www.instagram.com/estevanamoroso/\">Mr. Amoroso\u003c/a> kicks the night off with a sermon about chasing paper that gets everyone nodding in agreement. A singer named \u003ca href=\"https://www.instagram.com/chloe12354/\">Chlo\u003c/a> breaks into Tinashe-esque choreography while delivering a diss track to “bitches who try to read a book by its cover.” And \u003ca href=\"https://www.instagram.com/westsidemoe_/\">Westside Moe\u003c/a> charms the room with romantic verses that take everyone back to the Ja Rule and Ashanti era of hip-hop love songs.\u003c/p>\n\u003cfigure id=\"attachment_13956261\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-15-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chlo performs at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The judges heap generous praise but also don’t pull back on critiques. A common refrain is that people need to lower their backing vocals and let the audience hear them. When some of the shyer artists forget to introduce themselves or let on that they’re nervous, the judges emphasize confidence and personal branding.\u003c/p>\n\u003cp>When 401k$sey goes on, the sheepish demeanor falls away and he’s shoulder-shimmying across the stage while hyping the crowd with a call-and-response hook about rolling up to the club. Everyone loses it when he suddenly switches to rapping full force in Tagalog.\u003c/p>\n\u003cp>“Pare!” Isandro exclaims in Tagalog from the judges’ table. “Yeah, bruh, for the second performance, I’m blown away. It looks like you been doing this shit.”\u003c/p>\n\u003cp>At the end of the night, Mr. Amoroso takes the crown, and everyone ends the night with smiles, hugs and fuel for their next moves.\u003c/p>\n\u003cfigure id=\"attachment_13958343\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-14_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: John John, LJame$ and Isandro. LJame$ reviews the performance of a contestant at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A melting pot in Japantown\u003c/h2>\n\u003cp>The Coterie Den is one of the newer businesses in \u003ca href=\"https://www.kqed.org/arts/13904788/san-jose-japantown-changes-minato-gombei-shuei-do-santo-market\">Japantown\u003c/a>, home to some eateries and shops that have been around since the 1940s and ’50s. As San José’s Japanese American population ages or moves away to suburbs, the neighborhood is becoming more multicultural — something reflected in its artistic expression. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13904788","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>LJame$, who is Chicano, has been organizing car shows and artist markets with his team in Japantown, and he says it took a while for some of the old-school neighborhood merchants to embrace the Coterie Den crew. He has a supporter in fellow business owner My Nguyen, who co-founded nearby streetwear boutique \u003ca href=\"https://www.instagram.com/headliners/?hl=en\">Headliners\u003c/a> in 2011. With the addition of \u003ca href=\"https://www.instagram.com/coldwater.sj/\">Coldwater\u003c/a>, known for its \u003ca href=\"https://www.instagram.com/madebyrila/\">airbrushed sportswear\u003c/a> and in-house streetwear brand \u003ca href=\"https://www.instagram.com/juboclothing/\">Jubo\u003c/a>, there’s now a critical mass of establishments rooted in hip-hop culture in the neighborhood.\u003c/p>\n\u003cp>“Being a young, Brown gentleman in here — and Japantown [has] a board and they have a whole business association and a very tight-knit community,” LJame$ says. “My stuck up for me a lot. I appreciate him for doing that and opening up doors for us.”\u003c/p>\n\u003cfigure id=\"attachment_13958345\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958345\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240419-COTERIE-DEN-MD-42_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">401k$ey performs at the open mic night at the Coterie Den in San José on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crowd at Coterie Den — Chicano, Filipino, Vietnamese, Black, white — reflects that sense of solidarity. “I want to showcase that to the world because coexisting, being in places where we can all absorb the culture and learn and listen and talk to one another — that’s special,” LJame$ says. “And the world needs more of that. Not just only in the creative scene, but everywhere.”\u003c/p>\n\u003cp>“It’s like San José itself is a culture, but everybody kind of has their own culture,” says the Coterie Den’s event coordinator, \u003ca href=\"https://www.instagram.com/ruuubess/\">Ruby Rodriguez\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956258\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956258\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240419-COTERIE-DEN-MD-11-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The audience watches performances during the open mic night at the Coterie Den in San Jose on April 18, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She has a major hand in the Coterie Den’s gatherings, including an even bigger open mic at last weekend’s Culture Night Market at Discovery Meadows. On May 26, the Coterie Den is hosting a \u003ca href=\"https://www.instagram.com/p/C7O98w8RUYI/?img_index=1\">Japantown vintage and thrift market\u003c/a>; on June 2, they’re sponsoring a \u003ca href=\"https://thecoterieden.com/packages/ols/categories/sunday-funday-tickets\">Sunday Funday\u003c/a> networking event and day party at nightclub Fuze SJ; and on June 3, the Coterie Den will open its doors for more networking and live performances at \u003ca href=\"https://thecoterieden.com/packages/ols/categories/innovative-meet-up-tickets\">Innovative Meetup\u003c/a>.\u003c/p>\n\u003cp>The Coterie Den team is passionate about their neighborhood. But their vision doesn’t stop there. They want to take their music beyond San José, and even beyond the Bay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I want to have one of these in LA. I want to have one in New York. I want to take this exact culture that we’re building, and just transcend the region,” LJame$ says. “I think we have something special to show of course for our city, of course for the Bay area. … And I feel like it needs to be spread across the nation.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958336/the-coterie-den-recording-photography-video-studio-san-jose","authors":["11387"],"categories":["arts_1","arts_835","arts_69","arts_235"],"tags":["arts_8505","arts_10342","arts_10278","arts_831","arts_1084"],"featImg":"arts_13958340","label":"arts","isLoading":false,"hasAllInfo":true}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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