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"content": "\u003cp>As the government shutdown enters its second month, \u003ca href=\"https://www.kqed.org/news/12060770/snap-calfresh-food-stamps-government-shutdown-november-payments-ebt\">a harrowing date is here \u003c/a>for the millions of low-income Americans who use the Supplemental Nutrition Assistance Program (SNAP).\u003c/p>\n\u003cp>Starting Nov. 1, these SNAP benefits usually distributed at the start of the month were delayed due to the shutdown, and it’s still unclear how and when SNAP payments will be distributed this month. On Nov. 3, President Donald Trump’s administration said it would \u003ca href=\"https://www.npr.org/2025/11/03/nx-s1-5596121/snap-food-benefits-trump-government-shutdown\">use the U.S. Department of Agriculture’s contingency fund to provide SNAP payments\u003c/a> in November after all, having previously claimed that it could not tap this fund.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the White House warned that payments would still only be half of people’s regular benefits, and that there could be lengthy delays before EBT cards are reloaded. And on Nov. 4, \u003ca href=\"https://www.nytimes.com/live/2025/11/04/us/trump-shutdown-news#cities-nonprofits-food-stamp-snap-payments\">Trump again threatened to withhold SNAP payments\u003c/a> entirely — before a judge \u003ca href=\"https://apnews.com/live/donald-trump-news-updates-11-6-2025#0000019a-5af9-d003-addb-deffec620000\">ruled a second time that the White House must pay these benefits in full by Nov. 7\u003c/a>.\u003c/p>\n\u003cp>On Nov. 6, Gov. Gavin Newsom’s office confirmed that \u003ca href=\"https://www.gov.ca.gov/2025/11/06/californians-are-beginning-to-see-cash-on-their-snap-cards-following-major-win-against-the-trump-administration/\">some CalFresh recipients have begun to see benefits payments\u003c/a> arrive in full onto their EBT cards, but it’s not yet clear how these funds will continue to roll out, especially since \u003ca href=\"https://apnews.com/article/snap-food-government-shutdown-trump-a807e9f0c0a7213e203c074553dc1f9b\">the Trump administration asked a federal appeals court on Nov. 7 to block the judge’s order\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hundreds of thousands of people in the Bay Area rely on CalFresh, the state’s version of SNAP, which has \u003ca href=\"https://www.cdss.ca.gov/benefits-services/food-nutrition-services/calfresh/calfresh-frequently-asked-questions\">directed people\u003c/a> to seek out \u003ca href=\"https://www.kqed.org/news/12061440/calfresh-snap-ebt-shutdown-find-food-banks-near-me-san-francisco-bay-area-alameda-oakland-contra-costa-newsom-national-guard\">food banks in their area\u003c/a>. For families, this delay in benefits can mean making impossible decisions between rent, medicine and food.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Jump straight to: \u003ca href=\"#calfresh-snap-ebt-free-meals\">The Bay Area restaurants offering free meals to families using CalFresh \u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>Around 2 million of the state’s 5.5 million CalFresh users are children. And in light of this need, restaurants across the Bay Area are already offering free or discounted meals to families affected by the delay to CalFresh benefits.[aside postID='news_12060770,news_12062018,news_12061440,news_12061005' label='More CalFresh Guides']\u003c/p>\n\u003cp>The idea was kicked off locally by \u003ca href=\"https://www.instagram.com/p/DQNJxH9kukF/\">a Oct. 24 social media post from Tony & Alba’s Pizza and Pasta\u003c/a>, a family-run restaurant in San José.\u003c/p>\n\u003cp>Tony & Alba’s is offering a free pizza or pasta with carrots, fruit and a drink to children accompanied by a parent with an EBT card. “Children need to be fed!” the restaurant’s account posted on Instagram. Parents’ meals will be discounted.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Tell us: \u003ca href=\"#snap-calfresh-ebt-share\">Will your family be affected by the CalFresh delays?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>“Was it Mother Teresa who said you don’t have to do great things, just little things? Well this is our little thing,” Tony & Alba’s owner Al Vallorz said in a video on social media. “I hope it’s a short-lived program, because that means [SNAP] gets funded. But until it does, it’s up to us.”\u003c/p>\n\u003cp>Other restaurants quickly followed suit. The popular food truck Al Pastor Papi, newly opened in a Union Square brick-and-mortar, is offering \u003ca href=\"https://www.instagram.com/p/DQS48PDEbZP/?hl=en\">free burritos to CalFresh recipients\u003c/a> in November.\u003c/p>\n\u003cp>“If we can provide a meal once a week for a family that’s going to be affected, I think that’s helpful on both ends,” chef and owner Miguel Escobedo told KQED. “We can’t survive as a business without our community, so it’s our responsibility to answer the call when our community is in need, however that might look like.”\u003c/p>\n\u003cp>In the Bay Area, Alameda County has the highest share — 176,133 — of people using CalFresh. And Oakland’s Tee Tran, who owns Monster Phở — \u003ca href=\"https://www.instagram.com/p/DQR2pEYCSXO/?img_index=1\">another restaurant offering meals\u003c/a> to young CalFresh recipients — knows about food insecurity firsthand.\u003c/p>\n\u003cp>When his family arrived in the East Bay as refugees from Vietnam, Tran says his mother worked multiple jobs to put food on the table. Even still, he says, “We were on welfare, we were on food stamps.”\u003c/p>\n\u003cp>Tran remembers waiting in line with his brothers for free food, and feels fortunate that they had access to that resource. “I didn’t think even twice about this,” he says of the decision to offer \u003ca href=\"https://www.instagram.com/p/DQR2pEYCSXO/?img_index=1\">free meals to CalFresh recipients\u003c/a> ages 12 and under.\u003c/p>\n\u003cp>“Financially it’s been difficult to be a restaurant in this economy,” says Tran. “But there are people who are worse off than us.”\u003c/p>\n\u003cp>[aside postID='arts_13968422']Tran’s generosity is well documented: Monster Phở’s sixth annual free phở day, \u003ca href=\"https://www.kqed.org/arts/13968422/free-pho-oakland-monster-pho-seiji-oda\">Phở for the People\u003c/a>, is coming up on \u003ca href=\"https://www.instagram.com/p/DQGGJYUkRbp/?img_index=1\">Nov. 24\u003c/a>. Oakland rapper \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a> will once again perform at the event, which doubles as a toy drive.\u003c/p>\n\u003cp>Meanwhile, food banks are already feeling the pressure of the government shutdown on their resources. Last week, Governor Newsom announced that he would be “\u003ca href=\"https://www.gov.ca.gov/2025/10/22/california-to-deploy-national-guard-to-support-food-banks-fast-track-funding-as-trumps-shutdown-strips-families-of-food-benefits/\">fast-tracking upwards of $80 million in state support\u003c/a>” for food banks, and activating the state National Guard to assist these organizations.\u003c/p>\n\u003cp>“Food insecurity is actually higher now than at the peak of the pandemic,” Tanis Crosby, executive director of the San Francisco-Marin Food Bank, told KQED. “We are already in a hunger crisis. The shutdown is exacerbating that.”\u003c/p>\n\u003cp>As other restaurants around the Bay Area, including the San José food truck \u003ca href=\"https://www.instagram.com/p/DQUnx98Eq7o/\">Shrimp’n Ain’t Eazy\u003c/a>, follow in Tony & Alba’s footsteps, Tran said he hopes the movement spreads: “This is a trend that can actually save lives.”\u003c/p>\n\u003ch2>\u003ca id=\"calfresh-snap-ebt-free-meals\">\u003c/a>Some of the Bay Area restaurants offering free or discounted meals to families using CalFresh\u003c/h2>\n\u003cp>\u003cstrong>San Francisco\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQXY-iwgZmE/?hl=en\">Rusty Ladle\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQaGAMfku34/\">Devil’s Teeth Baking Company\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQS48PDEbZP/?hl=en\">Al Pastor Papi\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQYTEL6DnDT/\">Tacos El Patrón\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQY4NsnEbmj/\">Whack Donuts\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/reemscalifornia/p/DQe4HsmkZPE/?hl=en\">Reem’s\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>East Bay\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQR2pEYCSXO/?img_index=1\">Monster Phở\u003c/a>, Oakland\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQLE24kCVhR/?\">Understory\u003c/a>, Oakland\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQZlmr_CW8l/\">Wahpepah’s Kitchen\u003c/a>, Oakland\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQSTnjCE9h-/?hl=en&img_index=1\">Puerto Rican Street Cuisine\u003c/a>, Oakland\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/malibusburgers/?hl=en\">Malibu’s Burgers\u003c/a>, Oakland\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/hptacotruck/?hl=en\">HP Taco Truck\u003c/a>, Livermore, Dublin and Berkeley\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/ogtacos/\">OG Tacos\u003c/a>, Antioch and Concord\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQYTEL6DnDT/\">Tacos El Patrón\u003c/a>, Pleasant Hill\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQYTjMHji0M/\">Humbowl\u003c/a>, Berkeley\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQa0-GZjsHy/\">Timeless Coffee\u003c/a>, Oakland\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/bakerandcommons/p/DQezfS1Cb9V/?hl=en\">Baker & Commons\u003c/a>, Berkeley\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQhl2-6Euya/#\">Pho 510\u003c/a>, Castro Valley\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Peninsula and South Bay\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQNJxH9kukF/\">Tony & Alba’s Pizza and Pasta\u003c/a>, San José\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/shrimpn_aint_eazy/p/DQUnx98Eq7o/?hl=en\">Shrimp’n Ain’t Eazy\u003c/a>, San José\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQV3fpEkUM0/\">Gamers Heaven\u003c/a>, Santa Clara\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQVUvE9jxH7/?hl=en\">Cochi’s Kitchen\u003c/a>, Morgan Hill\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQZmi-GCWLS/?hl=en\">Gigi’s Cafe\u003c/a>, Burlingame\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQZLSMlkewW/\">Acapulco Kitchen\u003c/a>, Pacifica (Mondays)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>North Bay\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQYQXh3EW-G/?hl=en\">Mill Valley Pasta\u003c/a>, Mill Valley (tell them you’re picking up “for Uncle Tony,” also applies at their farmer’s market stalls)\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/fireswampprovisions/?hl=en\">Fire Swamp Provisions\u003c/a>, San Rafael and Novato (tell them you’re picking up “for Uncle Tony”)\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQNNqbSkqeg/?hl=en\">Winston’s\u003c/a>, Napa (free dinner Nov. 17)\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQYTjMHji0M/\">Humbowl\u003c/a>, San Rafael\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Bay Area-wide\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.instagram.com/km_mushrooms/?hl=en\">KM Mushrooms\u003c/a>, at farmers’ markets around Bay Area\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQcWJGEEl-a/?img_index=1\">Oren’s Hummus\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch2>Want to share your story?\u003c/h2>\n\u003cp>https://docs.google.com/forms/d/e/1FAIpQLSep1AINaCxvNFFW4Pay4HnOcCYWtNZUaietXl2725dD7l6m9g/viewform?embedded=true\u003c/p>\n\u003cp>\u003cem>KQED’s Carly Severn contributed reporting to this story.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Restaurants are offering free and discounted meals to those affected by the government shutdown.",
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"title": "Bay Area Restaurants Offer Free Meals to SNAP Recipients | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the government shutdown enters its second month, \u003ca href=\"https://www.kqed.org/news/12060770/snap-calfresh-food-stamps-government-shutdown-november-payments-ebt\">a harrowing date is here \u003c/a>for the millions of low-income Americans who use the Supplemental Nutrition Assistance Program (SNAP).\u003c/p>\n\u003cp>Starting Nov. 1, these SNAP benefits usually distributed at the start of the month were delayed due to the shutdown, and it’s still unclear how and when SNAP payments will be distributed this month. On Nov. 3, President Donald Trump’s administration said it would \u003ca href=\"https://www.npr.org/2025/11/03/nx-s1-5596121/snap-food-benefits-trump-government-shutdown\">use the U.S. Department of Agriculture’s contingency fund to provide SNAP payments\u003c/a> in November after all, having previously claimed that it could not tap this fund.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the White House warned that payments would still only be half of people’s regular benefits, and that there could be lengthy delays before EBT cards are reloaded. And on Nov. 4, \u003ca href=\"https://www.nytimes.com/live/2025/11/04/us/trump-shutdown-news#cities-nonprofits-food-stamp-snap-payments\">Trump again threatened to withhold SNAP payments\u003c/a> entirely — before a judge \u003ca href=\"https://apnews.com/live/donald-trump-news-updates-11-6-2025#0000019a-5af9-d003-addb-deffec620000\">ruled a second time that the White House must pay these benefits in full by Nov. 7\u003c/a>.\u003c/p>\n\u003cp>On Nov. 6, Gov. Gavin Newsom’s office confirmed that \u003ca href=\"https://www.gov.ca.gov/2025/11/06/californians-are-beginning-to-see-cash-on-their-snap-cards-following-major-win-against-the-trump-administration/\">some CalFresh recipients have begun to see benefits payments\u003c/a> arrive in full onto their EBT cards, but it’s not yet clear how these funds will continue to roll out, especially since \u003ca href=\"https://apnews.com/article/snap-food-government-shutdown-trump-a807e9f0c0a7213e203c074553dc1f9b\">the Trump administration asked a federal appeals court on Nov. 7 to block the judge’s order\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hundreds of thousands of people in the Bay Area rely on CalFresh, the state’s version of SNAP, which has \u003ca href=\"https://www.cdss.ca.gov/benefits-services/food-nutrition-services/calfresh/calfresh-frequently-asked-questions\">directed people\u003c/a> to seek out \u003ca href=\"https://www.kqed.org/news/12061440/calfresh-snap-ebt-shutdown-find-food-banks-near-me-san-francisco-bay-area-alameda-oakland-contra-costa-newsom-national-guard\">food banks in their area\u003c/a>. For families, this delay in benefits can mean making impossible decisions between rent, medicine and food.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Jump straight to: \u003ca href=\"#calfresh-snap-ebt-free-meals\">The Bay Area restaurants offering free meals to families using CalFresh \u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>Around 2 million of the state’s 5.5 million CalFresh users are children. And in light of this need, restaurants across the Bay Area are already offering free or discounted meals to families affected by the delay to CalFresh benefits.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The idea was kicked off locally by \u003ca href=\"https://www.instagram.com/p/DQNJxH9kukF/\">a Oct. 24 social media post from Tony & Alba’s Pizza and Pasta\u003c/a>, a family-run restaurant in San José.\u003c/p>\n\u003cp>Tony & Alba’s is offering a free pizza or pasta with carrots, fruit and a drink to children accompanied by a parent with an EBT card. “Children need to be fed!” the restaurant’s account posted on Instagram. Parents’ meals will be discounted.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Tell us: \u003ca href=\"#snap-calfresh-ebt-share\">Will your family be affected by the CalFresh delays?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>“Was it Mother Teresa who said you don’t have to do great things, just little things? Well this is our little thing,” Tony & Alba’s owner Al Vallorz said in a video on social media. “I hope it’s a short-lived program, because that means [SNAP] gets funded. But until it does, it’s up to us.”\u003c/p>\n\u003cp>Other restaurants quickly followed suit. The popular food truck Al Pastor Papi, newly opened in a Union Square brick-and-mortar, is offering \u003ca href=\"https://www.instagram.com/p/DQS48PDEbZP/?hl=en\">free burritos to CalFresh recipients\u003c/a> in November.\u003c/p>\n\u003cp>“If we can provide a meal once a week for a family that’s going to be affected, I think that’s helpful on both ends,” chef and owner Miguel Escobedo told KQED. “We can’t survive as a business without our community, so it’s our responsibility to answer the call when our community is in need, however that might look like.”\u003c/p>\n\u003cp>In the Bay Area, Alameda County has the highest share — 176,133 — of people using CalFresh. And Oakland’s Tee Tran, who owns Monster Phở — \u003ca href=\"https://www.instagram.com/p/DQR2pEYCSXO/?img_index=1\">another restaurant offering meals\u003c/a> to young CalFresh recipients — knows about food insecurity firsthand.\u003c/p>\n\u003cp>When his family arrived in the East Bay as refugees from Vietnam, Tran says his mother worked multiple jobs to put food on the table. Even still, he says, “We were on welfare, we were on food stamps.”\u003c/p>\n\u003cp>Tran remembers waiting in line with his brothers for free food, and feels fortunate that they had access to that resource. “I didn’t think even twice about this,” he says of the decision to offer \u003ca href=\"https://www.instagram.com/p/DQR2pEYCSXO/?img_index=1\">free meals to CalFresh recipients\u003c/a> ages 12 and under.\u003c/p>\n\u003cp>“Financially it’s been difficult to be a restaurant in this economy,” says Tran. “But there are people who are worse off than us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Tran’s generosity is well documented: Monster Phở’s sixth annual free phở day, \u003ca href=\"https://www.kqed.org/arts/13968422/free-pho-oakland-monster-pho-seiji-oda\">Phở for the People\u003c/a>, is coming up on \u003ca href=\"https://www.instagram.com/p/DQGGJYUkRbp/?img_index=1\">Nov. 24\u003c/a>. Oakland rapper \u003ca href=\"https://www.kqed.org/arts/13957194/seiji-oda-bay-area-rap-lo-fi-minimalist-hyphy\">Seiji Oda\u003c/a> will once again perform at the event, which doubles as a toy drive.\u003c/p>\n\u003cp>Meanwhile, food banks are already feeling the pressure of the government shutdown on their resources. Last week, Governor Newsom announced that he would be “\u003ca href=\"https://www.gov.ca.gov/2025/10/22/california-to-deploy-national-guard-to-support-food-banks-fast-track-funding-as-trumps-shutdown-strips-families-of-food-benefits/\">fast-tracking upwards of $80 million in state support\u003c/a>” for food banks, and activating the state National Guard to assist these organizations.\u003c/p>\n\u003cp>“Food insecurity is actually higher now than at the peak of the pandemic,” Tanis Crosby, executive director of the San Francisco-Marin Food Bank, told KQED. “We are already in a hunger crisis. The shutdown is exacerbating that.”\u003c/p>\n\u003cp>As other restaurants around the Bay Area, including the San José food truck \u003ca href=\"https://www.instagram.com/p/DQUnx98Eq7o/\">Shrimp’n Ain’t Eazy\u003c/a>, follow in Tony & Alba’s footsteps, Tran said he hopes the movement spreads: “This is a trend that can actually save lives.”\u003c/p>\n\u003ch2>\u003ca id=\"calfresh-snap-ebt-free-meals\">\u003c/a>Some of the Bay Area restaurants offering free or discounted meals to families using CalFresh\u003c/h2>\n\u003cp>\u003cstrong>San Francisco\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQXY-iwgZmE/?hl=en\">Rusty Ladle\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQaGAMfku34/\">Devil’s Teeth Baking Company\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQS48PDEbZP/?hl=en\">Al Pastor Papi\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQYTEL6DnDT/\">Tacos El Patrón\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQY4NsnEbmj/\">Whack Donuts\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/reemscalifornia/p/DQe4HsmkZPE/?hl=en\">Reem’s\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>East Bay\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQR2pEYCSXO/?img_index=1\">Monster Phở\u003c/a>, Oakland\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQLE24kCVhR/?\">Understory\u003c/a>, Oakland\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQZlmr_CW8l/\">Wahpepah’s Kitchen\u003c/a>, Oakland\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQSTnjCE9h-/?hl=en&img_index=1\">Puerto Rican Street Cuisine\u003c/a>, Oakland\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/malibusburgers/?hl=en\">Malibu’s Burgers\u003c/a>, Oakland\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/hptacotruck/?hl=en\">HP Taco Truck\u003c/a>, Livermore, Dublin and Berkeley\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/ogtacos/\">OG Tacos\u003c/a>, Antioch and Concord\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQYTEL6DnDT/\">Tacos El Patrón\u003c/a>, Pleasant Hill\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQYTjMHji0M/\">Humbowl\u003c/a>, Berkeley\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQa0-GZjsHy/\">Timeless Coffee\u003c/a>, Oakland\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/bakerandcommons/p/DQezfS1Cb9V/?hl=en\">Baker & Commons\u003c/a>, Berkeley\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQhl2-6Euya/#\">Pho 510\u003c/a>, Castro Valley\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Peninsula and South Bay\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQNJxH9kukF/\">Tony & Alba’s Pizza and Pasta\u003c/a>, San José\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/shrimpn_aint_eazy/p/DQUnx98Eq7o/?hl=en\">Shrimp’n Ain’t Eazy\u003c/a>, San José\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQV3fpEkUM0/\">Gamers Heaven\u003c/a>, Santa Clara\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQVUvE9jxH7/?hl=en\">Cochi’s Kitchen\u003c/a>, Morgan Hill\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQZmi-GCWLS/?hl=en\">Gigi’s Cafe\u003c/a>, Burlingame\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQZLSMlkewW/\">Acapulco Kitchen\u003c/a>, Pacifica (Mondays)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>North Bay\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQYQXh3EW-G/?hl=en\">Mill Valley Pasta\u003c/a>, Mill Valley (tell them you’re picking up “for Uncle Tony,” also applies at their farmer’s market stalls)\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/fireswampprovisions/?hl=en\">Fire Swamp Provisions\u003c/a>, San Rafael and Novato (tell them you’re picking up “for Uncle Tony”)\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQNNqbSkqeg/?hl=en\">Winston’s\u003c/a>, Napa (free dinner Nov. 17)\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQYTjMHji0M/\">Humbowl\u003c/a>, San Rafael\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Bay Area-wide\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.instagram.com/km_mushrooms/?hl=en\">KM Mushrooms\u003c/a>, at farmers’ markets around Bay Area\u003c/li>\n\u003cli>\u003ca href=\"https://www.instagram.com/p/DQcWJGEEl-a/?img_index=1\">Oren’s Hummus\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch2>Want to share your story?\u003c/h2>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe\n src='https://docs.google.com/forms/d/e/1FAIpQLSep1AINaCxvNFFW4Pay4HnOcCYWtNZUaietXl2725dD7l6m9g/viewform?embedded=true?embedded=true'\n title='https://docs.google.com/forms/d/e/1FAIpQLSep1AINaCxvNFFW4Pay4HnOcCYWtNZUaietXl2725dD7l6m9g/viewform?embedded=true'\n width='760' height='500'\n frameborder='0'\n marginheight='0' marginwidth='0'>\u003c/iframe>\u003c/div>\u003c/p>\u003cp>\u003cp>\u003cem>KQED’s Carly Severn contributed reporting to this story.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[dropcap]A[/dropcap]sk any San Francisco teenager from my generation what they did after school in the ’90s and it would most likely go something like this: bumming a cig off campus, splitting a super suiza from El Farolito with friends, and turning on \u003ca href=\"https://www.kqed.org/arts/13933590/california-music-channel-hip-hop-friday-andy-kawanami-chuy-gomez\">California Music Channel\u003c/a> to watch videos from local rap stars who never got love from MTV.\u003c/p>\n\u003cp>I felt proud of hometown heroes like RBL Posse, Messy Marv and San Quinn, who sold cassette tapes out of the trunk of their cars, making a name for themselves — and Frisco — without the backing of major record labels. Back then, much of Bay Area rap reflected the violence of the drug trade and the values of exploitative capitalism. If the music was inspirational, it was about how to be a gangster or a successful drug lord. And if someone rapped about food, it was largely as a way to woo women. “You wanna eat \u003ca href=\"https://www.kqed.org/arts/13958926/nations-burgers-pies-late-night-diner-san-pablo\">Nation’s\u003c/a>? Crab at \u003ca href=\"https://www.kqed.org/arts/13900855/garlic-noodles-sf-bay-area-iconic-foods-thanh-long-smellys\">Crustacean’s\u003c/a>?” Quinn raps on “Wassup.” “Tiger prawns, butterflied shrimp, it must be nice living like this.”\u003c/p>\n\u003cp>These days, however, there’s a new wave of Bay Area rappers pushing a different kind of aspirational lifestyle — one that’s focused on açaí bowls, organic vegetables and physical fitness rather than a life of crime. Frisco rapper Larry June was the first to double down on this new brand of wellness hip-hop, with song lyrics that reference his own self-imposed health regimen: daily fasting until 1 p.m. followed by fresh-squeezed orange juice (made from \u003ca href=\"https://www.grammy.com/news/rapper-larry-june-interview-alchemist-the-great-escape-new-album\">35 oranges\u003c/a>, to be exact) that he might savor at a crib in \u003ca href=\"https://www.youtube.com/watch?v=pRkKo0HhWcY\">Sausalito\u003c/a> with exquisite views and “\u003ca href=\"https://www.youtube.com/watch?v=ZaOtLwOkRow\">expensive couches\u003c/a>.” In “Dear Winter,” he raps, “Eat some blueberries in the mornin’, a little raw spinach / If you don’t know nun’ about me, you know I’m gon’ get it…move like a beast do / pulp in my orange juice.”\u003c/p>\n\u003cp>Indeed, Larry June may be the first rapper to make “\u003ca href=\"https://www.instagram.com/midnightorganicbrand/?hl=en\">Healthy & Organic\u003c/a>” his personal brand.\u003c/p>\n\u003cfigure id=\"attachment_13929276\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929276\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956.jpg\" alt=\"Larry June raps into the microphone on a big festival stage. He's wearing a bucket hat, designer sunglasses and a bandana and is smiling.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Larry June performs at 2023 Rolling Loud Los Angeles at Hollywood Park Grounds on March 4, 2023, in Inglewood, California. \u003ccite>(Photo by Timothy Norris/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But June isn’t the only Bay Area rapper advocating a healthy lifestyle. About eight years ago, “Don Toriano” Gordon of Fully Loaded decided to go vegan after \u003ca href=\"https://sf.eater.com/2023/11/27/23943793/vegan-mob-san-francisco-black-owned\">a health scare\u003c/a> related to his previous street lifestyle. Eventually, Gordon launched Vegan Mob, a plant-based soul food and barbecue food truck that quickly emerged as \u003ca href=\"https://www.kqed.org/arts/13895209/vegan-mob-oakland-mission-sf-expansion-food-truck-toriano-gordon-senor-sisig-vegano\">one of the most popular Black-owned vegan businesses\u003c/a> in the Bay. Now, he’s writing songs about his new diet, too. “I don’t want that shit if it ain’t plant-based,” he \u003ca href=\"https://www.youtube.com/watch?v=vXLo889RZnE\">raps\u003c/a> in “Vegan Mob.” “See you gnaw that pork and steak / Wonder why you ain’t in shape.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maybe the most outspoken member of this new wave is Jordan Gomes, aka Stunnaman02. Though Stunnaman had already had certified hits like “Big Steppin’” (which even has an official 49ers’ remix), his catchy 2024 ode to his love of leafy greens, “Eat a Salad,” is what put him in the pantheon of health-conscious Frisco rappers. In the song, Stunnaman extols the nutritious properties of fresh ingredients like “lemon, lime, honey … agave if you’re vegan.” To promote the single, he posted videos of himself performing custom verses that were essentially recipes for different salads he would prepare on camera — Asian chicken, watermelon and Tajin, and even a \u003ca href=\"https://www.instagram.com/p/C5m343ILmGW/\">quinoa salad \u003c/a>\u003ci>soup\u003c/i>.\u003c/p>\n\u003cp>Then, last month, Stunnaman released another healthy slap, “Veggies,” and shot the music video inside L.A. grocery stores, where he goes through the produce aisles naming the benefits of various fruits, vegetables and spices: “If I need the antioxidants, I nibble on cacao / Turmeric with the ginger it could really cleanse your bowels.”\u003c/p>\n\u003cfigure id=\"attachment_13980887\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980887\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED.jpg\" alt=\"College students walk on the sidewalk in front of Cali's Sports Bar.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The entrance to Cali’s Sports Bar & Kitchen in Berkeley, which features Stunnaman02’s signature salad and dressing on its menu. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Stunnaman has parlayed his newfound status as a hip-hop health influencer into a burgeoning side hustle. In August, he created his own signature salad at Cali’s Sports Bar in Berkeley, in collaboration with owner Wilson Wong. Made with ingredients that don’t trigger the rapper’s eczema, the salad features a choice of grilled or fried chicken, a bed of romaine lettuce and arugula, sliced onions, a custom lemon-pepper hot honey vinaigrette and a side of vegan ranch, which he loves to drizzle on top with the dressing. Stunnaman also has his own \u003ca href=\"https://www.instagram.com/big02juice/\">juice brand\u003c/a>. And he collaborates with local restaurants like Square Pie Guys, which recently released a Stunnaman-inspired “\u003ca href=\"https://www.instagram.com/reel/DQDmVVgkX5q/\">salad pizza\u003c/a>.”\u003c/p>\n\u003cp>With his black mock neck polo and pulled-back dreads, Stunnaman has the energy of a celebrity trainer, complete with the catchy mantra (“We Still Winnin’!”). He says he’s been paying attention to nutrition since he was a kid — a response to struggles with his eczema and his weight. And as the first and last person in his family to be born and raised in San Francisco, he pushes more than just healthy living. He was raised to prize “knowledge of self,” one of the seven principles of Kwanzaa and a focus of John Muir Elementary’s African cultural enrichment program.\u003c/p>\n\u003cp>“All the children my age [who went to John Muir], majority melanated children, we’re learning about not just the knowledge of self, but the history of Africa. We had to call all our elders ‘auntie’ or ‘uncle,’” he recalls.\u003c/p>\n\u003cp>While attending St. Mary’s College, he traced his genealogy four generations back on his mother’s side, finding Narragansett Native American ancestry as well as Angolan by way of Cape Verde. After seeing a picture of his Native maternal great-grandfather, Stunnaman was pleased to find his ancestor was also Black, just like him. He credits his mother and grandmother for instilling that pride in him, breathing affirmations into his everyday life that he now pays forward in his raps.\u003c/p>\n\u003cp>In fact, Stunnaman believes he’s been “sent here from another dimension to restore the collective equilibrium through holistic methods,” as he puts it in the intro to “Eat a Salad.” Having been raised Christian, he also credits God.\u003c/p>\n\u003cfigure id=\"attachment_13980885\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980885\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED.jpg\" alt=\"A fried chicken salad and a tray of chicken wings displayed on a counter.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The “Stunna Salad” and “Winnin Wings” are both part of a menu collaboration between Stunnaman02 and Cali’s Sports Bar. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You might think that with its farmers market ethos, the Bay Area would have a long history of vegetable-themed rap. But prior to the recent trend, the last time I remember hearing a rap song about salad was Dead Prez’s 2001 anthem “Be Healthy,” which, somewhat cringily, rhymed “crouton” and “futon.” Before that, “healthy rap” mostly existed in the lines of rappers who claimed the Five Percent Nation and were taught to “\u003ca href=\"https://en.wikipedia.org/wiki/How_to_Eat_to_Live\">eat to live\u003c/a>” by Elijah Muhammad’s book series of the same name, which promotes vegetarianism and avoiding pork and processed foods. These teachings deeply influenced rappers like KRS-One, Rakim and Poor Righteous Teachers. In the ’90s, A Tribe Called Quest’s “Ham n Eggs” rails about the high-cholesterol soul food diets their grannies raised them on, and how difficult it was to make better food choices. It was my first time seeing that kind of health-focused pushback in hip-hop lyrics. But this was mostly all on the East Coast.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13955802,arts_13907726,arts_13921079']\u003c/span>Meanwhile, Berkeley and San Francisco were at the forefront of the natural food movement, going back to the hippie counterculture and “back to the land” movements of the ’70s. When Alice Waters opened Chez Panisse in Berkeley in 1971, it helped kick off a national farm-to-table movement that crowned Northern California the mecca of healthy food. Eating organic, biking and yoga all became part of the region’s political and moral identity. And the Black Panthers’ \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\">Free Breakfast Program\u003c/a> emphasized the importance of children eating a healthy breakfast — especially if they lived in a low-income neighborhood. For whatever reason, though, not much of these food politics were reflected in the early years of Bay Area hip-hop.\u003c/p>\n\u003cp>In any case, Stunnaman, who’s 31, admits that he didn’t listen to much rap during its “Golden Age.” “No shade to no Frisco rappers, but I ain’t really listen to rap music until I was like eight or nine,” he says. Instead, he’d request the Disney Channel or Michael Jackson whenever he had the chance.\u003c/p>\n\u003cp>Still, he pays homage: “If it wasn’t for RBL Posse, it wasn’t for Cellski, there would be no ‘Big Steppin’.’ What’s reflected in Stunnaman’s music, then, is a rich tapestry of his experience, and a community-minded focus. He really does want his people to eat healthier and take better care of themselves.\u003c/p>\n\u003cp>Slowly but surely, his message seems to be making a difference. On the day of our meeting, Stunnaman was getting ready to shoot a collab video with the popular food influencer Michael Torres, aka GrubwithMike.\u003c/p>\n\u003cp>“When his song ‘Eat a Salad’ came out, I thought [Stunnaman] was talking to me,” Torres says, explaining how he’d struggled with his weight — and how Stunnaman’s music helped inspire him to change his diet. Now, he says, “If I wasn’t doing foodie stuff, I’d damn near be a vegan. Like, I’d be super healthy, bro.”\u003c/p>\n\u003cfigure id=\"attachment_13980883\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980883\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED.jpg\" alt=\"A Black man, shirtless besides a blue and red superhero cape, poses with a fierce expression while holding a bowl of salad.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 has made salad and personal fitness his personal brand — and a big part of his community-minded message. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The OGs are either locked up or they are unfortunately on drugs. With that being the case, we’ve got to help them,” Stunnaman says, pointing out the consequences of poor lifestyle decisions by some elders in the Black community. “That’s why we got Larry June. Because we’ve seen what it was. We’ve seen the product of when you don’t have any discipline with the intake of your vices.”\u003c/p>\n\u003cp>Speaking of vices, when I finally sat down to try Stunnaman’s signature salad, I opted for the grilled chicken instead of the fried cutlets or wing combo I typically order, inspired by our conversation about making better choices. I poured the tangy, caper-flecked dressing all over my lettuce, dabbing a little ranch on there like Stunnaman suggested. With all that good health advice, it didn’t hurt to make it taste good too. Sometimes the medicine goes down better with a little song and dance on the side.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Rocky Rivera is a journalist, emcee, author and activist from San Francisco. She has released four albums through her label, Beatrock Music, and a ten-volume mixtape series with DJ Roza — her most recent album, \u003c/em>Long Kiss Goodnight\u003cem>, dropped in Sept. 2024. She released her first book, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera\u003cem>, in 2021.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>sk any San Francisco teenager from my generation what they did after school in the ’90s and it would most likely go something like this: bumming a cig off campus, splitting a super suiza from El Farolito with friends, and turning on \u003ca href=\"https://www.kqed.org/arts/13933590/california-music-channel-hip-hop-friday-andy-kawanami-chuy-gomez\">California Music Channel\u003c/a> to watch videos from local rap stars who never got love from MTV.\u003c/p>\n\u003cp>I felt proud of hometown heroes like RBL Posse, Messy Marv and San Quinn, who sold cassette tapes out of the trunk of their cars, making a name for themselves — and Frisco — without the backing of major record labels. Back then, much of Bay Area rap reflected the violence of the drug trade and the values of exploitative capitalism. If the music was inspirational, it was about how to be a gangster or a successful drug lord. And if someone rapped about food, it was largely as a way to woo women. “You wanna eat \u003ca href=\"https://www.kqed.org/arts/13958926/nations-burgers-pies-late-night-diner-san-pablo\">Nation’s\u003c/a>? Crab at \u003ca href=\"https://www.kqed.org/arts/13900855/garlic-noodles-sf-bay-area-iconic-foods-thanh-long-smellys\">Crustacean’s\u003c/a>?” Quinn raps on “Wassup.” “Tiger prawns, butterflied shrimp, it must be nice living like this.”\u003c/p>\n\u003cp>These days, however, there’s a new wave of Bay Area rappers pushing a different kind of aspirational lifestyle — one that’s focused on açaí bowls, organic vegetables and physical fitness rather than a life of crime. Frisco rapper Larry June was the first to double down on this new brand of wellness hip-hop, with song lyrics that reference his own self-imposed health regimen: daily fasting until 1 p.m. followed by fresh-squeezed orange juice (made from \u003ca href=\"https://www.grammy.com/news/rapper-larry-june-interview-alchemist-the-great-escape-new-album\">35 oranges\u003c/a>, to be exact) that he might savor at a crib in \u003ca href=\"https://www.youtube.com/watch?v=pRkKo0HhWcY\">Sausalito\u003c/a> with exquisite views and “\u003ca href=\"https://www.youtube.com/watch?v=ZaOtLwOkRow\">expensive couches\u003c/a>.” In “Dear Winter,” he raps, “Eat some blueberries in the mornin’, a little raw spinach / If you don’t know nun’ about me, you know I’m gon’ get it…move like a beast do / pulp in my orange juice.”\u003c/p>\n\u003cp>Indeed, Larry June may be the first rapper to make “\u003ca href=\"https://www.instagram.com/midnightorganicbrand/?hl=en\">Healthy & Organic\u003c/a>” his personal brand.\u003c/p>\n\u003cfigure id=\"attachment_13929276\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929276\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956.jpg\" alt=\"Larry June raps into the microphone on a big festival stage. He's wearing a bucket hat, designer sunglasses and a bandana and is smiling.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Larry June performs at 2023 Rolling Loud Los Angeles at Hollywood Park Grounds on March 4, 2023, in Inglewood, California. \u003ccite>(Photo by Timothy Norris/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But June isn’t the only Bay Area rapper advocating a healthy lifestyle. About eight years ago, “Don Toriano” Gordon of Fully Loaded decided to go vegan after \u003ca href=\"https://sf.eater.com/2023/11/27/23943793/vegan-mob-san-francisco-black-owned\">a health scare\u003c/a> related to his previous street lifestyle. Eventually, Gordon launched Vegan Mob, a plant-based soul food and barbecue food truck that quickly emerged as \u003ca href=\"https://www.kqed.org/arts/13895209/vegan-mob-oakland-mission-sf-expansion-food-truck-toriano-gordon-senor-sisig-vegano\">one of the most popular Black-owned vegan businesses\u003c/a> in the Bay. Now, he’s writing songs about his new diet, too. “I don’t want that shit if it ain’t plant-based,” he \u003ca href=\"https://www.youtube.com/watch?v=vXLo889RZnE\">raps\u003c/a> in “Vegan Mob.” “See you gnaw that pork and steak / Wonder why you ain’t in shape.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe the most outspoken member of this new wave is Jordan Gomes, aka Stunnaman02. Though Stunnaman had already had certified hits like “Big Steppin’” (which even has an official 49ers’ remix), his catchy 2024 ode to his love of leafy greens, “Eat a Salad,” is what put him in the pantheon of health-conscious Frisco rappers. In the song, Stunnaman extols the nutritious properties of fresh ingredients like “lemon, lime, honey … agave if you’re vegan.” To promote the single, he posted videos of himself performing custom verses that were essentially recipes for different salads he would prepare on camera — Asian chicken, watermelon and Tajin, and even a \u003ca href=\"https://www.instagram.com/p/C5m343ILmGW/\">quinoa salad \u003c/a>\u003ci>soup\u003c/i>.\u003c/p>\n\u003cp>Then, last month, Stunnaman released another healthy slap, “Veggies,” and shot the music video inside L.A. grocery stores, where he goes through the produce aisles naming the benefits of various fruits, vegetables and spices: “If I need the antioxidants, I nibble on cacao / Turmeric with the ginger it could really cleanse your bowels.”\u003c/p>\n\u003cfigure id=\"attachment_13980887\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980887\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED.jpg\" alt=\"College students walk on the sidewalk in front of Cali's Sports Bar.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250829_HEALTHYEATS_GH-8-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The entrance to Cali’s Sports Bar & Kitchen in Berkeley, which features Stunnaman02’s signature salad and dressing on its menu. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Stunnaman has parlayed his newfound status as a hip-hop health influencer into a burgeoning side hustle. In August, he created his own signature salad at Cali’s Sports Bar in Berkeley, in collaboration with owner Wilson Wong. Made with ingredients that don’t trigger the rapper’s eczema, the salad features a choice of grilled or fried chicken, a bed of romaine lettuce and arugula, sliced onions, a custom lemon-pepper hot honey vinaigrette and a side of vegan ranch, which he loves to drizzle on top with the dressing. Stunnaman also has his own \u003ca href=\"https://www.instagram.com/big02juice/\">juice brand\u003c/a>. And he collaborates with local restaurants like Square Pie Guys, which recently released a Stunnaman-inspired “\u003ca href=\"https://www.instagram.com/reel/DQDmVVgkX5q/\">salad pizza\u003c/a>.”\u003c/p>\n\u003cp>With his black mock neck polo and pulled-back dreads, Stunnaman has the energy of a celebrity trainer, complete with the catchy mantra (“We Still Winnin’!”). He says he’s been paying attention to nutrition since he was a kid — a response to struggles with his eczema and his weight. And as the first and last person in his family to be born and raised in San Francisco, he pushes more than just healthy living. He was raised to prize “knowledge of self,” one of the seven principles of Kwanzaa and a focus of John Muir Elementary’s African cultural enrichment program.\u003c/p>\n\u003cp>“All the children my age [who went to John Muir], majority melanated children, we’re learning about not just the knowledge of self, but the history of Africa. We had to call all our elders ‘auntie’ or ‘uncle,’” he recalls.\u003c/p>\n\u003cp>While attending St. Mary’s College, he traced his genealogy four generations back on his mother’s side, finding Narragansett Native American ancestry as well as Angolan by way of Cape Verde. After seeing a picture of his Native maternal great-grandfather, Stunnaman was pleased to find his ancestor was also Black, just like him. He credits his mother and grandmother for instilling that pride in him, breathing affirmations into his everyday life that he now pays forward in his raps.\u003c/p>\n\u003cp>In fact, Stunnaman believes he’s been “sent here from another dimension to restore the collective equilibrium through holistic methods,” as he puts it in the intro to “Eat a Salad.” Having been raised Christian, he also credits God.\u003c/p>\n\u003cfigure id=\"attachment_13980885\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980885\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED.jpg\" alt=\"A fried chicken salad and a tray of chicken wings displayed on a counter.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0016_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The “Stunna Salad” and “Winnin Wings” are both part of a menu collaboration between Stunnaman02 and Cali’s Sports Bar. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You might think that with its farmers market ethos, the Bay Area would have a long history of vegetable-themed rap. But prior to the recent trend, the last time I remember hearing a rap song about salad was Dead Prez’s 2001 anthem “Be Healthy,” which, somewhat cringily, rhymed “crouton” and “futon.” Before that, “healthy rap” mostly existed in the lines of rappers who claimed the Five Percent Nation and were taught to “\u003ca href=\"https://en.wikipedia.org/wiki/How_to_Eat_to_Live\">eat to live\u003c/a>” by Elijah Muhammad’s book series of the same name, which promotes vegetarianism and avoiding pork and processed foods. These teachings deeply influenced rappers like KRS-One, Rakim and Poor Righteous Teachers. In the ’90s, A Tribe Called Quest’s “Ham n Eggs” rails about the high-cholesterol soul food diets their grannies raised them on, and how difficult it was to make better food choices. It was my first time seeing that kind of health-focused pushback in hip-hop lyrics. But this was mostly all on the East Coast.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Meanwhile, Berkeley and San Francisco were at the forefront of the natural food movement, going back to the hippie counterculture and “back to the land” movements of the ’70s. When Alice Waters opened Chez Panisse in Berkeley in 1971, it helped kick off a national farm-to-table movement that crowned Northern California the mecca of healthy food. Eating organic, biking and yoga all became part of the region’s political and moral identity. And the Black Panthers’ \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\">Free Breakfast Program\u003c/a> emphasized the importance of children eating a healthy breakfast — especially if they lived in a low-income neighborhood. For whatever reason, though, not much of these food politics were reflected in the early years of Bay Area hip-hop.\u003c/p>\n\u003cp>In any case, Stunnaman, who’s 31, admits that he didn’t listen to much rap during its “Golden Age.” “No shade to no Frisco rappers, but I ain’t really listen to rap music until I was like eight or nine,” he says. Instead, he’d request the Disney Channel or Michael Jackson whenever he had the chance.\u003c/p>\n\u003cp>Still, he pays homage: “If it wasn’t for RBL Posse, it wasn’t for Cellski, there would be no ‘Big Steppin’.’ What’s reflected in Stunnaman’s music, then, is a rich tapestry of his experience, and a community-minded focus. He really does want his people to eat healthier and take better care of themselves.\u003c/p>\n\u003cp>Slowly but surely, his message seems to be making a difference. On the day of our meeting, Stunnaman was getting ready to shoot a collab video with the popular food influencer Michael Torres, aka GrubwithMike.\u003c/p>\n\u003cp>“When his song ‘Eat a Salad’ came out, I thought [Stunnaman] was talking to me,” Torres says, explaining how he’d struggled with his weight — and how Stunnaman’s music helped inspire him to change his diet. Now, he says, “If I wasn’t doing foodie stuff, I’d damn near be a vegan. Like, I’d be super healthy, bro.”\u003c/p>\n\u003cfigure id=\"attachment_13980883\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980883\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED.jpg\" alt=\"A Black man, shirtless besides a blue and red superhero cape, poses with a fierce expression while holding a bowl of salad.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250822_STUNNAMAN02_-0001_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 has made salad and personal fitness his personal brand — and a big part of his community-minded message. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The OGs are either locked up or they are unfortunately on drugs. With that being the case, we’ve got to help them,” Stunnaman says, pointing out the consequences of poor lifestyle decisions by some elders in the Black community. “That’s why we got Larry June. Because we’ve seen what it was. We’ve seen the product of when you don’t have any discipline with the intake of your vices.”\u003c/p>\n\u003cp>Speaking of vices, when I finally sat down to try Stunnaman’s signature salad, I opted for the grilled chicken instead of the fried cutlets or wing combo I typically order, inspired by our conversation about making better choices. I poured the tangy, caper-flecked dressing all over my lettuce, dabbing a little ranch on there like Stunnaman suggested. With all that good health advice, it didn’t hurt to make it taste good too. Sometimes the medicine goes down better with a little song and dance on the side.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Rocky Rivera is a journalist, emcee, author and activist from San Francisco. She has released four albums through her label, Beatrock Music, and a ten-volume mixtape series with DJ Roza — her most recent album, \u003c/em>Long Kiss Goodnight\u003cem>, dropped in Sept. 2024. She released her first book, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera\u003cem>, in 2021.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Carnegie Libraries to Receive $10,000 Each",
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"content": "\u003cp>In 1886, the industrialist Andrew Carnegie began funding the construction of free public libraries across the United States, eventually lending his name to 1,681 “Carnegie libraries.” Chances are you’ve stepped into a Carnegie library at some point — in San Francisco, the \u003ca href=\"https://sfpl.org/locations/mission\">Mission\u003c/a>, \u003ca href=\"https://sfpl.org/locations/golden-gate-valley\">Golden Gate Valley\u003c/a> and \u003ca href=\"https://sfpl.org/locations/chinatown\">Chinatown\u003c/a> branch libraries, among others, were all built with the help of the philanthropist’s grants. \u003c/p>\n\u003cp>[aside postID='forum_2010101911662']Now, thanks to the \u003ca href=\"https://www.carnegie.org/\">Carnegie Corporation of New York\u003c/a>, Carnegie libraries across the country will each receive \u003ca href=\"https://www.carnegie.org/news/articles/hundreds-of-carnegie-libraries-to-receive-10000-gifts-in-celebration-of-united-states-250th-anniversary/\">a $10,000 donation\u003c/a> as part of a $20 million initiative to commemorate the 250th anniversary of the signing of the Declaration of Independence. The funds, to be delivered in January 2026, are unrestricted, and can be used by the libraries in any way they see fit.\u003c/p>\n\u003cp>Roughly 1,280 Carnegie libraries in the U.S. are still in operation \u003ci>and\u003c/i> acknowledge their link to Carnegie, making them eligible to receive the funds. The initiative aims to support “America’s civic institutions and organizations that foster civic participation and bring people together,” according to a press release from the Carnegie Corporation.\u003c/p>\n\u003cp>San Francisco and Oakland house the majority of still-operating \u003ca href=\"https://www.carnegie-libraries.org/\">Carnegie libraries in the Bay Area\u003c/a>. Other locations include \u003ca href=\"https://www.sjpl.org/locations/east-branch/\">East San Jose\u003c/a>, \u003ca href=\"https://srpubliclibrary.org/about/brief-history-of-san-rafael-public-library/\">San Rafael\u003c/a> and \u003ca href=\"https://www.sananselmo.gov/135/History\">San Anselmo\u003c/a>.\u003c/p>\n\u003cp>While the $10,000 grants are welcome support, public library systems — including those in the Bay Area — continue to face financial headwinds and deferred maintenance. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the national level, President Trump signed an executive order earlier this year seeking to dismantle the entire \u003ca href=\"https://www.imls.gov/\">Institute of Museum and Library Services\u003c/a>. A total of $30 million in IMLS grants meant for museums and libraries were terminated or frozen this year. (The IMLS recently announced it will support “\u003ca href=\"https://www.imls.gov/newsroom/news-and-announcements/IMLS-sponsors-freedom-trucks\">Freedom Trucks\u003c/a>,” mobile exhibits of American history, to celebrate the country’s semiquincentennial.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the Carnegie Foundation, the library donations are part of an effort to reduce political polarization and, in the process, help strengthen these civic institutions facing persistent funding challenges.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1886, the industrialist Andrew Carnegie began funding the construction of free public libraries across the United States, eventually lending his name to 1,681 “Carnegie libraries.” Chances are you’ve stepped into a Carnegie library at some point — in San Francisco, the \u003ca href=\"https://sfpl.org/locations/mission\">Mission\u003c/a>, \u003ca href=\"https://sfpl.org/locations/golden-gate-valley\">Golden Gate Valley\u003c/a> and \u003ca href=\"https://sfpl.org/locations/chinatown\">Chinatown\u003c/a> branch libraries, among others, were all built with the help of the philanthropist’s grants. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, thanks to the \u003ca href=\"https://www.carnegie.org/\">Carnegie Corporation of New York\u003c/a>, Carnegie libraries across the country will each receive \u003ca href=\"https://www.carnegie.org/news/articles/hundreds-of-carnegie-libraries-to-receive-10000-gifts-in-celebration-of-united-states-250th-anniversary/\">a $10,000 donation\u003c/a> as part of a $20 million initiative to commemorate the 250th anniversary of the signing of the Declaration of Independence. The funds, to be delivered in January 2026, are unrestricted, and can be used by the libraries in any way they see fit.\u003c/p>\n\u003cp>Roughly 1,280 Carnegie libraries in the U.S. are still in operation \u003ci>and\u003c/i> acknowledge their link to Carnegie, making them eligible to receive the funds. The initiative aims to support “America’s civic institutions and organizations that foster civic participation and bring people together,” according to a press release from the Carnegie Corporation.\u003c/p>\n\u003cp>San Francisco and Oakland house the majority of still-operating \u003ca href=\"https://www.carnegie-libraries.org/\">Carnegie libraries in the Bay Area\u003c/a>. Other locations include \u003ca href=\"https://www.sjpl.org/locations/east-branch/\">East San Jose\u003c/a>, \u003ca href=\"https://srpubliclibrary.org/about/brief-history-of-san-rafael-public-library/\">San Rafael\u003c/a> and \u003ca href=\"https://www.sananselmo.gov/135/History\">San Anselmo\u003c/a>.\u003c/p>\n\u003cp>While the $10,000 grants are welcome support, public library systems — including those in the Bay Area — continue to face financial headwinds and deferred maintenance. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the national level, President Trump signed an executive order earlier this year seeking to dismantle the entire \u003ca href=\"https://www.imls.gov/\">Institute of Museum and Library Services\u003c/a>. A total of $30 million in IMLS grants meant for museums and libraries were terminated or frozen this year. (The IMLS recently announced it will support “\u003ca href=\"https://www.imls.gov/newsroom/news-and-announcements/IMLS-sponsors-freedom-trucks\">Freedom Trucks\u003c/a>,” mobile exhibits of American history, to celebrate the country’s semiquincentennial.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the Carnegie Foundation, the library donations are part of an effort to reduce political polarization and, in the process, help strengthen these civic institutions facing persistent funding challenges.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ai-is-coming-for-the-music-industry-how-will-artists-adapt",
"title": "AI Is Coming for the Music Industry. How Will Artists Adapt?",
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"headTitle": "AI Is Coming for the Music Industry. How Will Artists Adapt? | KQED",
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"content": "\u003cp>Almost a decade before \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>’s streets were dotted with billboards urging business owners to “\u003ca href=\"https://www.sfgate.com/tech/article/sf-artisan-billboards-stop-hiring-humans-19969672.php\">Stop Hiring Humans\u003c/a>,” Dr. Maya Ackerman began working in generative AI — at the time, a niche field of about 100 academic researchers.\u003c/p>\n\u003cp>A lifelong pianist and singer, she founded one of Silicon Valley’s first generative AI startups, WaveAI, in 2017. One of its products, LyricStudio, offers a sounding board for songwriters, with brainstorming prompts and rhyme suggestions. But ever since generative AI exploded in 2022, Ackerman has noticed a trend: Investors tend to fund companies whose tech increasingly cuts humans out of the creative process altogether.\u003c/p>\n\u003cp>In her new book, \u003ca href=\"https://maya-ackerman.com/creative-machines-book/\">\u003cem>Creative Machines: AI, Art & Us\u003c/em>\u003c/a>, Ackerman calls for a paradigm shift in the industry. “We’re fighting against this greedy, capitalistic morality that’s really broken,” she says in a recent video call.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When it comes to music AI companies, two of the most dominant are Udio and Suno (valued at an estimated $500 million each), which allow users to generate complete songs using nothing but text prompts. AI comes up with a composition, including instrumentation, arrangement and lyrics, as well as the finished “performance” and “vocals.”\u003c/p>\n\u003cp>Despite outcry from some musicians and fans, music made with Suno and Udio is resonating with listeners. It’s also further diluting an already shrinking income base for human musicians.\u003c/p>\n\u003cfigure id=\"attachment_13982565\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Maya-Ackerman-2-scaled.jpg\" alt=\"An academic speaks at a tech conference.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Maya-Ackerman-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Maya-Ackerman-2-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Maya-Ackerman-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Maya-Ackerman-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Maya-Ackerman-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Maya-Ackerman-2-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Maya Ackerman founded one of the first generative AI startups in 2017. She thinks the technology should be used to assist humans rather than replace them. \u003ccite>(Courtesy of Dr. Maya Ackerman )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The creator of \u003ca href=\"https://www.forbes.com/sites/dougmelville/2025/09/27/al-singer-xania-monet-just-charted-on-billboard-signed-3m-deal-is-this-the-future-of-music/\">Xania Monet\u003c/a>, an R&B “singer” generated by Suno, recently signed a $3 million record deal. \u003ca href=\"https://www.theguardian.com/technology/2025/jul/14/an-ai-generated-band-got-1m-plays-on-spotify-now-music-insiders-say-listeners-should-be-warned\">The Velvet Sundown\u003c/a>, a Suno-powered indie “band,” made headlines for getting a million plays on Spotify this summer. Last year, during the Drake-Kendrick Lamar beef, Metro Boomin went viral when he \u003ca href=\"https://www.billboard.com/business/tech/metro-boomin-bbl-drizzy-future-ai-sampling-1235682587/\">sampled the Udio-produced parody song\u003c/a> “BBL Drizzy.” And just last week, Timbaland debuted his \u003ca href=\"https://www.vice.com/en/article/timbaland-debuts-ai-artist-tata-taktumis-first-music-video-and-its-as-soulless-as-you-expected-it-to-be/?\">new Suno-made song\u003c/a> by an AI “rapper” named \u003ca href=\"https://www.musicradar.com/artists/producers-engineers/tata-is-a-living-learning-autonomous-music-artist-built-with-ai-shes-the-first-artist-of-a-new-generation-timbaland-just-created-an-entirely-artificial-artist-and-its-debut-single-is-out-soon\">Tata Taktumi\u003c/a>.\u003c/p>\n\u003cp>AI is \u003ca href=\"https://www.theguardian.com/technology/2025/jul/28/techscape-ai-google-meta-amazon\">this century’s arms race\u003c/a>, with world powers and tech giants battling for dominance in an arena that’s reshaping warfare, labor, energy and many other sectors, including the arts. And as record labels and power players in the music industry scramble to profit in this new landscape, musicians are raising concerns not only about what automation means for the value of their creativity, but larger cultural and free speech implications that come with increasing corporate control of an essential form of human expression.\u003c/p>\n\u003cp>Simply put, AI is here. The question many musicians are asking is, can they shape it to their benefit?\u003c/p>\n\u003ch2>‘A woman who can’t say no’\u003c/h2>\n\u003cp>Xania Monet was created by a poet named Telisha Jones, and its manager, Romel Murphy, says Jones writes all of Monet’s lyrics. “This is real music — it’s real R&B,” Murphy \u003ca href=\"https://www.billboard.com/pro/ai-music-artist-xania-monet-multimillion-dollar-record-deal/\">told Billboard\u003c/a>. “There’s an artist behind it.”\u003c/p>\n\u003cp>Yet critics say the advent of AI-generated artists has dangerous implications not only for how music is made, but its role in political discourse. For a record label like Hallwood Media, which signed Monet, there are obvious benefits to working with AI-generated artists. The demands of the entertainment industry will never affect Monet’s mental or physical health; she’ll never fight for ownership of her music; and she’ll never make controversial statements that jeopardize her commercial appeal.\u003c/p>\n\u003cfigure id=\"attachment_13982561\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982561 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Kadhja-Bonet-1-scaled.jpg\" alt=\"A singer poses in a studio with purple and blue lighting.\" width=\"2560\" height=\"2422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Kadhja-Bonet-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Kadhja-Bonet-1-2000x1892.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Kadhja-Bonet-1-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Kadhja-Bonet-1-768x727.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Kadhja-Bonet-1-1536x1453.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Kadhja-Bonet-1-2048x1938.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Singer-songwriter Kadhja Bonet thinks musicians should divest from big tech and build cooperatively owned platforms. \u003ccite>(Courtesy of Kelsi Gayda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s the obvious conclusion of taking away money and resources from artists who make a living this way, and who’ve dedicated our whole lives to this craft,” Bay Area-raised singer-songwriter \u003ca href=\"https://www.instagram.com/kadhjabonet/?hl=en\">Kadhja Bonet says\u003c/a>. Even more dangerous, Bonet warns, is an entertainment landscape controlled by “giant, massive monopoly corporations who can feed us whatever ideas they want to feed us.”\u003c/p>\n\u003cp>Music has a lengthy history as a tool for advocacy and protest, and artists like Bonet worry that dissent will become increasingly stifled if AI-generated artists continue to proliferate. As she puts it: “They’ve created a woman who can’t say no.”\u003c/p>\n\u003cp>“What if we can have this Black artist that we know will never stand up for Black rights, right? That we know will never speak up for Palestine,” Bonet continues. “For [the companies], it’s incredible. For us as a culture, we lose tremendously.”\u003c/p>\n\u003cp>These technological innovations-slash-disruptions in music are taking place in a larger context, one in which tech giants build tools and leverage political influence to align themselves with far-right political movements and engage in war profiteering. \u003ca href=\"https://www.theguardian.com/music/2025/sep/18/massive-attack-remove-music-from-spotify-to-protest-ceo-daniel-eks-investment-in-ai-military\">Spotify CEO Daniel Ek\u003c/a> has invested hundreds of millions of dollars into the AI weapons company Helsing, which named him chairman this past June.\u003c/p>\n\u003cp>Salesforce CEO Marc Benioff, who just pledged $15 billion to make San Francisco a global AI hub, this month suggested\u003ca href=\"https://www.kqed.org/news/12059728/salesforce-ceo-marc-benioff-sf-mayor-scrap-event-after-national-guard-comment\"> President Donald Trump\u003c/a> should \u003ca href=\"https://www.kqed.org/news/12060033/trump-calls-out-san-francisco-as-next-target-for-national-guard-deployment\">send the National Guard\u003c/a> into the city.\u003c/p>\n\u003cfigure id=\"attachment_13982559\" class=\"wp-caption alignleft\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982559\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/joey-la-neve-defrancesco-by-Julia-Dratel.jpg\" alt=\"A musician speaks at a podium next to a congresswoman.\" width=\"1100\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/joey-la-neve-defrancesco-by-Julia-Dratel.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/joey-la-neve-defrancesco-by-Julia-Dratel-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/joey-la-neve-defrancesco-by-Julia-Dratel-768x512.jpg 768w\" sizes=\"auto, (max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Joey La Neve DeFrancesco (left) co-founded United Musicians and Allied Workers, which worked with U.S. Rep. Rashida Tlaib (right) to introduce the Living Wage for Musicians Act. It would create a new streaming royalty, and includes language that specifies funds should only go to human creators. \u003ccite>(Courtesy of Julia Dratel )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the labor aspect. For Joey La Neve DeFrancesco, a member of the New York punk band Downtown Boys and co-founder of the advocacy organization \u003ca href=\"https://weareumaw.org/\">United Musicians and Allied Workers\u003c/a>, the advent of AI-generated artists only accelerates a pattern of exploitation that has been part of the music industry since its beginnings.\u003c/p>\n\u003cp>“The corporations that have profited from musicians have always been trying to devalue musicians’ labor to take the artists out of the picture as much as possible,” he says.\u003c/p>\n\u003cp>DeFrancesco points to a\u003ca href=\"https://www.history.com/articles/race-records-bessie-smith-big-bill-broonzy-music-business\"> well-documented, centurylong history\u003c/a> of major record labels making millions off of Black artists who defined genres like jazz, blues, R&B, house and hip-hop, yet were never properly compensated for their talent and innovation. And though Black artists have been among Suno and Udio’s early adopters, it’s white music and tech executives who stand to profit the most.\u003c/p>\n\u003cp>Streaming services have much to gain from AI, DeFrancesco says. He points to Spotify’s yearslong practice of \u003ca href=\"https://www.npr.org/2025/08/08/nx-s1-5492314/ai-music-streaming-services-spotify\">padding playlists with AI-generated music\u003c/a>, which reduces the royalties it pays out to human artists. “Now they can just totally cut out the artists entirely, which I think has been their goal for a long time,” he says.\u003c/p>\n\u003cp>Thus far, AI-generated music has proliferated on Spotify alongside human-made music, with no way for listeners to distinguish the two. The streaming service says disclosures are coming. On Oct. 16, the $145 billion company announced that it’s \u003ca href=\"https://newsroom.spotify.com/2025-10-16/artist-first-ai-music-spotify-collaboration/\">working with major labels and AI companies\u003c/a> to develop responsible AI tools.\u003c/p>\n\u003cp>“At Spotify, we want to build this future hand in hand with the music industry,” Co-President and Chief Product and Technology Officer Gustav Söderström says in a statement, “guided by clear principles and deep respect for creators, just as we did in the days of piracy.”\u003c/p>\n\u003ch2>The AI copyright fight\u003c/h2>\n\u003cp>AI models like Suno and Udio train on all the recorded music available on the internet, which has prompted accusations of theft from artists and record labels alike. “Inevitably, you’re going to lose that soul in an industry that could not operate without ripping off real human artists,” says Richmond hip-hop artist, tech educator and entrepreneur \u003ca href=\"https://kailalove.com/\">Kaila Love\u003c/a>, who advocates for responsible uses of AI.\u003c/p>\n\u003cp>Universal Music Group, Sony Music Entertainment and Warner Music Group, the “big three” record label conglomerates, filed a copyright lawsuit against Suno and Udio in 2024. In June 2025, almost a year later, the \u003ca href=\"https://www.wsj.com/business/media/ai-music-licensing-universal-warner-sony-92bcbc0d?gaa_at=eafs&gaa_n=ASWzDAhXBFpwz47Bvp6_vofrM8uQR2drqUWQGF-qZQOm-ia_Pi__TJSWsIWsG5hRS0Q%3D&gaa_ts=6842435e&gaa_sig=022mWvmqAGQwX3DD9eWU92SdE9qtkAHG1I92zVcT5Ydlj1sstuse8PTpLitQJz5KVW42Zmu12BjdTVSKNPamVg%3D%3D\">\u003cem>Wall Street Journal\u003c/em> reported\u003c/a> that the same three labels entered licensing negotiations with the startups.\u003c/p>\n\u003cfigure id=\"attachment_13982617\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KAILA-LOVE-2-SCALED-E1760985135204-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KAILA-LOVE-2-SCALED-E1760985135204-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KAILA-LOVE-2-SCALED-E1760985135204-KQED-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KAILA-LOVE-2-SCALED-E1760985135204-KQED-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KAILA-LOVE-2-SCALED-E1760985135204-KQED-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop artist Kaila Love thinks artists can leverage AI to their benefit. Her company, Goalgetters, uses it to assist with marketing. \u003ccite>(Courtesy of Kaila Love)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an interview with \u003ca href=\"https://www.rollingstone.com/music/music-features/suno-ai-chatgpt-for-music-1234982307/\">\u003cem>Rolling Stone\u003c/em>\u003c/a> last year, Suno investor Antonio Rodriguez appeared to admit that lifting copyrighted material is simply part of the business model.\u003c/p>\n\u003cp>“Honestly, if we had deals with labels when this company got started, I probably wouldn’t have invested in it,” Rodriguez says. “I think they needed to make this product without the constraints.”\u003c/p>\n\u003cp>In court filings, both Suno and Udio rejected the labels’ claims of theft and say that they comply with fair use laws. They likened their AI models to human musicians who are simply influenced by what they hear. Representatives for both companies didn’t return KQED’s request for comment.[aside postID=news_12059962 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/Jello-Biafra-of-the-Dead-Kennedys-performing-at-the-Mabuhay-Gardens-.jpg']But music industry stakeholders aren’t buying it. Last month, \u003ca href=\"https://icmpmusic.com/news/how-ai-companies-are-scraping-the-worlds-music-for-ai-training\">\u003cem>Billboard\u003c/em> published a dossier\u003c/a> of evidence collected by the International Confederation of Music Publishers, which claims that companies like Google, Meta, OpenAI and X have trained their AI models on copyrighted material by major artists like the Beatles, Mariah Carey and Beyoncé.\u003c/p>\n\u003cp>“This is the largest IP theft in human history. That’s not hyperbole. We are seeing tens of millions of works being infringed daily,” ICMP director general John Phelan told \u003cem>Billboard\u003c/em>. “Within any one model training data set, you’re often talking about tens of millions of musical works often gained from individual YouTube, Spotify and GitHub URLs, which are being collated in direct breach of the rights of music publishers and their songwriter partners.”\u003c/p>\n\u003cp>The battle over copyright has dominated the conversation over AI in music. But \u003cem>Creative Machines\u003c/em> author Ackerman cautions that critics who focus their animus solely on copyright infringement ultimately benefit the corporate giants like Sony, Universal and Warner who \u003ca href=\"https://www.forbes.com/sites/virginieberger/2025/06/06/what-suno-and-udios-ai-licensing-deals-with-music-majors-could-mean-for-creators-rights/\">own the majority of copyrighted material\u003c/a>, not the working musicians who might see fractions of pennies for their Spotify streams.\u003c/p>\n\u003cp>“Whereas to argue directly for like, ‘Build tools that help us, not replace us’ — it’s a really simple argument that I don’t see enough of,” she says. “[These companies] are capable of doing it.”\u003c/p>\n\u003ch2>Artists build their own tools\u003c/h2>\n\u003cp>Rapper and tech educator Kaila Love calls herself “the AI Homegirl,” but she doesn’t waste any time before referring to AI-generated artists as “fake clones” in our interview. “We need to use AI to apply our creativity and build businesses around our music,” Love says.\u003c/p>\n\u003cp>It was precisely because of AI — namely, Daniel Ek’s weapons investments — that Love decided to take her music off Spotify in 2024 as an act of protest. Yet AI is also what enabled her to bounce back financially. Her company, Goalgetters AI, is a marketing service for artists that can create press kits, link pages for their social media bios and other assets in minutes.\u003c/p>\n\u003cfigure id=\"attachment_13982563\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KailaLove_Photoby-SarahArnold2-scaled.jpg\" alt=\"A hip-hop artist poses inside a car parked in front of the Golden Gate Bridge.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KailaLove_Photoby-SarahArnold2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KailaLove_Photoby-SarahArnold2-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KailaLove_Photoby-SarahArnold2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KailaLove_Photoby-SarahArnold2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KailaLove_Photoby-SarahArnold2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KailaLove_Photoby-SarahArnold2-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kaila Love recently hosted a hackathon in her hometown of Richmond. \u003ccite>(Sarah Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Love used Goalgetters to create a marketing funnel for her own music. It started with an Instagram DM inviting fans to sign up on her website to get a free song download; after they opted in, they got an offer to buy her entire digital catalog for $5, then another for physical copies of her albums and a signed copy of her book, \u003cem>AI: The Bootleg Brain\u003c/em>. With Spotify paying roughly $0.0035 per stream, she says she made far more money going direct-to-consumer than she would have on the streaming site.\u003c/p>\n\u003cp>“We need to use AI to apply our creativity and build businesses around our music,” she says.\u003c/p>\n\u003cp>Kadhja Bonet, who also removed her music from Spotify and other major streamers, believes collective ownership is the key for artists to resist exploitative forces in the music industry. She points to a forthcoming collectively owned platform called \u003ca href=\"https://subvert.fm/\">Subvert\u003c/a>, which models itself after Bandcamp and is democratically governed by artists.\u003c/p>\n\u003cp>“I think we need to move to smaller co-op models,” Bonet says. “We need to refocus our creative output in these smaller outlets.”\u003c/p>\n\u003cp>While Bonet believes artists should divest from big tech altogether, others like DeFrancesco want to hold companies accountable. His advocacy group, United Musicians and Allied Workers, recently collaborated with U.S. Rep. Rashida Tlaib of Michigan to reintroduce a new bill, \u003ca href=\"https://tlaib.house.gov/posts/tlaib-introduces-living-wage-for-musicians-act-2\">the Living Wage for Musicians Act\u003c/a>, which would create a new streaming royalty to give artists a greater share of profits. It includes specific language that would ensure the money only goes to human creators.\u003c/p>\n\u003cp>As artists navigate a tremendous upheaval of their industry at the dawn of the AI era, DeFrancesco says it’s crucial to build collective power. “We just haven’t had a way to fight back for so long.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost a decade before \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>’s streets were dotted with billboards urging business owners to “\u003ca href=\"https://www.sfgate.com/tech/article/sf-artisan-billboards-stop-hiring-humans-19969672.php\">Stop Hiring Humans\u003c/a>,” Dr. Maya Ackerman began working in generative AI — at the time, a niche field of about 100 academic researchers.\u003c/p>\n\u003cp>A lifelong pianist and singer, she founded one of Silicon Valley’s first generative AI startups, WaveAI, in 2017. One of its products, LyricStudio, offers a sounding board for songwriters, with brainstorming prompts and rhyme suggestions. But ever since generative AI exploded in 2022, Ackerman has noticed a trend: Investors tend to fund companies whose tech increasingly cuts humans out of the creative process altogether.\u003c/p>\n\u003cp>In her new book, \u003ca href=\"https://maya-ackerman.com/creative-machines-book/\">\u003cem>Creative Machines: AI, Art & Us\u003c/em>\u003c/a>, Ackerman calls for a paradigm shift in the industry. “We’re fighting against this greedy, capitalistic morality that’s really broken,” she says in a recent video call.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When it comes to music AI companies, two of the most dominant are Udio and Suno (valued at an estimated $500 million each), which allow users to generate complete songs using nothing but text prompts. AI comes up with a composition, including instrumentation, arrangement and lyrics, as well as the finished “performance” and “vocals.”\u003c/p>\n\u003cp>Despite outcry from some musicians and fans, music made with Suno and Udio is resonating with listeners. It’s also further diluting an already shrinking income base for human musicians.\u003c/p>\n\u003cfigure id=\"attachment_13982565\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Maya-Ackerman-2-scaled.jpg\" alt=\"An academic speaks at a tech conference.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Maya-Ackerman-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Maya-Ackerman-2-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Maya-Ackerman-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Maya-Ackerman-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Maya-Ackerman-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Maya-Ackerman-2-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Maya Ackerman founded one of the first generative AI startups in 2017. She thinks the technology should be used to assist humans rather than replace them. \u003ccite>(Courtesy of Dr. Maya Ackerman )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The creator of \u003ca href=\"https://www.forbes.com/sites/dougmelville/2025/09/27/al-singer-xania-monet-just-charted-on-billboard-signed-3m-deal-is-this-the-future-of-music/\">Xania Monet\u003c/a>, an R&B “singer” generated by Suno, recently signed a $3 million record deal. \u003ca href=\"https://www.theguardian.com/technology/2025/jul/14/an-ai-generated-band-got-1m-plays-on-spotify-now-music-insiders-say-listeners-should-be-warned\">The Velvet Sundown\u003c/a>, a Suno-powered indie “band,” made headlines for getting a million plays on Spotify this summer. Last year, during the Drake-Kendrick Lamar beef, Metro Boomin went viral when he \u003ca href=\"https://www.billboard.com/business/tech/metro-boomin-bbl-drizzy-future-ai-sampling-1235682587/\">sampled the Udio-produced parody song\u003c/a> “BBL Drizzy.” And just last week, Timbaland debuted his \u003ca href=\"https://www.vice.com/en/article/timbaland-debuts-ai-artist-tata-taktumis-first-music-video-and-its-as-soulless-as-you-expected-it-to-be/?\">new Suno-made song\u003c/a> by an AI “rapper” named \u003ca href=\"https://www.musicradar.com/artists/producers-engineers/tata-is-a-living-learning-autonomous-music-artist-built-with-ai-shes-the-first-artist-of-a-new-generation-timbaland-just-created-an-entirely-artificial-artist-and-its-debut-single-is-out-soon\">Tata Taktumi\u003c/a>.\u003c/p>\n\u003cp>AI is \u003ca href=\"https://www.theguardian.com/technology/2025/jul/28/techscape-ai-google-meta-amazon\">this century’s arms race\u003c/a>, with world powers and tech giants battling for dominance in an arena that’s reshaping warfare, labor, energy and many other sectors, including the arts. And as record labels and power players in the music industry scramble to profit in this new landscape, musicians are raising concerns not only about what automation means for the value of their creativity, but larger cultural and free speech implications that come with increasing corporate control of an essential form of human expression.\u003c/p>\n\u003cp>Simply put, AI is here. The question many musicians are asking is, can they shape it to their benefit?\u003c/p>\n\u003ch2>‘A woman who can’t say no’\u003c/h2>\n\u003cp>Xania Monet was created by a poet named Telisha Jones, and its manager, Romel Murphy, says Jones writes all of Monet’s lyrics. “This is real music — it’s real R&B,” Murphy \u003ca href=\"https://www.billboard.com/pro/ai-music-artist-xania-monet-multimillion-dollar-record-deal/\">told Billboard\u003c/a>. “There’s an artist behind it.”\u003c/p>\n\u003cp>Yet critics say the advent of AI-generated artists has dangerous implications not only for how music is made, but its role in political discourse. For a record label like Hallwood Media, which signed Monet, there are obvious benefits to working with AI-generated artists. The demands of the entertainment industry will never affect Monet’s mental or physical health; she’ll never fight for ownership of her music; and she’ll never make controversial statements that jeopardize her commercial appeal.\u003c/p>\n\u003cfigure id=\"attachment_13982561\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13982561 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Kadhja-Bonet-1-scaled.jpg\" alt=\"A singer poses in a studio with purple and blue lighting.\" width=\"2560\" height=\"2422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Kadhja-Bonet-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Kadhja-Bonet-1-2000x1892.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Kadhja-Bonet-1-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Kadhja-Bonet-1-768x727.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Kadhja-Bonet-1-1536x1453.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Kadhja-Bonet-1-2048x1938.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Singer-songwriter Kadhja Bonet thinks musicians should divest from big tech and build cooperatively owned platforms. \u003ccite>(Courtesy of Kelsi Gayda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s the obvious conclusion of taking away money and resources from artists who make a living this way, and who’ve dedicated our whole lives to this craft,” Bay Area-raised singer-songwriter \u003ca href=\"https://www.instagram.com/kadhjabonet/?hl=en\">Kadhja Bonet says\u003c/a>. Even more dangerous, Bonet warns, is an entertainment landscape controlled by “giant, massive monopoly corporations who can feed us whatever ideas they want to feed us.”\u003c/p>\n\u003cp>Music has a lengthy history as a tool for advocacy and protest, and artists like Bonet worry that dissent will become increasingly stifled if AI-generated artists continue to proliferate. As she puts it: “They’ve created a woman who can’t say no.”\u003c/p>\n\u003cp>“What if we can have this Black artist that we know will never stand up for Black rights, right? That we know will never speak up for Palestine,” Bonet continues. “For [the companies], it’s incredible. For us as a culture, we lose tremendously.”\u003c/p>\n\u003cp>These technological innovations-slash-disruptions in music are taking place in a larger context, one in which tech giants build tools and leverage political influence to align themselves with far-right political movements and engage in war profiteering. \u003ca href=\"https://www.theguardian.com/music/2025/sep/18/massive-attack-remove-music-from-spotify-to-protest-ceo-daniel-eks-investment-in-ai-military\">Spotify CEO Daniel Ek\u003c/a> has invested hundreds of millions of dollars into the AI weapons company Helsing, which named him chairman this past June.\u003c/p>\n\u003cp>Salesforce CEO Marc Benioff, who just pledged $15 billion to make San Francisco a global AI hub, this month suggested\u003ca href=\"https://www.kqed.org/news/12059728/salesforce-ceo-marc-benioff-sf-mayor-scrap-event-after-national-guard-comment\"> President Donald Trump\u003c/a> should \u003ca href=\"https://www.kqed.org/news/12060033/trump-calls-out-san-francisco-as-next-target-for-national-guard-deployment\">send the National Guard\u003c/a> into the city.\u003c/p>\n\u003cfigure id=\"attachment_13982559\" class=\"wp-caption alignleft\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982559\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/joey-la-neve-defrancesco-by-Julia-Dratel.jpg\" alt=\"A musician speaks at a podium next to a congresswoman.\" width=\"1100\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/joey-la-neve-defrancesco-by-Julia-Dratel.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/joey-la-neve-defrancesco-by-Julia-Dratel-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/joey-la-neve-defrancesco-by-Julia-Dratel-768x512.jpg 768w\" sizes=\"auto, (max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Joey La Neve DeFrancesco (left) co-founded United Musicians and Allied Workers, which worked with U.S. Rep. Rashida Tlaib (right) to introduce the Living Wage for Musicians Act. It would create a new streaming royalty, and includes language that specifies funds should only go to human creators. \u003ccite>(Courtesy of Julia Dratel )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the labor aspect. For Joey La Neve DeFrancesco, a member of the New York punk band Downtown Boys and co-founder of the advocacy organization \u003ca href=\"https://weareumaw.org/\">United Musicians and Allied Workers\u003c/a>, the advent of AI-generated artists only accelerates a pattern of exploitation that has been part of the music industry since its beginnings.\u003c/p>\n\u003cp>“The corporations that have profited from musicians have always been trying to devalue musicians’ labor to take the artists out of the picture as much as possible,” he says.\u003c/p>\n\u003cp>DeFrancesco points to a\u003ca href=\"https://www.history.com/articles/race-records-bessie-smith-big-bill-broonzy-music-business\"> well-documented, centurylong history\u003c/a> of major record labels making millions off of Black artists who defined genres like jazz, blues, R&B, house and hip-hop, yet were never properly compensated for their talent and innovation. And though Black artists have been among Suno and Udio’s early adopters, it’s white music and tech executives who stand to profit the most.\u003c/p>\n\u003cp>Streaming services have much to gain from AI, DeFrancesco says. He points to Spotify’s yearslong practice of \u003ca href=\"https://www.npr.org/2025/08/08/nx-s1-5492314/ai-music-streaming-services-spotify\">padding playlists with AI-generated music\u003c/a>, which reduces the royalties it pays out to human artists. “Now they can just totally cut out the artists entirely, which I think has been their goal for a long time,” he says.\u003c/p>\n\u003cp>Thus far, AI-generated music has proliferated on Spotify alongside human-made music, with no way for listeners to distinguish the two. The streaming service says disclosures are coming. On Oct. 16, the $145 billion company announced that it’s \u003ca href=\"https://newsroom.spotify.com/2025-10-16/artist-first-ai-music-spotify-collaboration/\">working with major labels and AI companies\u003c/a> to develop responsible AI tools.\u003c/p>\n\u003cp>“At Spotify, we want to build this future hand in hand with the music industry,” Co-President and Chief Product and Technology Officer Gustav Söderström says in a statement, “guided by clear principles and deep respect for creators, just as we did in the days of piracy.”\u003c/p>\n\u003ch2>The AI copyright fight\u003c/h2>\n\u003cp>AI models like Suno and Udio train on all the recorded music available on the internet, which has prompted accusations of theft from artists and record labels alike. “Inevitably, you’re going to lose that soul in an industry that could not operate without ripping off real human artists,” says Richmond hip-hop artist, tech educator and entrepreneur \u003ca href=\"https://kailalove.com/\">Kaila Love\u003c/a>, who advocates for responsible uses of AI.\u003c/p>\n\u003cp>Universal Music Group, Sony Music Entertainment and Warner Music Group, the “big three” record label conglomerates, filed a copyright lawsuit against Suno and Udio in 2024. In June 2025, almost a year later, the \u003ca href=\"https://www.wsj.com/business/media/ai-music-licensing-universal-warner-sony-92bcbc0d?gaa_at=eafs&gaa_n=ASWzDAhXBFpwz47Bvp6_vofrM8uQR2drqUWQGF-qZQOm-ia_Pi__TJSWsIWsG5hRS0Q%3D&gaa_ts=6842435e&gaa_sig=022mWvmqAGQwX3DD9eWU92SdE9qtkAHG1I92zVcT5Ydlj1sstuse8PTpLitQJz5KVW42Zmu12BjdTVSKNPamVg%3D%3D\">\u003cem>Wall Street Journal\u003c/em> reported\u003c/a> that the same three labels entered licensing negotiations with the startups.\u003c/p>\n\u003cfigure id=\"attachment_13982617\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KAILA-LOVE-2-SCALED-E1760985135204-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KAILA-LOVE-2-SCALED-E1760985135204-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KAILA-LOVE-2-SCALED-E1760985135204-KQED-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KAILA-LOVE-2-SCALED-E1760985135204-KQED-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KAILA-LOVE-2-SCALED-E1760985135204-KQED-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop artist Kaila Love thinks artists can leverage AI to their benefit. Her company, Goalgetters, uses it to assist with marketing. \u003ccite>(Courtesy of Kaila Love)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an interview with \u003ca href=\"https://www.rollingstone.com/music/music-features/suno-ai-chatgpt-for-music-1234982307/\">\u003cem>Rolling Stone\u003c/em>\u003c/a> last year, Suno investor Antonio Rodriguez appeared to admit that lifting copyrighted material is simply part of the business model.\u003c/p>\n\u003cp>“Honestly, if we had deals with labels when this company got started, I probably wouldn’t have invested in it,” Rodriguez says. “I think they needed to make this product without the constraints.”\u003c/p>\n\u003cp>In court filings, both Suno and Udio rejected the labels’ claims of theft and say that they comply with fair use laws. They likened their AI models to human musicians who are simply influenced by what they hear. Representatives for both companies didn’t return KQED’s request for comment.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But music industry stakeholders aren’t buying it. Last month, \u003ca href=\"https://icmpmusic.com/news/how-ai-companies-are-scraping-the-worlds-music-for-ai-training\">\u003cem>Billboard\u003c/em> published a dossier\u003c/a> of evidence collected by the International Confederation of Music Publishers, which claims that companies like Google, Meta, OpenAI and X have trained their AI models on copyrighted material by major artists like the Beatles, Mariah Carey and Beyoncé.\u003c/p>\n\u003cp>“This is the largest IP theft in human history. That’s not hyperbole. We are seeing tens of millions of works being infringed daily,” ICMP director general John Phelan told \u003cem>Billboard\u003c/em>. “Within any one model training data set, you’re often talking about tens of millions of musical works often gained from individual YouTube, Spotify and GitHub URLs, which are being collated in direct breach of the rights of music publishers and their songwriter partners.”\u003c/p>\n\u003cp>The battle over copyright has dominated the conversation over AI in music. But \u003cem>Creative Machines\u003c/em> author Ackerman cautions that critics who focus their animus solely on copyright infringement ultimately benefit the corporate giants like Sony, Universal and Warner who \u003ca href=\"https://www.forbes.com/sites/virginieberger/2025/06/06/what-suno-and-udios-ai-licensing-deals-with-music-majors-could-mean-for-creators-rights/\">own the majority of copyrighted material\u003c/a>, not the working musicians who might see fractions of pennies for their Spotify streams.\u003c/p>\n\u003cp>“Whereas to argue directly for like, ‘Build tools that help us, not replace us’ — it’s a really simple argument that I don’t see enough of,” she says. “[These companies] are capable of doing it.”\u003c/p>\n\u003ch2>Artists build their own tools\u003c/h2>\n\u003cp>Rapper and tech educator Kaila Love calls herself “the AI Homegirl,” but she doesn’t waste any time before referring to AI-generated artists as “fake clones” in our interview. “We need to use AI to apply our creativity and build businesses around our music,” Love says.\u003c/p>\n\u003cp>It was precisely because of AI — namely, Daniel Ek’s weapons investments — that Love decided to take her music off Spotify in 2024 as an act of protest. Yet AI is also what enabled her to bounce back financially. Her company, Goalgetters AI, is a marketing service for artists that can create press kits, link pages for their social media bios and other assets in minutes.\u003c/p>\n\u003cfigure id=\"attachment_13982563\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KailaLove_Photoby-SarahArnold2-scaled.jpg\" alt=\"A hip-hop artist poses inside a car parked in front of the Golden Gate Bridge.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KailaLove_Photoby-SarahArnold2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KailaLove_Photoby-SarahArnold2-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KailaLove_Photoby-SarahArnold2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KailaLove_Photoby-SarahArnold2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KailaLove_Photoby-SarahArnold2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/KailaLove_Photoby-SarahArnold2-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kaila Love recently hosted a hackathon in her hometown of Richmond. \u003ccite>(Sarah Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Love used Goalgetters to create a marketing funnel for her own music. It started with an Instagram DM inviting fans to sign up on her website to get a free song download; after they opted in, they got an offer to buy her entire digital catalog for $5, then another for physical copies of her albums and a signed copy of her book, \u003cem>AI: The Bootleg Brain\u003c/em>. With Spotify paying roughly $0.0035 per stream, she says she made far more money going direct-to-consumer than she would have on the streaming site.\u003c/p>\n\u003cp>“We need to use AI to apply our creativity and build businesses around our music,” she says.\u003c/p>\n\u003cp>Kadhja Bonet, who also removed her music from Spotify and other major streamers, believes collective ownership is the key for artists to resist exploitative forces in the music industry. She points to a forthcoming collectively owned platform called \u003ca href=\"https://subvert.fm/\">Subvert\u003c/a>, which models itself after Bandcamp and is democratically governed by artists.\u003c/p>\n\u003cp>“I think we need to move to smaller co-op models,” Bonet says. “We need to refocus our creative output in these smaller outlets.”\u003c/p>\n\u003cp>While Bonet believes artists should divest from big tech altogether, others like DeFrancesco want to hold companies accountable. His advocacy group, United Musicians and Allied Workers, recently collaborated with U.S. Rep. Rashida Tlaib of Michigan to reintroduce a new bill, \u003ca href=\"https://tlaib.house.gov/posts/tlaib-introduces-living-wage-for-musicians-act-2\">the Living Wage for Musicians Act\u003c/a>, which would create a new streaming royalty to give artists a greater share of profits. It includes specific language that would ensure the money only goes to human creators.\u003c/p>\n\u003cp>As artists navigate a tremendous upheaval of their industry at the dawn of the AI era, DeFrancesco says it’s crucial to build collective power. “We just haven’t had a way to fight back for so long.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Kathryn Philip stood outside the True West Film Center in Healdsburg last Friday, looking up at the brand new \u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters\">movie theater\u003c/a> that, for five years, had only existed in her head. As customers exited the very first film screening, one word came to mind.\u003c/p>\n\u003cp>“It’s all about hope. This, to me, is millions of dollars of hope,” Philip said. “This is the community saying, not only do we want it, we \u003cem>hope\u003c/em> that people are gonna relearn it. We \u003cem>hope\u003c/em> that people are gonna give this to themselves again.”\u003c/p>\n\u003cp>What the public has to relearn, obviously, is the act of going to the movies. Ever since the pandemic changed people’s viewing habits — only 16% of Americans go to the movie theater at least once a month, according to \u003ca href=\"https://apnorc.org/projects/more-people-are-enjoying-movies-from-the-comfort-of-home/\">a recent poll by the Associated Press\u003c/a> — dozens of theaters have closed permanently across the greater Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13982677\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982677\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098.jpg\" alt=\"\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The breezeway leading to the True West Film Center in Healdsburg, seen during a preview on Sept. 25, 2025. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The True West Film Center is banking on those people coming back. With its central location in downtown Healdsburg, plus state-of-the-art projection, sound and seating, it just might work. The city is historically supportive of the arts, boasting a cluster of downtown art galleries and an annual jazz festival. As for donations and memberships, the median home value hovers around $1 million, and one-third of the population are retirees, with spare time to go to the movies.\u003c/p>\n\u003cp>When Philip was choosing a town for the theater, all the ingredients seemed to intersect in Healdsburg, known primarily these days for wine tourism. “You have more foot traffic, you have discretionary income, you have a world stage which is drawing people here out of interest and curiosity,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13974460'] Notably, True West is not a commercial enterprise, but a mission-based nonprofit. John Cooper, the former director of the Sundance Film Festival and now True West’s artistic director, said that in the current landscape for moviegoing, the nonprofit model for small theaters is imperative.\u003c/p>\n\u003cp>“Every town wants to have a library and a museum. Why not a cinema? It’s just as important,” Cooper said.\u003c/p>\n\u003cp>The tricky part is getting community buy-in, Cooper added. But with a capital campaign that’s raised $4.5 million of a $5.6 million goal, the people seem to have spoken.\u003c/p>\n\u003cfigure id=\"attachment_13982678\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Visitors try the seats at True West Film Center in Healdsburg during a preview event on Sept. 25, 2025. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another thing going for True West is its size. Two of its auditoriums seat just 21 and 27 people, and a third, larger one seats 54.\u003c/p>\n\u003cp>Realistically, in-person movies are a niche activity in the year 2025; one reason the theater operators didn’t take over the 12,000 square-foot Raven Film Center, the town’s 24-year-old multiplex which closed in 2020, is that the auditoriums were too large. As True West board member and local resident Renn Rhodes explained, “We’d go there and there’d be six people in the whole theater.”\u003c/p>\n\u003cp>At True West’s soft opening Friday, a few kinks were still being worked out. One movie trailer played sound, but no picture. Extra salt still needed to be ordered for the popcorn. But excited customers, including 14 of them who arrived for the very first film, Luca Guadagnino’s \u003cem>After the Hunt\u003c/em>, weren’t quibbling.\u003c/p>\n\u003cp>[aside postID='arts_13968201']Laura Vallejo, who’s lived in Healdsburg for 35 years, said after the film let out that she’s had to drive to Santa Rosa or Sebastopol to see movies, and “it’s a bit of a trek out there for us.”\u003c/p>\n\u003cp>Vallejo praised True West for its community outreach and involvement in schools before opening, as well as its senior ticket prices.\u003c/p>\n\u003cp>“I happen to know a lot of people who are excited about it, and are saying ‘I want to come back,’” she added.\u003c/p>\n\u003cp>Local moviegoers like Vallejo who aren’t fans of Hollywood’s emphasis on action and superhero franchises have already pitched Cooper on the kinds of movies they’d like to see. At a preview event in September, supporters shouted out older films like \u003cem>2001: A Space Odyssey\u003c/em>, \u003cem>Apocalypse Now\u003c/em> and \u003cem>The Sting\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13973504\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194.jpg\" alt=\"A man in glasses and a greyish puffed vest looks into the camera, smiling, against a backdrop of trees\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John Cooper, pictured in Sebastopol, was previously the director of the Sundance Film Festival. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Needless to say, Cooper, who grew up in Sonoma County and now lives in Healdsburg after stepping down from Sundance, won’t be programming a \u003cem>Fast & Furious\u003c/em> marathon anytime soon.\u003c/p>\n\u003cp>On Mondays and Tuesdays, he plans “Icon Screenings” for repertory movies, such as \u003cem>To Kill a Mockingbird\u003c/em>, dedicated to famous actors. Regular “Film 101” series will focus on one director or genre. Sundays will be reserved for what he calls “Film Church,” a series of weekly documentaries (“and not about an issue that’s so bad, you leave really depressed,” Cooper quipped).\u003c/p>\n\u003cp>[aside postID='arts_13917362']Outdoor screenings and Spanish-language events are in the works, along with a film festival, which began life as the Alexander Valley Film Festival. Many of the same organizers of that long-running film festival, including executive director Philip, moved their energies to True West; next year’s festival will take on the theater’s name.\u003c/p>\n\u003cp>As more people arrived for the second-ever round of screenings at the theater, on opening day, Philip said she felt relieved and excited.\u003c/p>\n\u003cp>“Watching the people trickle in has been such a joy, and I feel ready to share it,” she said. “I’m ready to give it back now to the community, and let them make it their own.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The True West Film Center (371 Healdsburg Ave., Healdsburg) hosts a free \u003ca href=\"https://truewestfilmcenter.org/show/grand-opening-block-party/\">grand opening block party\u003c/a> on Saturday, Oct. 25, at 2 p.m. \u003ca href=\"https://truewestfilmcenter.org/show/grand-opening-block-party/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kathryn Philip stood outside the True West Film Center in Healdsburg last Friday, looking up at the brand new \u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters\">movie theater\u003c/a> that, for five years, had only existed in her head. As customers exited the very first film screening, one word came to mind.\u003c/p>\n\u003cp>“It’s all about hope. This, to me, is millions of dollars of hope,” Philip said. “This is the community saying, not only do we want it, we \u003cem>hope\u003c/em> that people are gonna relearn it. We \u003cem>hope\u003c/em> that people are gonna give this to themselves again.”\u003c/p>\n\u003cp>What the public has to relearn, obviously, is the act of going to the movies. Ever since the pandemic changed people’s viewing habits — only 16% of Americans go to the movie theater at least once a month, according to \u003ca href=\"https://apnorc.org/projects/more-people-are-enjoying-movies-from-the-comfort-of-home/\">a recent poll by the Associated Press\u003c/a> — dozens of theaters have closed permanently across the greater Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13982677\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982677\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098.jpg\" alt=\"\" width=\"1500\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8098-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The breezeway leading to the True West Film Center in Healdsburg, seen during a preview on Sept. 25, 2025. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The True West Film Center is banking on those people coming back. With its central location in downtown Healdsburg, plus state-of-the-art projection, sound and seating, it just might work. The city is historically supportive of the arts, boasting a cluster of downtown art galleries and an annual jazz festival. As for donations and memberships, the median home value hovers around $1 million, and one-third of the population are retirees, with spare time to go to the movies.\u003c/p>\n\u003cp>When Philip was choosing a town for the theater, all the ingredients seemed to intersect in Healdsburg, known primarily these days for wine tourism. “You have more foot traffic, you have discretionary income, you have a world stage which is drawing people here out of interest and curiosity,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Notably, True West is not a commercial enterprise, but a mission-based nonprofit. John Cooper, the former director of the Sundance Film Festival and now True West’s artistic director, said that in the current landscape for moviegoing, the nonprofit model for small theaters is imperative.\u003c/p>\n\u003cp>“Every town wants to have a library and a museum. Why not a cinema? It’s just as important,” Cooper said.\u003c/p>\n\u003cp>The tricky part is getting community buy-in, Cooper added. But with a capital campaign that’s raised $4.5 million of a $5.6 million goal, the people seem to have spoken.\u003c/p>\n\u003cfigure id=\"attachment_13982678\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/img_8107-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Visitors try the seats at True West Film Center in Healdsburg during a preview event on Sept. 25, 2025. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another thing going for True West is its size. Two of its auditoriums seat just 21 and 27 people, and a third, larger one seats 54.\u003c/p>\n\u003cp>Realistically, in-person movies are a niche activity in the year 2025; one reason the theater operators didn’t take over the 12,000 square-foot Raven Film Center, the town’s 24-year-old multiplex which closed in 2020, is that the auditoriums were too large. As True West board member and local resident Renn Rhodes explained, “We’d go there and there’d be six people in the whole theater.”\u003c/p>\n\u003cp>At True West’s soft opening Friday, a few kinks were still being worked out. One movie trailer played sound, but no picture. Extra salt still needed to be ordered for the popcorn. But excited customers, including 14 of them who arrived for the very first film, Luca Guadagnino’s \u003cem>After the Hunt\u003c/em>, weren’t quibbling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Laura Vallejo, who’s lived in Healdsburg for 35 years, said after the film let out that she’s had to drive to Santa Rosa or Sebastopol to see movies, and “it’s a bit of a trek out there for us.”\u003c/p>\n\u003cp>Vallejo praised True West for its community outreach and involvement in schools before opening, as well as its senior ticket prices.\u003c/p>\n\u003cp>“I happen to know a lot of people who are excited about it, and are saying ‘I want to come back,’” she added.\u003c/p>\n\u003cp>Local moviegoers like Vallejo who aren’t fans of Hollywood’s emphasis on action and superhero franchises have already pitched Cooper on the kinds of movies they’d like to see. At a preview event in September, supporters shouted out older films like \u003cem>2001: A Space Odyssey\u003c/em>, \u003cem>Apocalypse Now\u003c/em> and \u003cem>The Sting\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13973504\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194.jpg\" alt=\"A man in glasses and a greyish puffed vest looks into the camera, smiling, against a backdrop of trees\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_3194-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John Cooper, pictured in Sebastopol, was previously the director of the Sundance Film Festival. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Needless to say, Cooper, who grew up in Sonoma County and now lives in Healdsburg after stepping down from Sundance, won’t be programming a \u003cem>Fast & Furious\u003c/em> marathon anytime soon.\u003c/p>\n\u003cp>On Mondays and Tuesdays, he plans “Icon Screenings” for repertory movies, such as \u003cem>To Kill a Mockingbird\u003c/em>, dedicated to famous actors. Regular “Film 101” series will focus on one director or genre. Sundays will be reserved for what he calls “Film Church,” a series of weekly documentaries (“and not about an issue that’s so bad, you leave really depressed,” Cooper quipped).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Outdoor screenings and Spanish-language events are in the works, along with a film festival, which began life as the Alexander Valley Film Festival. Many of the same organizers of that long-running film festival, including executive director Philip, moved their energies to True West; next year’s festival will take on the theater’s name.\u003c/p>\n\u003cp>As more people arrived for the second-ever round of screenings at the theater, on opening day, Philip said she felt relieved and excited.\u003c/p>\n\u003cp>“Watching the people trickle in has been such a joy, and I feel ready to share it,” she said. “I’m ready to give it back now to the community, and let them make it their own.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The True West Film Center (371 Healdsburg Ave., Healdsburg) hosts a free \u003ca href=\"https://truewestfilmcenter.org/show/grand-opening-block-party/\">grand opening block party\u003c/a> on Saturday, Oct. 25, at 2 p.m. \u003ca href=\"https://truewestfilmcenter.org/show/grand-opening-block-party/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland to Honor Bobby Seale, Black Panther Party Cofounder, With Street Renaming",
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"content": "\u003cp>On Wednesday, Oct. 22, the City of Oakland will celebrate the 89th birthday of Black Panther Party cofounder \u003ca href=\"https://www.kqed.org/arts/tag/bobby-seale\">Bobby Seale\u003c/a> with \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Seale.Proclamation.pdf\">a formal proclamation\u003c/a> of “Bobby Seale Day” and a commemorative street renaming.\u003c/p>\n\u003cp>Seale, who helped create one of the Unites States’ most well-known community activist groups of the 20th century, also ran for \u003ca href=\"https://aadl.org/node/195634\">mayor of Oakland in 1973\u003c/a>.\u003c/p>\n\u003cp>Seale was born in Liberty, Texas. His family moved to the Bay Area when Seale was a child, first residing in Albany’s \u003ca href=\"https://monumenttoextraction.org/stories/worldwar2-housing/\">Codornices Village\u003c/a> before moving to North Oakland’s 57th Street.\u003c/p>\n\u003cp>[aside postID='arts_13888332']At a Wednesday evening block party, the intersection of 57th Street and Martin Luther King Jr. Way will officially be renamed \u003ca href=\"https://oakland.legistar.com/MeetingDetail.aspx?ID=1314826&GUID=EE02C9D2-93D3-4C5A-87FE-450007B1900A&G=undefined&Options=&Search=\">Bobby Seale Way\u003c/a>.\u003c/p>\n\u003cp>Bobby Seale himself will be in attendance at the event, which runs from 5 p.m.–7 p.m. and is open to the public.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hosted by North Oakland lyricist and entrepreneur \u003ca href=\"https://www.kqed.org/arts/tag/mistah-fab\">Mistah F.A.B., \u003c/a>the party will also feature comments from Oakland Mayor Barbara Lee, a performance by \u003ca href=\"https://www.thecurtisfamilycnotes.com/\">The Curtis Family C-Notes\u003c/a> and a speech from thespian and comedian\u003ca href=\"https://www.instagram.com/donaldlacyjr/?hl=en\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https://www.google.com/url?q=https://www.instagram.com/donaldlacyjr/?hl%3Den&source=gmail&ust=1761158109722000&usg=AOvVaw3XYfKaDszxwnSzCyU_yHj4\"> Donald Lacy Jr\u003c/a>.\u003c/p>\n\u003cdiv>\n\u003cdiv id=\"m_4006817488853157233gmail-:4fz\" role=\"textbox\" aria-label=\"Message Body\" aria-controls=\":4iz\" aria-expanded=\"false\">\n\u003cp>This week is also \u003ca href=\"https://www.lovelifefoundation.org/\">“Love Life Week” in Oakland\u003c/a>. In 2016, after Lacy’s 16-year old daughter Lo’Eshe Lacy was killed in a shooting, Oakland adopted “Love Life” as its official motto; the term is inspired by the meaning of Lacy’s daughter’s name.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_13920156\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-scaled.jpg\" alt=\"a black and white photo of five African-American people, some in lab coats, standing outside doing a blood draw on one of them, an older woman\" width=\"2560\" height=\"1701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1920x1275.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Adrienne Humphrey conducts sickle cell anemia testing during Bobby Seale’s campaign for mayor of Oakland in 1973. \u003ccite>(Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Seale.Proclamation.pdf\">city proclamation\u003c/a> honoring Bobby Seale notes that his “visionary leadership and fearless activism have not only transformed Oakland but have left a lasting impact on national movements for racial and economic justice.”\u003c/p>\n\u003cp>The proclamation also praises Seale’s leadership of the Black Panther Party in Oakland, which “rose to national prominence not only for its stance against police brutality but for its pioneering community-based programs, including free breakfast programs for children, health clinics, educational initiatives, and mutual aid efforts that served as blueprints for future social welfare models.”\u003c/p>\n\u003cp>In recent years, the City of Oakland has taken strides to honor its local luminaries. \u003ca href=\"https://www.kqed.org/arts/13937563/tupac-shakur-way-oakland-street-renaming\">Tupac Shakur\u003c/a> has a commemorative plaque on Grand Avenue and MacArthur Boulevard near Lake Merritt, and rapper \u003ca href=\"https://www.kqed.org/arts/13922616/too-short-way-street-sign-unveiled-oakland\">Too Short has a street sign\u003c/a> mounted on the corner of High Street and Foothill Boulevard. Black Panther Party cofounder Dr. Huey P. Newton has\u003ca href=\"https://www.kqed.org/news/11893532/debut-of-dr-huey-p-newton-bust-spotlights-an-influential-black-panther-party-leader\"> a sculpture\u003c/a> and a three-block section of 9th Street in West Oakland named in his honor. And in June of this year a street sign in recognition of \u003ca href=\"https://www.instagram.com/reel/DLbFFE9ycHg/\">Black Panther leader Elaine Brown\u003c/a> was unveiled in West Oakland.\u003c/p>\n\u003cp>[aside postID='arts_13851531'] Seale’s story has been told extensively, both through his autobiography \u003cem>A Lonely Rage\u003c/em> and his book \u003cem>Seize the Time: The Story of the Black Panther Party and Huey P. Newton. \u003c/em>The cover of the latter shows Seale bound and gagged as the result of a order from \u003ca href=\"https://www.loc.gov/exhibitions/drawing-justice-courtroom-illustrations/about-this-exhibition/political-activists-on-trial/bobby-seale-bound-and-gagged/\">the presiding judge in the Chicago 8 trial\u003c/a>.\u003c/p>\n\u003cp>That case was also depicted in the 2020 film \u003cem>\u003ca href=\"https://www.npr.org/2020/10/24/927306419/yahya-abdul-mateen-ii-on-playing-bobby-seale-in-the-trial-of-the-chicago-7\">The Trial of the Chicago 7\u003c/a>\u003c/em>, where Seale was portrayed by Oakland’s Yahya Abdul-Mateen II.\u003c/p>\n\u003cp>Seale’s name already graces the halls of\u003ca href=\"https://merritt.edu/black-student-union/\"> Merritt College\u003c/a> — the campus where he met Newton, and where the seeds of the Black Panther Party for Self-Defense took root. Now, Seale will have a street and a day dedicated in his honor as well.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The public unveiling of Bobby Seale Way takes place on Wednesday, Oct. 22, from 5 p.m.–7 p.m. at the intersection of Martin Luther King Jr. Way and 57th Street in Oakland.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday, Oct. 22, the City of Oakland will celebrate the 89th birthday of Black Panther Party cofounder \u003ca href=\"https://www.kqed.org/arts/tag/bobby-seale\">Bobby Seale\u003c/a> with \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Seale.Proclamation.pdf\">a formal proclamation\u003c/a> of “Bobby Seale Day” and a commemorative street renaming.\u003c/p>\n\u003cp>Seale, who helped create one of the Unites States’ most well-known community activist groups of the 20th century, also ran for \u003ca href=\"https://aadl.org/node/195634\">mayor of Oakland in 1973\u003c/a>.\u003c/p>\n\u003cp>Seale was born in Liberty, Texas. His family moved to the Bay Area when Seale was a child, first residing in Albany’s \u003ca href=\"https://monumenttoextraction.org/stories/worldwar2-housing/\">Codornices Village\u003c/a> before moving to North Oakland’s 57th Street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At a Wednesday evening block party, the intersection of 57th Street and Martin Luther King Jr. Way will officially be renamed \u003ca href=\"https://oakland.legistar.com/MeetingDetail.aspx?ID=1314826&GUID=EE02C9D2-93D3-4C5A-87FE-450007B1900A&G=undefined&Options=&Search=\">Bobby Seale Way\u003c/a>.\u003c/p>\n\u003cp>Bobby Seale himself will be in attendance at the event, which runs from 5 p.m.–7 p.m. and is open to the public.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hosted by North Oakland lyricist and entrepreneur \u003ca href=\"https://www.kqed.org/arts/tag/mistah-fab\">Mistah F.A.B., \u003c/a>the party will also feature comments from Oakland Mayor Barbara Lee, a performance by \u003ca href=\"https://www.thecurtisfamilycnotes.com/\">The Curtis Family C-Notes\u003c/a> and a speech from thespian and comedian\u003ca href=\"https://www.instagram.com/donaldlacyjr/?hl=en\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https://www.google.com/url?q=https://www.instagram.com/donaldlacyjr/?hl%3Den&source=gmail&ust=1761158109722000&usg=AOvVaw3XYfKaDszxwnSzCyU_yHj4\"> Donald Lacy Jr\u003c/a>.\u003c/p>\n\u003cdiv>\n\u003cdiv id=\"m_4006817488853157233gmail-:4fz\" role=\"textbox\" aria-label=\"Message Body\" aria-controls=\":4iz\" aria-expanded=\"false\">\n\u003cp>This week is also \u003ca href=\"https://www.lovelifefoundation.org/\">“Love Life Week” in Oakland\u003c/a>. In 2016, after Lacy’s 16-year old daughter Lo’Eshe Lacy was killed in a shooting, Oakland adopted “Love Life” as its official motto; the term is inspired by the meaning of Lacy’s daughter’s name.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_13920156\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-scaled.jpg\" alt=\"a black and white photo of five African-American people, some in lab coats, standing outside doing a blood draw on one of them, an older woman\" width=\"2560\" height=\"1701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1920x1275.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Adrienne Humphrey conducts sickle cell anemia testing during Bobby Seale’s campaign for mayor of Oakland in 1973. \u003ccite>(Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Seale.Proclamation.pdf\">city proclamation\u003c/a> honoring Bobby Seale notes that his “visionary leadership and fearless activism have not only transformed Oakland but have left a lasting impact on national movements for racial and economic justice.”\u003c/p>\n\u003cp>The proclamation also praises Seale’s leadership of the Black Panther Party in Oakland, which “rose to national prominence not only for its stance against police brutality but for its pioneering community-based programs, including free breakfast programs for children, health clinics, educational initiatives, and mutual aid efforts that served as blueprints for future social welfare models.”\u003c/p>\n\u003cp>In recent years, the City of Oakland has taken strides to honor its local luminaries. \u003ca href=\"https://www.kqed.org/arts/13937563/tupac-shakur-way-oakland-street-renaming\">Tupac Shakur\u003c/a> has a commemorative plaque on Grand Avenue and MacArthur Boulevard near Lake Merritt, and rapper \u003ca href=\"https://www.kqed.org/arts/13922616/too-short-way-street-sign-unveiled-oakland\">Too Short has a street sign\u003c/a> mounted on the corner of High Street and Foothill Boulevard. Black Panther Party cofounder Dr. Huey P. Newton has\u003ca href=\"https://www.kqed.org/news/11893532/debut-of-dr-huey-p-newton-bust-spotlights-an-influential-black-panther-party-leader\"> a sculpture\u003c/a> and a three-block section of 9th Street in West Oakland named in his honor. And in June of this year a street sign in recognition of \u003ca href=\"https://www.instagram.com/reel/DLbFFE9ycHg/\">Black Panther leader Elaine Brown\u003c/a> was unveiled in West Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Seale’s story has been told extensively, both through his autobiography \u003cem>A Lonely Rage\u003c/em> and his book \u003cem>Seize the Time: The Story of the Black Panther Party and Huey P. Newton. \u003c/em>The cover of the latter shows Seale bound and gagged as the result of a order from \u003ca href=\"https://www.loc.gov/exhibitions/drawing-justice-courtroom-illustrations/about-this-exhibition/political-activists-on-trial/bobby-seale-bound-and-gagged/\">the presiding judge in the Chicago 8 trial\u003c/a>.\u003c/p>\n\u003cp>That case was also depicted in the 2020 film \u003cem>\u003ca href=\"https://www.npr.org/2020/10/24/927306419/yahya-abdul-mateen-ii-on-playing-bobby-seale-in-the-trial-of-the-chicago-7\">The Trial of the Chicago 7\u003c/a>\u003c/em>, where Seale was portrayed by Oakland’s Yahya Abdul-Mateen II.\u003c/p>\n\u003cp>Seale’s name already graces the halls of\u003ca href=\"https://merritt.edu/black-student-union/\"> Merritt College\u003c/a> — the campus where he met Newton, and where the seeds of the Black Panther Party for Self-Defense took root. Now, Seale will have a street and a day dedicated in his honor as well.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The public unveiling of Bobby Seale Way takes place on Wednesday, Oct. 22, from 5 p.m.–7 p.m. at the intersection of Martin Luther King Jr. Way and 57th Street in Oakland.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Miss Major Griffin-Gracy, Trans Liberation Activist, Dies at 78",
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"content": "\u003cp>Miss Major Griffin-Gracy, a legendary activist who spent decades fighting for incarcerated \u003ca href=\"https://www.kqed.org/arts/tag/transgender\">transgender\u003c/a> people in San Francisco and beyond, has died. She was 78 years old.\u003c/p>\n\u003cp>Born in Chicago, Miss Major spent her young adulthood in New York City, where she participated in the 1969 riots against police brutality at Stonewall Inn, a flashpoint that kicked off the modern-day \u003ca href=\"https://www.kqed.org/arts/tag/lgbtq\">LGBTQ+\u003c/a> rights movement. After surviving sex work and incarceration at men’s prisons, Miss Major became a tireless advocate for trans women living on the margins due to family, job and housing discrimination.\u003c/p>\n\u003cp>[aside postID='arts_13844019']During the \u003ca href=\"https://www.kqed.org/arts/13859408/aids-activism-san-francisco-1980s\">AIDS epidemic\u003c/a> in the 1980s, as the government looked the other way, Miss Major helped organize hospice care and support systems for trans and gay people dying from the disease, including at the Tenderloin AIDS Resource Center in San Francisco. Also in San Francisco, she founded an early needle exchange program and ran support groups for trans women, dozens of whom have considered her a mother figure over the decades.\u003c/p>\n\u003cp>“We have to look out for one another because we’re all we’ve got,” Miss Major said in a documentary about her life, \u003ca href=\"https://www.kqed.org/arts/13844019/ah-mer-ah-sus-major-soundtrack-feeds-the-spirit-of-trans-resistance\">\u003cem>Major!\u003c/em>\u003c/a>, directed by San Francisco filmmaker Annalise Ophelian. “When the dust settles, I want a whole bunch of transgender girls to stand up and say, ‘I’m still fucking here.’”\u003c/p>\n\u003cfigure id=\"attachment_13844366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13844366\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer.jpg\" alt=\"\" width=\"800\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-768x996.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-375x487.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-520x675.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a trans support group Miss Major hosted in San Francisco in the ’90s.\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Miss Major and Alexander L. Lee co-founded the \u003ca href=\"https://tgijp.org/\">Transgender Gender-Variant Intersex Justice Project\u003c/a>, a San Francisco nonprofit that offers crucial support to currently and formerly incarcerated trans people. She served as the executive director there for 11 years before retiring in 2015. After relocating to Little Rock, Arkansas, where she spent her final days surrounded by friends and family, Miss Major founded the \u003ca href=\"https://houseofgg.org/\">House of gg\u003c/a>, a healing retreat for trans people of color.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She was a world builder, a visionary, and unwavering in her devotion to making freedom possible for Black, trans, formerly and currently incarcerated people as well as the larger trans and LGB community,” reads a \u003ca href=\"https://www.facebook.com/houseofggs/posts/pfbid08EMnrMh7An4HsagZzocRausGK4TXVSJpBWUmHDkes1nEGUGaUCrmWzDBerwCnALbl\">statement from the House of gg\u003c/a>. “Because of her, countless new possibilities have been made for all of us to thrive — today and for generations to come.”\u003c/p>\n\u003cp>Miss Major is survived by her partner Beck Witt; her sons Asaiah, Christopher, and Jonathon; her many daughters including Janetta Johnson, who now leads TGIJP; and innumerable friends and family members.\u003c/p>\n\u003cfigure id=\"attachment_13859270\" class=\"wp-caption aligncenter\" style=\"max-width: 1974px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4.jpg\" alt=\"An elated Miss Major.\" width=\"1974\" height=\"1363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4.jpg 1974w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1200x829.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1920x1326.jpg 1920w\" sizes=\"auto, (max-width: 1974px) 100vw, 1974px\">\u003cfigcaption class=\"wp-caption-text\">An elated Miss Major. \u003ccite>(Photo courtesy of Miss Major)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many prominent transgender artists and activists, including author and \u003ci>Pose\u003c/i> writer-director Janet Mock, consider Miss Major a role model.\u003c/p>\n\u003cp>“For decades, Miss Major — with little resources, no pay or accolades — has taken care of our sisters behind bars, our sisters working on the streets, our sisters looking for mothers,” Mock said at San Francisco Pride in 2014, when she and Miss Major both served as Grand Marshals. “She is the blueprint for our liberation and has ensured that the path I walk on, that we all walk on, is less rocky because she exists.”\u003c/p>\n\u003cp>In 2023, Miss Major and Toshio Meronek published a book about her life, \u003cem>Miss Major Speaks\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We want everyone to know her journey was filled with challenge, laughter and unshakable love,” reads a statement from TGIJP. “She stayed blessed and strong until her final breath.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Miss Major Griffin-Gracy, a legendary activist who spent decades fighting for incarcerated \u003ca href=\"https://www.kqed.org/arts/tag/transgender\">transgender\u003c/a> people in San Francisco and beyond, has died. She was 78 years old.\u003c/p>\n\u003cp>Born in Chicago, Miss Major spent her young adulthood in New York City, where she participated in the 1969 riots against police brutality at Stonewall Inn, a flashpoint that kicked off the modern-day \u003ca href=\"https://www.kqed.org/arts/tag/lgbtq\">LGBTQ+\u003c/a> rights movement. After surviving sex work and incarceration at men’s prisons, Miss Major became a tireless advocate for trans women living on the margins due to family, job and housing discrimination.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During the \u003ca href=\"https://www.kqed.org/arts/13859408/aids-activism-san-francisco-1980s\">AIDS epidemic\u003c/a> in the 1980s, as the government looked the other way, Miss Major helped organize hospice care and support systems for trans and gay people dying from the disease, including at the Tenderloin AIDS Resource Center in San Francisco. Also in San Francisco, she founded an early needle exchange program and ran support groups for trans women, dozens of whom have considered her a mother figure over the decades.\u003c/p>\n\u003cp>“We have to look out for one another because we’re all we’ve got,” Miss Major said in a documentary about her life, \u003ca href=\"https://www.kqed.org/arts/13844019/ah-mer-ah-sus-major-soundtrack-feeds-the-spirit-of-trans-resistance\">\u003cem>Major!\u003c/em>\u003c/a>, directed by San Francisco filmmaker Annalise Ophelian. “When the dust settles, I want a whole bunch of transgender girls to stand up and say, ‘I’m still fucking here.’”\u003c/p>\n\u003cfigure id=\"attachment_13844366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13844366\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer.jpg\" alt=\"\" width=\"800\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-768x996.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-375x487.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Gigis-Flyer-520x675.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a trans support group Miss Major hosted in San Francisco in the ’90s.\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Miss Major and Alexander L. Lee co-founded the \u003ca href=\"https://tgijp.org/\">Transgender Gender-Variant Intersex Justice Project\u003c/a>, a San Francisco nonprofit that offers crucial support to currently and formerly incarcerated trans people. She served as the executive director there for 11 years before retiring in 2015. After relocating to Little Rock, Arkansas, where she spent her final days surrounded by friends and family, Miss Major founded the \u003ca href=\"https://houseofgg.org/\">House of gg\u003c/a>, a healing retreat for trans people of color.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She was a world builder, a visionary, and unwavering in her devotion to making freedom possible for Black, trans, formerly and currently incarcerated people as well as the larger trans and LGB community,” reads a \u003ca href=\"https://www.facebook.com/houseofggs/posts/pfbid08EMnrMh7An4HsagZzocRausGK4TXVSJpBWUmHDkes1nEGUGaUCrmWzDBerwCnALbl\">statement from the House of gg\u003c/a>. “Because of her, countless new possibilities have been made for all of us to thrive — today and for generations to come.”\u003c/p>\n\u003cp>Miss Major is survived by her partner Beck Witt; her sons Asaiah, Christopher, and Jonathon; her many daughters including Janetta Johnson, who now leads TGIJP; and innumerable friends and family members.\u003c/p>\n\u003cfigure id=\"attachment_13859270\" class=\"wp-caption aligncenter\" style=\"max-width: 1974px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4.jpg\" alt=\"An elated Miss Major.\" width=\"1974\" height=\"1363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4.jpg 1974w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1200x829.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Griffin-Gracy_Miss-Major_photo4-1920x1326.jpg 1920w\" sizes=\"auto, (max-width: 1974px) 100vw, 1974px\">\u003cfigcaption class=\"wp-caption-text\">An elated Miss Major. \u003ccite>(Photo courtesy of Miss Major)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many prominent transgender artists and activists, including author and \u003ci>Pose\u003c/i> writer-director Janet Mock, consider Miss Major a role model.\u003c/p>\n\u003cp>“For decades, Miss Major — with little resources, no pay or accolades — has taken care of our sisters behind bars, our sisters working on the streets, our sisters looking for mothers,” Mock said at San Francisco Pride in 2014, when she and Miss Major both served as Grand Marshals. “She is the blueprint for our liberation and has ensured that the path I walk on, that we all walk on, is less rocky because she exists.”\u003c/p>\n\u003cp>In 2023, Miss Major and Toshio Meronek published a book about her life, \u003cem>Miss Major Speaks\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We want everyone to know her journey was filled with challenge, laughter and unshakable love,” reads a statement from TGIJP. “She stayed blessed and strong until her final breath.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dangelo-dies-at-51-soul-r-and-b-music-dead-oakland",
"title": "D’Angelo, Widely Revered R&B Singer and Innovator, Dies at 51",
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"headTitle": "D’Angelo, Widely Revered R&B Singer and Innovator, Dies at 51 | KQED",
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"content": "\u003cp>D’Angelo, the Grammy-winning R&B singer recognized by his raspy yet smooth voice and for innovating the genre of \u003ca href=\"https://www.kqed.org/arts/tag/soul-music\">soul music\u003c/a>, has died. He was 51.\u003c/p>\n\u003cp>The singer, whose real name was Michael Eugene Archer, died Tuesday, according to a statement from the family.\u003c/p>\n\u003cp>The singer’s family confirmed in a statement Tuesday that he died after a prolonged battle with cancer. They called him “a shining star of our family and has dimmed his light for us in this life,” adding that they are “eternally grateful for the legacy of extraordinarily moving music he leaves behind.”\u003c/p>\n\u003cp>In his music, D’Angelo blended hip-hop grit, emphatic soul and gospel-rooted emotion into a sound that helped spearhead the neo-soul movement of the 1990s. Earlier this year, the Virginia native celebrated the 30th anniversary of his debut studio album \u003cem>Brown Sugar\u003c/em>, a platinum-selling offering that produced signature hits like “\u003ca href=\"https://youtu.be/YBB8valskCQ?si=yqTpXC17s1WiComM\">Lady\u003c/a>” and the title track. The 1995 album earned him multiple Grammy nominations and cemented him as one of R&B’s most original new voices.\u003c/p>\n\u003cp>D’Angelo’s sultry vocal style — a mix of raspy texture and church-bred fluidity — set him apart from his peers. That voice became inseparable from the striking visuals of his 2000 single “\u003ca href=\"https://youtu.be/SxVNOnPyvIU?si=YYt0SVhemGdxpnz2\">Untitled (How Does It Feel)\u003c/a>.” The minimalist, shirtless music video became a cultural touchstone, igniting conversations around artistry, sexuality and vulnerability in Black male representation. The song earned him a Grammy for best male R&B vocal performance. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/YBB8valskCQ?si=FvIOrLpDWyF0bHBp\u003c/p>\n\u003cp>He later said in interviews that the attention on the “Untitled (How Does It Feel)” video, specifically at his body, became a burden for his self-image. While his sophomore album \u003cem>Voodoo\u003c/em> topped the Billboard 200 chart and won the Grammy for best R&B album, D’Angelo gained a reputation for being reclusive and did not release another album for more than a decade.\u003c/p>\n\u003cp>However, 2014’s \u003cem>Black Messiah\u003c/em> marked a long-awaited return to the studio, touching on familiar themes of love and relationships alongside police killings, as on the songs “\u003ca href=\"https://youtu.be/T3CunfPYkME?si=ThtubkUL6JEvp-2H\">The Charade\u003c/a>” “\u003ca href=\"https://youtu.be/t2r5yqjlVrI?si=Go5si5OLxke7XD53\">1,000 Deaths\u003c/a>.” The album won a Grammy Award for Best R&B Album, and was voted Album of the Year in a \u003cem>Village Voice\u003c/em> poll of music critics.\u003c/p>\n\u003cp>In the Bay Area, D’Angelo collaborated with Oakland native Raphael Saadiq, of Tony Toni Toné, to write “Untitled (How Does It Feel).” He performed a handful of times in the Bay Area, at the Paramount Theater in Oakland, the Fox Theater in Oakland, the Concord Pavilion and the Outside Lands music festival in Golden Gate Park.\u003c/p>\n\u003cp>In 2015, D’Angelo visited Oakland to meet with Black Panthers cofounder Bobby Seale for \u003ca href=\"https://www.nytimes.com/2015/06/21/arts/music/dangelo-and-bobby-seale-on-the-past-and-future-of-political-protest.html\">a tour through the city and a robust conversation about police brutality\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_10885096\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloJohnson.jpg\" alt=\"D'Angelo and Jesse Johnson perform at Outside Lands, Aug. 7, 2015. (Photo: Gabe Meline/KQED)\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-10885096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloJohnson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloJohnson-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloJohnson-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloJohnson-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloJohnson-960x640.jpg 960w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">D’Angelo and guitarist Jesse Johnson perform at Outside Lands, Aug. 7, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond his own catalog, D’Angelo’s artistry shined in collaborations. He memorably duetted with Lauryn Hill on the soulful ballad “Nothing Even Matters,” a highlight of her landmark 1998 album \u003cem>The Miseducation of Lauryn Hill\u003c/em>. He also contributed to The Roots’ 1996 album \u003cem>Illadelph Halflife \u003c/em>and was part of the supergroup Black Men United, which yielded one song: “U Will Know,” which D’Angelo wrote and co-produced, for the film \u003cem>Jason’s Lyric\u003c/em> in 1994.\u003c/p>\n\u003cp>D’Angelo was partnered to Grammy-nominated R&B singer Angie Stone in the ’90s. The pair met while he was finishing \u003cem>Brown Sugar\u003c/em> and bonded over their similar backgrounds: Both are from the South and both grew up in the church. Stone worked on the album with D’Angelo and the pair co-wrote the song “Everyday” for her 1999 debut album, \u003cem>Black Diamond\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10885111\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic.jpg\" alt=\"D'Angelo performs at Outside Lands, Aug. 7, 2015. (Photo: Gabe Meline/KQED)\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-10885111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-960x640.jpg 960w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">D’Angelo performs at Outside Lands in San Francisco, Aug. 7, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stone described D’Angelo as her “musical soul mate,” to The Associated Press in 1999, adding that their working relationship was “’like milk and cereal … Musically, it was magic. It’s something that I have not been able to do with any other producer or musician.”\u003c/p>\n\u003cp>They had a son together, the artist Swayvo Twain, born Michael Archer Jr.\u003c/p>\n\u003cp>Stone died earlier this year in a car crash. She was 63.\u003c/p>\n\u003cp>D’Angelo also has a daughter, Imani Archer.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>AP Music Writer Maria Sherman and KQED Arts & Culture Senior Editor Gabe Meline contributed to this story.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The reclusive genius who took soul music into new directions and captivated millions of fans has died of pancreatic cancer. ",
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"title": "D’Angelo, Widely Revered R&B Singer and Innovator, Dies at 51 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>D’Angelo, the Grammy-winning R&B singer recognized by his raspy yet smooth voice and for innovating the genre of \u003ca href=\"https://www.kqed.org/arts/tag/soul-music\">soul music\u003c/a>, has died. He was 51.\u003c/p>\n\u003cp>The singer, whose real name was Michael Eugene Archer, died Tuesday, according to a statement from the family.\u003c/p>\n\u003cp>The singer’s family confirmed in a statement Tuesday that he died after a prolonged battle with cancer. They called him “a shining star of our family and has dimmed his light for us in this life,” adding that they are “eternally grateful for the legacy of extraordinarily moving music he leaves behind.”\u003c/p>\n\u003cp>In his music, D’Angelo blended hip-hop grit, emphatic soul and gospel-rooted emotion into a sound that helped spearhead the neo-soul movement of the 1990s. Earlier this year, the Virginia native celebrated the 30th anniversary of his debut studio album \u003cem>Brown Sugar\u003c/em>, a platinum-selling offering that produced signature hits like “\u003ca href=\"https://youtu.be/YBB8valskCQ?si=yqTpXC17s1WiComM\">Lady\u003c/a>” and the title track. The 1995 album earned him multiple Grammy nominations and cemented him as one of R&B’s most original new voices.\u003c/p>\n\u003cp>D’Angelo’s sultry vocal style — a mix of raspy texture and church-bred fluidity — set him apart from his peers. That voice became inseparable from the striking visuals of his 2000 single “\u003ca href=\"https://youtu.be/SxVNOnPyvIU?si=YYt0SVhemGdxpnz2\">Untitled (How Does It Feel)\u003c/a>.” The minimalist, shirtless music video became a cultural touchstone, igniting conversations around artistry, sexuality and vulnerability in Black male representation. The song earned him a Grammy for best male R&B vocal performance. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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/YBB8valskCQ'\n title='//www.youtube.com/embed/YBB8valskCQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He later said in interviews that the attention on the “Untitled (How Does It Feel)” video, specifically at his body, became a burden for his self-image. While his sophomore album \u003cem>Voodoo\u003c/em> topped the Billboard 200 chart and won the Grammy for best R&B album, D’Angelo gained a reputation for being reclusive and did not release another album for more than a decade.\u003c/p>\n\u003cp>However, 2014’s \u003cem>Black Messiah\u003c/em> marked a long-awaited return to the studio, touching on familiar themes of love and relationships alongside police killings, as on the songs “\u003ca href=\"https://youtu.be/T3CunfPYkME?si=ThtubkUL6JEvp-2H\">The Charade\u003c/a>” “\u003ca href=\"https://youtu.be/t2r5yqjlVrI?si=Go5si5OLxke7XD53\">1,000 Deaths\u003c/a>.” The album won a Grammy Award for Best R&B Album, and was voted Album of the Year in a \u003cem>Village Voice\u003c/em> poll of music critics.\u003c/p>\n\u003cp>In the Bay Area, D’Angelo collaborated with Oakland native Raphael Saadiq, of Tony Toni Toné, to write “Untitled (How Does It Feel).” He performed a handful of times in the Bay Area, at the Paramount Theater in Oakland, the Fox Theater in Oakland, the Concord Pavilion and the Outside Lands music festival in Golden Gate Park.\u003c/p>\n\u003cp>In 2015, D’Angelo visited Oakland to meet with Black Panthers cofounder Bobby Seale for \u003ca href=\"https://www.nytimes.com/2015/06/21/arts/music/dangelo-and-bobby-seale-on-the-past-and-future-of-political-protest.html\">a tour through the city and a robust conversation about police brutality\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_10885096\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloJohnson.jpg\" alt=\"D'Angelo and Jesse Johnson perform at Outside Lands, Aug. 7, 2015. (Photo: Gabe Meline/KQED)\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-10885096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloJohnson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloJohnson-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloJohnson-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloJohnson-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloJohnson-960x640.jpg 960w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">D’Angelo and guitarist Jesse Johnson perform at Outside Lands, Aug. 7, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond his own catalog, D’Angelo’s artistry shined in collaborations. He memorably duetted with Lauryn Hill on the soulful ballad “Nothing Even Matters,” a highlight of her landmark 1998 album \u003cem>The Miseducation of Lauryn Hill\u003c/em>. He also contributed to The Roots’ 1996 album \u003cem>Illadelph Halflife \u003c/em>and was part of the supergroup Black Men United, which yielded one song: “U Will Know,” which D’Angelo wrote and co-produced, for the film \u003cem>Jason’s Lyric\u003c/em> in 1994.\u003c/p>\n\u003cp>D’Angelo was partnered to Grammy-nominated R&B singer Angie Stone in the ’90s. The pair met while he was finishing \u003cem>Brown Sugar\u003c/em> and bonded over their similar backgrounds: Both are from the South and both grew up in the church. Stone worked on the album with D’Angelo and the pair co-wrote the song “Everyday” for her 1999 debut album, \u003cem>Black Diamond\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10885111\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic.jpg\" alt=\"D'Angelo performs at Outside Lands, Aug. 7, 2015. (Photo: Gabe Meline/KQED)\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-10885111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OL.DAngeloMic-960x640.jpg 960w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">D’Angelo performs at Outside Lands in San Francisco, Aug. 7, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stone described D’Angelo as her “musical soul mate,” to The Associated Press in 1999, adding that their working relationship was “’like milk and cereal … Musically, it was magic. It’s something that I have not been able to do with any other producer or musician.”\u003c/p>\n\u003cp>They had a son together, the artist Swayvo Twain, born Michael Archer Jr.\u003c/p>\n\u003cp>Stone died earlier this year in a car crash. She was 63.\u003c/p>\n\u003cp>D’Angelo also has a daughter, Imani Archer.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>AP Music Writer Maria Sherman and KQED Arts & Culture Senior Editor Gabe Meline contributed to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Alysia Abbott Says ‘Fairyland’ Hits Differently in the Current Political Moment",
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"headTitle": "Alysia Abbott Says ‘Fairyland’ Hits Differently in the Current Political Moment | KQED",
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"content": "\u003cp>The sun-drenched, postcard-like shots in the film \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982072/fairyland-movie-review-alysia-abbott-memoir-father-daughter-retro-lgbtq-san-francisco\">Fairyland\u003c/a>\u003c/em> evoke a bygone era of San Francisco.\u003c/p>\n\u003cp>Shot on location, the film depicts the city in the wake of the Summer of Love. A father, Steven Abbott, moves his young daughter, Alysia, to the city after the death of her mother. It’s a new beginning for both of them; he embraces an openly gay life while raising his daughter in a world full of artists, drag queens and former boyfriends.\u003c/p>\n\u003cfigure id=\"attachment_13982300\" class=\"wp-caption alignright\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-scaled.jpg\" alt=\"white woman with shoulder-length brown hair in gray shirt\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Alysia Abbot. \u003ccite>(Amber Davis Toularentes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, their relationship ebbs and flows; Steven’s orange Volkswagen Beetle struggling up the hills of his new home is an apt visual metaphor. The story culminates during the AIDS crisis, when university-age Alysia returns home to care for her father.\u003c/p>\n\u003cp>Based on the \u003ca href=\"https://www.kqed.org/forum/201306211000/growing-up-in-70s-san-francisco-with-an-openly-gay-dad\">2013 memoir\u003c/a> of the same name by Alysia Abbott, \u003cem>Fairyland\u003c/em> premiered at Sundance in 2023. She says the film, which would have come across as just nostalgic to audiences two years ago, now has more to offer in a wide theatrical release, starting Oct. 10.\u003c/p>\n\u003cp>“Through the lens of 2023, it might have seemed more quaint. And I think now there’s more of an urgency to this story,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to its contemporary relevance, \u003cem>Fairyland\u003c/em> serves as a love letter to San Francisco, and an intimate examination of parenting, grief and coming of age. Abbott spoke about her book and the film adaptation with KQED’s Brian Watt.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Watt:\u003c/strong> Your dad Steven Abbott was also a writer, and as you were growing up, he didn’t hide who he was. Tell us more about your early years.\u003c/p>\n\u003cp>\u003cstrong>Alysia Abbot:\u003c/strong> Certainly, I think he approached parenting with a lot of naïveté and idealism. He had grown up in a repressed home in Lincoln, Nebraska in the 1950s and 60s. [It was] the kind of home where children were not to speak until they’re spoken to, and when he was left to be an only parent after my mother died, he saw this as an opportunity to raise me in a different way. He was very bohemian, and I really do think that he believed that he was teaching me independence by leaving me to fend for myself.\u003c/p>\n\u003cp>By the time I wrote my book, and certainly by the time I watched the movie, I came to see him with a lot of compassion. There are still things where I’m like, I can’t believe he did that, but also, I believe he made a lot of his choices out of love and because he didn’t have any models. Today there are a lot of queer parents who are married and have wonderful families. In that era, where we were living, anyway, most of his friends didn’t have children. I spent a lot of my time around adults.\u003c/p>\n\u003cfigure id=\"attachment_13982073\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982073\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3.jpg\" alt=\"An average kitchen interior. A young white girl sits slumped at a round kitchen table, while her dad, wearing a flannel shirt and blue jeans, cigarette in mouth, pours her an orange juice.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Scoot McNairy as Steve Abbott and Nessa Dougherty as a young Alysia in ‘Fairyland.’ \u003ccite>(Courtesy of Lionsgate/WILLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I am very taken in the beginning of the film with the gaze and lens of young Alysia. This very young person, surrounded by adults in a new place, trying to take it all in, trying to process it. Is that something that struck you or maybe it was important to you in how the beginning of the film is shot?\u003c/strong>\u003c/p>\n\u003cp>It was a conscious decision to shoot those early parts of the film looking from the perspective of a child, a child’s point of view looking up, to show that sense of disorientation. Over the course of the film, the perspective changes, where by the end, we can look down at Alysia and her father in this later stage of their relationship.\u003c/p>\n\u003cp>When I was writing the book, I had recently taken a class at Harvard on children’s literature. I re-read some classics, like Lewis Carroll’s \u003cem>Alice in Wonderland\u003c/em> and J.M. Barrie’s \u003cem>Peter and Wendy\u003c/em>, the story of Peter Pan. In both of those stories, there would be Wonderland or Neverland. So I thought of marrying this idea of San Francisco as a fairyland, where people were arriving to play, to maybe not grow up, to explore themselves, but also as a child that I might arrive as if on an adventure. The way that Alice follows the rabbit down the rabbit hole.\u003c/p>\n\u003cp>[aside postID='arts_13982072']\u003cstrong>Tell us more about being involved in the making of the film. In a memoir, you have more control. But how did you make sure they were getting it right on film?\u003c/strong>\u003c/p>\n\u003cp>I had a meeting with the director Andrew Durham and Sofia Coppola when they wanted to option the book. I learned that Sofia was going to serve as a producer, and Durham, a longtime collaborator but more of a photographer professionally, was going to be directing this film for the first time. I also learned in that conversation that he had a dad who died of AIDS the very same year that my father died, in 1992, and [Durham] had lived in the Bay Area and came of age approximately the same time I did.\u003c/p>\n\u003cfigure id=\"attachment_13982299\" class=\"wp-caption aligncenter\" style=\"max-width: 1991px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb.jpg\" alt=\"young woman lit green in front of neon Palladium sign\" width=\"1991\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb.jpg 1991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-1536x868.jpg 1536w\" sizes=\"auto, (max-width: 1991px) 100vw, 1991px\">\u003cfigcaption class=\"wp-caption-text\">Emilia Jones as an older Alysia Abbott in a scene from ‘Fairyland.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We did a research trip together in San Francisco. My father’s papers are at the San Francisco Public Library. We dug out those boxes and went through them together. We rented bikes and bicycled through Golden Gate Park, where I could point out to him important sites where I used to play or where the cover of my book was photographed. Over just that short visit, I felt a camaraderie and an ease.\u003c/p>\n\u003cp>I was able to spend time on set, and I learned in the process just how personal this project was for much of the crew, meaning we had some high-level professionals who were possibly taking a pay cut to work on this project simply because it was very important to them. Other folks took me aside and said, “Listen, there’s someone I used to work with who died of AIDS and I just think this history is important.” There were a lot of people who had something at stake.\u003c/p>\n\u003cp>\u003cstrong>A lot has changed in the world since the film’s premiere in 2023, namely the political climate. The Trump administration cut federal funding for some \u003ca href=\"https://www.npr.org/2025/09/12/nx-s1-5539546/can-the-global-hiv-aids-fight-recover-from-trumps-cuts\">HIV/AIDS prevention programs\u003c/a>. Many people in the LGBTQ+ community fear for their rights. How do you see this film and its story landing now? \u003c/strong>\u003c/p>\n\u003cp>There’s a scene in the film where Steve is listening to the radio and hears about the Briggs Initiative that was being proposed and pushed by Anita Bryant and Sen. [John] Briggs that would have outlawed gay men and women from teaching in schools. Steve looks so shocked to hear that, and that doesn’t feel so far away now.\u003c/p>\n\u003cp>Certainly with HIV funding, this idea that the U.S. used to be an important leader in more recent years on supporting medications for people suffering from HIV and AIDS around the world and now with the U.S. withdrawing from that, there’s a shocking sense of apathy. There’s a sense of loss beyond the loss that was felt of all the people who died of AIDS that we might be mourning as we watch this film together. I also feel that there’s grief about what we have lost as a country. How have we changed in ways that are maybe irrevocable?\u003c/p>\n\u003cp>A couple of years ago, people might have said, “Oh, this is an emotional film. This is weepy.” I kind of feel that right now we need weepy. We collectively are grieving more than we’ve had space to acknowledge because we’re always having to react.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Fairyland’ opens nationwide on Friday, Oct. 10, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sun-drenched, postcard-like shots in the film \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982072/fairyland-movie-review-alysia-abbott-memoir-father-daughter-retro-lgbtq-san-francisco\">Fairyland\u003c/a>\u003c/em> evoke a bygone era of San Francisco.\u003c/p>\n\u003cp>Shot on location, the film depicts the city in the wake of the Summer of Love. A father, Steven Abbott, moves his young daughter, Alysia, to the city after the death of her mother. It’s a new beginning for both of them; he embraces an openly gay life while raising his daughter in a world full of artists, drag queens and former boyfriends.\u003c/p>\n\u003cfigure id=\"attachment_13982300\" class=\"wp-caption alignright\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-scaled.jpg\" alt=\"white woman with shoulder-length brown hair in gray shirt\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/abbott_2000-1-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Alysia Abbot. \u003ccite>(Amber Davis Toularentes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, their relationship ebbs and flows; Steven’s orange Volkswagen Beetle struggling up the hills of his new home is an apt visual metaphor. The story culminates during the AIDS crisis, when university-age Alysia returns home to care for her father.\u003c/p>\n\u003cp>Based on the \u003ca href=\"https://www.kqed.org/forum/201306211000/growing-up-in-70s-san-francisco-with-an-openly-gay-dad\">2013 memoir\u003c/a> of the same name by Alysia Abbott, \u003cem>Fairyland\u003c/em> premiered at Sundance in 2023. She says the film, which would have come across as just nostalgic to audiences two years ago, now has more to offer in a wide theatrical release, starting Oct. 10.\u003c/p>\n\u003cp>“Through the lens of 2023, it might have seemed more quaint. And I think now there’s more of an urgency to this story,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to its contemporary relevance, \u003cem>Fairyland\u003c/em> serves as a love letter to San Francisco, and an intimate examination of parenting, grief and coming of age. Abbott spoke about her book and the film adaptation with KQED’s Brian Watt.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Watt:\u003c/strong> Your dad Steven Abbott was also a writer, and as you were growing up, he didn’t hide who he was. Tell us more about your early years.\u003c/p>\n\u003cp>\u003cstrong>Alysia Abbot:\u003c/strong> Certainly, I think he approached parenting with a lot of naïveté and idealism. He had grown up in a repressed home in Lincoln, Nebraska in the 1950s and 60s. [It was] the kind of home where children were not to speak until they’re spoken to, and when he was left to be an only parent after my mother died, he saw this as an opportunity to raise me in a different way. He was very bohemian, and I really do think that he believed that he was teaching me independence by leaving me to fend for myself.\u003c/p>\n\u003cp>By the time I wrote my book, and certainly by the time I watched the movie, I came to see him with a lot of compassion. There are still things where I’m like, I can’t believe he did that, but also, I believe he made a lot of his choices out of love and because he didn’t have any models. Today there are a lot of queer parents who are married and have wonderful families. In that era, where we were living, anyway, most of his friends didn’t have children. I spent a lot of my time around adults.\u003c/p>\n\u003cfigure id=\"attachment_13982073\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982073\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3.jpg\" alt=\"An average kitchen interior. A young white girl sits slumped at a round kitchen table, while her dad, wearing a flannel shirt and blue jeans, cigarette in mouth, pours her an orange juice.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/FAIRYLAND-Still-3-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Scoot McNairy as Steve Abbott and Nessa Dougherty as a young Alysia in ‘Fairyland.’ \u003ccite>(Courtesy of Lionsgate/WILLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I am very taken in the beginning of the film with the gaze and lens of young Alysia. This very young person, surrounded by adults in a new place, trying to take it all in, trying to process it. Is that something that struck you or maybe it was important to you in how the beginning of the film is shot?\u003c/strong>\u003c/p>\n\u003cp>It was a conscious decision to shoot those early parts of the film looking from the perspective of a child, a child’s point of view looking up, to show that sense of disorientation. Over the course of the film, the perspective changes, where by the end, we can look down at Alysia and her father in this later stage of their relationship.\u003c/p>\n\u003cp>When I was writing the book, I had recently taken a class at Harvard on children’s literature. I re-read some classics, like Lewis Carroll’s \u003cem>Alice in Wonderland\u003c/em> and J.M. Barrie’s \u003cem>Peter and Wendy\u003c/em>, the story of Peter Pan. In both of those stories, there would be Wonderland or Neverland. So I thought of marrying this idea of San Francisco as a fairyland, where people were arriving to play, to maybe not grow up, to explore themselves, but also as a child that I might arrive as if on an adventure. The way that Alice follows the rabbit down the rabbit hole.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Tell us more about being involved in the making of the film. In a memoir, you have more control. But how did you make sure they were getting it right on film?\u003c/strong>\u003c/p>\n\u003cp>I had a meeting with the director Andrew Durham and Sofia Coppola when they wanted to option the book. I learned that Sofia was going to serve as a producer, and Durham, a longtime collaborator but more of a photographer professionally, was going to be directing this film for the first time. I also learned in that conversation that he had a dad who died of AIDS the very same year that my father died, in 1992, and [Durham] had lived in the Bay Area and came of age approximately the same time I did.\u003c/p>\n\u003cfigure id=\"attachment_13982299\" class=\"wp-caption aligncenter\" style=\"max-width: 1991px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb.jpg\" alt=\"young woman lit green in front of neon Palladium sign\" width=\"1991\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb.jpg 1991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/fairyland-NEW_PHOTO_EDIT_FAIRYLAND_73-of-116_R_rgb-1536x868.jpg 1536w\" sizes=\"auto, (max-width: 1991px) 100vw, 1991px\">\u003cfigcaption class=\"wp-caption-text\">Emilia Jones as an older Alysia Abbott in a scene from ‘Fairyland.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We did a research trip together in San Francisco. My father’s papers are at the San Francisco Public Library. We dug out those boxes and went through them together. We rented bikes and bicycled through Golden Gate Park, where I could point out to him important sites where I used to play or where the cover of my book was photographed. Over just that short visit, I felt a camaraderie and an ease.\u003c/p>\n\u003cp>I was able to spend time on set, and I learned in the process just how personal this project was for much of the crew, meaning we had some high-level professionals who were possibly taking a pay cut to work on this project simply because it was very important to them. Other folks took me aside and said, “Listen, there’s someone I used to work with who died of AIDS and I just think this history is important.” There were a lot of people who had something at stake.\u003c/p>\n\u003cp>\u003cstrong>A lot has changed in the world since the film’s premiere in 2023, namely the political climate. The Trump administration cut federal funding for some \u003ca href=\"https://www.npr.org/2025/09/12/nx-s1-5539546/can-the-global-hiv-aids-fight-recover-from-trumps-cuts\">HIV/AIDS prevention programs\u003c/a>. Many people in the LGBTQ+ community fear for their rights. How do you see this film and its story landing now? \u003c/strong>\u003c/p>\n\u003cp>There’s a scene in the film where Steve is listening to the radio and hears about the Briggs Initiative that was being proposed and pushed by Anita Bryant and Sen. [John] Briggs that would have outlawed gay men and women from teaching in schools. Steve looks so shocked to hear that, and that doesn’t feel so far away now.\u003c/p>\n\u003cp>Certainly with HIV funding, this idea that the U.S. used to be an important leader in more recent years on supporting medications for people suffering from HIV and AIDS around the world and now with the U.S. withdrawing from that, there’s a shocking sense of apathy. There’s a sense of loss beyond the loss that was felt of all the people who died of AIDS that we might be mourning as we watch this film together. I also feel that there’s grief about what we have lost as a country. How have we changed in ways that are maybe irrevocable?\u003c/p>\n\u003cp>A couple of years ago, people might have said, “Oh, this is an emotional film. This is weepy.” I kind of feel that right now we need weepy. We collectively are grieving more than we’ve had space to acknowledge because we’re always having to react.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oakland writer Tommy Orange is one of 22 people selected this year to receive a MacArthur Fellowship — an $800,000 no-strings-attached cash prize paid out over the course of five years.\u003c/p>\n\u003cp>Known colloquially as the “genius awards,” the fellowships are given to celebrate, and help fund the creative pursuits of, outstanding individuals working in any field.\u003c/p>\n\u003cp>Born and raised in Oakland, where much of his work is set, Orange is best known for his two novels, 2018’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13835114/tommy-oranges-novel-there-there-is-a-gripping-portrait-of-oakland\">There There\u003c/a> \u003c/em> and 2024’s \u003ca href=\"https://www.kqed.org/arts/13952713/tommy-orange-wandering-stars-review\">\u003cem>Wandering Stars\u003c/em>\u003c/a>, both of which weave together large casts of Native characters who grapple with both historical, intergenerational trauma as well as urban, contemporary struggles like opioid addiction. KQED’s \u003ca href=\"https://www.kqed.org/arts/13952713/tommy-orange-wandering-stars-review\">review\u003c/a> of \u003cem>Wandering Stars\u003c/em> praised the novel for its moral clarity and the way it shows how “how atrocities — historical and present-day — can scar an entire lineage.”\u003c/p>\n\u003cp>[aside postid='arts_13835114,arts_13965935']“Through sweeping storytelling married to an intimate focus on interiority,” the John D. and Catherine T. MacArthur Foundation wrote in its \u003ca href=\"https://www.macfound.org/fellows/class-of-2025/tommy-orange\">announcement of the award\u003c/a>, “Orange illuminates the richness and depth of contemporary Native American life.”\u003c/p>\n\u003cp>Other 2025 fellowship recipients with Bay Area connections include Central Valley photographer \u003ca href=\"https://www.macfound.org/fellows/class-of-2025/matt-black\">Matt Black\u003c/a>, UC Berkeley neurobiologist \u003ca href=\"https://www.macfound.org/fellows/class-of-2025/teresa-puthussery\">Teresa Puthussery\u003c/a> and Stanford chemical engineer \u003ca href=\"https://www.macfound.org/fellows/class-of-2025/william-tarpeh\">William Tarpeh\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, Orange is part of a long line of Bay Area writers who have been honored by the MacArthur Foundation over the years — author and disability activist \u003ca href=\"https://www.kqed.org/arts/13965935/alice-wong-san-francisco-disability-advocate-2024-macarthur-genius-grant-winners\">Alice Wong\u003c/a> (2024), San Jose–raised novelist \u003ca href=\"https://www.kqed.org/arts/13975429/viet-thanh-nguyen-vietnamese-grocery-store-san-jose\">Viet Thanh Nguyen\u003c/a> (2017), graphic novelist \u003ca href=\"https://www.kqed.org/arts/11219669/san-jose-graphic-novelist-named-national-rep-for-young-peoples-lit\">Gene Luen Yang\u003c/a> (2016), and more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland writer Tommy Orange is one of 22 people selected this year to receive a MacArthur Fellowship — an $800,000 no-strings-attached cash prize paid out over the course of five years.\u003c/p>\n\u003cp>Known colloquially as the “genius awards,” the fellowships are given to celebrate, and help fund the creative pursuits of, outstanding individuals working in any field.\u003c/p>\n\u003cp>Born and raised in Oakland, where much of his work is set, Orange is best known for his two novels, 2018’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13835114/tommy-oranges-novel-there-there-is-a-gripping-portrait-of-oakland\">There There\u003c/a> \u003c/em> and 2024’s \u003ca href=\"https://www.kqed.org/arts/13952713/tommy-orange-wandering-stars-review\">\u003cem>Wandering Stars\u003c/em>\u003c/a>, both of which weave together large casts of Native characters who grapple with both historical, intergenerational trauma as well as urban, contemporary struggles like opioid addiction. KQED’s \u003ca href=\"https://www.kqed.org/arts/13952713/tommy-orange-wandering-stars-review\">review\u003c/a> of \u003cem>Wandering Stars\u003c/em> praised the novel for its moral clarity and the way it shows how “how atrocities — historical and present-day — can scar an entire lineage.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13982183\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982183\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000.jpg\" alt=\"collage of sculptures superimposed over city skyline\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Already installed and proposed large-scale sculptures that will make up the Sijbrandij Foundation’s Big Art Loop, created by artists Dana Albany, Marco Cochrane, Peter Hazel, El Nino, Mathias Gmachl, Kristen Berg, Davis McCarty, Michael Christian, Bryan Tedrick, DeWitt Godfrey and Chris Wollard. \u003ccite>(Photo by Beth LaBerge/KQED; Collage by Sarah Hotchkiss)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People who make \u003ca href=\"https://www.kqed.org/arts/tag/public-art\">public art\u003c/a> are the first to tell you that it is not a speedy process.\u003c/p>\n\u003cp>It took eight long years for Jesse Schlesinger’s \u003ci>\u003ca href=\"https://kiosk.sfartscommission.org/objects-1/info?query=_ID%20%3D%20%22ALL%22%20and%20Disp_Obj_Type%20%3D%20%22Sculpture%22%20and%20Disp_Maker_1%20%3D%20%22Jesse%20Schlesinger%22&sort=7&objectName=Cover%20Record:%20Pacific%20Transit\">Pacific Transit\u003c/a>\u003c/i> to come to fruition in the Outer Sunset neighborhood, where the San Francisco Arts Commission installed his 10 bronze, stone and cast-concrete sculptures in February.\u003c/p>\n\u003cp>“As challenging as those years were — and on occasion they intensely pushed the limits of my patience and were totally exasperating,” he says, “in the end, and what kept me at it, was that I would be afforded the opportunity to make work of this scale.”\u003c/p>\n\u003cp>With the SFAC commission came requirements for permanence and durability in a coastal environment. Both he and SFAC staff worked hard to reach out to and get buy-in from the neighborhood’s residents and small businesses, who in turn helped keep the project alive during the years of delays.\u003c/p>\n\u003cfigure id=\"attachment_13982179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000.jpg\" alt=\"cast bronze driftwood, round stone and concrete plinths on city street\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Three of the 10 pieces in Jesse Schlesinger’s ‘Pacific Transit,’ 2024; Bronze and stone on concrete at Judah and the Great Highway. \u003ccite>(Photo by Ethan Kaplan; Courtesy of the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In stark contrast, the \u003ca href=\"https://sijbrandijfoundation.org/public-big-art\">Sijbrandij Foundation\u003c/a> has managed to place temporary public art around San Francisco with great speed. Since late 2024, the nonprofit established by billionaire Sid Sijbrandij, co-founder of GitLab, has funded eight pieces of “big art,” and plans to install another dozen along San Francisco’s eastern waterfront by the end of 2025.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13981940']Last week, the foundation and \u003ca href=\"https://www.instagram.com/p/DPPoC-QkjDk/?hl=en\">Mayor Daniel Lurie\u003c/a> announced the launch of a “\u003ca href=\"https://www.kqed.org/arts/13981940/big-art-loop-burning-man-san-francisco-sijbrandij-foundation\">Big Art Loop\u003c/a>” around the city, aiming to install up to 100 pieces of temporary large-scale public art over the next three years. Many of those pieces, inevitably, will be leftovers from Burning Man. “We’re fans of big art in general,” Sijbrandij told KQED, “but of course, yes, in San Francisco, a lot of the big art people make does visit Burning Man.”\u003c/p>\n\u003cp>With this project, the Sijbrandij Foundation and the art agency Building 180, which oversees curation and operations, will radically alter the aesthetic and physical landscape of San Francisco. And they’ll do it with little to no oversight from the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/policies-guidelines/Public-ArtCivic-Art-Collection#2.%20Charter\">arts commission tasked by our city charter\u003c/a> with the approval of all public artworks.\u003c/p>\n\u003cp>In other words: A billionaire aims to display 100 pieces of large-scale art around the city, which he’s allowed to do simply because he’s paying for it. And the city of San Francisco isn’t saying no to him.\u003c/p>\n\u003cfigure id=\"attachment_13981941\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981941\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000.jpg\" alt=\"recycled metal sculpture of mermaid on waterfront\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dana Albany’s ‘Coralee,’ installed at San Francisco Pier 1/2 as part of the Big Art Loop. \u003ccite>(Arianna Cunha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Time to consider that public process’\u003c/h2>\n\u003cp>To be clear, the Sijbrandij Foundation and Building 180 have gone about the Big Art Loop project through legal channels, completely by the book. The project’s first temporary art installations at \u003ca href=\"https://www.kqed.org/arts/13973169/temporary-public-art-great-highway-ocean-beach-plans\">Sunset Dunes\u003c/a>, in \u003ca href=\"https://sfrecpark.org/CivicAlerts.aspx?AID=2339\">Golden Gate Park\u003c/a> and at \u003ca href=\"https://www.kqed.org/arts/13974401/r-evolution-marco-cochrane-embarcadero-plaza-nude-woman-sculpture\">Embarcadero Plaza\u003c/a> were all accomplished in partnership with the Recreation and Parks department, and passed through the Art Commission for approval.\u003c/p>\n\u003cp>The newest Sijbrandij-funded installation, Dana Albany’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13981940/big-art-loop-burning-man-san-francisco-sijbrandij-foundation\">Coralee\u003c/a>\u003c/i>, a recycled metal and glass mermaid, is situated at Pier ½, on Port of San Francisco property. It and the 11 pieces to come, stretching from Fisherman’s Wharf to Heron’s Head Park, were approved by the Port’s executive director, per the Port’s Public Art Program.\u003c/p>\n\u003cp>But just because the Big Art Loop team has found a way to install large-scale sculpture in public spaces by going through city agencies that \u003ci>don’t\u003c/i> specialize in art, doesn’t mean it should.\u003c/p>\n\u003cp>Sijbrandij told KQED that the project was partially inspired by how much big art is \u003ci>not\u003c/i> on display. “It gets built, these amazing pieces, and they’re sitting around in storage,” he said. “When I learned that, I was like, ‘Let’s get them out of storage and get them into the city so that they can enrich people’s days.’”\u003c/p>\n\u003cp>Jill Manton, a public art professional and the former director of the SFAC’s Public Art Trust and Special Initiatives, believes the city could use more temporary public art. “I think there’s great benefits on many levels,” she told KQED, “to introducing art to the public in a way that they don’t feel like, ‘Wow, I don’t really love this. I have to live with it forever.’”\u003c/p>\n\u003cp>Manton wrote the 2012 legislation that created the city’s \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/policies-guidelines/public-art-trust-fact-sheet\">Public Art Trust\u003c/a>, which allows private developers to put their \u003ca href=\"https://sfplanning.org/privately-owned-public-open-space-and-public-art\">1%-for-art requirement\u003c/a> into a funding pool in lieu of installing publicly accessible art themselves. The trust can pay for temporary or permanent public art, for the conservation of the Civic Art Collection, or can be made available to eligible cultural nonprofits for public-facing programs or capital improvements.\u003c/p>\n\u003cfigure id=\"attachment_13982181\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982181\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000.jpg\" alt=\"large bronze of young woman in jogging gear in front of ferry building\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thomas J. Price’s ‘As Sounds Turn to Noise’ photographed in front of the San Francisco Ferry Building on July 14, 2024. \u003ccite>(Scott Strazzante/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most recently, the trust paid for the temporary installation of Thomas J. Price’s \u003ci>\u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/nine-foot-bronze-sculpture-internationally-renowned-artist\">As Sounds Turn to Noise\u003c/a>\u003c/i>, a 9-foot-tall statue of a young Black woman in jogging gear, right where \u003ci>Coralee\u003c/i> is now placed. It’s worth noting that Price’s piece, loaned by Hauser & Wirth gallery, wouldn’t meet the size requirements of the Big Art Loop, which wants work over 10 feet in height or width. The Big Art Loop is not going for subtlety; it seeks to interrupt the visual landscape and stop people in their tracks.\u003c/p>\n\u003cp>[aside postID='news_12055275']Manton says she didn’t get to install nearly as much temporary public artwork as she would have liked during her tenure. Certain established sites in the city — the Civic Center, Patricia’s Green in Hayes Valley — have been the most common destinations for temporary sculpture. She also explains that many of the pieces the SFAC installed over the years did not go through a period of public feedback, due to their temporary nature. “For better or worse,” she says, “we didn’t hold open public meetings about the next big project coming to Civic Center.”\u003c/p>\n\u003cp>“Now when I hear about a program like the Big Art Loop, where they’ve mapped out multiple locations, I think it’s time to consider that public process,” Manton says. “Because it’s not an occasional, every few years, every five years or something like that. It’s occurring with regular frequency now.”\u003c/p>\n\u003cp>Schlesinger shares that sentiment. “I wish that some of these [Big Art Loop pieces] were going through the vetting process that I went through,” he says, even if these works are only installed for six months to a year. With the massive volume of artwork planned, “It just feels a little bit like a slippery slope.”\u003c/p>\n\u003cfigure id=\"attachment_13974425\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed.jpg\" alt=\"giant metal mesh sculpture of nude woman in front of SF Ferry Building, crowd below\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People gather for the April 10, 2025 press preview of ‘R-Evolution, a 45-foot metal statue created by Petaluma artist Marco Cochrane, installed at Embarcadero Plaza in San Francisco. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re already witnessing that slippery slope. Marco Cochrane’s \u003ci>R-Evolution\u003c/i> was placed in Embarcadero Plaza in April for a period of six months, with the option to extend its installation up to a year. The piece was quietly extended by Recreation and Parks through March 2026, as first reported by \u003ca href=\"https://sfstandard.com/2025/09/30/embaracadero-naked-lady-statue-extension-march-2026/\">SF Standard\u003c/a>. A city spokesperson told KQED it could stay for even longer, pending approval by Recreation and Parks and the SFAC.\u003c/p>\n\u003cp>Meanwhile, the Building 180 team says securing public buy-in for Big Art Loop installations has been a challenge. “What we would love to learn from you is how do we get more feedback from the community?” the Building 180 account wrote to this reporter over Instagram. “No one shows up to commission meetings or community meetings anymore, we do outreach, flyers, show up to panels and no one responds. Except on social media?”\u003c/p>\n\u003cp>One agency that does have experience in this regard is — you guessed it — the SFAC.\u003c/p>\n\u003ch2>We don’t have to reinvent the wheel\u003c/h2>\n\u003cp>When the SFAC is involved in a piece of public art, a staff of arts professionals — trained curators, many of them — works with community members and neighborhood groups to spread the word about the project. An ad hoc review panel that includes project stakeholders evaluates proposals. The mayoral-appointed Visual Arts Committee and ultimately the full Arts Commission weigh in. And most importantly, an announced period of public feedback allows for in-person and written comment.\u003c/p>\n\u003cp>[aside postID='arts_13938291']In the case of the renovation of the Chinatown Public Health Center, rigorous outreach via community groups was crucial to the decision to \u003ca href=\"https://www.kqed.org/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown\">remove Patti Bowler’s 1970 \u003ci>Dragon Relief\u003c/i>\u003c/a> from the building’s Broadway-facing façade — a sculpture that, incidentally, was installed without any say-so from the neighborhood’s residents.\u003c/p>\n\u003cp>Could the Sijbrandij Foundation direct its Big Art Loop funding to the Public Art Trust, earmark it for large-scale temporary sculpture and let the SFAC do what they do best? Manton says that unfortunately, the Public Art Trust isn’t currently set up to receive private donations — just funds from eligible private developers. But there’s no reason that legislation couldn’t change.\u003c/p>\n\u003cp>She also points to \u003ca href=\"https://www.sfartscommission.org/get-involved/donate\">ArtCare\u003c/a>, a nonprofit that can receive donations towards the upkeep of the Civic Art Collection. Such funds helped restore Keith Haring’s \u003ci>Untitled (Three Dancing Figures)\u003c/i> in 2012 outside Moscone Center. Perhaps its scope could be expanded to receive funds from the Sijbrandij Foundation for temporary public artworks.\u003c/p>\n\u003cp>If Mayor Lurie really wants to make the Big Art Loop a successful public-private partnership, why not utilize existing city expertise and remunerate city staffers for their time in the process? The only downsides I can think of are that the project might move slower (not necessarily a bad thing) and Building 180 wouldn’t get to pick all the art.\u003c/p>\n\u003cfigure id=\"attachment_13974428\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Representatives of the San Francisco Arts Commission, Recreation and Parks, the Port of San Francisco, Building 180 and, at center, model Deja Solis and artist Marco Cochrane imitate the pose of ‘R-Evolution’ at Embarcadero Plaza. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, we have private money funding large-scale art of its own choosing in some of San Francisco’s most iconic public spaces. The Big Art Loop, unlike the SFAC, is not tasked with the responsibility of displaying artworks that reflect “diversity in style, scale, media, and artistic sources as well as diverse cultural communities and perspectives.” The Big Art Loop looks for existing work only, which artists created with their own funds or fundraised towards — a prohibitive up-front expense for so many.\u003c/p>\n\u003cp>What happens when the Big Art Loop runs out of Port and Recreation and Parks properties to place its 100 pieces on? For the loop to be truly equitable, it needs to spread its gift of temporary public art beyond established scenic destinations.\u003c/p>\n\u003cp>As for the public’s role as the recipient of these gifts — let your appreciation or criticisms of this project be known in tangible ways. Email or call \u003ca href=\"https://sfrecpark.org/415/Contact-Us\">Recreation and Parks\u003c/a>, the \u003ca href=\"https://www.sfport.com/contactus\">Port of San Francisco\u003c/a>, the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/contact\">SFAC\u003c/a>, \u003ca href=\"https://building180.com/contact\">Building 180\u003c/a> \u003ci>and\u003c/i> the \u003ca href=\"mailto:foundation@sijbrandijfoundation.org\" target=\"_blank\" rel=\"noopener\">Sijbrandij Foundation\u003c/a>. Tell them what you think of the Big Art Loop, which will be occupying your public space for the next three years.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Oct. 7: A previous version of this story mis-titled Jesse Schlesinger’s public artwork.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13982183\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982183\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000.jpg\" alt=\"collage of sculptures superimposed over city skyline\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/BigArtOverSF2_2000-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Already installed and proposed large-scale sculptures that will make up the Sijbrandij Foundation’s Big Art Loop, created by artists Dana Albany, Marco Cochrane, Peter Hazel, El Nino, Mathias Gmachl, Kristen Berg, Davis McCarty, Michael Christian, Bryan Tedrick, DeWitt Godfrey and Chris Wollard. \u003ccite>(Photo by Beth LaBerge/KQED; Collage by Sarah Hotchkiss)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People who make \u003ca href=\"https://www.kqed.org/arts/tag/public-art\">public art\u003c/a> are the first to tell you that it is not a speedy process.\u003c/p>\n\u003cp>It took eight long years for Jesse Schlesinger’s \u003ci>\u003ca href=\"https://kiosk.sfartscommission.org/objects-1/info?query=_ID%20%3D%20%22ALL%22%20and%20Disp_Obj_Type%20%3D%20%22Sculpture%22%20and%20Disp_Maker_1%20%3D%20%22Jesse%20Schlesinger%22&sort=7&objectName=Cover%20Record:%20Pacific%20Transit\">Pacific Transit\u003c/a>\u003c/i> to come to fruition in the Outer Sunset neighborhood, where the San Francisco Arts Commission installed his 10 bronze, stone and cast-concrete sculptures in February.\u003c/p>\n\u003cp>“As challenging as those years were — and on occasion they intensely pushed the limits of my patience and were totally exasperating,” he says, “in the end, and what kept me at it, was that I would be afforded the opportunity to make work of this scale.”\u003c/p>\n\u003cp>With the SFAC commission came requirements for permanence and durability in a coastal environment. Both he and SFAC staff worked hard to reach out to and get buy-in from the neighborhood’s residents and small businesses, who in turn helped keep the project alive during the years of delays.\u003c/p>\n\u003cfigure id=\"attachment_13982179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000.jpg\" alt=\"cast bronze driftwood, round stone and concrete plinths on city street\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Schlesinger_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Three of the 10 pieces in Jesse Schlesinger’s ‘Pacific Transit,’ 2024; Bronze and stone on concrete at Judah and the Great Highway. \u003ccite>(Photo by Ethan Kaplan; Courtesy of the San Francisco Arts Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In stark contrast, the \u003ca href=\"https://sijbrandijfoundation.org/public-big-art\">Sijbrandij Foundation\u003c/a> has managed to place temporary public art around San Francisco with great speed. Since late 2024, the nonprofit established by billionaire Sid Sijbrandij, co-founder of GitLab, has funded eight pieces of “big art,” and plans to install another dozen along San Francisco’s eastern waterfront by the end of 2025.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Last week, the foundation and \u003ca href=\"https://www.instagram.com/p/DPPoC-QkjDk/?hl=en\">Mayor Daniel Lurie\u003c/a> announced the launch of a “\u003ca href=\"https://www.kqed.org/arts/13981940/big-art-loop-burning-man-san-francisco-sijbrandij-foundation\">Big Art Loop\u003c/a>” around the city, aiming to install up to 100 pieces of temporary large-scale public art over the next three years. Many of those pieces, inevitably, will be leftovers from Burning Man. “We’re fans of big art in general,” Sijbrandij told KQED, “but of course, yes, in San Francisco, a lot of the big art people make does visit Burning Man.”\u003c/p>\n\u003cp>With this project, the Sijbrandij Foundation and the art agency Building 180, which oversees curation and operations, will radically alter the aesthetic and physical landscape of San Francisco. And they’ll do it with little to no oversight from the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/policies-guidelines/Public-ArtCivic-Art-Collection#2.%20Charter\">arts commission tasked by our city charter\u003c/a> with the approval of all public artworks.\u003c/p>\n\u003cp>In other words: A billionaire aims to display 100 pieces of large-scale art around the city, which he’s allowed to do simply because he’s paying for it. And the city of San Francisco isn’t saying no to him.\u003c/p>\n\u003cfigure id=\"attachment_13981941\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981941\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000.jpg\" alt=\"recycled metal sculpture of mermaid on waterfront\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Coralee-55_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dana Albany’s ‘Coralee,’ installed at San Francisco Pier 1/2 as part of the Big Art Loop. \u003ccite>(Arianna Cunha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Time to consider that public process’\u003c/h2>\n\u003cp>To be clear, the Sijbrandij Foundation and Building 180 have gone about the Big Art Loop project through legal channels, completely by the book. The project’s first temporary art installations at \u003ca href=\"https://www.kqed.org/arts/13973169/temporary-public-art-great-highway-ocean-beach-plans\">Sunset Dunes\u003c/a>, in \u003ca href=\"https://sfrecpark.org/CivicAlerts.aspx?AID=2339\">Golden Gate Park\u003c/a> and at \u003ca href=\"https://www.kqed.org/arts/13974401/r-evolution-marco-cochrane-embarcadero-plaza-nude-woman-sculpture\">Embarcadero Plaza\u003c/a> were all accomplished in partnership with the Recreation and Parks department, and passed through the Art Commission for approval.\u003c/p>\n\u003cp>The newest Sijbrandij-funded installation, Dana Albany’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13981940/big-art-loop-burning-man-san-francisco-sijbrandij-foundation\">Coralee\u003c/a>\u003c/i>, a recycled metal and glass mermaid, is situated at Pier ½, on Port of San Francisco property. It and the 11 pieces to come, stretching from Fisherman’s Wharf to Heron’s Head Park, were approved by the Port’s executive director, per the Port’s Public Art Program.\u003c/p>\n\u003cp>But just because the Big Art Loop team has found a way to install large-scale sculpture in public spaces by going through city agencies that \u003ci>don’t\u003c/i> specialize in art, doesn’t mean it should.\u003c/p>\n\u003cp>Sijbrandij told KQED that the project was partially inspired by how much big art is \u003ci>not\u003c/i> on display. “It gets built, these amazing pieces, and they’re sitting around in storage,” he said. “When I learned that, I was like, ‘Let’s get them out of storage and get them into the city so that they can enrich people’s days.’”\u003c/p>\n\u003cp>Jill Manton, a public art professional and the former director of the SFAC’s Public Art Trust and Special Initiatives, believes the city could use more temporary public art. “I think there’s great benefits on many levels,” she told KQED, “to introducing art to the public in a way that they don’t feel like, ‘Wow, I don’t really love this. I have to live with it forever.’”\u003c/p>\n\u003cp>Manton wrote the 2012 legislation that created the city’s \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/policies-guidelines/public-art-trust-fact-sheet\">Public Art Trust\u003c/a>, which allows private developers to put their \u003ca href=\"https://sfplanning.org/privately-owned-public-open-space-and-public-art\">1%-for-art requirement\u003c/a> into a funding pool in lieu of installing publicly accessible art themselves. The trust can pay for temporary or permanent public art, for the conservation of the Civic Art Collection, or can be made available to eligible cultural nonprofits for public-facing programs or capital improvements.\u003c/p>\n\u003cfigure id=\"attachment_13982181\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982181\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000.jpg\" alt=\"large bronze of young woman in jogging gear in front of ferry building\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/GettyImages-2161499390_2000-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thomas J. Price’s ‘As Sounds Turn to Noise’ photographed in front of the San Francisco Ferry Building on July 14, 2024. \u003ccite>(Scott Strazzante/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most recently, the trust paid for the temporary installation of Thomas J. Price’s \u003ci>\u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/nine-foot-bronze-sculpture-internationally-renowned-artist\">As Sounds Turn to Noise\u003c/a>\u003c/i>, a 9-foot-tall statue of a young Black woman in jogging gear, right where \u003ci>Coralee\u003c/i> is now placed. It’s worth noting that Price’s piece, loaned by Hauser & Wirth gallery, wouldn’t meet the size requirements of the Big Art Loop, which wants work over 10 feet in height or width. The Big Art Loop is not going for subtlety; it seeks to interrupt the visual landscape and stop people in their tracks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Manton says she didn’t get to install nearly as much temporary public artwork as she would have liked during her tenure. Certain established sites in the city — the Civic Center, Patricia’s Green in Hayes Valley — have been the most common destinations for temporary sculpture. She also explains that many of the pieces the SFAC installed over the years did not go through a period of public feedback, due to their temporary nature. “For better or worse,” she says, “we didn’t hold open public meetings about the next big project coming to Civic Center.”\u003c/p>\n\u003cp>“Now when I hear about a program like the Big Art Loop, where they’ve mapped out multiple locations, I think it’s time to consider that public process,” Manton says. “Because it’s not an occasional, every few years, every five years or something like that. It’s occurring with regular frequency now.”\u003c/p>\n\u003cp>Schlesinger shares that sentiment. “I wish that some of these [Big Art Loop pieces] were going through the vetting process that I went through,” he says, even if these works are only installed for six months to a year. With the massive volume of artwork planned, “It just feels a little bit like a slippery slope.”\u003c/p>\n\u003cfigure id=\"attachment_13974425\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed.jpg\" alt=\"giant metal mesh sculpture of nude woman in front of SF Ferry Building, crowd below\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-10_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People gather for the April 10, 2025 press preview of ‘R-Evolution, a 45-foot metal statue created by Petaluma artist Marco Cochrane, installed at Embarcadero Plaza in San Francisco. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’re already witnessing that slippery slope. Marco Cochrane’s \u003ci>R-Evolution\u003c/i> was placed in Embarcadero Plaza in April for a period of six months, with the option to extend its installation up to a year. The piece was quietly extended by Recreation and Parks through March 2026, as first reported by \u003ca href=\"https://sfstandard.com/2025/09/30/embaracadero-naked-lady-statue-extension-march-2026/\">SF Standard\u003c/a>. A city spokesperson told KQED it could stay for even longer, pending approval by Recreation and Parks and the SFAC.\u003c/p>\n\u003cp>Meanwhile, the Building 180 team says securing public buy-in for Big Art Loop installations has been a challenge. “What we would love to learn from you is how do we get more feedback from the community?” the Building 180 account wrote to this reporter over Instagram. “No one shows up to commission meetings or community meetings anymore, we do outreach, flyers, show up to panels and no one responds. Except on social media?”\u003c/p>\n\u003cp>One agency that does have experience in this regard is — you guessed it — the SFAC.\u003c/p>\n\u003ch2>We don’t have to reinvent the wheel\u003c/h2>\n\u003cp>When the SFAC is involved in a piece of public art, a staff of arts professionals — trained curators, many of them — works with community members and neighborhood groups to spread the word about the project. An ad hoc review panel that includes project stakeholders evaluates proposals. The mayoral-appointed Visual Arts Committee and ultimately the full Arts Commission weigh in. And most importantly, an announced period of public feedback allows for in-person and written comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the case of the renovation of the Chinatown Public Health Center, rigorous outreach via community groups was crucial to the decision to \u003ca href=\"https://www.kqed.org/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown\">remove Patti Bowler’s 1970 \u003ci>Dragon Relief\u003c/i>\u003c/a> from the building’s Broadway-facing façade — a sculpture that, incidentally, was installed without any say-so from the neighborhood’s residents.\u003c/p>\n\u003cp>Could the Sijbrandij Foundation direct its Big Art Loop funding to the Public Art Trust, earmark it for large-scale temporary sculpture and let the SFAC do what they do best? Manton says that unfortunately, the Public Art Trust isn’t currently set up to receive private donations — just funds from eligible private developers. But there’s no reason that legislation couldn’t change.\u003c/p>\n\u003cp>She also points to \u003ca href=\"https://www.sfartscommission.org/get-involved/donate\">ArtCare\u003c/a>, a nonprofit that can receive donations towards the upkeep of the Civic Art Collection. Such funds helped restore Keith Haring’s \u003ci>Untitled (Three Dancing Figures)\u003c/i> in 2012 outside Moscone Center. Perhaps its scope could be expanded to receive funds from the Sijbrandij Foundation for temporary public artworks.\u003c/p>\n\u003cp>If Mayor Lurie really wants to make the Big Art Loop a successful public-private partnership, why not utilize existing city expertise and remunerate city staffers for their time in the process? The only downsides I can think of are that the project might move slower (not necessarily a bad thing) and Building 180 wouldn’t get to pick all the art.\u003c/p>\n\u003cfigure id=\"attachment_13974428\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20240410_GiantNakedLadyEmbarcadero_GC-17_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Representatives of the San Francisco Arts Commission, Recreation and Parks, the Port of San Francisco, Building 180 and, at center, model Deja Solis and artist Marco Cochrane imitate the pose of ‘R-Evolution’ at Embarcadero Plaza. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, we have private money funding large-scale art of its own choosing in some of San Francisco’s most iconic public spaces. The Big Art Loop, unlike the SFAC, is not tasked with the responsibility of displaying artworks that reflect “diversity in style, scale, media, and artistic sources as well as diverse cultural communities and perspectives.” The Big Art Loop looks for existing work only, which artists created with their own funds or fundraised towards — a prohibitive up-front expense for so many.\u003c/p>\n\u003cp>What happens when the Big Art Loop runs out of Port and Recreation and Parks properties to place its 100 pieces on? For the loop to be truly equitable, it needs to spread its gift of temporary public art beyond established scenic destinations.\u003c/p>\n\u003cp>As for the public’s role as the recipient of these gifts — let your appreciation or criticisms of this project be known in tangible ways. Email or call \u003ca href=\"https://sfrecpark.org/415/Contact-Us\">Recreation and Parks\u003c/a>, the \u003ca href=\"https://www.sfport.com/contactus\">Port of San Francisco\u003c/a>, the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/contact\">SFAC\u003c/a>, \u003ca href=\"https://building180.com/contact\">Building 180\u003c/a> \u003ci>and\u003c/i> the \u003ca href=\"mailto:foundation@sijbrandijfoundation.org\" target=\"_blank\" rel=\"noopener\">Sijbrandij Foundation\u003c/a>. Tell them what you think of the Big Art Loop, which will be occupying your public space for the next three years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Oct. 7: A previous version of this story mis-titled Jesse Schlesinger’s public artwork.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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