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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A beleaguered San Francisco \u003ca href=\"https://www.kqed.org/arts/tag/grants\">grant\u003c/a> program intended to deliver $19 million to 44 arts and community service organizations has once again halted its rollout because of fairness concerns, \u003ca href=\"https://www.kalw.org/bay-area-news/2025-08-05/san-francisco-awarded-millions-in-grants-and-then-took-them-back\">KALW first reported\u003c/a>. Known as \u003ca href=\"https://www.sf.gov/information--human-rights-commission-funding-opportunities\">Request for Proposals (RFP) 100\u003c/a>, the Human Rights Commission grant was created to support organizations that serve historically marginalized communities, working in areas such as health, education, culture and safety.\u003c/p>\n\u003cp>The city intended RFP 100 as a rebrand of the Dream Keeper Initiative, which Mayor London Breed created in 2021 to address systemic racism and disparities in San Francisco’s Black communities. The initiative funded projects such as job training, backpacks for kids and downpayment assistance for families, but Breed froze the funds in 2024 after the Human Rights Commission’s former head \u003ca href=\"https://www.kqed.org/news/12009818/sf-dream-keeper-scandal-supervisors-urgency-releasing-funds\">resigned amid corruption allegations\u003c/a>, leaving community organizations reeling. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In June, the HRC \u003ca href=\"https://media.api.sf.gov/documents/HRC_RFP_100_Notice_of_Intent_to_Award_06.30.2025_VZk7PgJ.pdf\">announced it would issue awards to organizations\u003c/a> such as the Booker T. Washington Community Service Center, San Francisco LGBT Center, Chinese Culture Center, Youth Art Exchange and Bayview Opera House. But the HRC rescinded the award announcement in late July after a racial equity coalition called MegaBlackSF sent a letter raising concerns about the grant process.\u003c/p>\n\u003cp>\u003ca href=\"https://megablacksf.org/updates/letter-to-the-bos-and-hrc\">The open letter\u003c/a>, which doesn’t have specific signatories listed on MegaBlackSF’s website, alleges potential bias due to use of artificial intelligence to review the applications, among other concerns. The letter claims that the process favors large, established nonprofits, and points out that a large portion of the funding didn’t go to Black-led or Black-centered organizations, which was the initial purpose of the Dream Keeper Initiative.\u003c/p>\n\u003cp>In several statements, the HRC said it is reviewing the RFP 100 evaluation process and will share a revised timeline for the grant on Aug. 8. Human Rights Commission Director Mawuli Tugbenyoh, MegaBlackSF and several of the would-be grantees did not return KQED’s request for comment as of publication time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>“There’s tension… feel the tension… then drop it! Then from there we embrace, then let it go… then we try it again. Again.”\u003c/em>\u003c/p>\n\u003cp>Inside the rehearsal room, \u003ca href=\"https://www.kqed.org/arts/11899367/antoine-hunter-empowers-deaf-community-through-dance\">Antoine Hunter\u003c/a>’s instructions guide dancers as they sync beating hearts with stomping feet, sweat gliding over sinew while they tug at a prop — a thick, colorful rope. Outside the rehearsal room, his words are an allegory for life. For the deaf, finding community and harmony in an imperfect world is a constant pursuit.\u003c/p>\n\u003cp>Hunter’s Urban Jazz Dance Company, which he founded 18 years ago, brings these realities to the stage at the \u003ca href=\"https://www.realurbanjazzdance.com/2025baiddf.html\">Bay Area International Deaf Dance Festival\u003c/a>, a platform he launched in 2013 for deaf and hard-of-hearing artists. This year’s program, running Aug. 8–10 at the Dance Mission Theater in San Francisco, features ten dance companies, including groups from Colombia, Botswana and Jamaica.\u003c/p>\n\u003cfigure id=\"attachment_13979539\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979539\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED.jpg\" alt=\"A white woman in a blue tank top and a Black man in jeans pose on a dark wooden stairwell, looking at the camera\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Assistant director of Urban Jazz Dance Company, Zahna Simon, (left) and founder Antoine Hunter (right) pose for a portrait at Shawl-Anderson Dance Center in Berkeley on Aug. 3, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hunter’s company, which he runs with assistant director Zahna Simon, will perform a piece choreographed to highlight the systemic lack of access to education among deaf, disabled and BIPOC children. The performance, excerpted from a longer piece due to premiere this fall, is based on real stories from conversations Hunter has been having with parents, educators and lawyers.\u003c/p>\n\u003cp>A few months ago, Hunter was invited to participate in a private family discussion about an incident involving a Black, \u003ca href=\"https://www.clarkeschools.org/clarke-speaks-up/deaf-plus/\">deaf plus\u003c/a> child in Oakland — Hunter’s own home turf.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Sometimes children have breakdowns; what they need is communication access, they need support, but because this was a Black child, most white officials who were trying to interact with this deaf plus child didn’t have ways to communicate,” said Hunter. Ultimately, because the boy wasn’t able to calm down, someone called the police, who arrived and confronted him — a familiar case of villainizing the victim.\u003c/p>\n\u003cfigure id=\"attachment_13979534\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979534\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED.jpg\" alt=\"A Black man in a burnt sienna top, purple one-piece and patterned headwrap leans against the barre and watches dancers who are spread about a rehearsal space.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antoine Hunter, founder and leader of Urban Jazz Dance Company, watches dancers rehearse at a rehearsal at Shawl-Anderson Dance Center in Berkeley on July 20, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides Hunter and the boy’s family, also present at the aftermath discussion were a lawyer, a school principal, an interpreter and the police.\u003c/p>\n\u003cp>“It really feels very frustrating because at some point everyone in that circle was talking about that child as if that child is an item. A child is not an item, a child is a child. It was just so frustrating, \u003cem>frustrating\u003c/em>…” he said.\u003c/p>\n\u003cp>He chose to alchemize his frustration into art. “I asked permission to connect this to our dance,” he said. “When we see issues within the community, we want to find a way to dismantle that… through dance. Dance is powerful, it has the power to bring the community together, it heals the community as a whole.”\u003c/p>\n\u003cfigure id=\"attachment_13979536\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979536\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED.jpg\" alt=\"A Black man in a burnt sienna top, purple one-piece and patterned headwrap gestures to four dancers who are spread about a rehearsal space.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antoine Hunter (center), founder and leader of Urban Jazz Dance Company, coaches fellow hard of hearing dancers using sign language at rehearsal at Shawl-Anderson Dance Center in Berkeley on July 20, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hunter actively advocates for the rights of the deaf in different contexts — in prisons, in hospitals, among refugees — and is in contact with organizations that share his goals, like the ACLU (American Civil Liberties Union), HEARD (Helping Educate to Advance the Rights of the Deaf) and LEAD-K (Language Equality and Acquisition for Deaf Kids).\u003c/p>\n\u003cp>Recently, he has been reckoning with the government’s ongoing hostility towards the arts, the humanities and collectives like his, built on values like equity, diversity, identity and cultural pluralism. Hunter himself identifies as deaf, disabled, African-American, Indigenous — Cherokee and Blackfoot — and Two-Spirit.\u003c/p>\n\u003cp>Last year, his dance company held a camp for deaf and hard of hearing families at Yosemite. “We were hoping to do that this year, but we were notified on January 19 that that funding has been cut,” he said. The camp will take place at the Presidio instead. “We’ve got to make it happen without support.”\u003c/p>\n\u003cfigure id=\"attachment_13979538\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979538\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED.jpg\" alt=\"Seen fron the waist below, three dancers stand on a dance floor in synchronized leg movement, with the right leg bent and the foot just under the knee.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Kelly Garrett, Zahna Simon and Jerald Appling practice a dance routine together at rehearsal at Shawl-Anderson Dance Center in Berkeley on July 20, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The deaf community, he said, is concerned about Medicaid cuts, and that the rising cost of living might render interpreters unaffordable. Consequently, deaf people will lose access, perpetuating the very problem his troupe seeks to dismantle through dance.\u003c/p>\n\u003cp>Despite everything, the idea of deafness as culture — not as disability — is growing. As an example, Hunter cites \u003cem>Sinners\u003c/em>, the box-office smash recently released on streaming with \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/sinners-black-american-sign-language-basl-version-on-max-1236302908/\">an option to watch with Black American Sign Language\u003c/a>, a dialect with its own unique rhythm.\u003c/p>\n\u003cp>All in all, Hunter wants this weekend’s festival to convey one simple message: “We’re more than just deaf.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The 13th Annual \u003ca href=\"https://www.realurbanjazzdance.com/2025baiddf.html\">Bay Area International Deaf Dance Festival\u003c/a> runs Aug. 8-10 at Dance Mission Theater (3316 24th St., San Francisco).\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED interviewed Antoine Hunter with the help of an ASL interpreter. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“There’s tension… feel the tension… then drop it! Then from there we embrace, then let it go… then we try it again. Again.”\u003c/em>\u003c/p>\n\u003cp>Inside the rehearsal room, \u003ca href=\"https://www.kqed.org/arts/11899367/antoine-hunter-empowers-deaf-community-through-dance\">Antoine Hunter\u003c/a>’s instructions guide dancers as they sync beating hearts with stomping feet, sweat gliding over sinew while they tug at a prop — a thick, colorful rope. Outside the rehearsal room, his words are an allegory for life. For the deaf, finding community and harmony in an imperfect world is a constant pursuit.\u003c/p>\n\u003cp>Hunter’s Urban Jazz Dance Company, which he founded 18 years ago, brings these realities to the stage at the \u003ca href=\"https://www.realurbanjazzdance.com/2025baiddf.html\">Bay Area International Deaf Dance Festival\u003c/a>, a platform he launched in 2013 for deaf and hard-of-hearing artists. This year’s program, running Aug. 8–10 at the Dance Mission Theater in San Francisco, features ten dance companies, including groups from Colombia, Botswana and Jamaica.\u003c/p>\n\u003cfigure id=\"attachment_13979539\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979539\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED.jpg\" alt=\"A white woman in a blue tank top and a Black man in jeans pose on a dark wooden stairwell, looking at the camera\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250803-DEAFDANCEFESTIVAL_00153_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Assistant director of Urban Jazz Dance Company, Zahna Simon, (left) and founder Antoine Hunter (right) pose for a portrait at Shawl-Anderson Dance Center in Berkeley on Aug. 3, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hunter’s company, which he runs with assistant director Zahna Simon, will perform a piece choreographed to highlight the systemic lack of access to education among deaf, disabled and BIPOC children. The performance, excerpted from a longer piece due to premiere this fall, is based on real stories from conversations Hunter has been having with parents, educators and lawyers.\u003c/p>\n\u003cp>A few months ago, Hunter was invited to participate in a private family discussion about an incident involving a Black, \u003ca href=\"https://www.clarkeschools.org/clarke-speaks-up/deaf-plus/\">deaf plus\u003c/a> child in Oakland — Hunter’s own home turf.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Sometimes children have breakdowns; what they need is communication access, they need support, but because this was a Black child, most white officials who were trying to interact with this deaf plus child didn’t have ways to communicate,” said Hunter. Ultimately, because the boy wasn’t able to calm down, someone called the police, who arrived and confronted him — a familiar case of villainizing the victim.\u003c/p>\n\u003cfigure id=\"attachment_13979534\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979534\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED.jpg\" alt=\"A Black man in a burnt sienna top, purple one-piece and patterned headwrap leans against the barre and watches dancers who are spread about a rehearsal space.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01323_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antoine Hunter, founder and leader of Urban Jazz Dance Company, watches dancers rehearse at a rehearsal at Shawl-Anderson Dance Center in Berkeley on July 20, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides Hunter and the boy’s family, also present at the aftermath discussion were a lawyer, a school principal, an interpreter and the police.\u003c/p>\n\u003cp>“It really feels very frustrating because at some point everyone in that circle was talking about that child as if that child is an item. A child is not an item, a child is a child. It was just so frustrating, \u003cem>frustrating\u003c/em>…” he said.\u003c/p>\n\u003cp>He chose to alchemize his frustration into art. “I asked permission to connect this to our dance,” he said. “When we see issues within the community, we want to find a way to dismantle that… through dance. Dance is powerful, it has the power to bring the community together, it heals the community as a whole.”\u003c/p>\n\u003cfigure id=\"attachment_13979536\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979536\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED.jpg\" alt=\"A Black man in a burnt sienna top, purple one-piece and patterned headwrap gestures to four dancers who are spread about a rehearsal space.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01531_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Antoine Hunter (center), founder and leader of Urban Jazz Dance Company, coaches fellow hard of hearing dancers using sign language at rehearsal at Shawl-Anderson Dance Center in Berkeley on July 20, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hunter actively advocates for the rights of the deaf in different contexts — in prisons, in hospitals, among refugees — and is in contact with organizations that share his goals, like the ACLU (American Civil Liberties Union), HEARD (Helping Educate to Advance the Rights of the Deaf) and LEAD-K (Language Equality and Acquisition for Deaf Kids).\u003c/p>\n\u003cp>Recently, he has been reckoning with the government’s ongoing hostility towards the arts, the humanities and collectives like his, built on values like equity, diversity, identity and cultural pluralism. Hunter himself identifies as deaf, disabled, African-American, Indigenous — Cherokee and Blackfoot — and Two-Spirit.\u003c/p>\n\u003cp>Last year, his dance company held a camp for deaf and hard of hearing families at Yosemite. “We were hoping to do that this year, but we were notified on January 19 that that funding has been cut,” he said. The camp will take place at the Presidio instead. “We’ve got to make it happen without support.”\u003c/p>\n\u003cfigure id=\"attachment_13979538\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979538\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED.jpg\" alt=\"Seen fron the waist below, three dancers stand on a dance floor in synchronized leg movement, with the right leg bent and the foot just under the knee.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250720-DEAFDANCEFESTIVAL_01729_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Kelly Garrett, Zahna Simon and Jerald Appling practice a dance routine together at rehearsal at Shawl-Anderson Dance Center in Berkeley on July 20, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The deaf community, he said, is concerned about Medicaid cuts, and that the rising cost of living might render interpreters unaffordable. Consequently, deaf people will lose access, perpetuating the very problem his troupe seeks to dismantle through dance.\u003c/p>\n\u003cp>Despite everything, the idea of deafness as culture — not as disability — is growing. As an example, Hunter cites \u003cem>Sinners\u003c/em>, the box-office smash recently released on streaming with \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/sinners-black-american-sign-language-basl-version-on-max-1236302908/\">an option to watch with Black American Sign Language\u003c/a>, a dialect with its own unique rhythm.\u003c/p>\n\u003cp>All in all, Hunter wants this weekend’s festival to convey one simple message: “We’re more than just deaf.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The 13th Annual \u003ca href=\"https://www.realurbanjazzdance.com/2025baiddf.html\">Bay Area International Deaf Dance Festival\u003c/a> runs Aug. 8-10 at Dance Mission Theater (3316 24th St., San Francisco).\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED interviewed Antoine Hunter with the help of an ASL interpreter. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sacramento-music-archive-shayne-stacy-punk-metal-cassettes-vhs-demos-concerts",
"title": "He’s Saving 20,000 Tapes of Underground Music and Making it Free to All",
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"headTitle": "He’s Saving 20,000 Tapes of Underground Music and Making it Free to All | KQED",
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"content": "\u003cfigure id=\"attachment_13979219\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg\" alt=\"A man in his 50s wearing a polo shirt and beige shorts sits at a cluttered desk, his arm leaned upon a vintage analog tape machine\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, works among his collection of analog recordings of concert videos and cassettes in Orangevale, Calif. on July 24, 2025. Stacy has spent years digitizing underground music from Sacramento, the Bay Area and across Northern California, making rare recordings freely accessible online. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a suburban backyard outside of \u003ca href=\"https://www.kqed.org/arts/tag/sacramento\">Sacramento\u003c/a>, I open the door to a giant shed, step inside and get smacked in the face by floor-to-ceiling shelves of music history.\u003c/p>\n\u003cp>VHS tapes. Cassette tapes. Reel-to-reels. DATs. Other formats I don’t recognize, and can’t pronounce. Nearly 20,000 of them, all filled with live shows, demo recordings and concert footage.\u003c/p>\n\u003cp>Down a narrow path through this obsolete physical media, I turn a corner to find Shayne Stacy, 57, sitting at a desk with three monitors and occasionally fiddling with a nearby U-matic machine, an out-of-date piece of video hardware used by TV stations. On the screen, viewed for the first time in 40 years, is a 1980s new wave band performing on a long-lost cable access show from the Central Valley.\u003c/p>\n\u003cp>On any given day, this is where you’ll find Stacy, the founder of the nonprofit \u003ca href=\"https://sacramentomusicarchive.com/\">Sacramento Music Archive\u003c/a>. Just a half-hour’s drive from Sutter’s Mill and its famous California discovery, Stacy tends methodically to his own goldmine: a mass of underground music from Sacramento, the Bay Area and beyond that he’s gradually digitizing and sharing with the world, including rare \u003ca href=\"https://sacramentomusicarchive.com/1990/02/12/nirvana-cattle-club-sacramento-ca-02-12-1990-2-cam-mix/\">early footage of Nirvana\u003c/a>, \u003ca href=\"https://sacramentomusicarchive.com/1994/07/23/metallica-cal-expo-amphitheatre-sacramento-ca-7-23-94-xfer-from-master-tape-enhanced-live/\">Metallica\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1991/10/03/green-day-berkeley-square-10-3-91-xfer-from-master-vhs-tape-complete-show-enhanced/\">Green Day\u003c/a>.\u003c/p>\n\u003cp>“You’d think it’s like this big rock and roll party in here. It’s like this. It’s very quiet, with me working at a keyboard,” Stacy says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13979226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Sacramento Music Archive began with Shayne Stacy’s own concert recordings of Nirvana, Yo La Tengo, Green Day, Christ on Parade and more, as pictured in Orangevale, Calif. on July 24, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I first became aware of Stacy’s work during the pandemic, when I noticed people posting video footage of punk shows held 30 years ago that I’d attended, or, even more irresistible, that I’d heard about but been too young to see. I soon found that for those of a certain age and musical bent, scrolling the Sacramento Music Archive was like watching one’s life flash before their eyes: a young \u003ca href=\"https://sacramentomusicarchive.com/1993/05/28/rancid-berkeley-square-berkeley-ca-5-28-93-xfer-from-vhs-c-master-punk-partial-set/\">Rancid finding their footing at Berkeley Square\u003c/a>, \u003ca href=\"https://youtu.be/NxQGByCjPdI?feature=shared&t=484\">Mr. Bungle covering Top 40 radio hits from 1989\u003c/a> in Guerneville, or \u003cem>Maximum Rocknroll\u003c/em> founder \u003ca href=\"https://youtu.be/Pb5X2LrTpjs?feature=shared&t=385\">Tim Yohannon throwing pies at Screeching Weasel\u003c/a> at 924 Gilman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for shows that had been uploaded before, like \u003ca href=\"https://sacramentomusicarchive.com/1989/05/28/operation-ivy-924-gilman-berkeley-ca-5-28-89-multicam-w-sony-d6-audio/\">Operation Ivy’s final show\u003c/a>? Stacy consistently seemed to have the best sources, and sometimes from multiple camera angles, too. What’s more, he had over 5,000 shows from all over Northern California from the past 50 years, by punk, metal, modern rock, funk, thrash and indie bands — famous names and obscure footnotes alike. And, remarkably, it was evident he still went out to shows, and filmed new bands.\u003c/p>\n\u003cp>Who was this one-man Library of Congress for West Coast Gen Xers? I had to find out.\u003c/p>\n\u003ch2>Preserving punk history\u003c/h2>\n\u003cp>Born in Auburn in 1967, Stacy had a typical 1970s childhood of watching \u003cem>Scooby Doo\u003c/em> and collecting sports cards. When he was 15, he went by himself to see Iron Maiden and the Scorpions at the Sacramento Memorial Stadium, in 1982, and he still remembers its impact. “As soon as I felt that sound pressure hitting my chest, I’m like, ‘This is the best thing I’ve ever seen,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13979223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The boxes of VHS tapes, reel-to-reels and cassettes at the Sacramento Music Archive may seem haphazardly organized, but Shayne Stacy keeps a reliable mental inventory of each tapes’ location. Particularly valuable masters are kept in a 1,000-lb. fire-resistant safe. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area was a cradle of \u003ca href=\"https://www.kqed.org/arts/10834160/five-of-the-bay-areas-raddest-metal-bands-from-the-80s\">thrash metal\u003c/a> at the time, with bands like Exodus, Possessed and Metallica just starting out. Soon, Stacy was bringing cheap tape recorders to shows, and sharing the results with other fans who traded tapes through the classifieds in the backs of fan magazines. In 1987, after witnessing the El Sobrante punk band Isocracy, who routinely threw heaps of garbage all over the crowd, Stacy had an epiphany.\u003c/p>\n\u003cp>“There’s paper all over the floor, and it’s just a chaotic environment, and I said to myself, ‘I have to buy a video camera to document this stuff,’” Stacy remembers. “I stopped all of my excess expenditures, making five bucks an hour, and saved for four months to buy my own video camera.”\u003c/p>\n\u003cp>Between 1988 and 1992, Stacy estimates, he filmed 240 shows, driving to venues in Sacramento or the Bay Area every weekend. Trading with others through the mail, he amassed even more tapes. But there was a downside: he began seeing his own footage, of shows by \u003ca href=\"https://sacramentomusicarchive.com/1989/08/26/primus-cattle-club-sacramento-ca-8-26-89-xfer-from-8mm-master-live-enhanced/\">Primus\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KVvJQfgRl7o\">Nirvana\u003c/a> playing at the Cattle Club in Sacramento, bootlegged and sold by others for profit.\u003c/p>\n\u003cp>“It was like, no fun anymore,” Stacy says. “This was supposed to be a hobby I enjoyed, and it turned into this point of frustration. And so I quit. I quit for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13979222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy started out recording metal bands, and once lost a valuable tape of him and a friend hanging out with Slayer backstage in 1988 at The Stone in San Francisco. Miraculously, thanks to the tape-trading circuit, he \u003ca href=\"https://sacramentomusicarchive.com/1988/08/12/slayer-backstage-the-stone-san-francisco-ca-8-12-88/\">got his hands on a copy of it again\u003c/a>. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YouTube brought him back. Stacy says it “liberated” everything: the fans didn’t have to pay $30 for a grainy VHS tape anymore, the copyright holders got paid — not enough, but something — and he got to enjoy his hobby again. He rushed out and bought the best cassette decks and VCRs he could find, and got to work.\u003c/p>\n\u003cp>One person who noticed the quality of Stacy’s work early on is Wayne Vanderkuil. “I work at Stanford in visual preservation, reformatting, and he had similar equipment to what we have here,” Vanderkuil says. “I was incredibly impressed.”\u003c/p>\n\u003cp>During the tape-trading days, Vanderkuil amassed his own collection of metal bands playing at Ruthie’s Inn, Wolfgang’s or the On Broadway. They sat in storage for 25 years, untouched, he says. “I thought, ‘No one’s ever gonna hear these. I’ll drop dead tomorrow, and there goes history.’”\u003c/p>\n\u003cp>Instead, he donated his tapes to Stacy. Vanderkuil is now president of the board of the Sacramento Music Archive, newly incorporated as a nonprofit, which will allow Stacy — who worked at Intel for 27 years and recently accepted an “incredibly generous” buyout offer — to \u003ca href=\"https://www.patreon.com/c/sacramentomusicarchive/membership\">take donations\u003c/a> and apply for grants. Most importantly, it’ll set up his life’s work to continue into the future. As it stands, only about 5% of the tapes in the archive have been preserved digitally so far.\u003c/p>\n\u003cp>“This is clearly becoming a bigger project than I’ve got time left,” says Stacy.\u003c/p>\n\u003cfigure id=\"attachment_13979220\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, futzes with a vintage U-matic player in order to get a stubborn TV station cartridge of a Sacramento band to play correctly. ‘Sometimes you get to see me fight with this thing and curse a lot,’ he jokes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He really is the go-to’\u003c/h2>\n\u003cp>Publicity and word-of-mouth creates another problem: the piles are growing. Everyone, it seems, has old tapes they want to donate. Waiting to be digitized in the archive are 500 cassettes of free jazz, reel-to-reels of D.R.I. rehearsals at \u003ca href=\"https://www.sfgate.com/sf-culture/article/strangest-200-dollar-apartments-sf-history-20381556.php\">The Vats\u003c/a> and hundreds of videos and soundboard recordings from 924 Gilman. Stacy now has \u003ca href=\"https://sacramentomusicarchive.com/collections/\">over 25 different collections\u003c/a> from DJs, sound engineers, record store owners, zine editors, promoters, cable access hosts and fans.\u003c/p>\n\u003cp>One of them is Arica Pelino, who recently traveled from three states away to Stacy’s archive with a suitcase full of tapes. Pelino toured with Green Day in 1991, and filmed many of their early shows, along with dozens of other bands from the East Bay like Econochrist and Lungbutter. Her tapes sat in storage for more than 20 years, unseen.\u003c/p>\n\u003cp>“If I didn’t meet Shayne, it would still be sitting in boxes,” she says.\u003c/p>\n\u003cp>[aside postID=arts_13968840 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_03.jpg']She and Stacy spent two days going through her collection, including 22 early Green Day shows that no one had ever seen before, she says, along with \u003ca href=\"https://sacramentomusicarchive.com/1991/09/28/green-day-phoenix-theater-petaluma-ca-9-28-91-uncirculated-preshow-clip-xfer-f-vhs-master-enhanced/\">backstage footage\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1990/01/01/sweet-children-green-day-billie-joes-tape-to-arica-demo-and-7-sessions-tape-complete/\">early demos\u003c/a>.\u003c/p>\n\u003cp>“Shayne really is the owner and the keeper for all of us,” Pelino says. “There’s no one I’d rather do it with. He does a great job, he’s extremely detail-oriented and he puts his all into cleaning up the audio and video. He really is the go-to archive for Northern California, and has captured a significant part of the music scene.”\u003c/p>\n\u003cp>Another donor, Rick Sylvain, who in his 12 years working at Berkeley radio station KALX helped start the long-running \u003cem>KALX Live!\u003c/em> show, with bands playing in the cramped studio.\u003c/p>\n\u003cp>“It was kind of stinky sometimes — they spilled a lot of beer in there — but it was fun, and I taped everything,” he says. “Some of these little bands, it was their one big moment in the sun, and I wanted them to feel like they were stars.”\u003c/p>\n\u003cp>One little band that fulfilled that promise of stardom was AFI, who would go on to headline arenas. Thanks to the Sacramento Music Archive, Sylvain’s cassette of \u003ca href=\"https://sacramentomusicarchive.com/1994/10/07/afi-kalx-live-in-studio-berkeley-ca-10-7-94-xfer-from-pre-fm-master-cassette-a-fire-inside-a-f-i/\">AFI’s 1994 visit to KALX\u003c/a> is now the band’s earliest live recording on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13979224\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy uploads videos twice a day from his growing collection in a cluttered, air-conditioned shed. ‘I promised my wife that I would digitize this stuff and then get rid of the tapes,’ he says, ‘and I’m having trouble doing that, to be quite frank.’ \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large companies and record labels have taken notice, and Stacy’s provided them with material for a Nirvana box set, a Pavement film, and various documentaries. He talks just as enthusiastically, however, about forgotten bands like \u003ca href=\"https://sacramentomusicarchive.com/2000/04/12/donner-party-slims-sf-4-12-00-sam-coomes-from-quasis-early-band/\">The Donner Party\u003c/a> or the \u003ca href=\"https://sacramentomusicarchive.com/1987/04/11/slambodians-sproul-plaza-berkeley-ca-4-11-87-xfer-from-master-vhs-tape-east-bay-punk/\">Slambodians\u003c/a>. He’s especially excited about a recent estate sale find of reel-to-reels from a member of Red Asphalt, the early punk band, who lived in Sacramento.\u003c/p>\n\u003cp>And that brings him back to the original purpose of the archive, one it’s clearly outgrown: to legitimize and honor Sacramento as its own distinct music scene. He accepts that “Sacramento Music Archive” is a bit of a misnomer for a massive collection covering the the Bay Area and Northern California.\u003c/p>\n\u003cp>But he likes the name.\u003c/p>\n\u003cp>“I’ve always felt like Sacramento has always been the red-headed stepchild of California,” he says. “The Lakers make fun of the Kings, Southern California makes fun of Sacramento. It’s a cow town, right? So having something that’s culturally enriching, that has the Sacramento label on it, I’m fine with it.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Sacramento Music Archive can be found at its \u003ca href=\"https://sacramentomusicarchive.com/\">official website\u003c/a> and \u003ca href=\"https://www.youtube.com/@sacramentomusicarchive/videos\">YouTube channel\u003c/a>. Subscribers can \u003ca href=\"https://www.patreon.com/SacramentoMusicArchive\">join the archive’s Patreon\u003c/a> to vote which shows in the archive will get digitized or posted next, or to arrange filming a concert from scratch. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979219\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg\" alt=\"A man in his 50s wearing a polo shirt and beige shorts sits at a cluttered desk, his arm leaned upon a vintage analog tape machine\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, works among his collection of analog recordings of concert videos and cassettes in Orangevale, Calif. on July 24, 2025. Stacy has spent years digitizing underground music from Sacramento, the Bay Area and across Northern California, making rare recordings freely accessible online. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a suburban backyard outside of \u003ca href=\"https://www.kqed.org/arts/tag/sacramento\">Sacramento\u003c/a>, I open the door to a giant shed, step inside and get smacked in the face by floor-to-ceiling shelves of music history.\u003c/p>\n\u003cp>VHS tapes. Cassette tapes. Reel-to-reels. DATs. Other formats I don’t recognize, and can’t pronounce. Nearly 20,000 of them, all filled with live shows, demo recordings and concert footage.\u003c/p>\n\u003cp>Down a narrow path through this obsolete physical media, I turn a corner to find Shayne Stacy, 57, sitting at a desk with three monitors and occasionally fiddling with a nearby U-matic machine, an out-of-date piece of video hardware used by TV stations. On the screen, viewed for the first time in 40 years, is a 1980s new wave band performing on a long-lost cable access show from the Central Valley.\u003c/p>\n\u003cp>On any given day, this is where you’ll find Stacy, the founder of the nonprofit \u003ca href=\"https://sacramentomusicarchive.com/\">Sacramento Music Archive\u003c/a>. Just a half-hour’s drive from Sutter’s Mill and its famous California discovery, Stacy tends methodically to his own goldmine: a mass of underground music from Sacramento, the Bay Area and beyond that he’s gradually digitizing and sharing with the world, including rare \u003ca href=\"https://sacramentomusicarchive.com/1990/02/12/nirvana-cattle-club-sacramento-ca-02-12-1990-2-cam-mix/\">early footage of Nirvana\u003c/a>, \u003ca href=\"https://sacramentomusicarchive.com/1994/07/23/metallica-cal-expo-amphitheatre-sacramento-ca-7-23-94-xfer-from-master-tape-enhanced-live/\">Metallica\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1991/10/03/green-day-berkeley-square-10-3-91-xfer-from-master-vhs-tape-complete-show-enhanced/\">Green Day\u003c/a>.\u003c/p>\n\u003cp>“You’d think it’s like this big rock and roll party in here. It’s like this. It’s very quiet, with me working at a keyboard,” Stacy says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13979226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Sacramento Music Archive began with Shayne Stacy’s own concert recordings of Nirvana, Yo La Tengo, Green Day, Christ on Parade and more, as pictured in Orangevale, Calif. on July 24, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I first became aware of Stacy’s work during the pandemic, when I noticed people posting video footage of punk shows held 30 years ago that I’d attended, or, even more irresistible, that I’d heard about but been too young to see. I soon found that for those of a certain age and musical bent, scrolling the Sacramento Music Archive was like watching one’s life flash before their eyes: a young \u003ca href=\"https://sacramentomusicarchive.com/1993/05/28/rancid-berkeley-square-berkeley-ca-5-28-93-xfer-from-vhs-c-master-punk-partial-set/\">Rancid finding their footing at Berkeley Square\u003c/a>, \u003ca href=\"https://youtu.be/NxQGByCjPdI?feature=shared&t=484\">Mr. Bungle covering Top 40 radio hits from 1989\u003c/a> in Guerneville, or \u003cem>Maximum Rocknroll\u003c/em> founder \u003ca href=\"https://youtu.be/Pb5X2LrTpjs?feature=shared&t=385\">Tim Yohannon throwing pies at Screeching Weasel\u003c/a> at 924 Gilman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for shows that had been uploaded before, like \u003ca href=\"https://sacramentomusicarchive.com/1989/05/28/operation-ivy-924-gilman-berkeley-ca-5-28-89-multicam-w-sony-d6-audio/\">Operation Ivy’s final show\u003c/a>? Stacy consistently seemed to have the best sources, and sometimes from multiple camera angles, too. What’s more, he had over 5,000 shows from all over Northern California from the past 50 years, by punk, metal, modern rock, funk, thrash and indie bands — famous names and obscure footnotes alike. And, remarkably, it was evident he still went out to shows, and filmed new bands.\u003c/p>\n\u003cp>Who was this one-man Library of Congress for West Coast Gen Xers? I had to find out.\u003c/p>\n\u003ch2>Preserving punk history\u003c/h2>\n\u003cp>Born in Auburn in 1967, Stacy had a typical 1970s childhood of watching \u003cem>Scooby Doo\u003c/em> and collecting sports cards. When he was 15, he went by himself to see Iron Maiden and the Scorpions at the Sacramento Memorial Stadium, in 1982, and he still remembers its impact. “As soon as I felt that sound pressure hitting my chest, I’m like, ‘This is the best thing I’ve ever seen,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13979223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The boxes of VHS tapes, reel-to-reels and cassettes at the Sacramento Music Archive may seem haphazardly organized, but Shayne Stacy keeps a reliable mental inventory of each tapes’ location. Particularly valuable masters are kept in a 1,000-lb. fire-resistant safe. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area was a cradle of \u003ca href=\"https://www.kqed.org/arts/10834160/five-of-the-bay-areas-raddest-metal-bands-from-the-80s\">thrash metal\u003c/a> at the time, with bands like Exodus, Possessed and Metallica just starting out. Soon, Stacy was bringing cheap tape recorders to shows, and sharing the results with other fans who traded tapes through the classifieds in the backs of fan magazines. In 1987, after witnessing the El Sobrante punk band Isocracy, who routinely threw heaps of garbage all over the crowd, Stacy had an epiphany.\u003c/p>\n\u003cp>“There’s paper all over the floor, and it’s just a chaotic environment, and I said to myself, ‘I have to buy a video camera to document this stuff,’” Stacy remembers. “I stopped all of my excess expenditures, making five bucks an hour, and saved for four months to buy my own video camera.”\u003c/p>\n\u003cp>Between 1988 and 1992, Stacy estimates, he filmed 240 shows, driving to venues in Sacramento or the Bay Area every weekend. Trading with others through the mail, he amassed even more tapes. But there was a downside: he began seeing his own footage, of shows by \u003ca href=\"https://sacramentomusicarchive.com/1989/08/26/primus-cattle-club-sacramento-ca-8-26-89-xfer-from-8mm-master-live-enhanced/\">Primus\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KVvJQfgRl7o\">Nirvana\u003c/a> playing at the Cattle Club in Sacramento, bootlegged and sold by others for profit.\u003c/p>\n\u003cp>“It was like, no fun anymore,” Stacy says. “This was supposed to be a hobby I enjoyed, and it turned into this point of frustration. And so I quit. I quit for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13979222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy started out recording metal bands, and once lost a valuable tape of him and a friend hanging out with Slayer backstage in 1988 at The Stone in San Francisco. Miraculously, thanks to the tape-trading circuit, he \u003ca href=\"https://sacramentomusicarchive.com/1988/08/12/slayer-backstage-the-stone-san-francisco-ca-8-12-88/\">got his hands on a copy of it again\u003c/a>. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YouTube brought him back. Stacy says it “liberated” everything: the fans didn’t have to pay $30 for a grainy VHS tape anymore, the copyright holders got paid — not enough, but something — and he got to enjoy his hobby again. He rushed out and bought the best cassette decks and VCRs he could find, and got to work.\u003c/p>\n\u003cp>One person who noticed the quality of Stacy’s work early on is Wayne Vanderkuil. “I work at Stanford in visual preservation, reformatting, and he had similar equipment to what we have here,” Vanderkuil says. “I was incredibly impressed.”\u003c/p>\n\u003cp>During the tape-trading days, Vanderkuil amassed his own collection of metal bands playing at Ruthie’s Inn, Wolfgang’s or the On Broadway. They sat in storage for 25 years, untouched, he says. “I thought, ‘No one’s ever gonna hear these. I’ll drop dead tomorrow, and there goes history.’”\u003c/p>\n\u003cp>Instead, he donated his tapes to Stacy. Vanderkuil is now president of the board of the Sacramento Music Archive, newly incorporated as a nonprofit, which will allow Stacy — who worked at Intel for 27 years and recently accepted an “incredibly generous” buyout offer — to \u003ca href=\"https://www.patreon.com/c/sacramentomusicarchive/membership\">take donations\u003c/a> and apply for grants. Most importantly, it’ll set up his life’s work to continue into the future. As it stands, only about 5% of the tapes in the archive have been preserved digitally so far.\u003c/p>\n\u003cp>“This is clearly becoming a bigger project than I’ve got time left,” says Stacy.\u003c/p>\n\u003cfigure id=\"attachment_13979220\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, futzes with a vintage U-matic player in order to get a stubborn TV station cartridge of a Sacramento band to play correctly. ‘Sometimes you get to see me fight with this thing and curse a lot,’ he jokes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He really is the go-to’\u003c/h2>\n\u003cp>Publicity and word-of-mouth creates another problem: the piles are growing. Everyone, it seems, has old tapes they want to donate. Waiting to be digitized in the archive are 500 cassettes of free jazz, reel-to-reels of D.R.I. rehearsals at \u003ca href=\"https://www.sfgate.com/sf-culture/article/strangest-200-dollar-apartments-sf-history-20381556.php\">The Vats\u003c/a> and hundreds of videos and soundboard recordings from 924 Gilman. Stacy now has \u003ca href=\"https://sacramentomusicarchive.com/collections/\">over 25 different collections\u003c/a> from DJs, sound engineers, record store owners, zine editors, promoters, cable access hosts and fans.\u003c/p>\n\u003cp>One of them is Arica Pelino, who recently traveled from three states away to Stacy’s archive with a suitcase full of tapes. Pelino toured with Green Day in 1991, and filmed many of their early shows, along with dozens of other bands from the East Bay like Econochrist and Lungbutter. Her tapes sat in storage for more than 20 years, unseen.\u003c/p>\n\u003cp>“If I didn’t meet Shayne, it would still be sitting in boxes,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She and Stacy spent two days going through her collection, including 22 early Green Day shows that no one had ever seen before, she says, along with \u003ca href=\"https://sacramentomusicarchive.com/1991/09/28/green-day-phoenix-theater-petaluma-ca-9-28-91-uncirculated-preshow-clip-xfer-f-vhs-master-enhanced/\">backstage footage\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1990/01/01/sweet-children-green-day-billie-joes-tape-to-arica-demo-and-7-sessions-tape-complete/\">early demos\u003c/a>.\u003c/p>\n\u003cp>“Shayne really is the owner and the keeper for all of us,” Pelino says. “There’s no one I’d rather do it with. He does a great job, he’s extremely detail-oriented and he puts his all into cleaning up the audio and video. He really is the go-to archive for Northern California, and has captured a significant part of the music scene.”\u003c/p>\n\u003cp>Another donor, Rick Sylvain, who in his 12 years working at Berkeley radio station KALX helped start the long-running \u003cem>KALX Live!\u003c/em> show, with bands playing in the cramped studio.\u003c/p>\n\u003cp>“It was kind of stinky sometimes — they spilled a lot of beer in there — but it was fun, and I taped everything,” he says. “Some of these little bands, it was their one big moment in the sun, and I wanted them to feel like they were stars.”\u003c/p>\n\u003cp>One little band that fulfilled that promise of stardom was AFI, who would go on to headline arenas. Thanks to the Sacramento Music Archive, Sylvain’s cassette of \u003ca href=\"https://sacramentomusicarchive.com/1994/10/07/afi-kalx-live-in-studio-berkeley-ca-10-7-94-xfer-from-pre-fm-master-cassette-a-fire-inside-a-f-i/\">AFI’s 1994 visit to KALX\u003c/a> is now the band’s earliest live recording on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13979224\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy uploads videos twice a day from his growing collection in a cluttered, air-conditioned shed. ‘I promised my wife that I would digitize this stuff and then get rid of the tapes,’ he says, ‘and I’m having trouble doing that, to be quite frank.’ \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large companies and record labels have taken notice, and Stacy’s provided them with material for a Nirvana box set, a Pavement film, and various documentaries. He talks just as enthusiastically, however, about forgotten bands like \u003ca href=\"https://sacramentomusicarchive.com/2000/04/12/donner-party-slims-sf-4-12-00-sam-coomes-from-quasis-early-band/\">The Donner Party\u003c/a> or the \u003ca href=\"https://sacramentomusicarchive.com/1987/04/11/slambodians-sproul-plaza-berkeley-ca-4-11-87-xfer-from-master-vhs-tape-east-bay-punk/\">Slambodians\u003c/a>. He’s especially excited about a recent estate sale find of reel-to-reels from a member of Red Asphalt, the early punk band, who lived in Sacramento.\u003c/p>\n\u003cp>And that brings him back to the original purpose of the archive, one it’s clearly outgrown: to legitimize and honor Sacramento as its own distinct music scene. He accepts that “Sacramento Music Archive” is a bit of a misnomer for a massive collection covering the the Bay Area and Northern California.\u003c/p>\n\u003cp>But he likes the name.\u003c/p>\n\u003cp>“I’ve always felt like Sacramento has always been the red-headed stepchild of California,” he says. “The Lakers make fun of the Kings, Southern California makes fun of Sacramento. It’s a cow town, right? So having something that’s culturally enriching, that has the Sacramento label on it, I’m fine with it.”\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>The Sacramento Music Archive can be found at its \u003ca href=\"https://sacramentomusicarchive.com/\">official website\u003c/a> and \u003ca href=\"https://www.youtube.com/@sacramentomusicarchive/videos\">YouTube channel\u003c/a>. Subscribers can \u003ca href=\"https://www.patreon.com/SacramentoMusicArchive\">join the archive’s Patreon\u003c/a> to vote which shows in the archive will get digitized or posted next, or to arrange filming a concert from scratch. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13979529\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979529\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy.jpeg\" alt=\"Big Freedia holds her hands together in prayer in a church illuminated by a purple glow.\" width=\"1200\" height=\"1799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy-1025x1536.jpeg 1025w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia’s new album ‘Pressing Onward,’ named after her childhood church, blends gospel and bounce music with an inclusive message. \u003ccite>(Hunter Holder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’d be living in a different world today if \u003ca href=\"https://www.kqed.org/arts/13843920/big-freedia-is-the-21st-centurys-ambassador-of-freedom\">Big Freedia\u003c/a>’s life hadn’t taken the turn that it did. Back in the ’90s, when the Queen Diva of bounce music was still in high school in New Orleans, church was her life. Not only did she spend Sundays at Pressing Onward Baptist for service and Bible study, but she went on Saturdays for choir practice and Friday nights for musicals.\u003c/p>\n\u003cp>“Growing up in the hood, it helped me to survive,” she tells KQED during a video call, as makeup artists’ hands flit around her cheekbones.\u003c/p>\n\u003cp>\u003ca href=\"https://www.bigfreedia.com/\">Big Freedia\u003c/a> had dreams of becoming a choir director, but found another calling when a high-energy, booty-shaking new sound began to explode out of her neighborhood. In the 25 years since, Freedia has brought bounce from New Orleans’ underground queer scene to the mainstream. As she’s performed at every major festival and collaborated with Drake and Beyoncé, opening doors for other LGBTQ+ artists along the way, her faith has kept her grounded.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/2XGIyjB0IiePf5uTSGt9Wt?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>On her new album \u003ci>Pressing Onward\u003c/i>, out Aug. 8, Big Freedia returns to her roots, bringing gospel harmonies and hopeful messages of faith together with bounce beats. The album draws a throughline between the ecstasy music can create both in the church and in the club. This synergy has a long history in queer Black music, going back to church-trained, genderfluid San Francisco disco star \u003ca href=\"https://www.kqed.org/arts/13854644/how-the-world-caught-up-to-sylvester\">Sylvester\u003c/a>, one of Big Freedia’s early inspirations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a> festival on Sunday, Aug. 10, Freedia will perform \u003ci>Pressing Onward\u003c/i> with the \u003ca href=\"https://www.sfgmc.org/\">San Francisco Gay Men’s Chorus\u003c/a>, offering an uplifting moment of praise for fans of all walks of life — including queer listeners who grew up feeling excluded from their religious communities, and those currently reeling from a hostile political climate and rollbacks to trans rights.\u003c/p>\n\u003cp>“Music is messaging, and music is what feeds the soul. And I’m definitely using my platform to be able to speak on trans rights, and just all of the rights of people in the LGBTQ+ community,” Freedia says.\u003c/p>\n\u003cfigure id=\"attachment_13902527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia backstage at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gospel has held Big Freedia up during some of the toughest moments of her life, including the recent death of her longtime partner Devon, who passed away from diabetes complications in May. For her, performing this music at recent gigs like Nashville Pride and the Newport Folk Festival has been healing.\u003c/p>\n\u003cp>“When I’m on stage, I’m able to forget all the troubles of the world and lay down all of my burden,” Freedia says.\u003c/p>\n\u003cp>In addition to her Sunday gospel set on Outside Lands’ main stage, Big Freedia will DJ on Saturday, Aug. 9 at Dolores’, Outside Lands’ open-air queer club. She’ll share the stage with drag performers from the venerable San Francisco parties Princess and Reparations, which both take place regularly at the Oasis nightclub in SOMA. That night, Freedia will hit the Oasis stage for her \u003ca href=\"https://www.eventbrite.com/e/big-freedia-live-official-album-release-party-tickets-1493433332299\">official release party of \u003ci>Pressing Onward\u003c/i>\u003c/a>, with support from drag artists like Nicki Jizz, Tyson Checkin and more.\u003c/p>\n\u003cp>“[Fans] have been rockin’ with me for a long time in the Bay Area, and I think it’s going to be even better this year,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13962482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz and the Oasis Reparations cast perform on the Dolores’ Stage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacob Stensberg, the artistic director and conductor of the San Francisco Gay Men’s Chorus, is currently preparing to lead 75 singers of all faiths and backgrounds to join Big Freedia at Outside Lands on Sunday. While SFGMC doesn’t often sing religious music, Stensberg says, Big Freedia’s inclusive message transcends boundaries.\u003c/p>\n\u003cp>“She is fearless. She does not let the social confines of our culture define who she is,” says Stensberg. “And that comes through in her music. I think it is the farthest out-of-the box thinking to take gospel music and bounce music and create this spiritual sanctuary where people can be themselves through the lens of Christianity. She is the leader for us in the way we develop our own self-identity, our own journey of self-determination.”\u003c/p>\n\u003cp>Outside Lands’ commitment to LGBTQ+ programming stands out during a year that’s seen corporate sponsors pull out of Pride celebrations around the country; the National Endowment for the Arts align itself with President Trump’s anti-trans executive order; and private funders back away from LGBTQ+ organizations. (Even \u003ca href=\"https://www.kqed.org/arts/13978983/oasis-closing-drag-club-san-francisco-lgbtq-shutting-down-closed\">Oasis is closing its nightclub\u003c/a> at the end of the year because of financial issues.)\u003c/p>\n\u003cfigure id=\"attachment_13962428\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees watch Mel 4Ever perform on the Dolores’ Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Big Freedia, Outside Lands features other queer artists on the main stage, including Tyler, The Creator and Doechii. Dolores’ spotlights three major LGBTQ+ event producers — Oasis Arts, Polyglamorous and Fake and Gay — who have all booked packed lineups featuring some of San Francisco’s best-known drag artists and DJs.\u003c/p>\n\u003cp>Asked about the festival’s commitment to its queer artists and fans, Nick Barrie, a talent buyer for the festival, has a simple answer: “It’s wrong not to,” he says.\u003c/p>\n\u003cp>For Big Freedia’s part, amid the many ongoing fights for LGBTQ+ rights, she wants to leave fans with a feeling of happiness — much like how she felt on those Sundays spent at Pressing Onward Baptist Church.\u003c/p>\n\u003cp>“That whole weekend,” she says, “I’m excited to … just bring joy to people so they can have that moment to just lay their hair down and just party with me.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Big Freedia performs at \u003ca href=\"https://sfoutsidelands.com/\">Outside Lands\u003c/a> in San Francisco’s Golden Gate Park on Aug. 9 and 10, and \u003ca href=\"https://www.eventbrite.com/e/big-freedia-live-official-album-release-party-tickets-1493433332299\">at Oasis\u003c/a> (298 11th St., San Francisco) on Aug. 9. Her album ‘\u003ca href=\"https://lnk.to/PRESSINGONWARD\">Pressing Onward\u003c/a>‘ releases Aug. 8. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979529\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979529\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy.jpeg\" alt=\"Big Freedia holds her hands together in prayer in a church illuminated by a purple glow.\" width=\"1200\" height=\"1799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/5Y4A6983-Edit_copy-1025x1536.jpeg 1025w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia’s new album ‘Pressing Onward,’ named after her childhood church, blends gospel and bounce music with an inclusive message. \u003ccite>(Hunter Holder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’d be living in a different world today if \u003ca href=\"https://www.kqed.org/arts/13843920/big-freedia-is-the-21st-centurys-ambassador-of-freedom\">Big Freedia\u003c/a>’s life hadn’t taken the turn that it did. Back in the ’90s, when the Queen Diva of bounce music was still in high school in New Orleans, church was her life. Not only did she spend Sundays at Pressing Onward Baptist for service and Bible study, but she went on Saturdays for choir practice and Friday nights for musicals.\u003c/p>\n\u003cp>“Growing up in the hood, it helped me to survive,” she tells KQED during a video call, as makeup artists’ hands flit around her cheekbones.\u003c/p>\n\u003cp>\u003ca href=\"https://www.bigfreedia.com/\">Big Freedia\u003c/a> had dreams of becoming a choir director, but found another calling when a high-energy, booty-shaking new sound began to explode out of her neighborhood. In the 25 years since, Freedia has brought bounce from New Orleans’ underground queer scene to the mainstream. As she’s performed at every major festival and collaborated with Drake and Beyoncé, opening doors for other LGBTQ+ artists along the way, her faith has kept her grounded.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/2XGIyjB0IiePf5uTSGt9Wt?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>On her new album \u003ci>Pressing Onward\u003c/i>, out Aug. 8, Big Freedia returns to her roots, bringing gospel harmonies and hopeful messages of faith together with bounce beats. The album draws a throughline between the ecstasy music can create both in the church and in the club. This synergy has a long history in queer Black music, going back to church-trained, genderfluid San Francisco disco star \u003ca href=\"https://www.kqed.org/arts/13854644/how-the-world-caught-up-to-sylvester\">Sylvester\u003c/a>, one of Big Freedia’s early inspirations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a> festival on Sunday, Aug. 10, Freedia will perform \u003ci>Pressing Onward\u003c/i> with the \u003ca href=\"https://www.sfgmc.org/\">San Francisco Gay Men’s Chorus\u003c/a>, offering an uplifting moment of praise for fans of all walks of life — including queer listeners who grew up feeling excluded from their religious communities, and those currently reeling from a hostile political climate and rollbacks to trans rights.\u003c/p>\n\u003cp>“Music is messaging, and music is what feeds the soul. And I’m definitely using my platform to be able to speak on trans rights, and just all of the rights of people in the LGBTQ+ community,” Freedia says.\u003c/p>\n\u003cfigure id=\"attachment_13902527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902527\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A1503-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Freedia backstage at BottleRock Napa Valley festival on Friday, Sept. 3, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gospel has held Big Freedia up during some of the toughest moments of her life, including the recent death of her longtime partner Devon, who passed away from diabetes complications in May. For her, performing this music at recent gigs like Nashville Pride and the Newport Folk Festival has been healing.\u003c/p>\n\u003cp>“When I’m on stage, I’m able to forget all the troubles of the world and lay down all of my burden,” Freedia says.\u003c/p>\n\u003cp>In addition to her Sunday gospel set on Outside Lands’ main stage, Big Freedia will DJ on Saturday, Aug. 9 at Dolores’, Outside Lands’ open-air queer club. She’ll share the stage with drag performers from the venerable San Francisco parties Princess and Reparations, which both take place regularly at the Oasis nightclub in SOMA. That night, Freedia will hit the Oasis stage for her \u003ca href=\"https://www.eventbrite.com/e/big-freedia-live-official-album-release-party-tickets-1493433332299\">official release party of \u003ci>Pressing Onward\u003c/i>\u003c/a>, with support from drag artists like Nicki Jizz, Tyson Checkin and more.\u003c/p>\n\u003cp>“[Fans] have been rockin’ with me for a long time in the Bay Area, and I think it’s going to be even better this year,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13962482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240810_OutsideLands__EG_028-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Jizz and the Oasis Reparations cast perform on the Dolores’ Stage at Outside Lands on Saturday, Aug. 10, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacob Stensberg, the artistic director and conductor of the San Francisco Gay Men’s Chorus, is currently preparing to lead 75 singers of all faiths and backgrounds to join Big Freedia at Outside Lands on Sunday. While SFGMC doesn’t often sing religious music, Stensberg says, Big Freedia’s inclusive message transcends boundaries.\u003c/p>\n\u003cp>“She is fearless. She does not let the social confines of our culture define who she is,” says Stensberg. “And that comes through in her music. I think it is the farthest out-of-the box thinking to take gospel music and bounce music and create this spiritual sanctuary where people can be themselves through the lens of Christianity. She is the leader for us in the way we develop our own self-identity, our own journey of self-determination.”\u003c/p>\n\u003cp>Outside Lands’ commitment to LGBTQ+ programming stands out during a year that’s seen corporate sponsors pull out of Pride celebrations around the country; the National Endowment for the Arts align itself with President Trump’s anti-trans executive order; and private funders back away from LGBTQ+ organizations. (Even \u003ca href=\"https://www.kqed.org/arts/13978983/oasis-closing-drag-club-san-francisco-lgbtq-shutting-down-closed\">Oasis is closing its nightclub\u003c/a> at the end of the year because of financial issues.)\u003c/p>\n\u003cfigure id=\"attachment_13962428\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/240809_OutsideLands__EG_018-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees watch Mel 4Ever perform on the Dolores’ Stage at Outside Lands on Friday, Aug. 9, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Big Freedia, Outside Lands features other queer artists on the main stage, including Tyler, The Creator and Doechii. Dolores’ spotlights three major LGBTQ+ event producers — Oasis Arts, Polyglamorous and Fake and Gay — who have all booked packed lineups featuring some of San Francisco’s best-known drag artists and DJs.\u003c/p>\n\u003cp>Asked about the festival’s commitment to its queer artists and fans, Nick Barrie, a talent buyer for the festival, has a simple answer: “It’s wrong not to,” he says.\u003c/p>\n\u003cp>For Big Freedia’s part, amid the many ongoing fights for LGBTQ+ rights, she wants to leave fans with a feeling of happiness — much like how she felt on those Sundays spent at Pressing Onward Baptist Church.\u003c/p>\n\u003cp>“That whole weekend,” she says, “I’m excited to … just bring joy to people so they can have that moment to just lay their hair down and just party with me.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Big Freedia performs at \u003ca href=\"https://sfoutsidelands.com/\">Outside Lands\u003c/a> in San Francisco’s Golden Gate Park on Aug. 9 and 10, and \u003ca href=\"https://www.eventbrite.com/e/big-freedia-live-official-album-release-party-tickets-1493433332299\">at Oasis\u003c/a> (298 11th St., San Francisco) on Aug. 9. Her album ‘\u003ca href=\"https://lnk.to/PRESSINGONWARD\">Pressing Onward\u003c/a>‘ releases Aug. 8. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://www.eamesinstitute.org/\">Eames Institute of Infinite Curiosity\u003c/a>, a Petaluma and Richmond-based nonprofit dedicated to the legacy of midcentury designers Charles and Ray Eames, announced it will open a museum in one of the Bay Area’s most distinctive pieces of architecture. That’s right, I’m talking about the former Birkenstock campus in Novato, the jagged-roofed warehouse and office just west of Highway 101.\u003c/p>\n\u003cp>The as-yet unnamed museum, which the institute hopes to open by 2030, will house the Eames Collection, along with large-scale art exhibitions, workshops, educational programming and more. The Eameses, who moved fluidly between the fields of furniture, architecture, graphic design and fine art, were two of the most influential designers of the 20th century. (Have you coveted \u003ca href=\"https://www.eamesoffice.com/product/eames-lounge-chair-and-ottoman/\">this chair\u003c/a>? Charles and Ray Eames designed it.)\u003c/p>\n\u003cp>Eames Institute CEO John Cary said they’ve had their eye on the 88.5-acre Birkenstock campus for quite a while, but it wasn’t on the market until earlier this year. Birkenstock ceased operations at the distribution site in 2019; the property has been vacant since 2020.\u003c/p>\n\u003cp>“When it finally appeared for sale, we were ready and we were excited about it,” Cary tells KQED. “We got to work real fast.” The deal closed yesterday.\u003c/p>\n\u003cfigure id=\"attachment_13979444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000.jpg\" alt=\"photo of boxes on conveyor belts in large factory\" width=\"2000\" height=\"1445\" class=\"size-full wp-image-13979444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000-1536x1110.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view inside the Novato warehouse in its McGraw-Hill days. \u003ccite>(Courtesy of Eames Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The campus was originally designed for the educational publishers McGraw-Hill in the early 1960s by John Savage Bolles, the modernist architect also responsible for Candlestick Park and the IBM Campus in San José. In the early ’70s, Bolles was part of the team that designed San Francisco’s Embarcadero Plaza.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the big reasons that we’re so interested in that site is its adaptive reuse,” Cary says. “We’re really focused on those existing two buildings and improving them.” The Swiss architecture firm Herzog & de Meuron (responsible for the de Young Museum) will reimagine the campus as a public space.\u003c/p>\n\u003cp>This is key: though the Birkenstock campus is a significant North Bay landmark, only those on official textbook or shoe business have previously had access to the site. “We want buses just lined up in the parking lot outside — or better yet, they take the SMART train or some other mode of transportation,” Cary says.\u003c/p>\n\u003cp>The Eames Institute has been remarkably active since it announced itself publicly in 2022. Its first base of operations was a \u003ca href=\"https://www.eamesinstitute.org/ranch/\">family ranch in Petaluma\u003c/a>, once home to Lucia Eames, daughter of Charles. That property is now undergoing a multi-year renovation.\u003c/p>\n\u003cfigure id=\"attachment_13979441\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000.jpg\" alt=\"people walking around well planted open plaza with vaulted roofline above\" width=\"2000\" height=\"1250\" class=\"size-full wp-image-13979441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000-1536x960.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Herzog & de Meuron’s plans for the arrival court of the refurbished Birkenstock campus. \u003ccite>(Courtesy of Herzog & de Meuron)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The institute purchased \u003ca href=\"https://stoutbooks.com/\">William Stout Architectural Books\u003c/a> from its founder and namesake in 2022, safeguarding the beloved art and design bookstore in San Francisco’s Jackson Square. Last month, the institute purchased the Zurich-based Lars Müller Publishers.\u003c/p>\n\u003cp>In 2024, operations shifted to Richmond, where the Eames archive is now housed and \u003ca href=\"https://www.eamesinstitute.org/visit/\">open to small tour groups\u003c/a>. The Eames Institute looks after over 40,000 objects that came directly from the Eameses and their Venice, California office, including furniture prototypes, ephemera, tools and personal items. While the Library of Congress holds a large amount of 2D material from the Eameses, Cary says, “The family held back a lot of its most significant things — what they call the family jewels — that we ended up being able to acquire.”\u003c/p>\n\u003cp>Online and in-person shows curated from the collection are usually accompanied by a publication. \u003ci>The Last Decade of Furniture Design by Ray and Charles Eames (1968–1978)\u003c/i>, a playfully arranged exhibition of chairs, loungers and objects, is currently on view at the base of the \u003ca href=\"https://transamericapyramid.com/pyramid-arts\">Transamerica Pyramid\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, the Novato museum will display not just the Eames archives, but other prominent design artifacts. Cary emphases that they are and will be a collecting institution. “We’ve got a whole lot of work ahead of us,” he says. “We haven’t yet defined exactly what that is or what that will be, but that’ll be part of the next several years as we’re developing this project.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.eamesinstitute.org/\">Eames Institute of Infinite Curiosity\u003c/a>, a Petaluma and Richmond-based nonprofit dedicated to the legacy of midcentury designers Charles and Ray Eames, announced it will open a museum in one of the Bay Area’s most distinctive pieces of architecture. That’s right, I’m talking about the former Birkenstock campus in Novato, the jagged-roofed warehouse and office just west of Highway 101.\u003c/p>\n\u003cp>The as-yet unnamed museum, which the institute hopes to open by 2030, will house the Eames Collection, along with large-scale art exhibitions, workshops, educational programming and more. The Eameses, who moved fluidly between the fields of furniture, architecture, graphic design and fine art, were two of the most influential designers of the 20th century. (Have you coveted \u003ca href=\"https://www.eamesoffice.com/product/eames-lounge-chair-and-ottoman/\">this chair\u003c/a>? Charles and Ray Eames designed it.)\u003c/p>\n\u003cp>Eames Institute CEO John Cary said they’ve had their eye on the 88.5-acre Birkenstock campus for quite a while, but it wasn’t on the market until earlier this year. Birkenstock ceased operations at the distribution site in 2019; the property has been vacant since 2020.\u003c/p>\n\u003cp>“When it finally appeared for sale, we were ready and we were excited about it,” Cary tells KQED. “We got to work real fast.” The deal closed yesterday.\u003c/p>\n\u003cfigure id=\"attachment_13979444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000.jpg\" alt=\"photo of boxes on conveyor belts in large factory\" width=\"2000\" height=\"1445\" class=\"size-full wp-image-13979444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Novato-McG-Hill_33_1_2000-1536x1110.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view inside the Novato warehouse in its McGraw-Hill days. \u003ccite>(Courtesy of Eames Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The campus was originally designed for the educational publishers McGraw-Hill in the early 1960s by John Savage Bolles, the modernist architect also responsible for Candlestick Park and the IBM Campus in San José. In the early ’70s, Bolles was part of the team that designed San Francisco’s Embarcadero Plaza.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the big reasons that we’re so interested in that site is its adaptive reuse,” Cary says. “We’re really focused on those existing two buildings and improving them.” The Swiss architecture firm Herzog & de Meuron (responsible for the de Young Museum) will reimagine the campus as a public space.\u003c/p>\n\u003cp>This is key: though the Birkenstock campus is a significant North Bay landmark, only those on official textbook or shoe business have previously had access to the site. “We want buses just lined up in the parking lot outside — or better yet, they take the SMART train or some other mode of transportation,” Cary says.\u003c/p>\n\u003cp>The Eames Institute has been remarkably active since it announced itself publicly in 2022. Its first base of operations was a \u003ca href=\"https://www.eamesinstitute.org/ranch/\">family ranch in Petaluma\u003c/a>, once home to Lucia Eames, daughter of Charles. That property is now undergoing a multi-year renovation.\u003c/p>\n\u003cfigure id=\"attachment_13979441\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000.jpg\" alt=\"people walking around well planted open plaza with vaulted roofline above\" width=\"2000\" height=\"1250\" class=\"size-full wp-image-13979441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Arrival-Court_2000-1536x960.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Herzog & de Meuron’s plans for the arrival court of the refurbished Birkenstock campus. \u003ccite>(Courtesy of Herzog & de Meuron)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The institute purchased \u003ca href=\"https://stoutbooks.com/\">William Stout Architectural Books\u003c/a> from its founder and namesake in 2022, safeguarding the beloved art and design bookstore in San Francisco’s Jackson Square. Last month, the institute purchased the Zurich-based Lars Müller Publishers.\u003c/p>\n\u003cp>In 2024, operations shifted to Richmond, where the Eames archive is now housed and \u003ca href=\"https://www.eamesinstitute.org/visit/\">open to small tour groups\u003c/a>. The Eames Institute looks after over 40,000 objects that came directly from the Eameses and their Venice, California office, including furniture prototypes, ephemera, tools and personal items. While the Library of Congress holds a large amount of 2D material from the Eameses, Cary says, “The family held back a lot of its most significant things — what they call the family jewels — that we ended up being able to acquire.”\u003c/p>\n\u003cp>Online and in-person shows curated from the collection are usually accompanied by a publication. \u003ci>The Last Decade of Furniture Design by Ray and Charles Eames (1968–1978)\u003c/i>, a playfully arranged exhibition of chairs, loungers and objects, is currently on view at the base of the \u003ca href=\"https://transamericapyramid.com/pyramid-arts\">Transamerica Pyramid\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, the Novato museum will display not just the Eames archives, but other prominent design artifacts. Cary emphases that they are and will be a collecting institution. “We’ve got a whole lot of work ahead of us,” he says. “We haven’t yet defined exactly what that is or what that will be, but that’ll be part of the next several years as we’re developing this project.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Country star Shaboozey is scheduled to play a massive all-ages show at San Francisco’s Civic Center on Saturday, Sept. 13, and it’s \u003ca href=\"https://www.empire15.com/\">free to attend with RSVP\u003c/a>.\u003c/p>\n\u003cp>The performance is part of \u003ca href=\"https://www.empire15.com/\">EMPIRE 15\u003c/a>, a 15th anniversary concert for the San Francisco record label \u003ca href=\"https://www.kqed.org/arts/13870578/empire-brought-the-music-industry-back-to-san-francisco\">EMPIRE\u003c/a>, which began as a humble hip-hop distribution service in 2010 and has since grown into the largest privately held label in the United States. Over the past decade and a half, EMPIRE has helped break major acts like Migos, XXXtentacion and Shaboozey, whose inescapable 2024 hit “A Bar Song (Tipsy)” tied with Lil Nas X’s “Old Town Road” as the longest-running No.1 hit of all time with 19 weeks atop the Billboard Hot 100. [aside postid='arts_13870578']\u003c/p>\n\u003cp>Joining Shaboozey on stage at EMPIRE 15 will be Fireboy DML, a Nigerian singer-songwriter who recorded his 2021 Ed Sheeran-featuring hit “Peru” \u003ca href=\"https://www.kqed.org/arts/13920633/finding-musical-gems-in-the-bay-areas-african-club-scene\">at EMPIRE’s San Francisco studio\u003c/a>, expanding the label’s influence in the West African music scene. Red Leather, a country artist from Nevada, is also on the lineup, with more acts to be announced.\u003c/p>\n\u003cfigure id=\"attachment_13933120\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933120\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poolside performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>EMPIRE 15 is sponsored by the San Francisco Recreation and Parks Department and Mayor Daniel Lurie’s office, along with Outside Lands concert producer Another Planet Entertainment and others. Before Shaboozey takes over the Civic Center, disco-pop band Poolside will also play \u003ca href=\"https://laylo.com/poolside/DaytimeDiscoSF\">a free show\u003c/a> supported by the same organizers on Sunday, Sept. 7 at Union Square in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The Sept. 13 performance in honor of record label EMPIRE also features Nigerian hitmaker Fireboy DML.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Country star Shaboozey is scheduled to play a massive all-ages show at San Francisco’s Civic Center on Saturday, Sept. 13, and it’s \u003ca href=\"https://www.empire15.com/\">free to attend with RSVP\u003c/a>.\u003c/p>\n\u003cp>The performance is part of \u003ca href=\"https://www.empire15.com/\">EMPIRE 15\u003c/a>, a 15th anniversary concert for the San Francisco record label \u003ca href=\"https://www.kqed.org/arts/13870578/empire-brought-the-music-industry-back-to-san-francisco\">EMPIRE\u003c/a>, which began as a humble hip-hop distribution service in 2010 and has since grown into the largest privately held label in the United States. Over the past decade and a half, EMPIRE has helped break major acts like Migos, XXXtentacion and Shaboozey, whose inescapable 2024 hit “A Bar Song (Tipsy)” tied with Lil Nas X’s “Old Town Road” as the longest-running No.1 hit of all time with 19 weeks atop the Billboard Hot 100. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Joining Shaboozey on stage at EMPIRE 15 will be Fireboy DML, a Nigerian singer-songwriter who recorded his 2021 Ed Sheeran-featuring hit “Peru” \u003ca href=\"https://www.kqed.org/arts/13920633/finding-musical-gems-in-the-bay-areas-african-club-scene\">at EMPIRE’s San Francisco studio\u003c/a>, expanding the label’s influence in the West African music scene. Red Leather, a country artist from Nevada, is also on the lineup, with more acts to be announced.\u003c/p>\n\u003cfigure id=\"attachment_13933120\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933120\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poolside performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>EMPIRE 15 is sponsored by the San Francisco Recreation and Parks Department and Mayor Daniel Lurie’s office, along with Outside Lands concert producer Another Planet Entertainment and others. Before Shaboozey takes over the Civic Center, disco-pop band Poolside will also play \u003ca href=\"https://laylo.com/poolside/DaytimeDiscoSF\">a free show\u003c/a> supported by the same organizers on Sunday, Sept. 7 at Union Square in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "anticon-history-doseone-jel-sole-alias-clouddead-odd-nosdam-oakland",
"title": "Remembering Anticon and Hip-Hop’s Reckoning With Weirdness",
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"content": "\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, an ongoing KQED series about \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>“While hip-hop was struggling to digest us, \u003ci>music\u003c/i> was accepting us,” said Adam Drucker, the rapper, producer and vocalist also known as Doseone, while telling me about the Anticon collective back in 2023. This was during the height of celebrations for hip-hop’s ostensible 50th anniversary, generating all-star concerts, award-show tributes and, in the Bay Area, \u003ca href=\"https://www.kqed.org/bayareahiphop\">\u003ci>That’s My Word\u003c/i>\u003c/a>, KQED’s ongoing initiative spotlighting the history of local hip-hop.\u003c/p>\n\u003cp>But it also inspired reflections about who’s traditionally considered part of that history, and who is often left out. For Doseone, a founding member of the iconoclastic Anticon collective in Oakland established by Tim “Sole” Holland and James “Pedestrian” Best in 1998, the moment generated complicated feelings.\u003c/p>\n\u003cp>“What you find out sometimes,” he told me, is that “if you make something exactly the way you want it because it’s never been done before, and it’s a little bit of that and a little bit of this, it’s a smaller group of people with a more refined palette [that appreciate it]. It doesn’t mean success. It doesn’t mean being included in lists. It doesn’t mean trophies. But it does \u003ci>exist\u003c/i>.”\u003c/p>\n\u003cfigure id=\"attachment_13979251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13979251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Logan, better known as the hip-hop producer Jel and co-founder of the Anticon label, sits at the mixing board at Wyldwood Studios in Berkeley on July 28, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two years later, that feeling of being underappreciated has subsided. That may be due in part to the critical acclaim Doseone, who now lives in Colorado, has received for \u003ci>All Portrait, No Chorus\u003c/i>, released this year by popular New York label Backwoodz Studioz, making it Dose’s most high-profile album in years. (He’s also a video-game composer for popular games like \u003ci>Enter the Gungeon\u003c/i>.) Or the fact that onetime Anticon producer Jeffrey “Jel” Logan continues to work with a wide range of artists, from M. Sayyid of Antipop Consortium to indie pioneers \u003ca href=\"https://www.kqed.org/arts/13929861/latyrx-lateef-lyrics-born-solesides-quannum\">Latyrx\u003c/a>, all while DJing at local spots like the Berkeley vintage store B League. And last year, producer David “Odd Nosdam” Madson remastered \u003ci>cLOUDDEAD\u003c/i>, his 2001 album with Dose and Yoni “Why?” Wolf, for the San Francisco imprint Superior Viaduct. The collection of tracks, which shift between meandering singsong raps, yearning synth washes, and elliptical, poetic lyrics, have been cited as an inspiration by TV on the Radio and many others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Listening to [Frank Ocean’s alt-R&B masterwork] \u003ci>Blonde\u003c/i>, there’s moments where I’m, like, this somehow feels like the \u003ci>cLOUDDEAD \u003c/i>feeling, the way things are stretched out and collage-y with the ambient parts,” says Odd Nosdam, the Berkeley-based producer whose evocative ambient loops helped define the project.\u003c/p>\n\u003cp>But even if the R&B enigma didn’t mainline \u003ci>cLOUDDEAD\u003c/i> excursions like “Bike” and “I Promise to Never Get Paint on My Glasses Again” before making \u003ci>Blonde\u003c/i>, it’s clear that in the early aughts, Anticon helped innovate a hard-to-define sound, still prominent today, that vacillates between lo-fi electronics, shoegaze-y dynamics, winsome singsong raps, and hip-hop breaks. They anticipated much of current popular music, from the “cloud rap” trend of the early 2010s buoyed by Bay acts like Lil B and Main Attrakionz to a certain incorporation of melody that continues to define modern rap. Perhaps they don’t get as much mainstream credit as others. But their peers have begun to understand Anticon’s singular place in the underground hip-hop canon.\u003c/p>\n\u003cfigure id=\"attachment_13979365\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13979365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">What started as Anticon’s fearless experimentation in underground rap “became so much more that that,” says Doseone, pictured. \u003ccite>(Don Hicks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You listen back to all that music, and there’s still really nothing else like it. It’s really original,” says Zack Kasten, who runs Handsmade Records in Oakland. He’s organizing an Aug. 2 memorial event for Dax Pierson, a musician and longtime friend of Anticon who passed away on Dec. 30, 2024, at the age of 54. Doseone and Jel will perform, as well as Paris-based rapper/producer Sayyid (who once lived in San Jose and worked with SF performance artists Survival Research Laboratories), rising Oakland producer Mars Kumari, and openers Golden Champagne and Flavored Sweatshirt. Proceeds go to Pierson’s life partner, Chuck Nanney.\u003c/p>\n\u003ch2>A cross-country coalescing\n\u003ch2>\n\u003c/h2>\u003c/h2>\u003cp>Anticon began as a Bay Area phenomenon. Its core seven members relocated from other parts of the country like Maine (Sole and Brendon “Alias” Whitney), Los Angeles (The Pedestrian), Cincinnati (Odd Nosdam and Yoni Wolf as well as Doseone, via New Jersey), and Chicago (Jel).\u003c/p>\n\u003cp>Each had a history of being the one white guy in their neighborhood who really got into hip-hop in the late ’80s and early ’90s. They befriended one another as the underground hip-hop scene took shape in the mid- to late-’90s, with the 1997 Scribble Jam festival in Cincinnati – where \u003ca href=\"https://www.youtube.com/watch?v=EgZVZE5USl4\">Doseone competed alongside Eminem\u003c/a> in a now-legendary freestyle battle – as a key event. Doseone, a fan of Bay underground icons like \u003ca href=\"https://www.kqed.org/arts/13968340/saafir-dead-oakland-rapper-dies-at-54\">Saafir\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Del the Funky Homosapien\u003c/a>, recalls sending his material to Lyrics Born for approval; then creating the conspiracy-minded Presage project (1998’s \u003ci>Outer Perimeter\u003c/i>) with Jel and Minneapolis DJ Mr. Dibbs for the San Francisco label Future Primitive Sound.\u003c/p>\n\u003cfigure id=\"attachment_13979366\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363.jpg\" alt=\"\" width=\"2000\" height=\"1483\" class=\"size-full wp-image-13979366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-1536x1139.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yoni Wolf, Odd Nosdam, Sole, Mr. Pennsylvania (of Grand Buffet), Doseone, Passage, Jel and Lord Grunge (of Grand Buffet) in Pittsburgh, sometime in the early 2000s. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The late \u003ca href=\"https://www.kqed.org/arts/13810229/remembering-dj-stef-a-bay-area-underground-hip-hop-icon\">Stephanie “DJ Stef” Ornelas\u003c/a> invited Sole to one of her Vinyl Exchange events in San Francisco. “She showed me an amazing time, and the reception I got through her world was, like, night and day compared to trying to break into the East Coast scene,” he remembered. “I was, like, the Bay is where it’s at. This is where I’m going.” He soon convinced the rest of the group, which had begun expanding with sundry associates like Chris “DJ Mayonnaise” Greer, David “Passage” Bryant, Tommy “Controller 7” McMahon, Rus “Rev. Destructo” Laich and Dave “Moodswing9” Cuzner, to accompany him.\u003c/p>\n\u003cp>The fledgling Anticon camp crammed into a two-and-a-half-bedroom apartment on Lester Avenue in Lake Merritt. “[We] were not rich, man. Everybody was lower middle class. We did not come from shit,” says Dose, remembering how they worked temp jobs while struggling to launch their careers. Later, some of them moved into a warehouse space in West Oakland. They sold CD-Rs on Telegraph Avenue near the UC Berkeley campus, continuing a tradition begun by the Mystik Journeymen, Hobo Junction, and Kemetic Suns crews earlier in the decade. And they founded their own label, Anticon, or “ant icon” — explaining that it stood for anti-conventionalism and anti-conformity. \u003c/p>\n\u003cp>It was during this era when \u003ca href=\"https://www.kqed.org/forum/2010101891144/with-zines-and-mixtapes-writer-hua-hsu-found-identity-friendship-and-consolation\">Hua Hsu\u003c/a>, then a UC Berkeley student and now a Pulitzer Prize-winning staff writer for \u003ci>The New Yorker\u003c/i>, first met the Anticon crew. “In the late nineties or early two-thousands, there were still tons of people hawking tapes and homemade CDs around Telegraph,” Hsu wrote to me via email in 2023. “I started hanging out with Sole and visiting him and the other Anticon guys once they moved into a house together in Oakland. I liked the music, but I was drawn to them more as this collection of oddballs who had somehow found one another.”\u003c/p>\n\u003cfigure id=\"attachment_13979360\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999.jpg\" alt=\"\" width=\"2000\" height=\"1621\" class=\"size-full wp-image-13979360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-1536x1245.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jel, Doseone, Sole, Mayo and Alias at the Anticon warehouse in West Oakland, circa 1999. \u003ccite>(Courtesy Odd Nosdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the collective also generated tension for their sheer industriousness – issuing dozens of recordings a year, including Sole’s 1999 bow \u003ci>Bottle of Humans \u003c/i>and Doseone and Jel’s 2000 pairing \u003ci>Them\u003c/i> (a title inspired by the 1954 horror movie \u003ci>Them!\u003c/i>), all at a time when putting out so much official music was still relatively unusual. Tongue-in-cheek claims by Sole, perhaps the crew’s most visible mouthpiece, that Anticon represented a kind of massive leap in hip-hop artistry rankled detractors. Their breakout national release was the 1999 compilation \u003ci>Music for the Advancement of Hip-Hop\u003c/i>.\u003c/p>\n\u003cp>“For all their intellectualized bravado, I personally found them fundamentally really sweet, more pranksters than trolls,” Hsu observed. Nevertheless, by reacting to a “jiggy” era led by the likes of Sean “Puff Daddy” Combs and Jay-Z, they were typical of countless indie rappers who felt artistically superior to an ethos seemingly defined by the trappings of excessive wealth.\u003c/p>\n\u003cp>“There was a lot of anxiety about success and purity. The idea of DIY success was really prized, and our local heroes were people like \u003ca href=\"https://www.kqed.org/arts/tag/hieroglyphics\">Hiero\u003c/a> and Living Legends, this idea of never compromising and doing everything from the ground up,” Hsu adds. “Even if you weren’t into \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a>, that idea of hustling tapes from a trunk (or on Telegraph) was part of the local DNA.”\u003c/p>\n\u003cfigure id=\"attachment_13979359\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left, Alias, Doseone, Odd Nosdam and Dax Pierson at the 6months Distribution office in Emeryville in 2002. \u003ccite>(Courtesy Odd Nosdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Dax opened us up’\u003c/h2>\n\u003cp>Then there was the fact that Anticon consisted of white transplants that swiftly turned into a briefly dominant local presence, successfully mounting shows at local venues like Slim’s and Bottom of the Hill that, at the time, seemed otherwise averse to booking hip-hop acts. As local weeklies like the \u003ci>San Francisco Bay Guardian \u003c/i>(where I worked for a time) and \u003ci>SF Weekly \u003c/i>as well as \u003ci>Spin \u003c/i>and other national magazines covered their rise, the resulting backlash took on racial overtones. “It’s just ridiculous high school shit to me,” says Jel.\u003c/p>\n\u003cp>Less forgivably, Wolf acknowledges, Anticon was also an all-male crew whose lyrics could be carelessly demeaning of women. They weren’t alone: the underground scene was dominated by men. “It was so sausage-festy, for sure,” said Wolf. “I love each and every one of the dudes. But when you get a bunch of guys together, it’s a lot of testosterone.” \u003c/p>\n\u003cp>But even as Anticon grew alienated from the cloistered yet combative backpacker world, they also found plenty of supporters, and not just the white collegiates that only listened to “conscious” rap. From 1999 to 2000, they held events at Rico’s Loft, a now-shuttered nightclub in San Francisco’s SoMa district. A showcase for the rapidly expanding crew’s talents, it offered an opportunity to book and perform alongside heroes like Myka 9 and P.E.A.C.E. from pioneering Los Angeles group Freestyle Fellowship, and break bread with local acts like Kirby Dominant.\u003c/p>\n\u003cfigure id=\"attachment_13979372\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574.jpg\" alt=\"\" width=\"2000\" height=\"1310\" class=\"size-full wp-image-13979372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-1536x1006.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dax Pierson and Doseone in an undated photo. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there was Dax Pierson, a buyer at Amoeba Records as well as a keyboardist for local bands like Winfred E. Eye. “Dax opened us up, one by one, to all of the other parallel [to Anticon] but completely different forms of music: Boards of Canada, Pinback, Merzbow, Tortoise, Robert Wyatt, This Heat,” says Doseone. “It started to change everyone’s concept of music.” Pierson helped form Subtle, a fusion of melodic rap and electronic music, with Doseone, Jel, Jordan Dalrymple, Marton Dowers and Alex Kort. Subtle eventually signed a major-label deal with Lex Records in the UK for critically acclaimed mid-aughts albums like 2004’s \u003ci>A New White \u003c/i>and 2006’s \u003ci>For Hero : For Fool, \u003c/i>released amid a posthumous surge back home in popularity of Bay Area icon Mac Dre.\u003c/p>\n\u003cp>Anticon’s burgeoning activity undoubtedly felt irrelevant to the average rap fan more interested in hyphy; Anticon’s members found more acceptance within the broader realm of indie music than American rap. The secretive yet revered Scottish electronic duo Boards of Canada were noted fans of cLOUDDEAD, and remixed one of their singles, 2003’s “Dead Dogs Two.” Subtle collaborated with German indie group the Notwist on a 2005 project, 13&God. Yoni Wolf assembled twee electronic pop projects like Hymie’s Basement, a 2003 collaboration with Andrew “Fog” Broder. \u003c/p>\n\u003cp>Meanwhile, as a record label, Anticon proved ahead of its time, yielding an expansive catalogue that encompassed dozens of recordings while challenging and widening notions of what hip-hop can encompass. “Whether it’s Baths, Thee More Shallows, Dosh, Young Fathers, Why?, Sole, or myself, all that stuff started as these underground rap people,” says Doseone. “But it became more than that, and that’s why I think it was significant and important.”\u003c/p>\n\u003cp>“We just got more experimental,” says Jel. “We fit in the ‘weirdness’ section of hip-hop in the Bay.”\u003c/p>\n\u003cfigure id=\"attachment_13979364\" class=\"wp-caption aligncenter\" style=\"max-width: 1081px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon.jpg\" alt=\"\" width=\"1081\" height=\"745\" class=\"size-full wp-image-13979364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon.jpg 1081w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon-768x529.jpg 768w\" sizes=\"auto, (max-width: 1081px) 100vw, 1081px\">\u003cfigcaption class=\"wp-caption-text\">Subtle, with members Alex Kort, Doseone, Jordan Dalrymple, Dax Pierson, Jel and Marty Dowers. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dissolving and dispersing\u003c/h2>\n\u003cp>Today, only Jel and Odd Nosdam still live in the Bay Area. Despite popular Anticon releases by Wolf’s band Why? (2005’s \u003ci>Elephant Eyelash\u003c/i> and 2008’s \u003ci>Alopecia\u003c/i>, in particular) as well as Chicago rapper Serengeti (2011’s \u003ci>Family&Friends\u003c/i>), the record label eventually collapsed in 2018 amid internal acrimony. Sole, whose angst-ridden lyricism and heroic panache once fueled the collective, now lives happily on a farm in Maine while releasing\u003ca href=\"https://www.patreon.com/soleone\"> music via Patreon\u003c/a>. Wolf moved back to Cincinnati and released \u003ci>The Well I Fell Into \u003c/i>last year. The Pedestrian, who once sparked national headlines with his \u003ca href=\"https://eastbayexpress.com/black-like-me-1/\">2003 \u003ci>East Bay Express \u003c/i>cover story on message board-rapper-turned-jihadist John Walker Lindh\u003c/a>, more recently worked as a lecturer at UCLA.\u003c/p>\n\u003cp>Sadly, Brendon “Alias” Whitney passed away in 2018 at the age of 41. Whitney was an uncommonly kind and gentle soul, and the kind of person that could innately make you reflect on the vulnerability and sensitivity of humankind. His best work, like 2002’s \u003ci>The Other Side of the Looking Glass\u003c/i> and 2018’s \u003ci>Less Is Orchestra\u003c/i>, the latter a posthumous collaboration with Doseone, reflected those traits.\u003c/p>\n\u003cp>Last February, Doseone returned to Oakland to help lead a memorial service for Pierson, who \u003ca href=\"https://www.sfgate.com/sf-culture/article/revered-bay-area-musician-dax-pierson-dies-20051711.php\">passed away in 2024\u003c/a> after years of life as a paraplegic. Despite being paralyzed in a 2005 car crash while touring with Subtle, he continued to perform with the band from a wheelchair. In 2021, he released the haunting yet optimistic instrumental electronic album, \u003ci>Nerve Bumps (A Queer Divine Dissatisfaction)\u003c/i>, via San Francisco dance label \u003ca href=\"https://www.kqed.org/arts/13961027/dark-entries-records-15th-anniversary-parties-san-francisco\">Dark Entries\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/ratskin-records\">Ratskin Records\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13979371\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Patrick Scott, Marty Dowers, Jeff “Jel” Logan, Alex Kort, Adam “Doseone” Drucker and Jordan Dalrymple at a memorial for Dax Pierson at Chapel of the Chimes in Oakland in 2025.\u003cbr> \u003ccite>(Lily Hussey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the untimely passing of Pierson as well as Whitney, Doseone – who will be arriving from a Japan tour for this weekend’s memorial concert – can’t help but reflect on how distant those years when Anticon was shaking up the music world feel now. \u003c/p>\n\u003cp>“You really see that the friends you make when you’re a burning ball of gas and young and passionate, if you can keep those friends, man, you just don’t make them again,” he says. \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://grayarea.org/event/dax-pierson-celebration-of-life/\">A Celebration of Life for Dax Pierson\u003c/a>’ features performances by Doseone, M.Sayyid, Jel, Golden Champagne, Flavored Sweatshirt and Mars Kumari on Saturday, Aug. 2, at Gray Area Theater in San Francisco.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, an ongoing KQED series about \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>“While hip-hop was struggling to digest us, \u003ci>music\u003c/i> was accepting us,” said Adam Drucker, the rapper, producer and vocalist also known as Doseone, while telling me about the Anticon collective back in 2023. This was during the height of celebrations for hip-hop’s ostensible 50th anniversary, generating all-star concerts, award-show tributes and, in the Bay Area, \u003ca href=\"https://www.kqed.org/bayareahiphop\">\u003ci>That’s My Word\u003c/i>\u003c/a>, KQED’s ongoing initiative spotlighting the history of local hip-hop.\u003c/p>\n\u003cp>But it also inspired reflections about who’s traditionally considered part of that history, and who is often left out. For Doseone, a founding member of the iconoclastic Anticon collective in Oakland established by Tim “Sole” Holland and James “Pedestrian” Best in 1998, the moment generated complicated feelings.\u003c/p>\n\u003cp>“What you find out sometimes,” he told me, is that “if you make something exactly the way you want it because it’s never been done before, and it’s a little bit of that and a little bit of this, it’s a smaller group of people with a more refined palette [that appreciate it]. It doesn’t mean success. It doesn’t mean being included in lists. It doesn’t mean trophies. But it does \u003ci>exist\u003c/i>.”\u003c/p>\n\u003cfigure id=\"attachment_13979251\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13979251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250728-JELPRODUCERANTICON-05-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Logan, better known as the hip-hop producer Jel and co-founder of the Anticon label, sits at the mixing board at Wyldwood Studios in Berkeley on July 28, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two years later, that feeling of being underappreciated has subsided. That may be due in part to the critical acclaim Doseone, who now lives in Colorado, has received for \u003ci>All Portrait, No Chorus\u003c/i>, released this year by popular New York label Backwoodz Studioz, making it Dose’s most high-profile album in years. (He’s also a video-game composer for popular games like \u003ci>Enter the Gungeon\u003c/i>.) Or the fact that onetime Anticon producer Jeffrey “Jel” Logan continues to work with a wide range of artists, from M. Sayyid of Antipop Consortium to indie pioneers \u003ca href=\"https://www.kqed.org/arts/13929861/latyrx-lateef-lyrics-born-solesides-quannum\">Latyrx\u003c/a>, all while DJing at local spots like the Berkeley vintage store B League. And last year, producer David “Odd Nosdam” Madson remastered \u003ci>cLOUDDEAD\u003c/i>, his 2001 album with Dose and Yoni “Why?” Wolf, for the San Francisco imprint Superior Viaduct. The collection of tracks, which shift between meandering singsong raps, yearning synth washes, and elliptical, poetic lyrics, have been cited as an inspiration by TV on the Radio and many others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Listening to [Frank Ocean’s alt-R&B masterwork] \u003ci>Blonde\u003c/i>, there’s moments where I’m, like, this somehow feels like the \u003ci>cLOUDDEAD \u003c/i>feeling, the way things are stretched out and collage-y with the ambient parts,” says Odd Nosdam, the Berkeley-based producer whose evocative ambient loops helped define the project.\u003c/p>\n\u003cp>But even if the R&B enigma didn’t mainline \u003ci>cLOUDDEAD\u003c/i> excursions like “Bike” and “I Promise to Never Get Paint on My Glasses Again” before making \u003ci>Blonde\u003c/i>, it’s clear that in the early aughts, Anticon helped innovate a hard-to-define sound, still prominent today, that vacillates between lo-fi electronics, shoegaze-y dynamics, winsome singsong raps, and hip-hop breaks. They anticipated much of current popular music, from the “cloud rap” trend of the early 2010s buoyed by Bay acts like Lil B and Main Attrakionz to a certain incorporation of melody that continues to define modern rap. Perhaps they don’t get as much mainstream credit as others. But their peers have begun to understand Anticon’s singular place in the underground hip-hop canon.\u003c/p>\n\u003cfigure id=\"attachment_13979365\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13979365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/DoseOne_soundwave_2-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">What started as Anticon’s fearless experimentation in underground rap “became so much more that that,” says Doseone, pictured. \u003ccite>(Don Hicks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You listen back to all that music, and there’s still really nothing else like it. It’s really original,” says Zack Kasten, who runs Handsmade Records in Oakland. He’s organizing an Aug. 2 memorial event for Dax Pierson, a musician and longtime friend of Anticon who passed away on Dec. 30, 2024, at the age of 54. Doseone and Jel will perform, as well as Paris-based rapper/producer Sayyid (who once lived in San Jose and worked with SF performance artists Survival Research Laboratories), rising Oakland producer Mars Kumari, and openers Golden Champagne and Flavored Sweatshirt. Proceeds go to Pierson’s life partner, Chuck Nanney.\u003c/p>\n\u003ch2>A cross-country coalescing\n\u003ch2>\n\u003c/h2>\u003c/h2>\u003cp>Anticon began as a Bay Area phenomenon. Its core seven members relocated from other parts of the country like Maine (Sole and Brendon “Alias” Whitney), Los Angeles (The Pedestrian), Cincinnati (Odd Nosdam and Yoni Wolf as well as Doseone, via New Jersey), and Chicago (Jel).\u003c/p>\n\u003cp>Each had a history of being the one white guy in their neighborhood who really got into hip-hop in the late ’80s and early ’90s. They befriended one another as the underground hip-hop scene took shape in the mid- to late-’90s, with the 1997 Scribble Jam festival in Cincinnati – where \u003ca href=\"https://www.youtube.com/watch?v=EgZVZE5USl4\">Doseone competed alongside Eminem\u003c/a> in a now-legendary freestyle battle – as a key event. Doseone, a fan of Bay underground icons like \u003ca href=\"https://www.kqed.org/arts/13968340/saafir-dead-oakland-rapper-dies-at-54\">Saafir\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Del the Funky Homosapien\u003c/a>, recalls sending his material to Lyrics Born for approval; then creating the conspiracy-minded Presage project (1998’s \u003ci>Outer Perimeter\u003c/i>) with Jel and Minneapolis DJ Mr. Dibbs for the San Francisco label Future Primitive Sound.\u003c/p>\n\u003cfigure id=\"attachment_13979366\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363.jpg\" alt=\"\" width=\"2000\" height=\"1483\" class=\"size-full wp-image-13979366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1363-1536x1139.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yoni Wolf, Odd Nosdam, Sole, Mr. Pennsylvania (of Grand Buffet), Doseone, Passage, Jel and Lord Grunge (of Grand Buffet) in Pittsburgh, sometime in the early 2000s. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The late \u003ca href=\"https://www.kqed.org/arts/13810229/remembering-dj-stef-a-bay-area-underground-hip-hop-icon\">Stephanie “DJ Stef” Ornelas\u003c/a> invited Sole to one of her Vinyl Exchange events in San Francisco. “She showed me an amazing time, and the reception I got through her world was, like, night and day compared to trying to break into the East Coast scene,” he remembered. “I was, like, the Bay is where it’s at. This is where I’m going.” He soon convinced the rest of the group, which had begun expanding with sundry associates like Chris “DJ Mayonnaise” Greer, David “Passage” Bryant, Tommy “Controller 7” McMahon, Rus “Rev. Destructo” Laich and Dave “Moodswing9” Cuzner, to accompany him.\u003c/p>\n\u003cp>The fledgling Anticon camp crammed into a two-and-a-half-bedroom apartment on Lester Avenue in Lake Merritt. “[We] were not rich, man. Everybody was lower middle class. We did not come from shit,” says Dose, remembering how they worked temp jobs while struggling to launch their careers. Later, some of them moved into a warehouse space in West Oakland. They sold CD-Rs on Telegraph Avenue near the UC Berkeley campus, continuing a tradition begun by the Mystik Journeymen, Hobo Junction, and Kemetic Suns crews earlier in the decade. And they founded their own label, Anticon, or “ant icon” — explaining that it stood for anti-conventionalism and anti-conformity. \u003c/p>\n\u003cp>It was during this era when \u003ca href=\"https://www.kqed.org/forum/2010101891144/with-zines-and-mixtapes-writer-hua-hsu-found-identity-friendship-and-consolation\">Hua Hsu\u003c/a>, then a UC Berkeley student and now a Pulitzer Prize-winning staff writer for \u003ci>The New Yorker\u003c/i>, first met the Anticon crew. “In the late nineties or early two-thousands, there were still tons of people hawking tapes and homemade CDs around Telegraph,” Hsu wrote to me via email in 2023. “I started hanging out with Sole and visiting him and the other Anticon guys once they moved into a house together in Oakland. I liked the music, but I was drawn to them more as this collection of oddballs who had somehow found one another.”\u003c/p>\n\u003cfigure id=\"attachment_13979360\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999.jpg\" alt=\"\" width=\"2000\" height=\"1621\" class=\"size-full wp-image-13979360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-768x622.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LtoR-Jel-Doseone-Sole-Mayo-Alias-Anticon-Warehouse-Oakland-1999-1536x1245.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jel, Doseone, Sole, Mayo and Alias at the Anticon warehouse in West Oakland, circa 1999. \u003ccite>(Courtesy Odd Nosdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the collective also generated tension for their sheer industriousness – issuing dozens of recordings a year, including Sole’s 1999 bow \u003ci>Bottle of Humans \u003c/i>and Doseone and Jel’s 2000 pairing \u003ci>Them\u003c/i> (a title inspired by the 1954 horror movie \u003ci>Them!\u003c/i>), all at a time when putting out so much official music was still relatively unusual. Tongue-in-cheek claims by Sole, perhaps the crew’s most visible mouthpiece, that Anticon represented a kind of massive leap in hip-hop artistry rankled detractors. Their breakout national release was the 1999 compilation \u003ci>Music for the Advancement of Hip-Hop\u003c/i>.\u003c/p>\n\u003cp>“For all their intellectualized bravado, I personally found them fundamentally really sweet, more pranksters than trolls,” Hsu observed. Nevertheless, by reacting to a “jiggy” era led by the likes of Sean “Puff Daddy” Combs and Jay-Z, they were typical of countless indie rappers who felt artistically superior to an ethos seemingly defined by the trappings of excessive wealth.\u003c/p>\n\u003cp>“There was a lot of anxiety about success and purity. The idea of DIY success was really prized, and our local heroes were people like \u003ca href=\"https://www.kqed.org/arts/tag/hieroglyphics\">Hiero\u003c/a> and Living Legends, this idea of never compromising and doing everything from the ground up,” Hsu adds. “Even if you weren’t into \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/e-40\">E-40\u003c/a>, that idea of hustling tapes from a trunk (or on Telegraph) was part of the local DNA.”\u003c/p>\n\u003cfigure id=\"attachment_13979359\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Brenden-Adam-Dax-David-Anticon6months-Office-Emeryville-2002-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left, Alias, Doseone, Odd Nosdam and Dax Pierson at the 6months Distribution office in Emeryville in 2002. \u003ccite>(Courtesy Odd Nosdam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Dax opened us up’\u003c/h2>\n\u003cp>Then there was the fact that Anticon consisted of white transplants that swiftly turned into a briefly dominant local presence, successfully mounting shows at local venues like Slim’s and Bottom of the Hill that, at the time, seemed otherwise averse to booking hip-hop acts. As local weeklies like the \u003ci>San Francisco Bay Guardian \u003c/i>(where I worked for a time) and \u003ci>SF Weekly \u003c/i>as well as \u003ci>Spin \u003c/i>and other national magazines covered their rise, the resulting backlash took on racial overtones. “It’s just ridiculous high school shit to me,” says Jel.\u003c/p>\n\u003cp>Less forgivably, Wolf acknowledges, Anticon was also an all-male crew whose lyrics could be carelessly demeaning of women. They weren’t alone: the underground scene was dominated by men. “It was so sausage-festy, for sure,” said Wolf. “I love each and every one of the dudes. But when you get a bunch of guys together, it’s a lot of testosterone.” \u003c/p>\n\u003cp>But even as Anticon grew alienated from the cloistered yet combative backpacker world, they also found plenty of supporters, and not just the white collegiates that only listened to “conscious” rap. From 1999 to 2000, they held events at Rico’s Loft, a now-shuttered nightclub in San Francisco’s SoMa district. A showcase for the rapidly expanding crew’s talents, it offered an opportunity to book and perform alongside heroes like Myka 9 and P.E.A.C.E. from pioneering Los Angeles group Freestyle Fellowship, and break bread with local acts like Kirby Dominant.\u003c/p>\n\u003cfigure id=\"attachment_13979372\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574.jpg\" alt=\"\" width=\"2000\" height=\"1310\" class=\"size-full wp-image-13979372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_3574-1536x1006.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dax Pierson and Doseone in an undated photo. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there was Dax Pierson, a buyer at Amoeba Records as well as a keyboardist for local bands like Winfred E. Eye. “Dax opened us up, one by one, to all of the other parallel [to Anticon] but completely different forms of music: Boards of Canada, Pinback, Merzbow, Tortoise, Robert Wyatt, This Heat,” says Doseone. “It started to change everyone’s concept of music.” Pierson helped form Subtle, a fusion of melodic rap and electronic music, with Doseone, Jel, Jordan Dalrymple, Marton Dowers and Alex Kort. Subtle eventually signed a major-label deal with Lex Records in the UK for critically acclaimed mid-aughts albums like 2004’s \u003ci>A New White \u003c/i>and 2006’s \u003ci>For Hero : For Fool, \u003c/i>released amid a posthumous surge back home in popularity of Bay Area icon Mac Dre.\u003c/p>\n\u003cp>Anticon’s burgeoning activity undoubtedly felt irrelevant to the average rap fan more interested in hyphy; Anticon’s members found more acceptance within the broader realm of indie music than American rap. The secretive yet revered Scottish electronic duo Boards of Canada were noted fans of cLOUDDEAD, and remixed one of their singles, 2003’s “Dead Dogs Two.” Subtle collaborated with German indie group the Notwist on a 2005 project, 13&God. Yoni Wolf assembled twee electronic pop projects like Hymie’s Basement, a 2003 collaboration with Andrew “Fog” Broder. \u003c/p>\n\u003cp>Meanwhile, as a record label, Anticon proved ahead of its time, yielding an expansive catalogue that encompassed dozens of recordings while challenging and widening notions of what hip-hop can encompass. “Whether it’s Baths, Thee More Shallows, Dosh, Young Fathers, Why?, Sole, or myself, all that stuff started as these underground rap people,” says Doseone. “But it became more than that, and that’s why I think it was significant and important.”\u003c/p>\n\u003cp>“We just got more experimental,” says Jel. “We fit in the ‘weirdness’ section of hip-hop in the Bay.”\u003c/p>\n\u003cfigure id=\"attachment_13979364\" class=\"wp-caption aligncenter\" style=\"max-width: 1081px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon.jpg\" alt=\"\" width=\"1081\" height=\"745\" class=\"size-full wp-image-13979364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon.jpg 1081w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Dax.Center.Anticon-768x529.jpg 768w\" sizes=\"auto, (max-width: 1081px) 100vw, 1081px\">\u003cfigcaption class=\"wp-caption-text\">Subtle, with members Alex Kort, Doseone, Jordan Dalrymple, Dax Pierson, Jel and Marty Dowers. \u003ccite>(Courtesy Doseone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dissolving and dispersing\u003c/h2>\n\u003cp>Today, only Jel and Odd Nosdam still live in the Bay Area. Despite popular Anticon releases by Wolf’s band Why? (2005’s \u003ci>Elephant Eyelash\u003c/i> and 2008’s \u003ci>Alopecia\u003c/i>, in particular) as well as Chicago rapper Serengeti (2011’s \u003ci>Family&Friends\u003c/i>), the record label eventually collapsed in 2018 amid internal acrimony. Sole, whose angst-ridden lyricism and heroic panache once fueled the collective, now lives happily on a farm in Maine while releasing\u003ca href=\"https://www.patreon.com/soleone\"> music via Patreon\u003c/a>. Wolf moved back to Cincinnati and released \u003ci>The Well I Fell Into \u003c/i>last year. The Pedestrian, who once sparked national headlines with his \u003ca href=\"https://eastbayexpress.com/black-like-me-1/\">2003 \u003ci>East Bay Express \u003c/i>cover story on message board-rapper-turned-jihadist John Walker Lindh\u003c/a>, more recently worked as a lecturer at UCLA.\u003c/p>\n\u003cp>Sadly, Brendon “Alias” Whitney passed away in 2018 at the age of 41. Whitney was an uncommonly kind and gentle soul, and the kind of person that could innately make you reflect on the vulnerability and sensitivity of humankind. His best work, like 2002’s \u003ci>The Other Side of the Looking Glass\u003c/i> and 2018’s \u003ci>Less Is Orchestra\u003c/i>, the latter a posthumous collaboration with Doseone, reflected those traits.\u003c/p>\n\u003cp>Last February, Doseone returned to Oakland to help lead a memorial service for Pierson, who \u003ca href=\"https://www.sfgate.com/sf-culture/article/revered-bay-area-musician-dax-pierson-dies-20051711.php\">passed away in 2024\u003c/a> after years of life as a paraplegic. Despite being paralyzed in a 2005 car crash while touring with Subtle, he continued to perform with the band from a wheelchair. In 2021, he released the haunting yet optimistic instrumental electronic album, \u003ci>Nerve Bumps (A Queer Divine Dissatisfaction)\u003c/i>, via San Francisco dance label \u003ca href=\"https://www.kqed.org/arts/13961027/dark-entries-records-15th-anniversary-parties-san-francisco\">Dark Entries\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/ratskin-records\">Ratskin Records\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13979371\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937.jpg\" alt=\"\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13979371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/IMG_1937-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Patrick Scott, Marty Dowers, Jeff “Jel” Logan, Alex Kort, Adam “Doseone” Drucker and Jordan Dalrymple at a memorial for Dax Pierson at Chapel of the Chimes in Oakland in 2025.\u003cbr> \u003ccite>(Lily Hussey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the untimely passing of Pierson as well as Whitney, Doseone – who will be arriving from a Japan tour for this weekend’s memorial concert – can’t help but reflect on how distant those years when Anticon was shaking up the music world feel now. \u003c/p>\n\u003cp>“You really see that the friends you make when you’re a burning ball of gas and young and passionate, if you can keep those friends, man, you just don’t make them again,” he says. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://grayarea.org/event/dax-pierson-celebration-of-life/\">A Celebration of Life for Dax Pierson\u003c/a>’ features performances by Doseone, M.Sayyid, Jel, Golden Champagne, Flavored Sweatshirt and Mars Kumari on Saturday, Aug. 2, at Gray Area Theater in San Francisco.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dolores-huerta-cesar-chavez-larry-itliong-opera-oakland",
"title": "A New Dolores Huerta Opera Brings a Labor Struggle to the Stage",
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"headTitle": "A New Dolores Huerta Opera Brings a Labor Struggle to the Stage | KQED",
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"content": "\u003cp>A landmark labor struggle might seem like difficult terrain to explore in an opera, but Long Beach-based composer \u003ca href=\"https://nicolasbenavides.com/\">Nicolás Lell Benavides\u003c/a> knew that he had a riveting tale to tell in \u003cem>Dolores\u003c/em>.\u003c/p>\n\u003cp>Working with librettist \u003ca href=\"https://www.marellamartinkoch.com/about\">Marella Martin Koch\u003c/a>, he decided to focus on the roiling events of 1968, a year of dread and calamity from Prague and Paris to Mexico City and Memphis. It was also the third year of the grinding United Farm Workers strike led by Dolores Huerta, César Chavez and Larry Itliong, which gave birth to an international boycott of California-grown grapes.\u003c/p>\n\u003cp>\u003cem>Dolores\u003c/em> covers the months between Senator Robert F. Kennedy’s embrace of the farmworker cause in his campaign for the Democratic presidential nomination and the devastating aftermath of his assassination at the Ambassador Hotel. Huerta, who had helped turned out Latino and Asian American voters for him, stood by Kennedy’s side during his victory speech.\u003c/p>\n\u003cp>“I think there are a dozen operas about Dolores’ life that one could do, but I wanted people to focus and invest in one event and what it feels like to overcome what has to be to be one of the highest and lowest moments,” said Benavides in a recent conversation at Oakland’s Scottish Rite Center, where West Edge Opera \u003ca href=\"https://www.westedgeopera.org/dolores25\">presents the world premiere of \u003cem>Dolores\u003c/em>\u003c/a> on Aug. 2, 10 and 16.\u003c/p>\n\u003cfigure id=\"attachment_13979213\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-2000x1368.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-160x109.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-768x525.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-1536x1050.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-2048x1400.jpeg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dolores Huerta and César Chavez. \u003ccite>(Ted Streshinsky/Bancroft Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joining the conversation via video call, Huerta talked about the painstaking parallels between creating an opera from the ground up and building a movement. “When you think about that, you have to put people together not one by one, but one by four or five or six or seven,” said the 95-year-old activist. “You have to get small groupings of people so that you can inject into them the understanding they have the power to change things. Because people don’t believe that they do. Especially when you have conditions so entrenched like with the farm workers.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Starring Peruvian American mezzo-soprano Kelly Guerra as Huerta, bass-baritone Phillip Lopez as Chavez, Filipino American baritone Rolfe Dauz as Itliong and tenor Alex Boyer as Kennedy, \u003cem>Dolores\u003c/em> is already booked for the San Diego Opera, the Broad Stage in Santa Monica and Albuquerque’s Southwest Opera. Benavides isn’t surprised at the unusual interest in the new work.\u003c/p>\n\u003cfigure id=\"attachment_13979214\" class=\"wp-caption aligncenter\" style=\"max-width: 1774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979214\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-scaled.jpeg\" alt=\"\" width=\"1774\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-scaled.jpeg 1774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-2000x2885.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-160x231.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-768x1108.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-1065x1536.jpeg 1065w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-1420x2048.jpeg 1420w\" sizes=\"auto, (max-width: 1774px) 100vw, 1774px\">\u003cfigcaption class=\"wp-caption-text\">Larry Itliong and Dolores Huerta. \u003ccite>(Ted Streshinsky/Bancroft Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was obsessed with this moment even before I became a composer,” he said, noting that he’s related to Huerta through his father, and that he spent a fair amount of time around her at family reunions in El Paso and Albuquerque while growing up. “She’s super family oriented and was always interested in talking with kids. Later, as I learned about Chicano history and civil rights and read about this moment, I thought anyone would have PTSD after that. Yet here she was so charming, smiling and telling stories.”\u003c/p>\n\u003cp>A Guggenheim Fellow whose previous operas with Koch include 2019’s acclaimed Washington National Opera production \u003cem>Pepito\u003c/em> and the NEA-supported \u003cem>Tres minutos\u003c/em>, which premiered at the Presidio Theatre in 2022, Benavides has long thought about writing an opera focused on Huerta.\u003c/p>\n\u003cp>When \u003ca href=\"https://www.aperture.westedgeopera.org/\">West Edge Opera’s Aperture\u003c/a> program tapped him for its first full-length commission, the pieces began falling into place. The creative team includes Tulare County-raised conductor and music director Mary Chun, who also leads the San Francisco new-music \u003ca href=\"https://www.earplay.org/\">chamber ensemble EarPlay\u003c/a>; director Octavio Cardenas; and all the vocalists he most wanted cast.\u003c/p>\n\u003cp>“It’s very unusual for a composer to have that level of involvement,” Benavides said. “Everything fell into place at once, so it happened very slowly and then very quickly.”\u003c/p>\n\u003cfigure id=\"attachment_13979216\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979216\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/dolores-composite.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/dolores-composite.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/dolores-composite-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/dolores-composite-768x512.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Left: Kelly Guerra stars as Dolores Huerta in ‘Dolores’ at West Edge Opera. Right: Dolores Huerta during the Delano grape strike of 1965. \u003ccite>(Left: Cory Weaver/Right: Harvey Richards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Huerta, a life-long music lover, vividly recalls a banner weekend commuting from Washington D.C. to New York City to catch four productions at the Metropolitan Opera in between lobbying for the \u003ca href=\"https://www.npr.org/2010/07/04/128303672/a-reagan-legacy-amnesty-for-illegal-immigrants\">1986 immigration reform act\u003c/a>. In her view, \u003cem>Dolores\u003c/em> arrives at a particularly propitious moment.\u003c/p>\n\u003cp>With masked ICE agents rounding up undocumented farm laborers, “I think we’re in such a desperate situation, with one set of bad news after another,” she reflected. “I think people are kind of in shock right now, saying what do we do next? The opera will be a source of inspiration.” [aside postid='arts_13979104']\u003c/p>\n\u003cp>Benavides’ stylistically polyglot score draws on his full spectrum of influences, with electric guitar and saxophone included in the chamber ensemble “to give it some edge,” he said. “This piece runs the gamut, pulling out every stop. Sometimes the singing is operatic and sometimes more music theater. I grew up playing rancheras and corridos, so you hear that too. But also Gregorian plainchant, Viennese waltz and minimalism, a pulse that drives and organizes the music. Everything I’ve ever touched has entered this opera.”\u003c/p>\n\u003cp>The score amplifies the uncertainty and debate that took place among the three labor leaders as they navigated the rapidly shifting political landscape. Huerta notes that while she and Chavez were steeped in Gandhian organizing principles, Itliong was a labor contractor whose embrace of the union meant giving up power. While opera by nature creates larger-than-life characters Benavides leans into their disagreements and clashes, seeking to take them off their pedestals.\u003c/p>\n\u003cp>“A lot of historical figures, Dolores included, become deified in a bad way,” he said. “We think they’re here to save us, to do all the work for us. But really, I want people to realize we’re here to do the work ourselves. Those disagreements are good drama, but the more we read and researched we wanted to show that people could disagree and then make a plan and move forward and execute it. We thought that was a really powerful way for people to see themselves in Dolores and Cesar and Larry.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Dolores’ premieres at West Edge Opera at the Oakland Scottish Rite Center on Aug. 2, 16 and 22. \u003ca href=\"https://www.westedgeopera.org/dolores25\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "New Opera ‘Dolores’ Brings the Labor Struggle to the Stage | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A landmark labor struggle might seem like difficult terrain to explore in an opera, but Long Beach-based composer \u003ca href=\"https://nicolasbenavides.com/\">Nicolás Lell Benavides\u003c/a> knew that he had a riveting tale to tell in \u003cem>Dolores\u003c/em>.\u003c/p>\n\u003cp>Working with librettist \u003ca href=\"https://www.marellamartinkoch.com/about\">Marella Martin Koch\u003c/a>, he decided to focus on the roiling events of 1968, a year of dread and calamity from Prague and Paris to Mexico City and Memphis. It was also the third year of the grinding United Farm Workers strike led by Dolores Huerta, César Chavez and Larry Itliong, which gave birth to an international boycott of California-grown grapes.\u003c/p>\n\u003cp>\u003cem>Dolores\u003c/em> covers the months between Senator Robert F. Kennedy’s embrace of the farmworker cause in his campaign for the Democratic presidential nomination and the devastating aftermath of his assassination at the Ambassador Hotel. Huerta, who had helped turned out Latino and Asian American voters for him, stood by Kennedy’s side during his victory speech.\u003c/p>\n\u003cp>“I think there are a dozen operas about Dolores’ life that one could do, but I wanted people to focus and invest in one event and what it feels like to overcome what has to be to be one of the highest and lowest moments,” said Benavides in a recent conversation at Oakland’s Scottish Rite Center, where West Edge Opera \u003ca href=\"https://www.westedgeopera.org/dolores25\">presents the world premiere of \u003cem>Dolores\u003c/em>\u003c/a> on Aug. 2, 10 and 16.\u003c/p>\n\u003cfigure id=\"attachment_13979213\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-scaled.jpeg\" alt=\"\" width=\"2560\" height=\"1751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-2000x1368.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-160x109.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-768x525.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-1536x1050.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/3-Dolores_Cesar-2-2048x1400.jpeg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dolores Huerta and César Chavez. \u003ccite>(Ted Streshinsky/Bancroft Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joining the conversation via video call, Huerta talked about the painstaking parallels between creating an opera from the ground up and building a movement. “When you think about that, you have to put people together not one by one, but one by four or five or six or seven,” said the 95-year-old activist. “You have to get small groupings of people so that you can inject into them the understanding they have the power to change things. Because people don’t believe that they do. Especially when you have conditions so entrenched like with the farm workers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Starring Peruvian American mezzo-soprano Kelly Guerra as Huerta, bass-baritone Phillip Lopez as Chavez, Filipino American baritone Rolfe Dauz as Itliong and tenor Alex Boyer as Kennedy, \u003cem>Dolores\u003c/em> is already booked for the San Diego Opera, the Broad Stage in Santa Monica and Albuquerque’s Southwest Opera. Benavides isn’t surprised at the unusual interest in the new work.\u003c/p>\n\u003cfigure id=\"attachment_13979214\" class=\"wp-caption aligncenter\" style=\"max-width: 1774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979214\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-scaled.jpeg\" alt=\"\" width=\"1774\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-scaled.jpeg 1774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-2000x2885.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-160x231.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-768x1108.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-1065x1536.jpeg 1065w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/7-Dolores-Larry-1420x2048.jpeg 1420w\" sizes=\"auto, (max-width: 1774px) 100vw, 1774px\">\u003cfigcaption class=\"wp-caption-text\">Larry Itliong and Dolores Huerta. \u003ccite>(Ted Streshinsky/Bancroft Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was obsessed with this moment even before I became a composer,” he said, noting that he’s related to Huerta through his father, and that he spent a fair amount of time around her at family reunions in El Paso and Albuquerque while growing up. “She’s super family oriented and was always interested in talking with kids. Later, as I learned about Chicano history and civil rights and read about this moment, I thought anyone would have PTSD after that. Yet here she was so charming, smiling and telling stories.”\u003c/p>\n\u003cp>A Guggenheim Fellow whose previous operas with Koch include 2019’s acclaimed Washington National Opera production \u003cem>Pepito\u003c/em> and the NEA-supported \u003cem>Tres minutos\u003c/em>, which premiered at the Presidio Theatre in 2022, Benavides has long thought about writing an opera focused on Huerta.\u003c/p>\n\u003cp>When \u003ca href=\"https://www.aperture.westedgeopera.org/\">West Edge Opera’s Aperture\u003c/a> program tapped him for its first full-length commission, the pieces began falling into place. The creative team includes Tulare County-raised conductor and music director Mary Chun, who also leads the San Francisco new-music \u003ca href=\"https://www.earplay.org/\">chamber ensemble EarPlay\u003c/a>; director Octavio Cardenas; and all the vocalists he most wanted cast.\u003c/p>\n\u003cp>“It’s very unusual for a composer to have that level of involvement,” Benavides said. “Everything fell into place at once, so it happened very slowly and then very quickly.”\u003c/p>\n\u003cfigure id=\"attachment_13979216\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979216\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/dolores-composite.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/dolores-composite.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/dolores-composite-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/dolores-composite-768x512.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Left: Kelly Guerra stars as Dolores Huerta in ‘Dolores’ at West Edge Opera. Right: Dolores Huerta during the Delano grape strike of 1965. \u003ccite>(Left: Cory Weaver/Right: Harvey Richards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Huerta, a life-long music lover, vividly recalls a banner weekend commuting from Washington D.C. to New York City to catch four productions at the Metropolitan Opera in between lobbying for the \u003ca href=\"https://www.npr.org/2010/07/04/128303672/a-reagan-legacy-amnesty-for-illegal-immigrants\">1986 immigration reform act\u003c/a>. In her view, \u003cem>Dolores\u003c/em> arrives at a particularly propitious moment.\u003c/p>\n\u003cp>With masked ICE agents rounding up undocumented farm laborers, “I think we’re in such a desperate situation, with one set of bad news after another,” she reflected. “I think people are kind of in shock right now, saying what do we do next? The opera will be a source of inspiration.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Benavides’ stylistically polyglot score draws on his full spectrum of influences, with electric guitar and saxophone included in the chamber ensemble “to give it some edge,” he said. “This piece runs the gamut, pulling out every stop. Sometimes the singing is operatic and sometimes more music theater. I grew up playing rancheras and corridos, so you hear that too. But also Gregorian plainchant, Viennese waltz and minimalism, a pulse that drives and organizes the music. Everything I’ve ever touched has entered this opera.”\u003c/p>\n\u003cp>The score amplifies the uncertainty and debate that took place among the three labor leaders as they navigated the rapidly shifting political landscape. Huerta notes that while she and Chavez were steeped in Gandhian organizing principles, Itliong was a labor contractor whose embrace of the union meant giving up power. While opera by nature creates larger-than-life characters Benavides leans into their disagreements and clashes, seeking to take them off their pedestals.\u003c/p>\n\u003cp>“A lot of historical figures, Dolores included, become deified in a bad way,” he said. “We think they’re here to save us, to do all the work for us. But really, I want people to realize we’re here to do the work ourselves. Those disagreements are good drama, but the more we read and researched we wanted to show that people could disagree and then make a plan and move forward and execute it. We thought that was a really powerful way for people to see themselves in Dolores and Cesar and Larry.”\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>‘Dolores’ premieres at West Edge Opera at the Oakland Scottish Rite Center on Aug. 2, 16 and 22. \u003ca href=\"https://www.westedgeopera.org/dolores25\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "oasis-closing-drag-club-san-francisco-lgbtq-shutting-down-closed",
"title": "Oasis, SF’s Iconic Drag Club, Will Close Down at the End of the Year",
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"content": "\u003cp>Oasis, a top destination for drag performances and queer entertainment in San Francisco, will shut its doors for good on Jan. 1, 2026, citing financial strain.\u003c/p>\n\u003cp>Co-founders D’Arcy Drollinger and Heklina opened Oasis on New Year’s Eve in 2014. In an interview, Drollinger, who is San Francisco’s first Drag Laureate, blamed decreased post-pandemic attendance along with rising insurance and security costs for the closure.\u003c/p>\n\u003cp>“Right out of the pandemic, we saw a quick surge where we got excited to go back out, but then little by little people got real used to going back to staying at home and ordering DoorDash and watching TV,” said Drollinger. “And then people started drinking less.”\u003c/p>\n\u003cfigure id=\"attachment_13955737\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-Beyonce%CC%81Fans-JY-050_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bionka Simone performs Beyoncé’s ‘Texas Hold ‘Em’ at Oasis in San Francisco on Saturday, April 6, 2024. The show drew a sold-out crowd of drag fans and members of the Beyhive as an all-Black cast celebrated the release of Beyoncé’s new album, ‘Cowboy Carter.’ \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the club has diehard supporters, with many of its nights well attended, Drollinger said Oasis’ profit margins are so thin that the venue needs to be at 90% capacity every night to be sustainable.\u003c/p>\n\u003cp>“When we weren’t making enough money, I had to start dipping into my retirement,” Drollinger said. “And then when that ran out, I’m like, ‘What am I doing?’ Now I’m in a situation where I can’t float it any longer.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oasis is the only venue of its size in the country created for and by drag artists. Its stage has hosted high-profile acts such as \u003cem>RuPaul’s Drag Race\u003c/em> winners Nymphia Wind and Sasha Colby at its popular Saturday night party, Princess. The nightclub’s competitive events, including the \u003ca href=\"https://www.kqed.org/arts/13970352/high-princx-pageant-drag-competition-san-francisco-2024\">High Princx Pageant\u003c/a> and the San Francisco Drag King Contest, provide a proving ground for new talent. Jane Fonda and Cher have both graced Oasis’ stage, and queer celebrities like Lil Nas X have made appearances at the club.\u003c/p>\n\u003cfigure id=\"attachment_13899491\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger, owner of Oasis nightclub, performs during Princess, a disco dance party and drag show, at Oasis in San Francisco on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to its club nights, Oasis is a destination for queer theater. A show that Drollinger wrote, directed and starred in, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt13023550/\">Shit & Champagne\u003c/a>\u003c/em>, was turned into a feature film. Its current show, a musical parody called \u003cem>Jurrasiq Parq\u003c/em>, received a rave review in the \u003cem>San Francisco Chronicle\u003c/em> for its “electric wit.”\u003c/p>\n\u003cp>“I feel like it is a job that I’m going to probably have to be doing the rest of my life, working to show that drag is a viable art form and is not disposable entertainment,” said Drollinger, noting right-wing political attacks on on drag in recent years. “It does matter and is something to be taken seriously.”\u003c/p>\n\u003cp>“Our show right now has 1,200 cues in it, which is almost twice as many as a Broadway show,” Drollinger added. “There is real art happening.”\u003c/p>\n\u003cp>[aside postID='arts_10134691']Oasis has also provided a platform for advocacy. Over the past decade, the SOMA club gave rise to \u003ca href=\"https://www.kqed.org/arts/13899312/all-black-drag-show-reparations-moves-from-the-internet-to-oasis\">Reparations\u003c/a>, San Francisco’s only all-Black drag revue. Princess host Kochina Rude has used her platform at the club to champion harm reduction and safe drug use, which led to a \u003ca href=\"https://www.kqed.org/arts/13961839/drag-queens-overdose-prevention-narcan-san-francisco\">partnership with the Department of Public Health\u003c/a>.\u003c/p>\n\u003cp>When Heklina, a San Francisco drag icon, died unexpectedly in 2023, Oasis \u003ca href=\"https://www.kqed.org/arts/13927233/heklina-dies-drag-legend-san-francsico\">opened its space for the community to mourn\u003c/a>.\u003c/p>\n\u003cp>Oasis plans to continue its programming with its nonprofit, Oasis Arts, at other venues in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Necessity is the mother of invention, and that’s got me this far,” said Drollinger. “I am trying very hard to be open to the opportunities that arise. I know this is shaking me, and it’s shaking the community.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oasis, a top destination for drag performances and queer entertainment in San Francisco, will shut its doors for good on Jan. 1, 2026, citing financial strain.\u003c/p>\n\u003cp>Co-founders D’Arcy Drollinger and Heklina opened Oasis on New Year’s Eve in 2014. In an interview, Drollinger, who is San Francisco’s first Drag Laureate, blamed decreased post-pandemic attendance along with rising insurance and security costs for the closure.\u003c/p>\n\u003cp>“Right out of the pandemic, we saw a quick surge where we got excited to go back out, but then little by little people got real used to going back to staying at home and ordering DoorDash and watching TV,” said Drollinger. “And then people started drinking less.”\u003c/p>\n\u003cfigure id=\"attachment_13955737\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-Beyonce%CC%81Fans-JY-050_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240405-BeyoncéFans-JY-050_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bionka Simone performs Beyoncé’s ‘Texas Hold ‘Em’ at Oasis in San Francisco on Saturday, April 6, 2024. The show drew a sold-out crowd of drag fans and members of the Beyhive as an all-Black cast celebrated the release of Beyoncé’s new album, ‘Cowboy Carter.’ \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though the club has diehard supporters, with many of its nights well attended, Drollinger said Oasis’ profit margins are so thin that the venue needs to be at 90% capacity every night to be sustainable.\u003c/p>\n\u003cp>“When we weren’t making enough money, I had to start dipping into my retirement,” Drollinger said. “And then when that ran out, I’m like, ‘What am I doing?’ Now I’m in a situation where I can’t float it any longer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oasis is the only venue of its size in the country created for and by drag artists. Its stage has hosted high-profile acts such as \u003cem>RuPaul’s Drag Race\u003c/em> winners Nymphia Wind and Sasha Colby at its popular Saturday night party, Princess. The nightclub’s competitive events, including the \u003ca href=\"https://www.kqed.org/arts/13970352/high-princx-pageant-drag-competition-san-francisco-2024\">High Princx Pageant\u003c/a> and the San Francisco Drag King Contest, provide a proving ground for new talent. Jane Fonda and Cher have both graced Oasis’ stage, and queer celebrities like Lil Nas X have made appearances at the club.\u003c/p>\n\u003cfigure id=\"attachment_13899491\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/006_SanFrancisco_OasisReopening_06262021-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger, owner of Oasis nightclub, performs during Princess, a disco dance party and drag show, at Oasis in San Francisco on June 26, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to its club nights, Oasis is a destination for queer theater. A show that Drollinger wrote, directed and starred in, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt13023550/\">Shit & Champagne\u003c/a>\u003c/em>, was turned into a feature film. Its current show, a musical parody called \u003cem>Jurrasiq Parq\u003c/em>, received a rave review in the \u003cem>San Francisco Chronicle\u003c/em> for its “electric wit.”\u003c/p>\n\u003cp>“I feel like it is a job that I’m going to probably have to be doing the rest of my life, working to show that drag is a viable art form and is not disposable entertainment,” said Drollinger, noting right-wing political attacks on on drag in recent years. “It does matter and is something to be taken seriously.”\u003c/p>\n\u003cp>“Our show right now has 1,200 cues in it, which is almost twice as many as a Broadway show,” Drollinger added. “There is real art happening.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oasis has also provided a platform for advocacy. Over the past decade, the SOMA club gave rise to \u003ca href=\"https://www.kqed.org/arts/13899312/all-black-drag-show-reparations-moves-from-the-internet-to-oasis\">Reparations\u003c/a>, San Francisco’s only all-Black drag revue. Princess host Kochina Rude has used her platform at the club to champion harm reduction and safe drug use, which led to a \u003ca href=\"https://www.kqed.org/arts/13961839/drag-queens-overdose-prevention-narcan-san-francisco\">partnership with the Department of Public Health\u003c/a>.\u003c/p>\n\u003cp>When Heklina, a San Francisco drag icon, died unexpectedly in 2023, Oasis \u003ca href=\"https://www.kqed.org/arts/13927233/heklina-dies-drag-legend-san-francsico\">opened its space for the community to mourn\u003c/a>.\u003c/p>\n\u003cp>Oasis plans to continue its programming with its nonprofit, Oasis Arts, at other venues in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Necessity is the mother of invention, and that’s got me this far,” said Drollinger. “I am trying very hard to be open to the opportunities that arise. I know this is shaking me, and it’s shaking the community.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After Sudden Grant Cancellations, Humanities Funding Is Back — Kind Of",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/national-endowment-for-the-humanities\">National Endowment for the Humanities\u003c/a> (NEH) has unexpectedly reinstated a portion of funding to nonprofits and state humanities councils after \u003ca href=\"https://www.kqed.org/arts/13974737/bay-area-arts-trump-cuts-national-endowment-of-the-humanities\">millions of dollars in previously awarded grants were canceled\u003c/a> on April 3. \u003ca href=\"https://calhum.org/\">California Humanities\u003c/a>, one of those recipients, is now scrambling to get that money into the hands of \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">its grantees\u003c/a>.\u003c/p>\n\u003cp>“We don’t know why,” said Rick Noguchi, president and CEO of California Humanities, of the notice he received on June 25 that some funding had been restored. “There was no explanation. It just said the termination has been rescinded.”\u003c/p>\n\u003cp>California Humanities previously received over 90% of its funding from the NEH; Noguchi estimated about half of their funding is now available to them.\u003c/p>\n\u003cp>[aside postID='arts_13974246']“The good news for us is that we are able to access some funds,” Noguchi said. The organization’s number-one priority is now to get those funds to their grantees, including documentary filmmakers, theaters, museums, storytelling projects and public events across the state.\u003c/p>\n\u003cp>California Humanities has over 110 open grants, all of which were suspended on April 4 after NEH funding was canceled. Now California Humanities staff are working to distribute that money to everyone who still needs it. Over the past three months, Noguchi said, “Some groups might have paused their project or canceled them outright without our funding.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Right now, California Humanities intends to fully disburse all outstanding grants. But Noguchi cautions that like this sudden “rescinded termination,” the situation at the federal level could change unexpectedly. “It’s been really challenging having to manage and navigate through a lot of this uncertainty,” he said. “In this environment, you can expect the unexpected.”\u003c/p>\n\u003cp>Some of the challenges come from the fact that the NEH is noticeably understaffed. Approximately \u003ca href=\"https://www.usatoday.com/story/news/politics/2025/06/10/employee-layoffs-national-endowment-humanities-grants/84124320007/\">two-thirds of NEH employees\u003c/a> were laid off on June 10.\u003c/p>\n\u003cp>At least one other NEH grantee (the agency also supplies grants directly to nonprofits, in addition to state councils) received notice that their funding had also been reinstated. The Chinese Historical Society of America and the WWII Chinese American GI Project will now be able to close out their series of \u003ca href=\"https://apps.neh.gov/publicquery/AwardDetail.aspx?gn=AV-286762-22\">discussions with Chinese American veterans\u003c/a>. “Unfortunately,” project director Montgomery Hom wrote to KQED in an email, “all the NEH program team members that I was working with previously are gone.”\u003c/p>\n\u003cp>[aside postID='arts_13975509']For nearly 50 years, the partnership between the NEH and state humanities councils have provided funding to cultural and community organizations in all states and jurisdictions. Now, Noguchi said, California Humanities is reimagining what it is as an organization, facing a potential future without any NEH funding — or an NEH at all.\u003c/p>\n\u003cp>While California Humanities is seeking new funding from philanthropic partners, Noguchi stressed that private money will never be able to match federal funding, especially on an ongoing basis. California Humanities is urging Congress to restore the NEH’s budget in FY26.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Culture is so important to who we are as Californians,” Noguchi said. “And it really requires everyone’s input and participation in democracy to maintain our identity.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/national-endowment-for-the-humanities\">National Endowment for the Humanities\u003c/a> (NEH) has unexpectedly reinstated a portion of funding to nonprofits and state humanities councils after \u003ca href=\"https://www.kqed.org/arts/13974737/bay-area-arts-trump-cuts-national-endowment-of-the-humanities\">millions of dollars in previously awarded grants were canceled\u003c/a> on April 3. \u003ca href=\"https://calhum.org/\">California Humanities\u003c/a>, one of those recipients, is now scrambling to get that money into the hands of \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">its grantees\u003c/a>.\u003c/p>\n\u003cp>“We don’t know why,” said Rick Noguchi, president and CEO of California Humanities, of the notice he received on June 25 that some funding had been restored. “There was no explanation. It just said the termination has been rescinded.”\u003c/p>\n\u003cp>California Humanities previously received over 90% of its funding from the NEH; Noguchi estimated about half of their funding is now available to them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The good news for us is that we are able to access some funds,” Noguchi said. The organization’s number-one priority is now to get those funds to their grantees, including documentary filmmakers, theaters, museums, storytelling projects and public events across the state.\u003c/p>\n\u003cp>California Humanities has over 110 open grants, all of which were suspended on April 4 after NEH funding was canceled. Now California Humanities staff are working to distribute that money to everyone who still needs it. Over the past three months, Noguchi said, “Some groups might have paused their project or canceled them outright without our funding.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Right now, California Humanities intends to fully disburse all outstanding grants. But Noguchi cautions that like this sudden “rescinded termination,” the situation at the federal level could change unexpectedly. “It’s been really challenging having to manage and navigate through a lot of this uncertainty,” he said. “In this environment, you can expect the unexpected.”\u003c/p>\n\u003cp>Some of the challenges come from the fact that the NEH is noticeably understaffed. Approximately \u003ca href=\"https://www.usatoday.com/story/news/politics/2025/06/10/employee-layoffs-national-endowment-humanities-grants/84124320007/\">two-thirds of NEH employees\u003c/a> were laid off on June 10.\u003c/p>\n\u003cp>At least one other NEH grantee (the agency also supplies grants directly to nonprofits, in addition to state councils) received notice that their funding had also been reinstated. The Chinese Historical Society of America and the WWII Chinese American GI Project will now be able to close out their series of \u003ca href=\"https://apps.neh.gov/publicquery/AwardDetail.aspx?gn=AV-286762-22\">discussions with Chinese American veterans\u003c/a>. “Unfortunately,” project director Montgomery Hom wrote to KQED in an email, “all the NEH program team members that I was working with previously are gone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For nearly 50 years, the partnership between the NEH and state humanities councils have provided funding to cultural and community organizations in all states and jurisdictions. Now, Noguchi said, California Humanities is reimagining what it is as an organization, facing a potential future without any NEH funding — or an NEH at all.\u003c/p>\n\u003cp>While California Humanities is seeking new funding from philanthropic partners, Noguchi stressed that private money will never be able to match federal funding, especially on an ongoing basis. California Humanities is urging Congress to restore the NEH’s budget in FY26.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Culture is so important to who we are as Californians,” Noguchi said. “And it really requires everyone’s input and participation in democracy to maintain our identity.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "new-ethiopian-eritrean-restaurants-bay-area-san-francisco-oakland",
"title": "The New Evolution of Ethiopian and Eritrean Restaurants in the Bay Area",
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"content": "\u003cp>In 2007, when my mom hadn’t yet been priced out of San Francisco, I’d trek over from my dorm in Berkeley to wander with her around the neon-drenched, still-Waymo-less city. That’s when I first tasted Ethiopian food.\u003c/p>\n\u003cp>Attracted to its rich flavors and affordability, my mom, a Mexican immigrant who worked odd jobs in the food industry, often insisted on taking me out for Ethiopian. The spongy, sour fluffs of injera and heaps of berbere-rich chicken and spicy lentil stew were new and exciting to my teenage palate, though of course by then the East African cuisine was already well entrenched in Bay Area culture. And while my exposure to the cuisine tapered off after I moved out of the Bay, Ethiopian and Eritrean restaurants have somehow managed to look, smell and taste exactly as I remembered them in those days — despite the rest of the Bay’s aggressive changes.\u003c/p>\n\u003cp>In 2025, you can walk into just about any popular fixture of \u003ca href=\"https://sf.eater.com/maps/ethiopian-restaurant-oakland-east-african\">our region’s loaded East African food circuit\u003c/a> — Café Colucci in North Oakland, Ensarro near Lake Merritt, Sheba Jazz Lounge (formerly Piano Lounge) on Fillmore Street — and it’ll still feel mostly like it did decades ago.\u003c/p>\n\u003cfigure id=\"attachment_13977747\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-18-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13977747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-18-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-18-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-18-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-18-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yohana Woldeabzgi serves injera at Meskie’s Kitchen on Telegraph Avenue in Berkeley on June 16, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Take my recent visit to \u003ca href=\"https://www.instagram.com/meskisberkeley/?hl=en\">Meskie’s Kitchen\u003c/a> in Berkeley, which has stayed relatively the same since it opened over three decades ago under the name Ethiopia Restaurant. The place is still filled with the fragrant aromas you’ll mostly find inside family kitchens equipped with mom-approved recipes. Even though the space was renovated in 2020, the unpretentious interior, with a few Ethiopian paintings and photographs dotting the walls, may as well be from the late aughts. \u003c/p>\n\u003cp>I stuck with the basics. A round of beef tibs, a stir-fry dressed in zesty awaze sauce. Doro wot, a piquant stew of tender bone-in chicken and hard-boiled eggs. Yebeg alicha, an herb-infused lamb stew. And gomen, the peppery collard green sauté. I also ordered the classic veggie combo, a vegan-friendly mix of spiced red lentils, split peas, cabbage, puréed garbanzo beans and more, all jigsawed onto a large, colorful platter. And that’s only the tip of the pyramid when it comes to its diverse menu. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Historically, the Bay Area’s Ethiopian restaurants have provided more than just uber-fresh flavors. The cuisine is also known for its comparatively low price point, generous family-sized portions and down-to-earth simplicity. Almost all of the region’s East African restaurants are small, homey mom-and-pop operations. For the past 40 years, you wouldn’t necessarily expect to find an Ethiopian or Eritrean fine dining establishment or experimental fusion hot spot. \u003c/p>\n\u003cfigure id=\"attachment_13977746\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-15-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13977746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-15-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-15-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-15-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-15-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Injera at Meskie’s Kitchen on Telegraph Avenue in Berkeley on June 16, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But those long-held expectations are slowly starting to shift. A new generation of East African business owners, entrepreneurs and creatives are taking the reins while upholding the work and legacy they’ve inherited. As their elders pass down knowledge, resources and capital, Americanized millennials — the first generation to be born and raised stateside after their parents immigrated from Ethiopia and Eritrea in the 1970s, ’80s and ’90s — are expanding on what their predecessors built. The result? At least in the Bay Area, East African food seems poised to enter its biggest evolutionary moment, as newer, more open-ended approaches to the cuisine now appeal to younger, social media–savvy crowds.\u003c/p>\n\u003cp>Daniel Aderaw Yeshiwas, a managing partner of \u003ca href=\"https://www.instagram.com/cafecolucci/?hl=en\">Café Colucci\u003c/a> and \u003ca href=\"https://www.instagram.com/brundospices/?hl=en\">Brundo Spice Company\u003c/a> in North Oakland, runs a series of innovative pop-ups in Colucci’s patio: blending Ethiopian spices with flavors from \u003ca href=\"https://www.kqed.org/arts/13938506/cafe-colucci-pop-up-oakland-ethiopian-ghanaian-selasie-dotse\">Ghana\u003c/a> and the \u003ca href=\"https://www.instagram.com/p/DLLVteMhd3t/?hl=en&img_index=1\">American South\u003c/a>. First-generation brothers Benyam and Yonathan Yohannes — whose family opened Asmara, Oakland’s first East African restaurant, in 1985 — recently unveiled a cocktail bar, 51 & Tel, that features modern vegan bites like a burrito-esque “\u003ca href=\"https://sf.eater.com/2024/9/9/24240304/51-and-tel-oakland-temescal-cocktail-bar-opening\">injera-ritto\u003c/a>” and boozy drinks inspired by underground Bay Area rap and spiked punch bowls. Meanwhile, an Ethiopian duo based in San Jose has been working on \u003ca href=\"https://www.instagram.com/automitad/\">the first automated injera maker, Automitad\u003c/a>. The startup boasts “unrivaled efficiency” with a product able to crank out between 1,000 and 1,7000 injeras an hour. Last year, they announced \u003ca href=\"https://www.facebook.com/share/p/1AQ7JXvkhm/\">the shipment of their first machine\u003c/a>.\u003c/p>\n\u003cp>“There’s a new wave of Ethiopian entrepreneurs who are taking risks in different fields,” says Guma Fassil, the 37-year-old Ethiopian American who owns the aforementioned Meskie’s. A savvy playmaker and the ambitious only child of Ethiopian immigrants, Fassil would know. He unexpectedly took charge of the Berkeley restaurant in 2019 after his mother, Meski, passed away. She had opened the institutional eatery in 1993, operating it as a community hub until her final days.\u003c/p>\n\u003cfigure id=\"attachment_13978624\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250710-MeskisKitchen-05-BL_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13978624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250710-MeskisKitchen-05-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250710-MeskisKitchen-05-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250710-MeskisKitchen-05-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250710-MeskisKitchen-05-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Guma Fassil sits in the lounge at Meski, an Ethiopian–Afro-Latin fusion restaurant in San Francisco co-owned by Fassil, chef Nelson German, and NBA star Draymond Green, on July 10, 2025.\u003c/figcaption>\u003c/figure>\n\u003cp>Since taking over the restaurant and rebranding it as Meskie’s, Fassil has learned to inject his own worldview and expertise into the Bay’s vibrant East African scene. Fassil — who worked at his mom’s restaurant throughout his twenties while also making a name for himself in Bay Area nightlife — opened his own splashy, Ethiopian-inspired establishment in San Francisco earlier this year: Meski. In his telling, it’s an Ethiopian-nightclub-meets-dining-lounge concept with an Afro-Latino punch, occupying prime real estate in the glamorous Lower Nob Hill neighborhood. This new place to be seen at is co-owned by Golden State Warriors star \u003ca href=\"https://www.kqed.org/news/tag/draymond-green\">Draymond Green\u003c/a>, and the kitchen’s Ethiopian-Dominican menu is overseen by \u003ci>Top Chef\u003c/i> alum Nelson German, the Oakland-based Dominican cuisinier behind Sobre Mesa and alaMar.\u003c/p>\n\u003cp>“I love traditional mom and pop Ethiopian food. I was raised on it,” Fassil says. “But I honestly had no interest in replicating that. I wanted to be a vanguard in creating something that hasn’t been done before, and changing the narrative on East African cuisine. We are capable of packaging our culture in an elevated way. There is an appetite for this.”\u003c/p>\n\u003cp>[aside postID='arts_13905230']Ethiopia is Africa’s oldest independent nation — a millenia-old society, and \u003ca href=\"https://schoolfor.africa/education/african-communities-that-resisted-colonization/\">the first and only African country that successfully resisted European occupation\u003c/a>. So it makes sense that its diasporic foods would also have a proudly unchanging quality.\u003c/p>\n\u003cp>The ’80s and ’90s brought a slew of East African businesses to the Bay after an initial wave of Ethiopian immigrants, refugees and dreamers first reached America beginning in the late ’70s. Many — including Fassil’s and Yeshiwas’ parents — came on student visas, initially landing in states like Ohio and Massachusetts before graduating and migrating westward. Others fled from the drought, government-induced famines, and a 17-year civil war that took hundreds of thousands of East African lives after Haile Selassie was overthrown in the 1974 Ethiopian coup. In Northern California, this led to a flourishing ecosystem of Ethiopian and Eritrean community leaders, including future restaurateurs. Their hard-earned resolve, scrappy resourcefulness, and memories of their estranged homeland helped forge one of the nation’s most distinct swaths of East African food.\u003c/p>\n\u003cfigure id=\"attachment_13970244\" class=\"wp-caption aligncenter\" style=\"max-width: 1038px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/0.jpg\" alt=\"Daniel Aderaw Yeshiwas, manager of Cafe Colucci, poses for a photo in a black jacket in front of a white background.\" width=\"1038\" height=\"1566\" class=\"size-full wp-image-13970244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/0.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/0-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/0-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/0-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/0-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/0-1018x1536.jpg 1018w\" sizes=\"auto, (max-width: 1038px) 100vw, 1038px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Aderaw Yeshiwas, manager of Café Colucci and owner of Brundo Spice Company. \u003ccite>(Clay Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bay Area Ethiopians are unique,” says Yeshiwas. “Our take on Ethiopian food here merges with our surroundings. In the Bay, we have the best access to produce and fresh vegetables. Our food is full of greens, hummus, salads. That’s traditional, but it’s not exactly the same in Ethiopia. And if you go to D.C., it’s huge piles of meat. It’s all tasty, but there’s an added emphasis on veganism and vegetarianism [in the Bay].”\u003c/p>\n\u003cp>Michelin-recognized Café Colucci was founded in 1991 by Fetlework Tefferi, Yeshiwas’ lifelong family friend and nominal aunt. The Oakland staple was preceded by Chibbo in 1985, an Afrocentric after-hours club and East African grill that Tefferi formerly helped to run on University Avenue in Berkeley. During the day, Tefferi dreamed of building her own space. She eventually opened Café Colucci, which was meant to be an Italian-inspired cafe when it debuted. After it became clear that Ethiopian grub was a bigger hit than expected, Tefferi went all in.\u003c/p>\n\u003cp>Nowadays, Yeshiwas helps run the longstanding business that Tefferi built. He knows Fassil’s family through an Ethiopian church (because, as Fassil says, “every Ethiopian in the Bay knows each other, or knows someone who knows you.”) Similar to Fassil, Yeshiwas stepped into his role at Café Colucci with deep pride and respect, but also with an unfurled sense of possibility.\u003c/p>\n\u003cfigure id=\"attachment_13978891\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MelatiCitrawireja2.jpg\" alt=\"\" width=\"2000\" height=\"2506\" class=\"size-full wp-image-13978891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MelatiCitrawireja2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MelatiCitrawireja2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MelatiCitrawireja2-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MelatiCitrawireja2-1226x1536.jpg 1226w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MelatiCitrawireja2-1634x2048.jpg 1634w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Suggested recipes from the Brundo Spice Company include Shrimp Tibs with a citrus dressed salad and a side of Shiro. \u003ccite>(Melati Citrawireja / Courtesy Brundo Spice Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Ethiopian food is really hard to make,” says Yeshiwas, who regularly travels to Ethiopia to oversee a spice packaging warehouse in Modjo that was built for his spice company, Brundo. “Taking 2,000 pounds of onions, then cooking that down into a sauce to be made into another sauce to be put on lentils and then selling that for $13 bucks — it worked for our parents trying to survive however they could. But for a group of friends today, it’s like, just making injera, we have two shifts of workers making a thousand daily. It’s a very old-school process, rooted in tradition, but [my generation is] thinking about scale, and we’re living in an ultra-capitalistic society. So how can we preserve the culture and, frankly, be able to run these operations a bit more efficiently?”\u003c/p>\n\u003cp>Over the past five years, Yeshiwas has used Brundo — an Ethiopian colloquialism that roughly translates into “good food” — to reconnect with his Ethiopian identity and to reimagine Ethiopian heirloom spices and herbs as a premier product with top-end partnerships.\u003c/p>\n\u003cp>[aside postID='arts_13977950']That takes the form of Ethiopian spice chai and black cardamom lattes at Blue Bottle Coffee. It’s berbere-spiced greens at Burdell in Oakland, the \u003ca href=\"https://www.foodandwine.com/2024-restaurant-of-the-year-burdell-8702727\">nationally recognized soul food\u003c/a> restaurant. It’s berbere hummus at Obour. It’s Ethiopian hot chocolate at Coracao. It’s all of the clever pop-ups hosted on Café Colucci’s side patio, which bring in talented young chefs from all different backgrounds and set them loose on Brundo’s full spectrum of East African spices. It’s even Ethiopian-spiced ice cream — something Yeshiwas has his aim set on next.\u003c/p>\n\u003cp>“I want to have a high quality, presentable Ethiopian product,” he says. “Food systems in the U.S. are difficult [to navigate] and can make it harder, but I want it to be in a lot of other different places. I want to collab in new kinds of ways.”\u003c/p>\n\u003cfigure id=\"attachment_13978886\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Green-Red-and-White-Minimalist-Family-Time-Photo-Collage-Landscape.jpg\" alt=\"\" width=\"2500\" height=\"2000\" class=\"size-full wp-image-13978886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Green-Red-and-White-Minimalist-Family-Time-Photo-Collage-Landscape.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Green-Red-and-White-Minimalist-Family-Time-Photo-Collage-Landscape-2000x1600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Green-Red-and-White-Minimalist-Family-Time-Photo-Collage-Landscape-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Green-Red-and-White-Minimalist-Family-Time-Photo-Collage-Landscape-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Green-Red-and-White-Minimalist-Family-Time-Photo-Collage-Landscape-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Green-Red-and-White-Minimalist-Family-Time-Photo-Collage-Landscape-2048x1638.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Women oversee the drying process on the farm in Ethiopia that supplies Brundo Spice Company. \u003ccite>(Courtesy Brundo Spice Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fassil has a similar game plan. At the sleek new Meski in San Francisco, eaters will find dining options that they likely won’t find at other Ethiopian-owned businesses: Ethiopian-style sambusas made from island yuca, stuffed with berbere-kissed beef or lentils; tibs de maduro, a Carribeanized spin on the dish made with plantains, inca peppers and salsa afrikana; teff pancakes with coconut cookie crumble and grilled pineapple; and habichuela misir wet, which combines Dominican kidney beans and sofrito with Ethiopian-spiced lentils. Of course there’s also plenty of tej, the classic Ethiopian honey wine, which gets remixed as a bottomless mimosa.\u003c/p>\n\u003cp>“Right now, the older first-gen Ethiopian Americans are in our thirties; that’s really the entrepreneurial stage of life,” Fassil says. “In your twenties, you’re working and figuring it all out, saving your money. But in your thirties you can take those bigger risks and pursue those endeavors. I’m now in a position to do it. I’ve been dreaming of this my entire life.” \u003c/p>\n\u003cp>Like Yeshiwas, Fassil credits those who came before him and doesn’t shortchange the labor of those who paved the proverbial way forward. He’s adamant about carrying on his mom’s memory through food. He also namedrops Ethiopian-Swedish chef Marcus Samuelson as an inspiration who encouraged him, via Instagram, to take the leap with his bold approach to Ethiopian cuisine.\u003c/p>\n\u003cfigure id=\"attachment_13978626\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250616-MeskisKitchen-06-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250616-MeskisKitchen-06-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250616-MeskisKitchen-06-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250616-MeskisKitchen-06-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250616-MeskisKitchen-06-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A painting of Meskie’s Kitchen founder Meskerem Tsegaye hangs inside the restaurant on Telegraph Avenue in Berkeley on June 16, 2025. Founded by the late Tsegaye in 1993, the family-run restaurant is now operated by her son Guma Fassil, who continues to serve authentic Ethiopian cuisine. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s all about timing. And right now, the time is perfect,” Fassil declares. “You can argue that Ethiopian cuisine in the East Bay has become mainstream now, that it’s over-saturated. If you’re near Oakland, you don’t even know where to choose. So I had no interest in opening another traditional spot. I wanted to mix my culture as an American with my nightlife background. We don’t really have that vibe [with Ethiopian food].”\u003c/p>\n\u003cp>In a way, Fassil is doing both — keeping those old-school East African traditions intact at the original Meskie’s in the East Bay while also carving out his own definition of Ethiopian dining across the bridge at Meski, in a way that still honors his mom’s spirit.\u003c/p>\n\u003cp>He continues with his entrepreneurial manifesto: “Ethiopian cuisine is at a place where most people around here have tried it. It was in a Simpsons episode, I mean, that’s how you know most people know about it. If I tried to do what I’m doing 10 or more years ago, it may not have had the same reception. But the Bay is ready for a different iteration of Ethiopian food. So many people have already tried the traditional version.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/meski.sf/?hl=en\">\u003ci>Meski\u003c/i>\u003c/a>\u003ci> (1000 Larkin St., SF) is open Wed. to Sun. for dinner (hours vary from 5 p.m. to 11 p.m. or 1 a.m.) and on Sun. for brunch from 11 a.m. to 3 p.m.. \u003c/i>\u003ca href=\"https://www.instagram.com/meskisberkeley/?hl=en\">\u003ci>Meskie’s\u003c/i>\u003c/a>\u003ci> (2955 Telegraph Ave., Berkeley) is open every day from 11:30 a.m. to 9 p.m. \u003c/i>\u003ca href=\"https://www.instagram.com/cafecolucci/?hl=en\">\u003ci>Café Colucci\u003c/i>\u003c/a>\u003ci> (5849 San Pablo Ave., Oakland) is open every day with varying lunch and dinner hours from 11 a.m. to 10 p.m. \u003c/i>\u003ca href=\"https://www.instagram.com/brundospices/?hl=en\">\u003ci>Brundo Spice Company\u003c/i>\u003c/a>\u003ci> is located inside Café Colucci.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2007, when my mom hadn’t yet been priced out of San Francisco, I’d trek over from my dorm in Berkeley to wander with her around the neon-drenched, still-Waymo-less city. That’s when I first tasted Ethiopian food.\u003c/p>\n\u003cp>Attracted to its rich flavors and affordability, my mom, a Mexican immigrant who worked odd jobs in the food industry, often insisted on taking me out for Ethiopian. The spongy, sour fluffs of injera and heaps of berbere-rich chicken and spicy lentil stew were new and exciting to my teenage palate, though of course by then the East African cuisine was already well entrenched in Bay Area culture. And while my exposure to the cuisine tapered off after I moved out of the Bay, Ethiopian and Eritrean restaurants have somehow managed to look, smell and taste exactly as I remembered them in those days — despite the rest of the Bay’s aggressive changes.\u003c/p>\n\u003cp>In 2025, you can walk into just about any popular fixture of \u003ca href=\"https://sf.eater.com/maps/ethiopian-restaurant-oakland-east-african\">our region’s loaded East African food circuit\u003c/a> — Café Colucci in North Oakland, Ensarro near Lake Merritt, Sheba Jazz Lounge (formerly Piano Lounge) on Fillmore Street — and it’ll still feel mostly like it did decades ago.\u003c/p>\n\u003cfigure id=\"attachment_13977747\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-18-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13977747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-18-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-18-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-18-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-18-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yohana Woldeabzgi serves injera at Meskie’s Kitchen on Telegraph Avenue in Berkeley on June 16, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Take my recent visit to \u003ca href=\"https://www.instagram.com/meskisberkeley/?hl=en\">Meskie’s Kitchen\u003c/a> in Berkeley, which has stayed relatively the same since it opened over three decades ago under the name Ethiopia Restaurant. The place is still filled with the fragrant aromas you’ll mostly find inside family kitchens equipped with mom-approved recipes. Even though the space was renovated in 2020, the unpretentious interior, with a few Ethiopian paintings and photographs dotting the walls, may as well be from the late aughts. \u003c/p>\n\u003cp>I stuck with the basics. A round of beef tibs, a stir-fry dressed in zesty awaze sauce. Doro wot, a piquant stew of tender bone-in chicken and hard-boiled eggs. Yebeg alicha, an herb-infused lamb stew. And gomen, the peppery collard green sauté. I also ordered the classic veggie combo, a vegan-friendly mix of spiced red lentils, split peas, cabbage, puréed garbanzo beans and more, all jigsawed onto a large, colorful platter. And that’s only the tip of the pyramid when it comes to its diverse menu. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Historically, the Bay Area’s Ethiopian restaurants have provided more than just uber-fresh flavors. The cuisine is also known for its comparatively low price point, generous family-sized portions and down-to-earth simplicity. Almost all of the region’s East African restaurants are small, homey mom-and-pop operations. For the past 40 years, you wouldn’t necessarily expect to find an Ethiopian or Eritrean fine dining establishment or experimental fusion hot spot. \u003c/p>\n\u003cfigure id=\"attachment_13977746\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-15-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13977746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-15-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-15-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-15-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/250616-MESKISKITCHEN-15-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Injera at Meskie’s Kitchen on Telegraph Avenue in Berkeley on June 16, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But those long-held expectations are slowly starting to shift. A new generation of East African business owners, entrepreneurs and creatives are taking the reins while upholding the work and legacy they’ve inherited. As their elders pass down knowledge, resources and capital, Americanized millennials — the first generation to be born and raised stateside after their parents immigrated from Ethiopia and Eritrea in the 1970s, ’80s and ’90s — are expanding on what their predecessors built. The result? At least in the Bay Area, East African food seems poised to enter its biggest evolutionary moment, as newer, more open-ended approaches to the cuisine now appeal to younger, social media–savvy crowds.\u003c/p>\n\u003cp>Daniel Aderaw Yeshiwas, a managing partner of \u003ca href=\"https://www.instagram.com/cafecolucci/?hl=en\">Café Colucci\u003c/a> and \u003ca href=\"https://www.instagram.com/brundospices/?hl=en\">Brundo Spice Company\u003c/a> in North Oakland, runs a series of innovative pop-ups in Colucci’s patio: blending Ethiopian spices with flavors from \u003ca href=\"https://www.kqed.org/arts/13938506/cafe-colucci-pop-up-oakland-ethiopian-ghanaian-selasie-dotse\">Ghana\u003c/a> and the \u003ca href=\"https://www.instagram.com/p/DLLVteMhd3t/?hl=en&img_index=1\">American South\u003c/a>. First-generation brothers Benyam and Yonathan Yohannes — whose family opened Asmara, Oakland’s first East African restaurant, in 1985 — recently unveiled a cocktail bar, 51 & Tel, that features modern vegan bites like a burrito-esque “\u003ca href=\"https://sf.eater.com/2024/9/9/24240304/51-and-tel-oakland-temescal-cocktail-bar-opening\">injera-ritto\u003c/a>” and boozy drinks inspired by underground Bay Area rap and spiked punch bowls. Meanwhile, an Ethiopian duo based in San Jose has been working on \u003ca href=\"https://www.instagram.com/automitad/\">the first automated injera maker, Automitad\u003c/a>. The startup boasts “unrivaled efficiency” with a product able to crank out between 1,000 and 1,7000 injeras an hour. Last year, they announced \u003ca href=\"https://www.facebook.com/share/p/1AQ7JXvkhm/\">the shipment of their first machine\u003c/a>.\u003c/p>\n\u003cp>“There’s a new wave of Ethiopian entrepreneurs who are taking risks in different fields,” says Guma Fassil, the 37-year-old Ethiopian American who owns the aforementioned Meskie’s. A savvy playmaker and the ambitious only child of Ethiopian immigrants, Fassil would know. He unexpectedly took charge of the Berkeley restaurant in 2019 after his mother, Meski, passed away. She had opened the institutional eatery in 1993, operating it as a community hub until her final days.\u003c/p>\n\u003cfigure id=\"attachment_13978624\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250710-MeskisKitchen-05-BL_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13978624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250710-MeskisKitchen-05-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250710-MeskisKitchen-05-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250710-MeskisKitchen-05-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250710-MeskisKitchen-05-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Guma Fassil sits in the lounge at Meski, an Ethiopian–Afro-Latin fusion restaurant in San Francisco co-owned by Fassil, chef Nelson German, and NBA star Draymond Green, on July 10, 2025.\u003c/figcaption>\u003c/figure>\n\u003cp>Since taking over the restaurant and rebranding it as Meskie’s, Fassil has learned to inject his own worldview and expertise into the Bay’s vibrant East African scene. Fassil — who worked at his mom’s restaurant throughout his twenties while also making a name for himself in Bay Area nightlife — opened his own splashy, Ethiopian-inspired establishment in San Francisco earlier this year: Meski. In his telling, it’s an Ethiopian-nightclub-meets-dining-lounge concept with an Afro-Latino punch, occupying prime real estate in the glamorous Lower Nob Hill neighborhood. This new place to be seen at is co-owned by Golden State Warriors star \u003ca href=\"https://www.kqed.org/news/tag/draymond-green\">Draymond Green\u003c/a>, and the kitchen’s Ethiopian-Dominican menu is overseen by \u003ci>Top Chef\u003c/i> alum Nelson German, the Oakland-based Dominican cuisinier behind Sobre Mesa and alaMar.\u003c/p>\n\u003cp>“I love traditional mom and pop Ethiopian food. I was raised on it,” Fassil says. “But I honestly had no interest in replicating that. I wanted to be a vanguard in creating something that hasn’t been done before, and changing the narrative on East African cuisine. We are capable of packaging our culture in an elevated way. There is an appetite for this.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ethiopia is Africa’s oldest independent nation — a millenia-old society, and \u003ca href=\"https://schoolfor.africa/education/african-communities-that-resisted-colonization/\">the first and only African country that successfully resisted European occupation\u003c/a>. So it makes sense that its diasporic foods would also have a proudly unchanging quality.\u003c/p>\n\u003cp>The ’80s and ’90s brought a slew of East African businesses to the Bay after an initial wave of Ethiopian immigrants, refugees and dreamers first reached America beginning in the late ’70s. Many — including Fassil’s and Yeshiwas’ parents — came on student visas, initially landing in states like Ohio and Massachusetts before graduating and migrating westward. Others fled from the drought, government-induced famines, and a 17-year civil war that took hundreds of thousands of East African lives after Haile Selassie was overthrown in the 1974 Ethiopian coup. In Northern California, this led to a flourishing ecosystem of Ethiopian and Eritrean community leaders, including future restaurateurs. Their hard-earned resolve, scrappy resourcefulness, and memories of their estranged homeland helped forge one of the nation’s most distinct swaths of East African food.\u003c/p>\n\u003cfigure id=\"attachment_13970244\" class=\"wp-caption aligncenter\" style=\"max-width: 1038px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/0.jpg\" alt=\"Daniel Aderaw Yeshiwas, manager of Cafe Colucci, poses for a photo in a black jacket in front of a white background.\" width=\"1038\" height=\"1566\" class=\"size-full wp-image-13970244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/0.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/0-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/0-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/0-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/0-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/0-1018x1536.jpg 1018w\" sizes=\"auto, (max-width: 1038px) 100vw, 1038px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Aderaw Yeshiwas, manager of Café Colucci and owner of Brundo Spice Company. \u003ccite>(Clay Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bay Area Ethiopians are unique,” says Yeshiwas. “Our take on Ethiopian food here merges with our surroundings. In the Bay, we have the best access to produce and fresh vegetables. Our food is full of greens, hummus, salads. That’s traditional, but it’s not exactly the same in Ethiopia. And if you go to D.C., it’s huge piles of meat. It’s all tasty, but there’s an added emphasis on veganism and vegetarianism [in the Bay].”\u003c/p>\n\u003cp>Michelin-recognized Café Colucci was founded in 1991 by Fetlework Tefferi, Yeshiwas’ lifelong family friend and nominal aunt. The Oakland staple was preceded by Chibbo in 1985, an Afrocentric after-hours club and East African grill that Tefferi formerly helped to run on University Avenue in Berkeley. During the day, Tefferi dreamed of building her own space. She eventually opened Café Colucci, which was meant to be an Italian-inspired cafe when it debuted. After it became clear that Ethiopian grub was a bigger hit than expected, Tefferi went all in.\u003c/p>\n\u003cp>Nowadays, Yeshiwas helps run the longstanding business that Tefferi built. He knows Fassil’s family through an Ethiopian church (because, as Fassil says, “every Ethiopian in the Bay knows each other, or knows someone who knows you.”) Similar to Fassil, Yeshiwas stepped into his role at Café Colucci with deep pride and respect, but also with an unfurled sense of possibility.\u003c/p>\n\u003cfigure id=\"attachment_13978891\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MelatiCitrawireja2.jpg\" alt=\"\" width=\"2000\" height=\"2506\" class=\"size-full wp-image-13978891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MelatiCitrawireja2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MelatiCitrawireja2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MelatiCitrawireja2-768x962.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MelatiCitrawireja2-1226x1536.jpg 1226w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/MelatiCitrawireja2-1634x2048.jpg 1634w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Suggested recipes from the Brundo Spice Company include Shrimp Tibs with a citrus dressed salad and a side of Shiro. \u003ccite>(Melati Citrawireja / Courtesy Brundo Spice Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Ethiopian food is really hard to make,” says Yeshiwas, who regularly travels to Ethiopia to oversee a spice packaging warehouse in Modjo that was built for his spice company, Brundo. “Taking 2,000 pounds of onions, then cooking that down into a sauce to be made into another sauce to be put on lentils and then selling that for $13 bucks — it worked for our parents trying to survive however they could. But for a group of friends today, it’s like, just making injera, we have two shifts of workers making a thousand daily. It’s a very old-school process, rooted in tradition, but [my generation is] thinking about scale, and we’re living in an ultra-capitalistic society. So how can we preserve the culture and, frankly, be able to run these operations a bit more efficiently?”\u003c/p>\n\u003cp>Over the past five years, Yeshiwas has used Brundo — an Ethiopian colloquialism that roughly translates into “good food” — to reconnect with his Ethiopian identity and to reimagine Ethiopian heirloom spices and herbs as a premier product with top-end partnerships.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That takes the form of Ethiopian spice chai and black cardamom lattes at Blue Bottle Coffee. It’s berbere-spiced greens at Burdell in Oakland, the \u003ca href=\"https://www.foodandwine.com/2024-restaurant-of-the-year-burdell-8702727\">nationally recognized soul food\u003c/a> restaurant. It’s berbere hummus at Obour. It’s Ethiopian hot chocolate at Coracao. It’s all of the clever pop-ups hosted on Café Colucci’s side patio, which bring in talented young chefs from all different backgrounds and set them loose on Brundo’s full spectrum of East African spices. It’s even Ethiopian-spiced ice cream — something Yeshiwas has his aim set on next.\u003c/p>\n\u003cp>“I want to have a high quality, presentable Ethiopian product,” he says. “Food systems in the U.S. are difficult [to navigate] and can make it harder, but I want it to be in a lot of other different places. I want to collab in new kinds of ways.”\u003c/p>\n\u003cfigure id=\"attachment_13978886\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Green-Red-and-White-Minimalist-Family-Time-Photo-Collage-Landscape.jpg\" alt=\"\" width=\"2500\" height=\"2000\" class=\"size-full wp-image-13978886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Green-Red-and-White-Minimalist-Family-Time-Photo-Collage-Landscape.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Green-Red-and-White-Minimalist-Family-Time-Photo-Collage-Landscape-2000x1600.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Green-Red-and-White-Minimalist-Family-Time-Photo-Collage-Landscape-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Green-Red-and-White-Minimalist-Family-Time-Photo-Collage-Landscape-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Green-Red-and-White-Minimalist-Family-Time-Photo-Collage-Landscape-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Green-Red-and-White-Minimalist-Family-Time-Photo-Collage-Landscape-2048x1638.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Women oversee the drying process on the farm in Ethiopia that supplies Brundo Spice Company. \u003ccite>(Courtesy Brundo Spice Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fassil has a similar game plan. At the sleek new Meski in San Francisco, eaters will find dining options that they likely won’t find at other Ethiopian-owned businesses: Ethiopian-style sambusas made from island yuca, stuffed with berbere-kissed beef or lentils; tibs de maduro, a Carribeanized spin on the dish made with plantains, inca peppers and salsa afrikana; teff pancakes with coconut cookie crumble and grilled pineapple; and habichuela misir wet, which combines Dominican kidney beans and sofrito with Ethiopian-spiced lentils. Of course there’s also plenty of tej, the classic Ethiopian honey wine, which gets remixed as a bottomless mimosa.\u003c/p>\n\u003cp>“Right now, the older first-gen Ethiopian Americans are in our thirties; that’s really the entrepreneurial stage of life,” Fassil says. “In your twenties, you’re working and figuring it all out, saving your money. But in your thirties you can take those bigger risks and pursue those endeavors. I’m now in a position to do it. I’ve been dreaming of this my entire life.” \u003c/p>\n\u003cp>Like Yeshiwas, Fassil credits those who came before him and doesn’t shortchange the labor of those who paved the proverbial way forward. He’s adamant about carrying on his mom’s memory through food. He also namedrops Ethiopian-Swedish chef Marcus Samuelson as an inspiration who encouraged him, via Instagram, to take the leap with his bold approach to Ethiopian cuisine.\u003c/p>\n\u003cfigure id=\"attachment_13978626\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250616-MeskisKitchen-06-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250616-MeskisKitchen-06-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250616-MeskisKitchen-06-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250616-MeskisKitchen-06-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250616-MeskisKitchen-06-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A painting of Meskie’s Kitchen founder Meskerem Tsegaye hangs inside the restaurant on Telegraph Avenue in Berkeley on June 16, 2025. Founded by the late Tsegaye in 1993, the family-run restaurant is now operated by her son Guma Fassil, who continues to serve authentic Ethiopian cuisine. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s all about timing. And right now, the time is perfect,” Fassil declares. “You can argue that Ethiopian cuisine in the East Bay has become mainstream now, that it’s over-saturated. If you’re near Oakland, you don’t even know where to choose. So I had no interest in opening another traditional spot. I wanted to mix my culture as an American with my nightlife background. We don’t really have that vibe [with Ethiopian food].”\u003c/p>\n\u003cp>In a way, Fassil is doing both — keeping those old-school East African traditions intact at the original Meskie’s in the East Bay while also carving out his own definition of Ethiopian dining across the bridge at Meski, in a way that still honors his mom’s spirit.\u003c/p>\n\u003cp>He continues with his entrepreneurial manifesto: “Ethiopian cuisine is at a place where most people around here have tried it. It was in a Simpsons episode, I mean, that’s how you know most people know about it. If I tried to do what I’m doing 10 or more years ago, it may not have had the same reception. But the Bay is ready for a different iteration of Ethiopian food. So many people have already tried the traditional version.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/meski.sf/?hl=en\">\u003ci>Meski\u003c/i>\u003c/a>\u003ci> (1000 Larkin St., SF) is open Wed. to Sun. for dinner (hours vary from 5 p.m. to 11 p.m. or 1 a.m.) and on Sun. for brunch from 11 a.m. to 3 p.m.. \u003c/i>\u003ca href=\"https://www.instagram.com/meskisberkeley/?hl=en\">\u003ci>Meskie’s\u003c/i>\u003c/a>\u003ci> (2955 Telegraph Ave., Berkeley) is open every day from 11:30 a.m. to 9 p.m. \u003c/i>\u003ca href=\"https://www.instagram.com/cafecolucci/?hl=en\">\u003ci>Café Colucci\u003c/i>\u003c/a>\u003ci> (5849 San Pablo Ave., Oakland) is open every day with varying lunch and dinner hours from 11 a.m. to 10 p.m. \u003c/i>\u003ca href=\"https://www.instagram.com/brundospices/?hl=en\">\u003ci>Brundo Spice Company\u003c/i>\u003c/a>\u003ci> is located inside Café Colucci.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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": "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.",
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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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"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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"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": {
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"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.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"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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},
"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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"order": 16
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},
"science-friday": {
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"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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