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"content": "\u003cp>An iconoclastic filmmaking legend, a songwriting powerhouse and one of the world’s most enduring musical acts headline this year’s crop of Kennedy Center Honors recipients.\u003c/p>\n\u003cp>Director Francis Ford Coppola and the Grateful Dead will be honored for lifetime achievement in the arts, along with blues legend Bonnie Raitt, jazz trumpeter Arturo Sandoval and the legendary Harlem theater The Apollo, which has launched generations of Black artists.\u003c/p>\n\u003cp>The majority of this year’s honorees have direct ties to the Bay Area, most prominently the Grateful Dead, who lived in the Haight-Ashbury and defined its 1960s scene. Raitt has lived in Marin County since the 1990s, and Coppola has long made his home in Napa County. \u003c/p>\n\u003cp>This 47th Kennedy Center class will be honored with an evening of tributes, testimonials and performances on Dec. 8 at Washington’s John F. Kennedy Center for the Performing Arts. The ceremony will be broadcast on CBS on Dec. 23.\u003c/p>\n\u003cp>Starting out as a folk-infused quintet in psychedelic-era 1960s San Francisco, the Grateful Dead steadily morphed into a cultural phenomenon and one of the most successful touring acts of all time.\u003c/p>\n\u003cfigure id=\"attachment_13925413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg\" alt=\"Five young men with long hair gather around and pose next to a street sign at an intersection that reads Haight Ashbury.\" width=\"1920\" height=\"1949\" class=\"size-full wp-image-13925413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-768x780.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1513x1536.jpg 1513w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Grateful Dead, pictured on the corner of Haight and Ashbury in San Francisco. \u003ccite>(Herb Greene/Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fueled by the carnival atmosphere of its traveling Deadhead fanbase and an ethos that encouraged tape-trading and emphasized live performance over studio output, the Dead have spanned multiple generations and remain wildly popular. Lead guitarist and founding member Jerry Garcia died in 1995, but the band continues almost nonstop touring in multiple incarnations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a lot of ingredients that go into it,” drummer Mickey Hart said, when asked about the music’s longevity. “The fans say that the shows feel like home. It gives them that feeling of connectiveness and community and joy and love for life and the music.”\u003c/p>\n\u003cp>Currently calling themselves Dead and Company with guitarist John Mayer taking Garcia’s place, the band is in the midst of a several-month residency at The Sphere in Las Vegas.\u003c/p>\n\u003cp>Coppola, 85, has established himself as a trailblazing filmmaker, winning five Academy Awards and earning a reputation as a driven artist willing to risk his reputation and finances for his vision. Even after the massive successes of \u003cem>The Godfather\u003c/em> and a sequel, Coppola drove himself into near bankruptcy while filming \u003cem>Apocalypse Now\u003c/em>, which turned out to be another classic. He later filmed \u003cem>The Conversation\u003c/em> in San Francisco, set in Union Square. \u003c/p>\n\u003cfigure id=\"attachment_13955933\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg\" alt=\"\" width=\"1920\" height=\"1267\" class=\"size-full wp-image-13955933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1536x1014.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francis Coppola and wife, Eleanor, pictured in Los Angeles in 1991. Eleanor Coppola died in April 2024 at age 87. \u003ccite>(AP Photo/Chris Martinez, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At times, he wondered whether he had ruffled too many powerful feathers along the way to ever receive Kennedy Center Honors induction.\u003c/p>\n\u003cp>“I’ve been eligible for the past 20 years, so the fact that I never received it made me feel that maybe I never would,” said Coppola, who took part in fellow director Martin Scorsese’s induction in 2007. “I just assumed I wasn’t going to win it, so to hear that I was chosen was a surprise and a delight.”\u003c/p>\n\u003cp>Coppola, who has produced wine from his northern California vineyard for more than 40 years, also made sure to shout out another northern California recipient this year.\u003c/p>\n\u003cp>“And it’s a big treat to be there this year with the Grateful Dead, my San Francisco colleagues,” he said. “I’m very delighted and pleased.”\u003c/p>\n\u003cp>Raitt’s memories of the Kennedy Center Honors go back to the 1970s, when she accompanied her father, Broadway performer John Raitt, who was taking part in a tribute to composer Richard Rogers.\u003c/p>\n\u003cp>“I got to visit the White House and hang out with the Carters,” said Raitt, 74. “I got my first taste of what this weekend really means.”\u003c/p>\n\u003cp>As an adult performer, Raitt experienced the other side of the Kennedy Center Honors equation: performing as part of tributes to Mavis Staples in 2016 and Buddy Guy in 2012. These performances are frequently kept secret from the honorees themselves, and Raitt said she looks forward to seeing who the planners come up with for her tribute.\u003c/p>\n\u003cp>“I really, really want to be surprised, and I don’t want to know,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13878314\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg\" alt=\"(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13878314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-1020x680.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019. \u003ccite>(Terry Wyatt/Getty Images for Americana Music Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over a 50-year career, Raitt has received a plethora of music awards, including 13 Grammys and induction into the Rock and Roll Hall of Fame. Rolling Stone magazine named her to its lists of the 100 greatest guitarists and the 100 greatest singers of all time. But Raitt said the Kennedy Center Honors status holds a special place because it extends to all aspects of the performing arts, encompassing all forms of music, dance and performance.\u003c/p>\n\u003cp>“The thing that puts (Kennedy Center Honors) at the pinnacle is that it’s culture-wide,” she said. “It’s hard for me to even fathom what this means.”\u003c/p>\n\u003cp>Sandoval, 74, rose to prominence as a musician in his native Cuba, playing piano and percussion but specializing in the trumpet. His work brought him into contact with jazz legend Dizzy Gillespie, who championed his music and personally helped him defect from Cuba while on tour in Europe in 1990. Shortly after his defection, Sandoval performed at his mentor Gillespie’s own Kennedy Center Honors induction.\u003c/p>\n\u003cfigure id=\"attachment_11691645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-11691645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Arturo Sandoval \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Modestly apart, I do think I deserve it. I worked so hard for so many years,” Sandoval told The Associated Press. “It’s a huge honor, and I feel completely overwhelmed. I have to pinch myself sometimes. I’m just a little farmer from Cuba. God has been so good to me.”\u003c/p>\n\u003cp>It’s extremely rare for the Kennedy Center Honors to select a venue, rather than a performer. But The Apollo’s nine-decade run as an incubator for generations of Black talent has qualified it as an exception.\u003c/p>\n\u003cp>“It’s not a traditional honoree, for sure,” said Michelle Ebanks, the theater’s president and CEO, who cited the recent induction of the show \u003cem>Sesame Street\u003c/em> as a similar out-of-the-box selection. “We’re absolutely delighted by the honor.”\u003c/p>\n\u003cfigure id=\"attachment_13868993\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater.jpg\" alt=\"The Apollo Theater marquee, pictured in 'The Apollo,' Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13868993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-1200x676.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Apollo Theater marquee, pictured in ‘The Apollo,’ Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Harlem landmark has served as a proving ground for Black performers dating back to Billie Holiday, James Brown and Stevie Wonder and extending into modern performers like Lauryn Hill. This year, the theater has moved events to a new venue down the street, dubbed The Apollo Stages at the Victoria Theater, while the original venue undergoes renovation and expansion.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s more than a theater. It’s a cultural touchstone … that’s rooted in the Harlem community,” Ebanks said. “It really is a recognition of a collective passion. … Over the decades, The Apollo has never stood still.”\u003c/p>\n\n",
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"excerpt": "The Bay Area is well represented in this year's crop of Kennedy Center Honors recipients.",
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"title": "Bonnie Raitt, the Grateful Dead and Francis Ford Coppola Among New Kennedy Center Honorees | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An iconoclastic filmmaking legend, a songwriting powerhouse and one of the world’s most enduring musical acts headline this year’s crop of Kennedy Center Honors recipients.\u003c/p>\n\u003cp>Director Francis Ford Coppola and the Grateful Dead will be honored for lifetime achievement in the arts, along with blues legend Bonnie Raitt, jazz trumpeter Arturo Sandoval and the legendary Harlem theater The Apollo, which has launched generations of Black artists.\u003c/p>\n\u003cp>The majority of this year’s honorees have direct ties to the Bay Area, most prominently the Grateful Dead, who lived in the Haight-Ashbury and defined its 1960s scene. Raitt has lived in Marin County since the 1990s, and Coppola has long made his home in Napa County. \u003c/p>\n\u003cp>This 47th Kennedy Center class will be honored with an evening of tributes, testimonials and performances on Dec. 8 at Washington’s John F. Kennedy Center for the Performing Arts. The ceremony will be broadcast on CBS on Dec. 23.\u003c/p>\n\u003cp>Starting out as a folk-infused quintet in psychedelic-era 1960s San Francisco, the Grateful Dead steadily morphed into a cultural phenomenon and one of the most successful touring acts of all time.\u003c/p>\n\u003cfigure id=\"attachment_13925413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg\" alt=\"Five young men with long hair gather around and pose next to a street sign at an intersection that reads Haight Ashbury.\" width=\"1920\" height=\"1949\" class=\"size-full wp-image-13925413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-800x812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1020x1035.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-768x780.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grateful-Dead-on-Haight-by-Herb-Greene_1920-1513x1536.jpg 1513w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Grateful Dead, pictured on the corner of Haight and Ashbury in San Francisco. \u003ccite>(Herb Greene/Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fueled by the carnival atmosphere of its traveling Deadhead fanbase and an ethos that encouraged tape-trading and emphasized live performance over studio output, the Dead have spanned multiple generations and remain wildly popular. Lead guitarist and founding member Jerry Garcia died in 1995, but the band continues almost nonstop touring in multiple incarnations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a lot of ingredients that go into it,” drummer Mickey Hart said, when asked about the music’s longevity. “The fans say that the shows feel like home. It gives them that feeling of connectiveness and community and joy and love for life and the music.”\u003c/p>\n\u003cp>Currently calling themselves Dead and Company with guitarist John Mayer taking Garcia’s place, the band is in the midst of a several-month residency at The Sphere in Las Vegas.\u003c/p>\n\u003cp>Coppola, 85, has established himself as a trailblazing filmmaker, winning five Academy Awards and earning a reputation as a driven artist willing to risk his reputation and finances for his vision. Even after the massive successes of \u003cem>The Godfather\u003c/em> and a sequel, Coppola drove himself into near bankruptcy while filming \u003cem>Apocalypse Now\u003c/em>, which turned out to be another classic. He later filmed \u003cem>The Conversation\u003c/em> in San Francisco, set in Union Square. \u003c/p>\n\u003cfigure id=\"attachment_13955933\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg\" alt=\"\" width=\"1920\" height=\"1267\" class=\"size-full wp-image-13955933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/AP24103823039786-1536x1014.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francis Coppola and wife, Eleanor, pictured in Los Angeles in 1991. Eleanor Coppola died in April 2024 at age 87. \u003ccite>(AP Photo/Chris Martinez, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At times, he wondered whether he had ruffled too many powerful feathers along the way to ever receive Kennedy Center Honors induction.\u003c/p>\n\u003cp>“I’ve been eligible for the past 20 years, so the fact that I never received it made me feel that maybe I never would,” said Coppola, who took part in fellow director Martin Scorsese’s induction in 2007. “I just assumed I wasn’t going to win it, so to hear that I was chosen was a surprise and a delight.”\u003c/p>\n\u003cp>Coppola, who has produced wine from his northern California vineyard for more than 40 years, also made sure to shout out another northern California recipient this year.\u003c/p>\n\u003cp>“And it’s a big treat to be there this year with the Grateful Dead, my San Francisco colleagues,” he said. “I’m very delighted and pleased.”\u003c/p>\n\u003cp>Raitt’s memories of the Kennedy Center Honors go back to the 1970s, when she accompanied her father, Broadway performer John Raitt, who was taking part in a tribute to composer Richard Rogers.\u003c/p>\n\u003cp>“I got to visit the White House and hang out with the Carters,” said Raitt, 74. “I got my first taste of what this weekend really means.”\u003c/p>\n\u003cp>As an adult performer, Raitt experienced the other side of the Kennedy Center Honors equation: performing as part of tributes to Mavis Staples in 2016 and Buddy Guy in 2012. These performances are frequently kept secret from the honorees themselves, and Raitt said she looks forward to seeing who the planners come up with for her tribute.\u003c/p>\n\u003cp>“I really, really want to be surprised, and I don’t want to know,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13878314\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg\" alt=\"(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13878314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-1020x680.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019. \u003ccite>(Terry Wyatt/Getty Images for Americana Music Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over a 50-year career, Raitt has received a plethora of music awards, including 13 Grammys and induction into the Rock and Roll Hall of Fame. Rolling Stone magazine named her to its lists of the 100 greatest guitarists and the 100 greatest singers of all time. But Raitt said the Kennedy Center Honors status holds a special place because it extends to all aspects of the performing arts, encompassing all forms of music, dance and performance.\u003c/p>\n\u003cp>“The thing that puts (Kennedy Center Honors) at the pinnacle is that it’s culture-wide,” she said. “It’s hard for me to even fathom what this means.”\u003c/p>\n\u003cp>Sandoval, 74, rose to prominence as a musician in his native Cuba, playing piano and percussion but specializing in the trumpet. His work brought him into contact with jazz legend Dizzy Gillespie, who championed his music and personally helped him defect from Cuba while on tour in Europe in 1990. Shortly after his defection, Sandoval performed at his mentor Gillespie’s own Kennedy Center Honors induction.\u003c/p>\n\u003cfigure id=\"attachment_11691645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-11691645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Arturo-SAndoval2-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Arturo Sandoval \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Modestly apart, I do think I deserve it. I worked so hard for so many years,” Sandoval told The Associated Press. “It’s a huge honor, and I feel completely overwhelmed. I have to pinch myself sometimes. I’m just a little farmer from Cuba. God has been so good to me.”\u003c/p>\n\u003cp>It’s extremely rare for the Kennedy Center Honors to select a venue, rather than a performer. But The Apollo’s nine-decade run as an incubator for generations of Black talent has qualified it as an exception.\u003c/p>\n\u003cp>“It’s not a traditional honoree, for sure,” said Michelle Ebanks, the theater’s president and CEO, who cited the recent induction of the show \u003cem>Sesame Street\u003c/em> as a similar out-of-the-box selection. “We’re absolutely delighted by the honor.”\u003c/p>\n\u003cfigure id=\"attachment_13868993\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater.jpg\" alt=\"The Apollo Theater marquee, pictured in 'The Apollo,' Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13868993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ApolloTheater-1200x676.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Apollo Theater marquee, pictured in ‘The Apollo,’ Roger Ross Williams’ made-for-HBO study of the Harlem landmark of African American culture. \u003ccite>(Courtesy SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Harlem landmark has served as a proving ground for Black performers dating back to Billie Holiday, James Brown and Stevie Wonder and extending into modern performers like Lauryn Hill. This year, the theater has moved events to a new venue down the street, dubbed The Apollo Stages at the Victoria Theater, while the original venue undergoes renovation and expansion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s more than a theater. It’s a cultural touchstone … that’s rooted in the Harlem community,” Ebanks said. “It really is a recognition of a collective passion. … Over the decades, The Apollo has never stood still.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "It Just Got a Little Easier to Film a Movie in Oakland",
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"content": "\u003cp>Filmmakers wanting to shoot in Oakland got a boost Tuesday as the Oakland City Council formally voted in a city-managed film rebate program.\u003c/p>\n\u003cp>The Oakland Film Initiative will provide a 10% rebate on qualified local spending in film production, including costs associated with purchased or rented items, contracted services and wages for local residents. \u003c/p>\n\u003cp>An additional 2.5% rebate will be available to film productions with a budget of at least $250,000 which spend production funds in zip codes with high unemployment or at a worker-owned co-op. \u003c/p>\n\u003cp>[aside postID='arts_13870719']Despite the prominence of locally filmed movies like \u003cem>Blindspotting\u003c/em> and \u003cem>Sorry to Bother You\u003c/em>, both released in 2018, filming in Oakland has taken a nosedive. Film permits issued in the city have decreased from a high of 247 permits in 2019 to just 74 permits in 2023. (Oakland-set scenes in \u003cem>Black Panther\u003c/em> were filmed in Atlanta.)\u003c/p>\n\u003cp>The initiative is similar to rebate or tax credit programs in San Francisco, San Antonio, New Orleans and Oklahoma City. The amendment to the city code was crafted with strong involvement by Samatha Bempong of the the \u003ca href=\"https://www.youtube.com/playlist?list=PLblGGfZj_RYHir9u8jFn4LV3lkLcKNWnE\">East Bay Film Collective\u003c/a>, whose cofounders include comedian W. Kamau Bell, the Center for Cultural Power’s president Favianna Rodriguez, actor and producer Rafael Casal, filmmaker Cheryl Dunye, filmmaker Peter Nicks and pastor Michael McBride’s Live Free organization. \u003c/p>\n\u003cfigure id=\"attachment_13837233\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg\" alt=\"two men in movers uniforms\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13837233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daveed Diggs and Rafael Casal in a still from ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One week before the council’s initial vote, Steph Curry’s multimedia company Unanimous Media and collective Thirty Ink joined the group, giving the initiative high-profile support. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On top of the additional 2.5% rebate for working in certain zip codes and with worker-owned collectives, “we wanted to make sure to exclude commercials from the smaller productions carve-out,” said Greg Minor of the city’s Economic Workforce Development Department, just before the initial vote on July 2. \u003c/p>\n\u003cp>According to the amendment’s text: “Film permittees producing commercial advertising shall not be eligible for a rebate under this provision.”\u003c/p>\n\u003cp>Minor noted that another late change was to set aside 10% of the city’s rebate funds to productions with a lower budget, between $50,000 and $250,000, “to support documentaries and smaller productions.”\u003c/p>\n\u003cp>In addition to incentivizing filmmakers, Councilmember Treva Reid cited the ordinance’s overall financial benefits. “I believe that this decision that we’re making today will help us secure more grants, more industry incentives, and more state funding,” Reid said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A final vote on the initiative passed unanimously on July 16.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Filmmakers wanting to shoot in Oakland got a boost Tuesday as the Oakland City Council formally voted in a city-managed film rebate program.\u003c/p>\n\u003cp>The Oakland Film Initiative will provide a 10% rebate on qualified local spending in film production, including costs associated with purchased or rented items, contracted services and wages for local residents. \u003c/p>\n\u003cp>An additional 2.5% rebate will be available to film productions with a budget of at least $250,000 which spend production funds in zip codes with high unemployment or at a worker-owned co-op. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite the prominence of locally filmed movies like \u003cem>Blindspotting\u003c/em> and \u003cem>Sorry to Bother You\u003c/em>, both released in 2018, filming in Oakland has taken a nosedive. Film permits issued in the city have decreased from a high of 247 permits in 2019 to just 74 permits in 2023. (Oakland-set scenes in \u003cem>Black Panther\u003c/em> were filmed in Atlanta.)\u003c/p>\n\u003cp>The initiative is similar to rebate or tax credit programs in San Francisco, San Antonio, New Orleans and Oklahoma City. The amendment to the city code was crafted with strong involvement by Samatha Bempong of the the \u003ca href=\"https://www.youtube.com/playlist?list=PLblGGfZj_RYHir9u8jFn4LV3lkLcKNWnE\">East Bay Film Collective\u003c/a>, whose cofounders include comedian W. Kamau Bell, the Center for Cultural Power’s president Favianna Rodriguez, actor and producer Rafael Casal, filmmaker Cheryl Dunye, filmmaker Peter Nicks and pastor Michael McBride’s Live Free organization. \u003c/p>\n\u003cfigure id=\"attachment_13837233\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg\" alt=\"two men in movers uniforms\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13837233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daveed Diggs and Rafael Casal in a still from ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One week before the council’s initial vote, Steph Curry’s multimedia company Unanimous Media and collective Thirty Ink joined the group, giving the initiative high-profile support. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On top of the additional 2.5% rebate for working in certain zip codes and with worker-owned collectives, “we wanted to make sure to exclude commercials from the smaller productions carve-out,” said Greg Minor of the city’s Economic Workforce Development Department, just before the initial vote on July 2. \u003c/p>\n\u003cp>According to the amendment’s text: “Film permittees producing commercial advertising shall not be eligible for a rebate under this provision.”\u003c/p>\n\u003cp>Minor noted that another late change was to set aside 10% of the city’s rebate funds to productions with a lower budget, between $50,000 and $250,000, “to support documentaries and smaller productions.”\u003c/p>\n\u003cp>In addition to incentivizing filmmakers, Councilmember Treva Reid cited the ordinance’s overall financial benefits. “I believe that this decision that we’re making today will help us secure more grants, more industry incentives, and more state funding,” Reid said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A final vote on the initiative passed unanimously on July 16.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Presidio’s popular Tunnel Tops Park will be home to a new food hall in 2025, park operators announced Tuesday. \u003c/p>\n\u003cp>\u003ca href=\"http://www.messhallpresidio.com\">The Mess Hall\u003c/a>, in a building adjacent to the park, will house a food hall, bar, cafe and retail market, scheduled to be open each day from 8 a.m. to 8 p.m. It will be located at 201 Halleck St., with the park’s signature views of the Golden Gate Bridge, the Marin Headlands and Alcatraz. \u003c/p>\n\u003cp>While no specific tenants for The Mess Hall have been announced, the Presidio Trust, which operates the park, expects the hall to sell “fast-casual made-to-order meals, grab-and-go prepared options, and a provisions market featuring local specialties, imported favorites, and picnic essentials.”\u003c/p>\n\u003cp>[aside postID='news_11988111']Two out-of-towners have been brought on in key positions. Heading the Mess Hall’s food side is the James Beard Award–winning, Korean American chef \u003ca href=\"https://www.instagram.com/serpicopter/?hl=en\">Peter Serpico\u003c/a>, formerly of Momofuko, as well as his own restaurant, Serpico, in Philadelphia. In charge of the bar is Zach Negin, an owner of the Los Angeles bar Tabula Rasa and the Silverlake Lounge, a live music venue. (Negin is also a partner in San Francisco’s Dolores Deluxe, a corner store in the Mission.) \u003c/p>\n\u003cp>The Mess Hall also operates \u003ca href=\"https://www.messhallmarketoc.com/\">another location\u003c/a> in Orange County. Other current food options adjacent to Tunnel Tops Park include Il Parco, the Italian cafe that specializes in foccacia sourdough pizza, and the Presidio Pop-Up, a regular rotation of food trucks. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Presidio’s popular Tunnel Tops Park will be home to a new food hall in 2025, park operators announced Tuesday. \u003c/p>\n\u003cp>\u003ca href=\"http://www.messhallpresidio.com\">The Mess Hall\u003c/a>, in a building adjacent to the park, will house a food hall, bar, cafe and retail market, scheduled to be open each day from 8 a.m. to 8 p.m. It will be located at 201 Halleck St., with the park’s signature views of the Golden Gate Bridge, the Marin Headlands and Alcatraz. \u003c/p>\n\u003cp>While no specific tenants for The Mess Hall have been announced, the Presidio Trust, which operates the park, expects the hall to sell “fast-casual made-to-order meals, grab-and-go prepared options, and a provisions market featuring local specialties, imported favorites, and picnic essentials.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Two out-of-towners have been brought on in key positions. Heading the Mess Hall’s food side is the James Beard Award–winning, Korean American chef \u003ca href=\"https://www.instagram.com/serpicopter/?hl=en\">Peter Serpico\u003c/a>, formerly of Momofuko, as well as his own restaurant, Serpico, in Philadelphia. In charge of the bar is Zach Negin, an owner of the Los Angeles bar Tabula Rasa and the Silverlake Lounge, a live music venue. (Negin is also a partner in San Francisco’s Dolores Deluxe, a corner store in the Mission.) \u003c/p>\n\u003cp>The Mess Hall also operates \u003ca href=\"https://www.messhallmarketoc.com/\">another location\u003c/a> in Orange County. Other current food options adjacent to Tunnel Tops Park include Il Parco, the Italian cafe that specializes in foccacia sourdough pizza, and the Presidio Pop-Up, a regular rotation of food trucks. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "san-francisco-chinatown-artist-registry-sfac-chinese-culture-center",
"title": "SF Launches Chinatown Artist Registry With $2.26 Million for Public Art",
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"content": "\u003cp>The \u003ca href=\"https://www.sfartscommission.org/\">San Francisco Arts Commission\u003c/a> (SFAC) and the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> (CCC) announced today the creation of the \u003ca href=\"https://sfartscommission.org/find-opportunities/calls-for-artists/chinatown-artist-registry\">Chinatown Artist Registry\u003c/a>, launching a call for artists with meaningful connections to the neighborhood.\u003c/p>\n\u003cp>Artists accepted into the registry will be eligible for public art opportunities that total $993,000 in artist fees, including a sculpture commission in Portsmouth Square, two-dimensional artwork purchases for the Chinatown Public Health Center, and a wall work integrated into five arched niches at the Chinatown Him Mark Lai branch library. The registry will be used for other upcoming projects through 2027.\u003c/p>\n\u003cp>Jenny Leung, director of the CCC, marks this as a major milestone in the story of Chinatown’s city-funded public art. “I just really commend the city for listening to the community,” she told KQED. “Chinatown really does care about its public presentation, and our community has been really deeply underrepresented in our public spaces in public art.”\u003c/p>\n\u003cfigure id=\"attachment_13960996\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960996\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg\" alt=\"Birds fly above a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Commission worked closely with Chinese Culture Center to create the Chinatown Artist Registry. The CCC will hold workshops and provide language support to help artists apply to the registry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13938291,news_11973503' label=\"Public Art in Chinatown\"]In November 2023, the CCC, along with six other Chinatown organizations, successfully advocated for the \u003ca href=\"https://www.kqed.org/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown\">removal of Patti Bowler’s \u003ci>Dragon Relief\u003c/i>\u003c/a> from the Chinatown Public Health Center. The SFAC had proposed to reposition the artwork on the building’s façade or roof, but ultimately decided that the 56-foot-wide bronze and brass sculpture, installed 1970, no longer met the city’s standards for a community artwork.\u003c/p>\n\u003cp>Similarly, Portsmouth Square’s existing public art has been part of an evaluation process set forth in 2023 by the city’s \u003ca href=\"https://www.sfartscommission.org/content/monuments-and-memorials-advisory-committee\">Monuments and Memorials Advisory Committee\u003c/a>. As CCC Deputy Director Hoi Leung \u003ca href=\"https://www.kqed.org/news/11973503/sf-chinatown-weighs-in-on-controversial-monuments-in-portsmouth-square\">told KQED earlier this year\u003c/a>, the square currently contains no artwork that commemorates Asian American history or artwork made by artists of Asian descent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfartscommission.org/experience-art/projects/portsmouth-square-improvement-project-public-art-project-plan\">Portsmouth Square\u003c/a>, the \u003ca href=\"https://www.sfartscommission.org/experience-art/projects/chinatown-public-health-center-renovation-public-art-project-plan\">Chinatown Public Health Center\u003c/a> and the \u003ca href=\"https://www.sfartscommission.org/experience-art/projects/chinatown-him-mark-lai-branch-library-renovation-project\">Chinatown library\u003c/a> are all undergoing multi-million dollar renovations in the coming years. The funding for public art in these projects comes from a combination of San Francisco’s Art Enrichment Ordinance (or 2%-for-Art-Program) and other state and city sources.\u003c/p>\n\u003cfigure id=\"attachment_13938308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938308\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg\" alt=\"Architectural rendering of glass-fronted building with red wrapping shape and Chinese characters on column\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the planned upgrades to the Chinatown Public Health Center, as seen from Mason Street. \u003ccite>(San Francisco Public Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are no small commissions. The artist fee for a new, human-sized Portsmouth Square sculpture (inclusive of fabrication and transportation costs) is $340,000. At the Chinatown Public Health Center, the budget for a new exterior artwork near the clinic entrance is $107,000.\u003c/p>\n\u003cp>Integral to SFAC’s partnership with the CCC is a robust outreach plan, which involves virtual and in-person workshops and language support. A large percentage of Chinatown’s residents are monolingual seniors.\u003c/p>\n\u003cp>“We’ll also have one-on-one hours for artists that want support and help navigating the process,” said Leung.\u003c/p>\n\u003cp>[aside postID='arts_13920940']The registry builds on the model of the \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/bayview-artist-registry\">Bayview Artist Registry\u003c/a>, a similar neighborhood-specific call that led to artwork commissions and purchases for the \u003ca href=\"https://www.kqed.org/arts/13920940/new-southeast-community-center-bayview-art-sfac-sfpuc\">Southeast Community Center\u003c/a>, Southeast Family Health Center, Southeast Wastewater Treatment Plant and India Basin Shoreline Park projects.\u003c/p>\n\u003cp>“We are excited about the new artists that will be applying for this opportunity, and undiscovered artists that maybe have not had their work showcased or uplifted,” Leung said. “We want to make sure that everyone has the ability to apply.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Applications to the Chinatown Artist Registry are due by Sept. 11, 2024. The Chinese Culture Center will hold a virtual workshop on Aug. 6, 5–6:30 p.m. and an in-person workshop on Aug. 13, 5:30–7 p.m. \u003ca href=\"https://sfartscommission.org/find-opportunities/calls-for-artists/chinatown-artist-registry\">Click here for more information\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Artists will be eligible for public art opportunities in Portsmouth Square and other renovation projects.",
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"title": "SF Launches Chinatown Artist Registry With $2.26 Million for Public Art | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.sfartscommission.org/\">San Francisco Arts Commission\u003c/a> (SFAC) and the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a> (CCC) announced today the creation of the \u003ca href=\"https://sfartscommission.org/find-opportunities/calls-for-artists/chinatown-artist-registry\">Chinatown Artist Registry\u003c/a>, launching a call for artists with meaningful connections to the neighborhood.\u003c/p>\n\u003cp>Artists accepted into the registry will be eligible for public art opportunities that total $993,000 in artist fees, including a sculpture commission in Portsmouth Square, two-dimensional artwork purchases for the Chinatown Public Health Center, and a wall work integrated into five arched niches at the Chinatown Him Mark Lai branch library. The registry will be used for other upcoming projects through 2027.\u003c/p>\n\u003cp>Jenny Leung, director of the CCC, marks this as a major milestone in the story of Chinatown’s city-funded public art. “I just really commend the city for listening to the community,” she told KQED. “Chinatown really does care about its public presentation, and our community has been really deeply underrepresented in our public spaces in public art.”\u003c/p>\n\u003cfigure id=\"attachment_13960996\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960996\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg\" alt=\"Birds fly above a pedestrian bridge connecting a Hilton to Portsmouth Square in San Francisco's Chinatown neighborhood on Jan. 22, 2024.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/240122-PORTSMOUTHSQUARE-11-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Commission worked closely with Chinese Culture Center to create the Chinatown Artist Registry. The CCC will hold workshops and provide language support to help artists apply to the registry. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In November 2023, the CCC, along with six other Chinatown organizations, successfully advocated for the \u003ca href=\"https://www.kqed.org/arts/13938291/sfac-remove-dragon-relief-broadway-tunnel-chinatown\">removal of Patti Bowler’s \u003ci>Dragon Relief\u003c/i>\u003c/a> from the Chinatown Public Health Center. The SFAC had proposed to reposition the artwork on the building’s façade or roof, but ultimately decided that the 56-foot-wide bronze and brass sculpture, installed 1970, no longer met the city’s standards for a community artwork.\u003c/p>\n\u003cp>Similarly, Portsmouth Square’s existing public art has been part of an evaluation process set forth in 2023 by the city’s \u003ca href=\"https://www.sfartscommission.org/content/monuments-and-memorials-advisory-committee\">Monuments and Memorials Advisory Committee\u003c/a>. As CCC Deputy Director Hoi Leung \u003ca href=\"https://www.kqed.org/news/11973503/sf-chinatown-weighs-in-on-controversial-monuments-in-portsmouth-square\">told KQED earlier this year\u003c/a>, the square currently contains no artwork that commemorates Asian American history or artwork made by artists of Asian descent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfartscommission.org/experience-art/projects/portsmouth-square-improvement-project-public-art-project-plan\">Portsmouth Square\u003c/a>, the \u003ca href=\"https://www.sfartscommission.org/experience-art/projects/chinatown-public-health-center-renovation-public-art-project-plan\">Chinatown Public Health Center\u003c/a> and the \u003ca href=\"https://www.sfartscommission.org/experience-art/projects/chinatown-him-mark-lai-branch-library-renovation-project\">Chinatown library\u003c/a> are all undergoing multi-million dollar renovations in the coming years. The funding for public art in these projects comes from a combination of San Francisco’s Art Enrichment Ordinance (or 2%-for-Art-Program) and other state and city sources.\u003c/p>\n\u003cfigure id=\"attachment_13938308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938308\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg\" alt=\"Architectural rendering of glass-fronted building with red wrapping shape and Chinese characters on column\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the planned upgrades to the Chinatown Public Health Center, as seen from Mason Street. \u003ccite>(San Francisco Public Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These are no small commissions. The artist fee for a new, human-sized Portsmouth Square sculpture (inclusive of fabrication and transportation costs) is $340,000. At the Chinatown Public Health Center, the budget for a new exterior artwork near the clinic entrance is $107,000.\u003c/p>\n\u003cp>Integral to SFAC’s partnership with the CCC is a robust outreach plan, which involves virtual and in-person workshops and language support. A large percentage of Chinatown’s residents are monolingual seniors.\u003c/p>\n\u003cp>“We’ll also have one-on-one hours for artists that want support and help navigating the process,” said Leung.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The registry builds on the model of the \u003ca href=\"https://www.sfartscommission.org/find-opportunities/calls-for-artists/bayview-artist-registry\">Bayview Artist Registry\u003c/a>, a similar neighborhood-specific call that led to artwork commissions and purchases for the \u003ca href=\"https://www.kqed.org/arts/13920940/new-southeast-community-center-bayview-art-sfac-sfpuc\">Southeast Community Center\u003c/a>, Southeast Family Health Center, Southeast Wastewater Treatment Plant and India Basin Shoreline Park projects.\u003c/p>\n\u003cp>“We are excited about the new artists that will be applying for this opportunity, and undiscovered artists that maybe have not had their work showcased or uplifted,” Leung said. “We want to make sure that everyone has the ability to apply.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Applications to the Chinatown Artist Registry are due by Sept. 11, 2024. The Chinese Culture Center will hold a virtual workshop on Aug. 6, 5–6:30 p.m. and an in-person workshop on Aug. 13, 5:30–7 p.m. \u003ca href=\"https://sfartscommission.org/find-opportunities/calls-for-artists/chinatown-artist-registry\">Click here for more information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "port-chicago-explosion-80-year-anniversary",
"title": "Remembering the Port Chicago Explosion, 80 Years Later",
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"headTitle": "Remembering the Port Chicago Explosion, 80 Years Later | KQED",
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"content": "\u003cp>[dropcap]O[/dropcap]n the anniversary of a horrifying explosion that killed 320 men — 202 of them African American — most people would expect a reverent service or somber memorial to mark the tragedy. Not big bands full of brass instruments playing 1940s jazz and swing music. Not people dancing, twisting and flapping in jubilee.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">But that’s exactly the sort of energy renowned bandleader and composer Marcus Shelby wants to evoke at \u003ca href=\"https://www.portchicagoweekend.org/\" target=\"_blank\" rel=\"noopener\">an event\u003c/a> marking the 80th anniversary of the Port Chicago Explosion, the deadliest incident on mainland American soil of World War II and one of the worst disasters in U.S. military history.\u003c/p>\n\u003cp>Utilizing entertainment in order to educate people on what happened at Port Chicago, just north of Concord, is imperative to \u003ca href=\"https://linktr.ee/eastbaybec\" target=\"_blank\" rel=\"noopener\">Yulie Padmore\u003c/a>. “Ultimately,” says Padmore, the director of the \u003ca href=\"https://www.portchicago50.com/\" target=\"_blank\" rel=\"noopener\">Port Chicago Alliance\u003c/a>, “this is a history I’m very passionate about.”\u003c/p>\n\u003cp>Padmore is quick to enumerate the often-overlooked significance of the disaster and its aftermath. The subsequent legal proceedings laid the groundwork for the civil rights movement. It directly led to the desegregation of the Navy, and later the military as a whole. It also influenced desegregation in the broader U.S. workforce, as well as the country’s education system.\u003c/p>\n\u003cfigure id=\"attachment_13960707\" class=\"wp-caption aligncenter\" style=\"max-width: 829px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960707\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors.jpeg\" alt=\"The smiles of those pictured here are a reminder that the majority of men enlisted in the Navy at the time of the Port Chicago disaster were in their late teens and early 20s.\" width=\"829\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors.jpeg 829w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-768x768.jpeg 768w\" sizes=\"(max-width: 829px) 100vw, 829px\">\u003cfigcaption class=\"wp-caption-text\">The majority of men enlisted in the Navy at the time of the Port Chicago disaster were in their late teens and early 20s. \u003ccite>(Naval History and Heritage Command )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What we’re saying is,” says Padmore during a phone call, “this work happened \u003cem>right here\u003c/em> in The Bay.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Padmore and Shelby are just two of the many folks preparing for \u003ca href=\"https://www.portchicagoweekend.org/\">Port Chicago Weekend\u003c/a>, a three-day series of events spanning from July 18–July 21. Along with live music and dancing, the lineup includes a performance of \u003cem>\u003ca class=\"showMoreInfo\" href=\"https://www.tickets831.com/Event/port-chicago-50-the-play-289922\">Port Chicago 50\u003c/a>\u003c/em>, a play by David Shackelford and Dennis Rowe.\u003c/p>\n\u003cp>Attendees will also get to hear firsthand from relatives of those who died in the tragic events of July 17, 1944 — exactly 80 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13960705\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960705\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1.jpg\" alt=\"A group of African American sailors marching at Port Chicago.\" width=\"960\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-768x560.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">A group of African American sailors marching at Port Chicago. \u003ccite>(National Park Service Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]I[/dropcap]n 1944, the United States was in the thick of World War II, and all throughout the Bay Area, workers played a huge role in the war effort. Women entered the workforce in droves, a shift often symbolized through the fictional character of \u003ca href=\"https://www.nps.gov/places/rosie-the-riveter-in-richmond-audio-program.htm\" target=\"_blank\" rel=\"noopener\">Rosie The Riveter\u003c/a>, and immortalized in a namesake park and museum in Richmond. Around that same time, UC Berkeley scientists worked on \u003ca href=\"https://www.osti.gov/opennet/manhattan-project-history/Places/Other/berkeley.html\" target=\"_blank\" rel=\"noopener\">The Manhattan Project\u003c/a>, which brought about the atom bomb. Thousands more labored in mills in Marin County, factories in Oakland and on ships in Hunters Point, all in support of the war effort.\u003c/p>\n\u003cp>In July, at a naval base on Suisun Bay, hundreds of men worked tirelessly to load munitions onto a 440-foot-long cargo ship, the S.S. \u003cem>E.A. Bryan\u003c/em>. Reports show that between big cluster bombs, small ammunitions, naval mines and other explosives, \u003ca href=\"https://www.history.navy.mil/research/library/online-reading-room/title-list-alphabetically/p/port-chicago-ca-explosion/online-documents/court-of-inquiry/factual-detail-prior-to-explosion.html\" target=\"_blank\" rel=\"noopener\">over 4,600 pounds of weaponry\u003c/a> was loaded onto the vessel at the time of the incident. The cargo ship itself, loaded with over 5,000 barrels of bunker oil, was highly flammable. Approximately 430 tons of ammunition and bombs sat in railroad cars not far from where the ship was moored. Another ship, the S.S. \u003cem>Quinault Victory\u003c/em>, was directly adjacent.\u003c/p>\n\u003cfigure id=\"attachment_13960721\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960721\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05.jpg\" alt=\"Navy servicemen working on the pier during WWII.\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05-160x240.jpg 160w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003cfigcaption class=\"wp-caption-text\">Navy servicemen working on the pier during WWII. \u003ccite>(National Park Service, Port Chicago Naval Magazine National Memorial )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just after 10 p.m. on the night of July 17, witnesses heard the sound of metal falling before a booming explosion sent a fireball measuring three miles in diameter into the sky. Shrapnel was launched 1,200 feet into the air. The explosion was reportedly heard as far away as Nevada. It \u003ca href=\"http://www.asjournal.org/59-2015/commemorating-port-chicago-naval-magazine-disaster-1944/\" target=\"_blank\" rel=\"noopener\">measured 3.4 on the Richter scale\u003c/a> in Berkeley, 20 miles away.\u003c/p>\n\u003cp>Of those men working on the ship, 320 were killed instantly, vaporized by the blast. Hundreds more were injured. Those who perished in the explosion accounted for 15% of African American servicemen who died during WWII.\u003c/p>\n\u003cp>The exact cause of the explosion was never identified. But during a trial, it became clear that \u003ca href=\"https://www.usni.org/magazines/naval-history-magazine/2021/august/port-chicago-revisited\" target=\"_blank\" rel=\"noopener\">the Navy hadn’t followed protocol\u003c/a> in training the largely African American workers how to properly load munitions. What’s more, three weeks later the remaining workers were sent to Mare Island in Vallejo to continue loading munitions for the Navy.\u003c/p>\n\u003cp>Seeing that no new safety measures had been taken, workers protested. \u003ca href=\"https://www.nps.gov/poch/learn/historyculture/people.htm\" target=\"_blank\" rel=\"noopener\">Over 250 men initially refused\u003c/a> the unsafe labor conditions. But soon, the majority returned to work, leaving 50 men — known as the Port Chicago 50 — to protest.\u003c/p>\n\u003cfigure id=\"attachment_13960706\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960706\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick.jpg\" alt=\"African Americans accounted for 5.5% of the Navy during WWII--over 187,000 sailors-- but only 64 were commissioned as officers.\" width=\"1920\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-1020x744.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-1536x1120.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">African Americans accounted for 5.5% of the Navy during WWII — over 187,000 sailors — but only 64 were commissioned as officers. \u003ccite>(National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charged with disobedience and mutiny during wartime, the men were supported by Thurgood Marshall, who wasn’t their lawyer but attended the hearings and publicized their case. This was years before Marshall worked on the landmark case \u003cem>Brown v. Board of Education\u003c/em> or became the first African American Supreme Court justice, but as lead counsel with the NAACP Legal Defense Fund, Marshall’s name still held weight.\u003c/p>\n\u003cp>In support of the Port Chicago 50, \u003ca href=\"https://www.nps.gov/poch/learn/historyculture/the-mutiny-trial.htm\" target=\"_blank\" rel=\"noopener\">Marshall said\u003c/a>, “This is not 50 men on trial for mutiny. This is the Navy on trial for its whole vicious policy toward Negroes. Negroes in the Navy don’t mind loading ammunition. They just want to know why they are the only ones doing the loading.”\u003c/p>\n\u003cp>In the end, the 50 men were imprisoned, with sentences ranging from eight to 15 years at Terminal Island Disciplinary Barracks in San Pedro. The higher ranking officers, all of them white, walked away scot-free. On Capitol Hill, the Navy requested compensation for each of the victim’s families in the amount of $5,000; after protests from the staunchly racist Mississippi Congressman John Rankin, that figure was reduced to $3,000.\u003c/p>\n\u003cfigure id=\"attachment_13960727\" class=\"wp-caption aligncenter\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960727\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small.jpeg\" alt=\"Navy serviceman and Port Chicago 50 member, Joseph Small.\" width=\"320\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small-160x395.jpeg 160w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">Navy serviceman and Port Chicago 50 member Joseph Small. \u003ccite>(Robert L. Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]B[/dropcap]y January 1946, the war was over and the Port Chicago 50 were released from prison. That same year, \u003ca href=\"https://www.usni.org/magazines/naval-history-magazine/2021/february/segregation-navy#:~:text=On%20paper%2C%20the%20history%20of,convictions%20of%2050%20black%20sailors.\" target=\"_blank\" rel=\"noopener\">the Navy ended all formal segregation\u003c/a>. Two years later, on July 26, 1948, \u003ca href=\"https://www.archives.gov/milestone-documents/executive-order-9981\" target=\"_blank\" rel=\"noopener\">President Harry Truman formally desegregated the military\u003c/a> and established the President’s Committee on Equality of Treatment and Opportunity in the Armed Services.\u003c/p>\n\u003cp>In 1999, President\u003ca href=\"https://www.nytimes.com/1999/12/24/us/sailor-from-mutiny-in-44-wins-a-presidential-pardon.html\" target=\"_blank\" rel=\"noopener\"> Bill Clinton officially pardoned Port Chicago 50 member Freddie Meeks\u003c/a>. But a number of other men refused to accept the pardon, as it would inherently acknowledge some form of guilt.\u003c/p>\n\u003cp>“\u003ca href=\"https://portchicago50.com/exoneration.html\" target=\"_blank\" rel=\"noopener\">My goal is to the see the men exonerated this year\u003c/a>,” says Yulie Padmore. Working with the likes of \u003ca href=\"https://portchicagomemorial.org/about/\" target=\"_blank\" rel=\"noopener\">Friends of Port Chicago National Memorial\u003c/a> President \u003ca href=\"https://www.nps.gov/articles/000/diana-mcdaniel.htm\" target=\"_blank\" rel=\"noopener\">Rev. Diana McDaniel\u003c/a>, Padmore is also actively ensuring that the story of the Port Chicago disaster and the Port Chicago 50 is accessible to all.\u003c/p>\n\u003cp>In 1994, the \u003ca href=\"https://www.nps.gov/poch/planyourvisit/things2do.htm\" target=\"_blank\" rel=\"noopener\">Port Chicago Naval Magazine National Memorial\u003c/a> was dedicated to those who died in the explosion. Fifteen years later, \u003ca href=\"https://portchicagomemorial.org/2009/10/29/president-obama-signs-bill-designating-port-chicago-memorial-as-unit-of-the-national-parks-service/\" target=\"_blank\" rel=\"noopener\">President Barack Obama\u003c/a> signed a bill establishing that same site as a unit of the National Park Service. The problem is that the public doesn’t readily have access to that land, as it’s on an active naval base.\u003c/p>\n\u003cp>But there’s a new park in the works: \u003ca href=\"https://www.ebparks.org/parks/thurgood-marshall\" target=\"_blank\" rel=\"noopener\">Thurgood Marshall Regional Park — Home of the Port Chicago 50\u003c/a>. “We’re going to have a visitors center here in the Bay Area,” says Padmore of the forthcoming space in the Los Medanos Hills, a 2,500-acre site between the cities of Concord and Pittsburg. And although \u003ca href=\"https://www.ebparks.org/projects/thurgood-marshall-regional-park-land-use-plan\" target=\"_blank\" rel=\"noopener\">the center is 40 years out\u003c/a>, just the name of the site is a significant step. “It’s the first regional park named after people who’ve been formerly incarcerated,” says Padmore, noting that the community pushed to add “Home of the Port Chicago 50” to the title.\u003c/p>\n\u003cfigure id=\"attachment_13960728\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960728\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8.jpeg\" alt=\"Navy servicemen honored at Port Chicago.\" width=\"960\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-800x629.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-160x126.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-768x604.jpeg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Navy servicemen honored at Port Chicago. \u003ccite>(U.S. Navy via National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s much greater than we can imagine at this point,” Padmore tells me. “Folks from California, we go to Washington, D.C., and we learn about our history … but where do we have a significant history of this magnitude for African Americans in the state of California?”\u003c/p>\n\u003cp>Although the center’s opening is well into the future, and the story of the disaster at Port Chicago happened 80 years in the past, this piece of history is more relevant now than ever.\u003c/p>\n\u003cp>From workers rights to diversity, equity and inclusion in the workplace, this month’s 80th anniversary event holds weight. For academics and activists, there’s the opportunity to learn about people like Dr. Robert L. Allen, who wrote the book \u003cem>The Port Chicago Mutiny\u003c/em>. There’s even something for those discussing reparations and land repatriation.\u003c/p>\n\u003cp>And, in addition to education, as Padmore reminds us, there’s room for entertainment — all while honoring the legacy of the Port Chicago 50.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Port Chicago Weekend takes place Thursday–Sunday, July 18–21, at various locations in Port Chicago, Vallejo, Pittsburg, Oakland, San Francisco and San Bruno. \u003ca href=\"https://portchicagoweekend.org/\">More details on the weekend’s events here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Remembering the Port Chicago Explosion, 80 Years Later | KQED",
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"headline": "Remembering the Port Chicago Explosion, 80 Years Later",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n the anniversary of a horrifying explosion that killed 320 men — 202 of them African American — most people would expect a reverent service or somber memorial to mark the tragedy. Not big bands full of brass instruments playing 1940s jazz and swing music. Not people dancing, twisting and flapping in jubilee.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">But that’s exactly the sort of energy renowned bandleader and composer Marcus Shelby wants to evoke at \u003ca href=\"https://www.portchicagoweekend.org/\" target=\"_blank\" rel=\"noopener\">an event\u003c/a> marking the 80th anniversary of the Port Chicago Explosion, the deadliest incident on mainland American soil of World War II and one of the worst disasters in U.S. military history.\u003c/p>\n\u003cp>Utilizing entertainment in order to educate people on what happened at Port Chicago, just north of Concord, is imperative to \u003ca href=\"https://linktr.ee/eastbaybec\" target=\"_blank\" rel=\"noopener\">Yulie Padmore\u003c/a>. “Ultimately,” says Padmore, the director of the \u003ca href=\"https://www.portchicago50.com/\" target=\"_blank\" rel=\"noopener\">Port Chicago Alliance\u003c/a>, “this is a history I’m very passionate about.”\u003c/p>\n\u003cp>Padmore is quick to enumerate the often-overlooked significance of the disaster and its aftermath. The subsequent legal proceedings laid the groundwork for the civil rights movement. It directly led to the desegregation of the Navy, and later the military as a whole. It also influenced desegregation in the broader U.S. workforce, as well as the country’s education system.\u003c/p>\n\u003cfigure id=\"attachment_13960707\" class=\"wp-caption aligncenter\" style=\"max-width: 829px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960707\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors.jpeg\" alt=\"The smiles of those pictured here are a reminder that the majority of men enlisted in the Navy at the time of the Port Chicago disaster were in their late teens and early 20s.\" width=\"829\" height=\"829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors.jpeg 829w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Happy-Sailors-768x768.jpeg 768w\" sizes=\"(max-width: 829px) 100vw, 829px\">\u003cfigcaption class=\"wp-caption-text\">The majority of men enlisted in the Navy at the time of the Port Chicago disaster were in their late teens and early 20s. \u003ccite>(Naval History and Heritage Command )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“What we’re saying is,” says Padmore during a phone call, “this work happened \u003cem>right here\u003c/em> in The Bay.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Padmore and Shelby are just two of the many folks preparing for \u003ca href=\"https://www.portchicagoweekend.org/\">Port Chicago Weekend\u003c/a>, a three-day series of events spanning from July 18–July 21. Along with live music and dancing, the lineup includes a performance of \u003cem>\u003ca class=\"showMoreInfo\" href=\"https://www.tickets831.com/Event/port-chicago-50-the-play-289922\">Port Chicago 50\u003c/a>\u003c/em>, a play by David Shackelford and Dennis Rowe.\u003c/p>\n\u003cp>Attendees will also get to hear firsthand from relatives of those who died in the tragic events of July 17, 1944 — exactly 80 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13960705\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960705\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1.jpg\" alt=\"A group of African American sailors marching at Port Chicago.\" width=\"960\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/POCH-2-080_1-768x560.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">A group of African American sailors marching at Port Chicago. \u003ccite>(National Park Service Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n 1944, the United States was in the thick of World War II, and all throughout the Bay Area, workers played a huge role in the war effort. Women entered the workforce in droves, a shift often symbolized through the fictional character of \u003ca href=\"https://www.nps.gov/places/rosie-the-riveter-in-richmond-audio-program.htm\" target=\"_blank\" rel=\"noopener\">Rosie The Riveter\u003c/a>, and immortalized in a namesake park and museum in Richmond. Around that same time, UC Berkeley scientists worked on \u003ca href=\"https://www.osti.gov/opennet/manhattan-project-history/Places/Other/berkeley.html\" target=\"_blank\" rel=\"noopener\">The Manhattan Project\u003c/a>, which brought about the atom bomb. Thousands more labored in mills in Marin County, factories in Oakland and on ships in Hunters Point, all in support of the war effort.\u003c/p>\n\u003cp>In July, at a naval base on Suisun Bay, hundreds of men worked tirelessly to load munitions onto a 440-foot-long cargo ship, the S.S. \u003cem>E.A. Bryan\u003c/em>. Reports show that between big cluster bombs, small ammunitions, naval mines and other explosives, \u003ca href=\"https://www.history.navy.mil/research/library/online-reading-room/title-list-alphabetically/p/port-chicago-ca-explosion/online-documents/court-of-inquiry/factual-detail-prior-to-explosion.html\" target=\"_blank\" rel=\"noopener\">over 4,600 pounds of weaponry\u003c/a> was loaded onto the vessel at the time of the incident. The cargo ship itself, loaded with over 5,000 barrels of bunker oil, was highly flammable. Approximately 430 tons of ammunition and bombs sat in railroad cars not far from where the ship was moored. Another ship, the S.S. \u003cem>Quinault Victory\u003c/em>, was directly adjacent.\u003c/p>\n\u003cfigure id=\"attachment_13960721\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960721\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05.jpg\" alt=\"Navy servicemen working on the pier during WWII.\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/9781596437968.IN05-160x240.jpg 160w\" sizes=\"(max-width: 683px) 100vw, 683px\">\u003cfigcaption class=\"wp-caption-text\">Navy servicemen working on the pier during WWII. \u003ccite>(National Park Service, Port Chicago Naval Magazine National Memorial )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just after 10 p.m. on the night of July 17, witnesses heard the sound of metal falling before a booming explosion sent a fireball measuring three miles in diameter into the sky. Shrapnel was launched 1,200 feet into the air. The explosion was reportedly heard as far away as Nevada. It \u003ca href=\"http://www.asjournal.org/59-2015/commemorating-port-chicago-naval-magazine-disaster-1944/\" target=\"_blank\" rel=\"noopener\">measured 3.4 on the Richter scale\u003c/a> in Berkeley, 20 miles away.\u003c/p>\n\u003cp>Of those men working on the ship, 320 were killed instantly, vaporized by the blast. Hundreds more were injured. Those who perished in the explosion accounted for 15% of African American servicemen who died during WWII.\u003c/p>\n\u003cp>The exact cause of the explosion was never identified. But during a trial, it became clear that \u003ca href=\"https://www.usni.org/magazines/naval-history-magazine/2021/august/port-chicago-revisited\" target=\"_blank\" rel=\"noopener\">the Navy hadn’t followed protocol\u003c/a> in training the largely African American workers how to properly load munitions. What’s more, three weeks later the remaining workers were sent to Mare Island in Vallejo to continue loading munitions for the Navy.\u003c/p>\n\u003cp>Seeing that no new safety measures had been taken, workers protested. \u003ca href=\"https://www.nps.gov/poch/learn/historyculture/people.htm\" target=\"_blank\" rel=\"noopener\">Over 250 men initially refused\u003c/a> the unsafe labor conditions. But soon, the majority returned to work, leaving 50 men — known as the Port Chicago 50 — to protest.\u003c/p>\n\u003cfigure id=\"attachment_13960706\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960706\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick.jpg\" alt=\"African Americans accounted for 5.5% of the Navy during WWII--over 187,000 sailors-- but only 64 were commissioned as officers.\" width=\"1920\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-1020x744.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/2-Joshua-Schick-1536x1120.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">African Americans accounted for 5.5% of the Navy during WWII — over 187,000 sailors — but only 64 were commissioned as officers. \u003ccite>(National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Charged with disobedience and mutiny during wartime, the men were supported by Thurgood Marshall, who wasn’t their lawyer but attended the hearings and publicized their case. This was years before Marshall worked on the landmark case \u003cem>Brown v. Board of Education\u003c/em> or became the first African American Supreme Court justice, but as lead counsel with the NAACP Legal Defense Fund, Marshall’s name still held weight.\u003c/p>\n\u003cp>In support of the Port Chicago 50, \u003ca href=\"https://www.nps.gov/poch/learn/historyculture/the-mutiny-trial.htm\" target=\"_blank\" rel=\"noopener\">Marshall said\u003c/a>, “This is not 50 men on trial for mutiny. This is the Navy on trial for its whole vicious policy toward Negroes. Negroes in the Navy don’t mind loading ammunition. They just want to know why they are the only ones doing the loading.”\u003c/p>\n\u003cp>In the end, the 50 men were imprisoned, with sentences ranging from eight to 15 years at Terminal Island Disciplinary Barracks in San Pedro. The higher ranking officers, all of them white, walked away scot-free. On Capitol Hill, the Navy requested compensation for each of the victim’s families in the amount of $5,000; after protests from the staunchly racist Mississippi Congressman John Rankin, that figure was reduced to $3,000.\u003c/p>\n\u003cfigure id=\"attachment_13960727\" class=\"wp-caption aligncenter\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960727\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small.jpeg\" alt=\"Navy serviceman and Port Chicago 50 member, Joseph Small.\" width=\"320\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/joe-small-160x395.jpeg 160w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">Navy serviceman and Port Chicago 50 member Joseph Small. \u003ccite>(Robert L. Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>y January 1946, the war was over and the Port Chicago 50 were released from prison. That same year, \u003ca href=\"https://www.usni.org/magazines/naval-history-magazine/2021/february/segregation-navy#:~:text=On%20paper%2C%20the%20history%20of,convictions%20of%2050%20black%20sailors.\" target=\"_blank\" rel=\"noopener\">the Navy ended all formal segregation\u003c/a>. Two years later, on July 26, 1948, \u003ca href=\"https://www.archives.gov/milestone-documents/executive-order-9981\" target=\"_blank\" rel=\"noopener\">President Harry Truman formally desegregated the military\u003c/a> and established the President’s Committee on Equality of Treatment and Opportunity in the Armed Services.\u003c/p>\n\u003cp>In 1999, President\u003ca href=\"https://www.nytimes.com/1999/12/24/us/sailor-from-mutiny-in-44-wins-a-presidential-pardon.html\" target=\"_blank\" rel=\"noopener\"> Bill Clinton officially pardoned Port Chicago 50 member Freddie Meeks\u003c/a>. But a number of other men refused to accept the pardon, as it would inherently acknowledge some form of guilt.\u003c/p>\n\u003cp>“\u003ca href=\"https://portchicago50.com/exoneration.html\" target=\"_blank\" rel=\"noopener\">My goal is to the see the men exonerated this year\u003c/a>,” says Yulie Padmore. Working with the likes of \u003ca href=\"https://portchicagomemorial.org/about/\" target=\"_blank\" rel=\"noopener\">Friends of Port Chicago National Memorial\u003c/a> President \u003ca href=\"https://www.nps.gov/articles/000/diana-mcdaniel.htm\" target=\"_blank\" rel=\"noopener\">Rev. Diana McDaniel\u003c/a>, Padmore is also actively ensuring that the story of the Port Chicago disaster and the Port Chicago 50 is accessible to all.\u003c/p>\n\u003cp>In 1994, the \u003ca href=\"https://www.nps.gov/poch/planyourvisit/things2do.htm\" target=\"_blank\" rel=\"noopener\">Port Chicago Naval Magazine National Memorial\u003c/a> was dedicated to those who died in the explosion. Fifteen years later, \u003ca href=\"https://portchicagomemorial.org/2009/10/29/president-obama-signs-bill-designating-port-chicago-memorial-as-unit-of-the-national-parks-service/\" target=\"_blank\" rel=\"noopener\">President Barack Obama\u003c/a> signed a bill establishing that same site as a unit of the National Park Service. The problem is that the public doesn’t readily have access to that land, as it’s on an active naval base.\u003c/p>\n\u003cp>But there’s a new park in the works: \u003ca href=\"https://www.ebparks.org/parks/thurgood-marshall\" target=\"_blank\" rel=\"noopener\">Thurgood Marshall Regional Park — Home of the Port Chicago 50\u003c/a>. “We’re going to have a visitors center here in the Bay Area,” says Padmore of the forthcoming space in the Los Medanos Hills, a 2,500-acre site between the cities of Concord and Pittsburg. And although \u003ca href=\"https://www.ebparks.org/projects/thurgood-marshall-regional-park-land-use-plan\" target=\"_blank\" rel=\"noopener\">the center is 40 years out\u003c/a>, just the name of the site is a significant step. “It’s the first regional park named after people who’ve been formerly incarcerated,” says Padmore, noting that the community pushed to add “Home of the Port Chicago 50” to the title.\u003c/p>\n\u003cfigure id=\"attachment_13960728\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960728\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8.jpeg\" alt=\"Navy servicemen honored at Port Chicago.\" width=\"960\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-800x629.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-160x126.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/960x0-8-768x604.jpeg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Navy servicemen honored at Port Chicago. \u003ccite>(U.S. Navy via National Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s much greater than we can imagine at this point,” Padmore tells me. “Folks from California, we go to Washington, D.C., and we learn about our history … but where do we have a significant history of this magnitude for African Americans in the state of California?”\u003c/p>\n\u003cp>Although the center’s opening is well into the future, and the story of the disaster at Port Chicago happened 80 years in the past, this piece of history is more relevant now than ever.\u003c/p>\n\u003cp>From workers rights to diversity, equity and inclusion in the workplace, this month’s 80th anniversary event holds weight. For academics and activists, there’s the opportunity to learn about people like Dr. Robert L. Allen, who wrote the book \u003cem>The Port Chicago Mutiny\u003c/em>. There’s even something for those discussing reparations and land repatriation.\u003c/p>\n\u003cp>And, in addition to education, as Padmore reminds us, there’s room for entertainment — all while honoring the legacy of the Port Chicago 50.\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>Port Chicago Weekend takes place Thursday–Sunday, July 18–21, at various locations in Port Chicago, Vallejo, Pittsburg, Oakland, San Francisco and San Bruno. \u003ca href=\"https://portchicagoweekend.org/\">More details on the weekend’s events here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Five Songs for People Who've Been Homeless: The Bay Area's Empathy on Record",
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"content": "\u003cp>\u003cem>\u003cstrong>This story was originally published in 2016.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>You might have seen it, tucked into a recent \u003ca href=\"http://www.nytimes.com/2016/05/16/us/san-francisco-homelessness.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em> report\u003c/a>: the phrase “clumps of humanity,” referring to San Francisco’s homeless population.\u003c/p>\n\u003cp>My KQED coworkers and I \u003ca href=\"http://www.salon.com/2016/05/16/clumps_of_humanity_this_new_york_times_article_treated_homelessness_in_just_about_the_worst_way_possible/\" target=\"_blank\" rel=\"noopener\">weren’t the only ones\u003c/a> who noticed the \u003cem>Times\u003c/em>’ term, a denigration to those down on their luck. But it was especially strange to someone who covers music. Immediately, I thought of the many songs from the Bay Area that treat homelessness not with scorn, but with understanding and empathy.\u003c/p>\n\u003cp>Some of those songs are by musicians who’ve been homeless themselves. Nearly all are by artists who’ve found ways to either give back to the organizations that helped them, or to help others without a roof over their head.\u003c/p>\n\u003ch2>Crimpshrine, ‘Sleep, What’s That?’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=BPIXlsXurdI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>San Francisco punk bands had sung about being homeless before — DRI’s “\u003ca href=\"http://genius.com/Dri-soup-kitchen-lyrics\" target=\"_blank\" rel=\"noopener\">Soup Kitchen Blues\u003c/a>” and MDC’s “\u003ca href=\"http://genius.com/Mdc-no-place-to-piss-lyrics\" target=\"_blank\" rel=\"noopener\">No Place to Piss\u003c/a>” were both products of band members’ experiences squatting and couch-surfing in mid-’80s San Francisco. But Crimpshrine’s \u003cem>Sleep, What’s That?\u003c/em> EP, released in 1988 by a fledgling new record label called Lookout Records, tackled the issue head-on in its title track. Singer/guitarist Jeff Ott was himself homeless at the time, singing:\u003c/p>\n\u003cblockquote>\u003cp>So much food to eat, so many homes to sleep in\u003cbr>\nStores so full of food, so why must I eat from a garbage bin?\u003cbr>\nThere’s 1,600 people walking around today, thinking life’s a little game to play\u003cbr>\nTrying to avoid police abduction, trying to avoid hunger and self-destruction\u003c/p>\u003c/blockquote>\n\u003cp>During \u003ca href=\"https://www.youtube.com/watch?v=adbbq2-w2WY\" target=\"_blank\" rel=\"noopener\">a show at 924 Gilman\u003c/a> in 1989, Ott introduced the song by saying: “It’s about myself and all my friends on Telegraph Avenue who have no place to live, and who go without enough food every day. And there’s places they could be sleeping, and they get busted for it.”\u003c/p>\n\u003cp>Lookout Records would go on to international renown with bands like Green Day and Operation Ivy. When Crimpshrine’s EPs were reissued, the band took the opportunity to give back to the organizations that’d helped them when they were on the streets, donating royalties to \u003ca href=\"http://ebfnb.org/\" target=\"_blank\" rel=\"noopener\">Food Not Bombs\u003c/a> and the \u003ca href=\"http://www.berkeleyfreeclinic.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Free Clinic\u003c/a>.\u003c/p>\n\u003ch2>Tom Waits, ‘Cold Water’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=DgwJQj2E6So\u003c/p>\n\u003cp>Tom Waits has long been an advocate for the homeless, whether in songs like “On the Nickel” — a beautiful ballad from \u003cem>Heartattack and Vine\u003c/em> about Los Angeles’ Fifth Street — or in lending a song to the soundtrack of \u003cem>Streetwise\u003c/em>, a 1984 documentary about homeless teenagers in Seattle.\u003c/p>\n\u003cp>For his 1999 album \u003cem>Mule Variations\u003c/em>, Waits penned the sympathetic ode “Cold Water,” a lovely and sad song in the voice of a homeless teenager:\u003c/p>\n\u003cblockquote>\u003cp>I look 47 but I’m 24\u003cbr>\nWell they shooed me away from here the time before\u003cbr>\nTurned their backs and they locked their doors\u003cbr>\nI’m watchin’ TV in the window of a furniture store\u003c/p>\u003c/blockquote>\n\u003cp>In 2011, Waits released \u003cem>Seeds on Hard Ground\u003c/em>, a limited-edition chapbook of his poetry about homelessness. All proceeds were donated to the \u003ca href=\"http://www.refb.org/\" target=\"_blank\" rel=\"noopener\">Redwood Empire Food Bank\u003c/a>, \u003ca href=\"http://sonomacountyhomeless.org/\" target=\"_blank\" rel=\"noopener\">Sonoma County Homeless Referral Services\u003c/a> and \u003ca href=\"http://www.srcharities.org/get-help/shelter-housing\" target=\"_blank\" rel=\"noopener\">Family Support Center\u003c/a> run by the Catholic Charities of Santa Rosa.\u003c/p>\n\u003ch2>2Pac, ‘Changes’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=eXvBjCO19QY\u003c/p>\n\u003cp>Before he moved to Oakland, Tupac Shakur grew up around tough neighborhoods in the Bronx, Harlem and Baltimore. Oftentimes, without a steady income, his single mother Afeni brought Shakur to stay at homeless shelters. The experience helped inspire “Changes,” originally recorded in 1993:\u003c/p>\n\u003cblockquote>\u003cp>And still I see no changes\u003cbr>\nCan’t a brother get a little peace?\u003cbr>\nIt’s war on the streets and a war in the Middle East\u003cbr>\nInstead of war on poverty\u003cbr>\nThey got a war on drugs so the police can bother me\u003c/p>\u003c/blockquote>\n\u003cp>Shakur put his money where his mouth was, \u003ca href=\"http://articles.latimes.com/1996-08-30/local/me-38987_1_safe-house\" target=\"_blank\" rel=\"noopener\">planning a high-profile benefit concert\u003c/a> for the brand-new community center \u003ca href=\"http://www.apch.org/\" target=\"_blank\" rel=\"noopener\">A Place Called Home\u003c/a>, serving impoverished and at-risk children in South Central Los Angeles. Shakur was murdered just weeks before the concert, but he greatly raised the center’s visibility. A Place Called Home is still going strong.\u003c/p>\n\u003ch2>Metallica, ‘Low Man’s Lyric’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=k2Qq_tBhDsQ\u003c/p>\n\u003cp>You might assume that James Hetfield doesn’t have much exposure to homelessness, living as he did for years in one of the wealthiest per-capita counties in the nation. And yet a \u003ca href=\"https://ww2.kqed.org/forum/2016/06/21/forum-on-the-road-san-rafael-s-homeless-plan-stirs-debate/\" target=\"_blank\" rel=\"noopener\">KQED Forum broadcast from Marin County\u003c/a> showed that amidst Marin’s multi-million dollar homes and shiny Maseratis lives a sizeable homeless population on the street. Some are there due to drug addiction, a group Hetfield sings for in “Low Man’s Lyric”:\u003c/p>\n\u003cblockquote>\u003cp>The trash fire is warm\u003cbr>\nBut nowhere safe from the storm\u003cbr>\nAnd I can’t bear to see\u003cbr>\nWhat I’ve let me be\u003cbr>\nSo wicked and worn\u003c/p>\u003c/blockquote>\n\u003cp>Marin is an interesting case study for homelessness in areas with a vast senior-citizen population; the vicious resistance to affordable housing in the region is leaving many of advanced age out in the cold. While organizations like \u003ca href=\"https://hbofm.org/\" target=\"_blank\" rel=\"noopener\">Homeward Bound\u003c/a> and the \u003ca href=\"http://www.rittercenter.org/\" target=\"_blank\" rel=\"noopener\">Ritter Center\u003c/a> provide for Marin’s homeless, Metallica bassist Robert Trujilo recently \u003ca href=\"http://www.ktvu.com/news/134956135-story\" target=\"_blank\" rel=\"noopener\">took part in a benefit\u003c/a> for San Francisco’s St. Anthony’s Foundation, which provides services and meals to those in need.\u003c/p>\n\u003ch2>Dead Kennedys, ‘Kill the Poor’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=sgpa7wEAz7I\u003c/p>\n\u003cp>It wouldn’t be the Bay Area without a heavy dose of satire, would it? With “Kill the Poor,” Dead Kennedys singer Jello Biafra takes intensive homeless eradication (like San Francisco’s \u003ca href=\"http://ww2.kqed.org/news/2016/03/01/s-f-clearing-homeless-holdouts-from-division-street-neighborhood\" target=\"_blank\" rel=\"noopener\">recent encampment sweeps\u003c/a>) to its logical conclusion:\u003c/p>\n\u003cblockquote>\u003cp>The sun beams down on a brand new day\u003cbr>\nNo more welfare tax to pay\u003cbr>\nUnsightly slums gone up in flashing light\u003cbr>\nJobless millions whisked away\u003cbr>\nAt last we have more room to play\u003cbr>\nAll systems go: kill the poor tonight!\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It couldn’t happen here, could it? And yet after witnessing a \u003ca href=\"http://ww2.kqed.org/news/2016/03/01/s-f-clearing-homeless-holdouts-from-division-street-neighborhood\" target=\"_blank\" rel=\"noopener\">complete sweep of the homeless on Division Street\u003c/a> — complete with tents removed, personal possessions hauled away and barricades erected to block public land — one can’t help but wonder how many steps away we are, really, from Biafra’s over-the-top proposal.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>This story was originally published in 2016.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>You might have seen it, tucked into a recent \u003ca href=\"http://www.nytimes.com/2016/05/16/us/san-francisco-homelessness.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em> report\u003c/a>: the phrase “clumps of humanity,” referring to San Francisco’s homeless population.\u003c/p>\n\u003cp>My KQED coworkers and I \u003ca href=\"http://www.salon.com/2016/05/16/clumps_of_humanity_this_new_york_times_article_treated_homelessness_in_just_about_the_worst_way_possible/\" target=\"_blank\" rel=\"noopener\">weren’t the only ones\u003c/a> who noticed the \u003cem>Times\u003c/em>’ term, a denigration to those down on their luck. But it was especially strange to someone who covers music. Immediately, I thought of the many songs from the Bay Area that treat homelessness not with scorn, but with understanding and empathy.\u003c/p>\n\u003cp>Some of those songs are by musicians who’ve been homeless themselves. Nearly all are by artists who’ve found ways to either give back to the organizations that helped them, or to help others without a roof over their head.\u003c/p>\n\u003ch2>Crimpshrine, ‘Sleep, What’s That?’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BPIXlsXurdI'\n title='//www.youtube.com/embed/BPIXlsXurdI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco punk bands had sung about being homeless before — DRI’s “\u003ca href=\"http://genius.com/Dri-soup-kitchen-lyrics\" target=\"_blank\" rel=\"noopener\">Soup Kitchen Blues\u003c/a>” and MDC’s “\u003ca href=\"http://genius.com/Mdc-no-place-to-piss-lyrics\" target=\"_blank\" rel=\"noopener\">No Place to Piss\u003c/a>” were both products of band members’ experiences squatting and couch-surfing in mid-’80s San Francisco. But Crimpshrine’s \u003cem>Sleep, What’s That?\u003c/em> EP, released in 1988 by a fledgling new record label called Lookout Records, tackled the issue head-on in its title track. Singer/guitarist Jeff Ott was himself homeless at the time, singing:\u003c/p>\n\u003cblockquote>\u003cp>So much food to eat, so many homes to sleep in\u003cbr>\nStores so full of food, so why must I eat from a garbage bin?\u003cbr>\nThere’s 1,600 people walking around today, thinking life’s a little game to play\u003cbr>\nTrying to avoid police abduction, trying to avoid hunger and self-destruction\u003c/p>\u003c/blockquote>\n\u003cp>During \u003ca href=\"https://www.youtube.com/watch?v=adbbq2-w2WY\" target=\"_blank\" rel=\"noopener\">a show at 924 Gilman\u003c/a> in 1989, Ott introduced the song by saying: “It’s about myself and all my friends on Telegraph Avenue who have no place to live, and who go without enough food every day. And there’s places they could be sleeping, and they get busted for it.”\u003c/p>\n\u003cp>Lookout Records would go on to international renown with bands like Green Day and Operation Ivy. When Crimpshrine’s EPs were reissued, the band took the opportunity to give back to the organizations that’d helped them when they were on the streets, donating royalties to \u003ca href=\"http://ebfnb.org/\" target=\"_blank\" rel=\"noopener\">Food Not Bombs\u003c/a> and the \u003ca href=\"http://www.berkeleyfreeclinic.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Free Clinic\u003c/a>.\u003c/p>\n\u003ch2>Tom Waits, ‘Cold Water’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DgwJQj2E6So'\n title='//www.youtube.com/embed/DgwJQj2E6So'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tom Waits has long been an advocate for the homeless, whether in songs like “On the Nickel” — a beautiful ballad from \u003cem>Heartattack and Vine\u003c/em> about Los Angeles’ Fifth Street — or in lending a song to the soundtrack of \u003cem>Streetwise\u003c/em>, a 1984 documentary about homeless teenagers in Seattle.\u003c/p>\n\u003cp>For his 1999 album \u003cem>Mule Variations\u003c/em>, Waits penned the sympathetic ode “Cold Water,” a lovely and sad song in the voice of a homeless teenager:\u003c/p>\n\u003cblockquote>\u003cp>I look 47 but I’m 24\u003cbr>\nWell they shooed me away from here the time before\u003cbr>\nTurned their backs and they locked their doors\u003cbr>\nI’m watchin’ TV in the window of a furniture store\u003c/p>\u003c/blockquote>\n\u003cp>In 2011, Waits released \u003cem>Seeds on Hard Ground\u003c/em>, a limited-edition chapbook of his poetry about homelessness. All proceeds were donated to the \u003ca href=\"http://www.refb.org/\" target=\"_blank\" rel=\"noopener\">Redwood Empire Food Bank\u003c/a>, \u003ca href=\"http://sonomacountyhomeless.org/\" target=\"_blank\" rel=\"noopener\">Sonoma County Homeless Referral Services\u003c/a> and \u003ca href=\"http://www.srcharities.org/get-help/shelter-housing\" target=\"_blank\" rel=\"noopener\">Family Support Center\u003c/a> run by the Catholic Charities of Santa Rosa.\u003c/p>\n\u003ch2>2Pac, ‘Changes’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eXvBjCO19QY'\n title='//www.youtube.com/embed/eXvBjCO19QY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before he moved to Oakland, Tupac Shakur grew up around tough neighborhoods in the Bronx, Harlem and Baltimore. Oftentimes, without a steady income, his single mother Afeni brought Shakur to stay at homeless shelters. The experience helped inspire “Changes,” originally recorded in 1993:\u003c/p>\n\u003cblockquote>\u003cp>And still I see no changes\u003cbr>\nCan’t a brother get a little peace?\u003cbr>\nIt’s war on the streets and a war in the Middle East\u003cbr>\nInstead of war on poverty\u003cbr>\nThey got a war on drugs so the police can bother me\u003c/p>\u003c/blockquote>\n\u003cp>Shakur put his money where his mouth was, \u003ca href=\"http://articles.latimes.com/1996-08-30/local/me-38987_1_safe-house\" target=\"_blank\" rel=\"noopener\">planning a high-profile benefit concert\u003c/a> for the brand-new community center \u003ca href=\"http://www.apch.org/\" target=\"_blank\" rel=\"noopener\">A Place Called Home\u003c/a>, serving impoverished and at-risk children in South Central Los Angeles. Shakur was murdered just weeks before the concert, but he greatly raised the center’s visibility. A Place Called Home is still going strong.\u003c/p>\n\u003ch2>Metallica, ‘Low Man’s Lyric’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/k2Qq_tBhDsQ'\n title='//www.youtube.com/embed/k2Qq_tBhDsQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might assume that James Hetfield doesn’t have much exposure to homelessness, living as he did for years in one of the wealthiest per-capita counties in the nation. And yet a \u003ca href=\"https://ww2.kqed.org/forum/2016/06/21/forum-on-the-road-san-rafael-s-homeless-plan-stirs-debate/\" target=\"_blank\" rel=\"noopener\">KQED Forum broadcast from Marin County\u003c/a> showed that amidst Marin’s multi-million dollar homes and shiny Maseratis lives a sizeable homeless population on the street. Some are there due to drug addiction, a group Hetfield sings for in “Low Man’s Lyric”:\u003c/p>\n\u003cblockquote>\u003cp>The trash fire is warm\u003cbr>\nBut nowhere safe from the storm\u003cbr>\nAnd I can’t bear to see\u003cbr>\nWhat I’ve let me be\u003cbr>\nSo wicked and worn\u003c/p>\u003c/blockquote>\n\u003cp>Marin is an interesting case study for homelessness in areas with a vast senior-citizen population; the vicious resistance to affordable housing in the region is leaving many of advanced age out in the cold. While organizations like \u003ca href=\"https://hbofm.org/\" target=\"_blank\" rel=\"noopener\">Homeward Bound\u003c/a> and the \u003ca href=\"http://www.rittercenter.org/\" target=\"_blank\" rel=\"noopener\">Ritter Center\u003c/a> provide for Marin’s homeless, Metallica bassist Robert Trujilo recently \u003ca href=\"http://www.ktvu.com/news/134956135-story\" target=\"_blank\" rel=\"noopener\">took part in a benefit\u003c/a> for San Francisco’s St. Anthony’s Foundation, which provides services and meals to those in need.\u003c/p>\n\u003ch2>Dead Kennedys, ‘Kill the Poor’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sgpa7wEAz7I'\n title='//www.youtube.com/embed/sgpa7wEAz7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It wouldn’t be the Bay Area without a heavy dose of satire, would it? With “Kill the Poor,” Dead Kennedys singer Jello Biafra takes intensive homeless eradication (like San Francisco’s \u003ca href=\"http://ww2.kqed.org/news/2016/03/01/s-f-clearing-homeless-holdouts-from-division-street-neighborhood\" target=\"_blank\" rel=\"noopener\">recent encampment sweeps\u003c/a>) to its logical conclusion:\u003c/p>\n\u003cblockquote>\u003cp>The sun beams down on a brand new day\u003cbr>\nNo more welfare tax to pay\u003cbr>\nUnsightly slums gone up in flashing light\u003cbr>\nJobless millions whisked away\u003cbr>\nAt last we have more room to play\u003cbr>\nAll systems go: kill the poor tonight!\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It couldn’t happen here, could it? And yet after witnessing a \u003ca href=\"http://ww2.kqed.org/news/2016/03/01/s-f-clearing-homeless-holdouts-from-division-street-neighborhood\" target=\"_blank\" rel=\"noopener\">complete sweep of the homeless on Division Street\u003c/a> — complete with tents removed, personal possessions hauled away and barricades erected to block public land — one can’t help but wonder how many steps away we are, really, from Biafra’s over-the-top proposal.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "2024-san-francisco-pride-party-guide",
"title": "Your 2024 San Francisco Pride Party Guide",
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"headTitle": "Your 2024 San Francisco Pride Party Guide | KQED",
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"content": "\u003cp>The gay high holy days are upon us as San Francisco prepares to host one of the biggest Pride celebrations on the globe. The draw for many is the star-studded, weekend-long \u003ca href=\"https://sfpride.org/\">SF Pride\u003c/a> celebration at Civic Center on June 29 and 30, which culminates in the parade on Sunday. For others, the highlight might be Friday’s more grassroots and protest-oriented \u003ca href=\"https://www.transmarch.org/\">Trans March\u003c/a> or Dyke Day at Dolores Park, where women and friends post up to picnic all afternoon. (Saturday’s official Dyke March is, unfortunately, \u003ca href=\"https://www.kqed.org/news/11992072/dyke-march-canceled-for-san-francisco-pride-organizers-say\">canceled this year\u003c/a>.) [aside postid='news_11991990,news_11992072,news_11990430']\u003c/p>\n\u003cp>Surrounding all these festivities are block parties, kickbacks, raves and ragers that literally go from morning to night throughout the weekend. To help you plan, here’s our handy guide of 10 parties you shouldn’t miss, with a mix of events catering to different music tastes, vibes and LGBTQ+ identities.\u003c/p>\n\u003cp>Keep in mind that each of the venues mentioned on this list has a stacked schedule all weekend long. If these parties aren’t your thing, check out the venues’ websites or your favorite DJ or drag queen’s Instagram for other events to choose from.\u003c/p>\n\u003cp>And word to the wise: Stay hydrated, \u003ca href=\"https://fentcheck.org/check-your-drugs-2\">test your party favors\u003c/a>, practice safer sex, take care of your friends and remember to have fun!\u003c/p>\n\u003cfigure id=\"attachment_13915276\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915276\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March makes its way along Market Street to a rally on Turk and Taylor in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ticketstripe.com/bustinout24\">Bustin’ Out: Official Trans March After Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Friday, June 28, 6 p.m.–Saturday, June 29, 1:30 a.m.\u003cbr>\nEl Rio, San Francisco\u003cbr>\n$25\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Friday’s annual Trans March feels like an organic gathering, true to Pride’s activist roots. With trans rights under attack nationwide, this pilgrimage from Dolores Park to the Tenderloin’s Transgender District is where gender-nonconforming people and allies take up space. Instead of corporate floats, you’ll find protest signs affirming the diversity of the gender spectrum and calling for equal rights to healthcare and housing. The annual Bustin’ Out afterparty at El Rio after the march is a benefit for Transgender Gender-Variant & Intersex Justice Project (TGIJP), an organization that fights prison abuses and supports formerly incarcerated trans people. DJ sets by Dreams, Succubus, Honeybear and Lady Ryan will turn up the energy, and there’ll be a designated chill zone next door at Mothership with music by Piano Rain and Del. San Francisco’s all-Black drag show, Reparations, will host performances. Presales have sold out, so getting there early to snag door tickets is a must.\u003c/p>\n\u003cfigure id=\"attachment_13936004\" class=\"wp-caption aligncenter\" style=\"max-width: 1288px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.jpg\" alt=\"\" width=\"1288\" height=\"725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.jpg 1288w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius-768x432.jpg 768w\" sizes=\"(max-width: 1288px) 100vw, 1288px\">\u003cfigcaption class=\"wp-caption-text\">VivvyAnne ForeverMORE! \u003ccite>(Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/forever-queer-pride-dancing-and-drag-tickets-915617696177?\">Forever-Queer Pride Dancing and Drag\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Friday, June 28, 9 p.m.–Saturday, June 29, 2 a.m.\u003cbr>\nThe Stud, San Francisco\u003cbr>\n$20\u003c/em>\u003c/p>\n\u003cp>Legendary queer bar The Stud recently reopened its doors in SoMa, and drag performer Vivvyanne ForeverMORE! is kicking off a new party during Pride weekend: Forever. With performances by Clutch the Pearls co-founder Churro Nomi, Princess co-host Lisa Frankenstein, Major Hammy, Hands and Britney Smearz, this event celebrates the experimental and off-kilter style of drag The Stud is known for. DJs Infinite Jess and JUMPR will keep the dance floor going all night.\u003c/p>\n\u003cfigure id=\"attachment_13960292\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960292\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">UNiiQU3 performs at Webster Hall Thursdays on March 24, 2016. \u003ccite>(Nicky Digital/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/club-ablunt-presents-just-us-pride-2024-w-uniiqu3-tickets-912343874087?\">Club A.B.L.U.N.T. Presents: Pride with UNIIQU3\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Friday, June 28, 10 p.m.–Saturday, June 29, 3 a.m.\u003cbr>\nMonarch, San Francisco\u003cbr>\n$20–$30\u003c/em>\u003c/p>\n\u003cp>UNIIQU3 has rocked massive festival stages, but CLUB A.B.L.U.N.T..’s pride party at Monarch offers the rare opportunity to experience her manic Jersey club beats in their optimal setting: while getting your life in a sweaty basement. This party’s stacked lineup features a dozen of the Bay’s top-tier DJs: experimental beatmaker Tomu DJ; Hard French founder Brown Amy; hyperpop connoisseur Freaky Emo; house music experts Charles Hawthorne and Floridawtr; and Black, who started A.B.L.U.N.T. (Asians, Blacks and Latins Uniting with Native Tribes), one of the first Bay Area parties to center queer people of color, back in the early ’90s. [aside postid='arts_13915614']\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/bearracuda-san-francisco-pride-2024-tickets-793750056787?\">Bearracuda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Friday, June 28, 9 p.m.–Saturday, June 29, 3 a.m.\u003cbr>\nPublic Works, San Francisco\u003cbr>\n$30–$60\u003c/em>\u003c/p>\n\u003cp>If you’re looking for a celebration of beefy and burly men, look no further than Bearracuda on Friday night. This bear-centric event will take over the 1,000-capacity nightclub Public Works — and it promises to be a full house. As far as dress code, underwear is encouraged, and there will be a place to check your clothes (not just your coat). DJs David Harness, Mateo Segade and Philip Grasso — plus go-go dancers — will keep the crowd moving to house beats all night. [aside postid='arts_13960094']\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/hella-gay-sf-pride-after-party-tickets-927530176727?\">Hella Gay Pride Dance Party\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturday, June 29, 8 p.m.–Sunday, June 30, 2 a.m.\u003cbr>\nFirst Edition, Oakland\u003cbr>\n$10, $20\u003c/i>\u003c/p>\n\u003cp>Hella Gay was an Oakland queer party staple pre-pandemic, and it returns during Pride weekend at Oakland cocktail bar First Edition. East Bay dwellers now have a dance option that won’t have them scrambling to catch last BART or break the bank for an Uber from the City. DJs Homofongo, Kare Bear and Micahtron (who, full disclosure, booked me to DJ at First Edition once last year), will be spinning genre-bending sets of Afrobeats, dembow, house, hip-hop and more to get booties of all genders popping all night.\u003c/p>\n\u003cfigure id=\"attachment_13929153\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-scaled.jpeg\" alt=\"a drag performer in high heel red boots laughs as she performs outside for a crowd\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Mahlae Balenciaga performs at Oaklash 2022. \u003ccite>(Fred Rowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/drag-vs-burlesque-pride-show-tickets-914988313677?aff=ebdssbdestsearch\">Drag vs. Burlesque\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Saturday, June 29, 9 p.m.–Sunday, June 30, 2 a.m.\u003cbr>\nThe White Horse, Oakland\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>Helmed by Queer Fem Parties, Drag vs. Burlesque promises a night of pole dancing and drag with femme performers of color at the center, and a lineup that celebrates all shapes and sizes. Expect gravity-defying moves and lip sync numbers alike from Lici Louboutin Makaveli, Ashanti Altovese, Nani Panther, Mari V, Mahlae Balenciaga and Qozmo the Clown, plus music by DJ Fredie.\u003c/p>\n\u003cfigure id=\"attachment_13930600\" class=\"wp-caption aligncenter\" style=\"max-width: 1636px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022.png\" alt=\"a large street party with a pink stage and a crowd of people dancing in front of it\" width=\"1636\" height=\"1088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022.png 1636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-1536x1021.png 1536w\" sizes=\"(max-width: 1636px) 100vw, 1636px\">\u003cfigcaption class=\"wp-caption-text\">The Pink Block party, 2022. \u003ccite>(Saylor Nedelman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/polyglamorous-pink-block-2024-tickets-828178543317?\">Polyglamorous Pink Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Saturday, June 29, 12 p.m.–Sunday, Jun3 30, 3 a.m.\u003cbr>\nThe Great Northern, San Francisco\u003cbr>\n$30–$110\u003c/em>\u003c/p>\n\u003cp>If you’re looking for rave vibes during Pride weekend, don’t sleep on the massive Polyglamorous block party. The all-day, all-night event boasts an enormous lineup of over 40 DJs and 12 drag performers. Daytime headliners include funky beat selector DJ Holographic, Scissor Sisters’ Ana Matronic and Olof Dreijer of The Knife; Massimiliano Pagliara — a driving force of Berlin’s disco revival — headlines after-dark festivities.\u003c/p>\n\u003cfigure id=\"attachment_13960303\" class=\"wp-caption aligncenter\" style=\"max-width: 1702px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960303\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-scaled.jpg\" alt=\"\" width=\"1702\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-scaled.jpg 1702w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-1920x2887.jpg 1920w\" sizes=\"(max-width: 1702px) 100vw, 1702px\">\u003cfigcaption class=\"wp-caption-text\">MTooray plays dhol at Central Park SummerStage during the Basement Bhangra 20th Anniversary celebration, New York, New York, August 6, 2017. \u003ccite>( Jack Vartoogian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tickettailor.com/events/soulovely/1230049\">Queer as in Uprising! Soulovely Pride Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, June 30, 1–6 p.m.\u003cbr>\nVictory Hall & Parlor, San Francisco\u003cbr>\n$35–$45\u003c/em>\u003c/p>\n\u003cp>Oakland’s Soulovely crosses the bridge during Pride weekend for a daytime outdoor block party that centers queer and trans people of color. The theme? “Queer Liberation Combat Boots the House Down Drag.” That means boots, berets, shirts repping activist causes or dressing in whatever way speaks to your definition of queer resistance. Soulovely is known for a hyped dance floor and eclectic music selection, and headlining this event is DJ and percussionist MTOORAY of No Nazar, the touring party that highlights global beats of the Middle Eastern, South Asian and African diaspora. Charles Hawthorne and La Femme Papi round out the lineup with perreo, dembow, house and a spectrum of uplifting, rump-shaking sounds.\u003c/p>\n\u003cfigure id=\"attachment_13914979\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER.jpg\" alt=\"Crowd with drag queen and furry in dog costume at center\" width=\"1920\" height=\"1395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-1536x1116.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE!’s Pride party in 2021. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/juanita-more-pride-2024-celebrating-20-years-tickets-836331549177?\">Juanita MORE! Pride\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, June 30, 12–7 p.m.\u003cbr>\n620 Jones, San Francisco\u003cbr>\n$60\u003c/em>\u003c/p>\n\u003cp>Local drag legend, DJ and activist Juanita MORE! knows how to throw a party with a purpose, and she’s personally raised more than a million dollars for local queer organizations with her events over the past three decades. This year, her annual Pride blowout benefits LYRIC Center for LGTBQQ+ Youth, which offers young people job and housing resources and social support. Expect a fabulous soiree with drag, drinks and dancing for a righteous cause. Online presales have ended but you can still grab tickets at the door or at these \u003ca href=\"https://www.instagram.com/p/C6y33BnxDgY/\">select San Francisco locations\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13960302\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219.jpg\" alt=\"\" width=\"1024\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Tori Meating performs onstage during MTV RuPaul’s Drag Race Season 16 Premiere Extravaganza Presented by ViiV Healthcare at Hammerstein Ballroom on January 04, 2024 in New York City. \u003ccite>(Santiago Felipe/Getty Images for MTV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/pride-sunday-w-amanda-tori-meating-hershii-liqcour-jete-tickets-913246223037?\">Pride Sunday with Amanda Tori Meating and Hershii Liqcour Jeté\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, June 30, 8 p.m.–Monday, July 1, 2 a.m.\u003cbr>\nOasis, San Francisco\u003cbr>\n$20\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>San Francisco’s premier drag club, Oasis, is doing it big on Pride Sunday. Whether you need an afterparty for the main celebration or a place to dance after sleeping off Saturday’s festivities, Oasis has a stacked lineup of drag performers lip syncing every half hour. The headliners are Amanda Tori Meating and Hershii Liqcour Jeté of \u003ci>RuPaul’s Drag Race\u003c/i> Season 16 fame, who’ll be heading to Oasis after they perform on the main SF Pride stage, plus local drags of all genders: Snaxx, Vera!, Kochina Rude, Lisa Frankenstein, Melanie Sparksss, Loma Prietta and Siri. Go-go dancers will shake it all night as DJ Rubella Spreads keeps the house and disco beats pumping.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The gay high holy days are upon us as San Francisco prepares to host one of the biggest Pride celebrations on the globe. The draw for many is the star-studded, weekend-long \u003ca href=\"https://sfpride.org/\">SF Pride\u003c/a> celebration at Civic Center on June 29 and 30, which culminates in the parade on Sunday. For others, the highlight might be Friday’s more grassroots and protest-oriented \u003ca href=\"https://www.transmarch.org/\">Trans March\u003c/a> or Dyke Day at Dolores Park, where women and friends post up to picnic all afternoon. (Saturday’s official Dyke March is, unfortunately, \u003ca href=\"https://www.kqed.org/news/11992072/dyke-march-canceled-for-san-francisco-pride-organizers-say\">canceled this year\u003c/a>.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Surrounding all these festivities are block parties, kickbacks, raves and ragers that literally go from morning to night throughout the weekend. To help you plan, here’s our handy guide of 10 parties you shouldn’t miss, with a mix of events catering to different music tastes, vibes and LGBTQ+ identities.\u003c/p>\n\u003cp>Keep in mind that each of the venues mentioned on this list has a stacked schedule all weekend long. If these parties aren’t your thing, check out the venues’ websites or your favorite DJ or drag queen’s Instagram for other events to choose from.\u003c/p>\n\u003cp>And word to the wise: Stay hydrated, \u003ca href=\"https://fentcheck.org/check-your-drugs-2\">test your party favors\u003c/a>, practice safer sex, take care of your friends and remember to have fun!\u003c/p>\n\u003cfigure id=\"attachment_13915276\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915276\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March makes its way along Market Street to a rally on Turk and Taylor in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ticketstripe.com/bustinout24\">Bustin’ Out: Official Trans March After Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Friday, June 28, 6 p.m.–Saturday, June 29, 1:30 a.m.\u003cbr>\nEl Rio, San Francisco\u003cbr>\n$25\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Friday’s annual Trans March feels like an organic gathering, true to Pride’s activist roots. With trans rights under attack nationwide, this pilgrimage from Dolores Park to the Tenderloin’s Transgender District is where gender-nonconforming people and allies take up space. Instead of corporate floats, you’ll find protest signs affirming the diversity of the gender spectrum and calling for equal rights to healthcare and housing. The annual Bustin’ Out afterparty at El Rio after the march is a benefit for Transgender Gender-Variant & Intersex Justice Project (TGIJP), an organization that fights prison abuses and supports formerly incarcerated trans people. DJ sets by Dreams, Succubus, Honeybear and Lady Ryan will turn up the energy, and there’ll be a designated chill zone next door at Mothership with music by Piano Rain and Del. San Francisco’s all-Black drag show, Reparations, will host performances. Presales have sold out, so getting there early to snag door tickets is a must.\u003c/p>\n\u003cfigure id=\"attachment_13936004\" class=\"wp-caption aligncenter\" style=\"max-width: 1288px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.jpg\" alt=\"\" width=\"1288\" height=\"725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.jpg 1288w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius-768x432.jpg 768w\" sizes=\"(max-width: 1288px) 100vw, 1288px\">\u003cfigcaption class=\"wp-caption-text\">VivvyAnne ForeverMORE! \u003ccite>(Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/forever-queer-pride-dancing-and-drag-tickets-915617696177?\">Forever-Queer Pride Dancing and Drag\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Friday, June 28, 9 p.m.–Saturday, June 29, 2 a.m.\u003cbr>\nThe Stud, San Francisco\u003cbr>\n$20\u003c/em>\u003c/p>\n\u003cp>Legendary queer bar The Stud recently reopened its doors in SoMa, and drag performer Vivvyanne ForeverMORE! is kicking off a new party during Pride weekend: Forever. With performances by Clutch the Pearls co-founder Churro Nomi, Princess co-host Lisa Frankenstein, Major Hammy, Hands and Britney Smearz, this event celebrates the experimental and off-kilter style of drag The Stud is known for. DJs Infinite Jess and JUMPR will keep the dance floor going all night.\u003c/p>\n\u003cfigure id=\"attachment_13960292\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960292\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">UNiiQU3 performs at Webster Hall Thursdays on March 24, 2016. \u003ccite>(Nicky Digital/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/club-ablunt-presents-just-us-pride-2024-w-uniiqu3-tickets-912343874087?\">Club A.B.L.U.N.T. Presents: Pride with UNIIQU3\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Friday, June 28, 10 p.m.–Saturday, June 29, 3 a.m.\u003cbr>\nMonarch, San Francisco\u003cbr>\n$20–$30\u003c/em>\u003c/p>\n\u003cp>UNIIQU3 has rocked massive festival stages, but CLUB A.B.L.U.N.T..’s pride party at Monarch offers the rare opportunity to experience her manic Jersey club beats in their optimal setting: while getting your life in a sweaty basement. This party’s stacked lineup features a dozen of the Bay’s top-tier DJs: experimental beatmaker Tomu DJ; Hard French founder Brown Amy; hyperpop connoisseur Freaky Emo; house music experts Charles Hawthorne and Floridawtr; and Black, who started A.B.L.U.N.T. (Asians, Blacks and Latins Uniting with Native Tribes), one of the first Bay Area parties to center queer people of color, back in the early ’90s. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/bearracuda-san-francisco-pride-2024-tickets-793750056787?\">Bearracuda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Friday, June 28, 9 p.m.–Saturday, June 29, 3 a.m.\u003cbr>\nPublic Works, San Francisco\u003cbr>\n$30–$60\u003c/em>\u003c/p>\n\u003cp>If you’re looking for a celebration of beefy and burly men, look no further than Bearracuda on Friday night. This bear-centric event will take over the 1,000-capacity nightclub Public Works — and it promises to be a full house. As far as dress code, underwear is encouraged, and there will be a place to check your clothes (not just your coat). DJs David Harness, Mateo Segade and Philip Grasso — plus go-go dancers — will keep the crowd moving to house beats all night. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/hella-gay-sf-pride-after-party-tickets-927530176727?\">Hella Gay Pride Dance Party\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturday, June 29, 8 p.m.–Sunday, June 30, 2 a.m.\u003cbr>\nFirst Edition, Oakland\u003cbr>\n$10, $20\u003c/i>\u003c/p>\n\u003cp>Hella Gay was an Oakland queer party staple pre-pandemic, and it returns during Pride weekend at Oakland cocktail bar First Edition. East Bay dwellers now have a dance option that won’t have them scrambling to catch last BART or break the bank for an Uber from the City. DJs Homofongo, Kare Bear and Micahtron (who, full disclosure, booked me to DJ at First Edition once last year), will be spinning genre-bending sets of Afrobeats, dembow, house, hip-hop and more to get booties of all genders popping all night.\u003c/p>\n\u003cfigure id=\"attachment_13929153\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-scaled.jpeg\" alt=\"a drag performer in high heel red boots laughs as she performs outside for a crowd\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Mahlae Balenciaga performs at Oaklash 2022. \u003ccite>(Fred Rowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/drag-vs-burlesque-pride-show-tickets-914988313677?aff=ebdssbdestsearch\">Drag vs. Burlesque\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Saturday, June 29, 9 p.m.–Sunday, June 30, 2 a.m.\u003cbr>\nThe White Horse, Oakland\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>Helmed by Queer Fem Parties, Drag vs. Burlesque promises a night of pole dancing and drag with femme performers of color at the center, and a lineup that celebrates all shapes and sizes. Expect gravity-defying moves and lip sync numbers alike from Lici Louboutin Makaveli, Ashanti Altovese, Nani Panther, Mari V, Mahlae Balenciaga and Qozmo the Clown, plus music by DJ Fredie.\u003c/p>\n\u003cfigure id=\"attachment_13930600\" class=\"wp-caption aligncenter\" style=\"max-width: 1636px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022.png\" alt=\"a large street party with a pink stage and a crowd of people dancing in front of it\" width=\"1636\" height=\"1088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022.png 1636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-1536x1021.png 1536w\" sizes=\"(max-width: 1636px) 100vw, 1636px\">\u003cfigcaption class=\"wp-caption-text\">The Pink Block party, 2022. \u003ccite>(Saylor Nedelman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/polyglamorous-pink-block-2024-tickets-828178543317?\">Polyglamorous Pink Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Saturday, June 29, 12 p.m.–Sunday, Jun3 30, 3 a.m.\u003cbr>\nThe Great Northern, San Francisco\u003cbr>\n$30–$110\u003c/em>\u003c/p>\n\u003cp>If you’re looking for rave vibes during Pride weekend, don’t sleep on the massive Polyglamorous block party. The all-day, all-night event boasts an enormous lineup of over 40 DJs and 12 drag performers. Daytime headliners include funky beat selector DJ Holographic, Scissor Sisters’ Ana Matronic and Olof Dreijer of The Knife; Massimiliano Pagliara — a driving force of Berlin’s disco revival — headlines after-dark festivities.\u003c/p>\n\u003cfigure id=\"attachment_13960303\" class=\"wp-caption aligncenter\" style=\"max-width: 1702px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960303\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-scaled.jpg\" alt=\"\" width=\"1702\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-scaled.jpg 1702w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-1920x2887.jpg 1920w\" sizes=\"(max-width: 1702px) 100vw, 1702px\">\u003cfigcaption class=\"wp-caption-text\">MTooray plays dhol at Central Park SummerStage during the Basement Bhangra 20th Anniversary celebration, New York, New York, August 6, 2017. \u003ccite>( Jack Vartoogian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tickettailor.com/events/soulovely/1230049\">Queer as in Uprising! Soulovely Pride Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, June 30, 1–6 p.m.\u003cbr>\nVictory Hall & Parlor, San Francisco\u003cbr>\n$35–$45\u003c/em>\u003c/p>\n\u003cp>Oakland’s Soulovely crosses the bridge during Pride weekend for a daytime outdoor block party that centers queer and trans people of color. The theme? “Queer Liberation Combat Boots the House Down Drag.” That means boots, berets, shirts repping activist causes or dressing in whatever way speaks to your definition of queer resistance. Soulovely is known for a hyped dance floor and eclectic music selection, and headlining this event is DJ and percussionist MTOORAY of No Nazar, the touring party that highlights global beats of the Middle Eastern, South Asian and African diaspora. Charles Hawthorne and La Femme Papi round out the lineup with perreo, dembow, house and a spectrum of uplifting, rump-shaking sounds.\u003c/p>\n\u003cfigure id=\"attachment_13914979\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER.jpg\" alt=\"Crowd with drag queen and furry in dog costume at center\" width=\"1920\" height=\"1395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-1536x1116.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE!’s Pride party in 2021. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/juanita-more-pride-2024-celebrating-20-years-tickets-836331549177?\">Juanita MORE! Pride\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, June 30, 12–7 p.m.\u003cbr>\n620 Jones, San Francisco\u003cbr>\n$60\u003c/em>\u003c/p>\n\u003cp>Local drag legend, DJ and activist Juanita MORE! knows how to throw a party with a purpose, and she’s personally raised more than a million dollars for local queer organizations with her events over the past three decades. This year, her annual Pride blowout benefits LYRIC Center for LGTBQQ+ Youth, which offers young people job and housing resources and social support. Expect a fabulous soiree with drag, drinks and dancing for a righteous cause. Online presales have ended but you can still grab tickets at the door or at these \u003ca href=\"https://www.instagram.com/p/C6y33BnxDgY/\">select San Francisco locations\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13960302\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219.jpg\" alt=\"\" width=\"1024\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Tori Meating performs onstage during MTV RuPaul’s Drag Race Season 16 Premiere Extravaganza Presented by ViiV Healthcare at Hammerstein Ballroom on January 04, 2024 in New York City. \u003ccite>(Santiago Felipe/Getty Images for MTV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/pride-sunday-w-amanda-tori-meating-hershii-liqcour-jete-tickets-913246223037?\">Pride Sunday with Amanda Tori Meating and Hershii Liqcour Jeté\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, June 30, 8 p.m.–Monday, July 1, 2 a.m.\u003cbr>\nOasis, San Francisco\u003cbr>\n$20\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco’s premier drag club, Oasis, is doing it big on Pride Sunday. Whether you need an afterparty for the main celebration or a place to dance after sleeping off Saturday’s festivities, Oasis has a stacked lineup of drag performers lip syncing every half hour. The headliners are Amanda Tori Meating and Hershii Liqcour Jeté of \u003ci>RuPaul’s Drag Race\u003c/i> Season 16 fame, who’ll be heading to Oasis after they perform on the main SF Pride stage, plus local drags of all genders: Snaxx, Vera!, Kochina Rude, Lisa Frankenstein, Melanie Sparksss, Loma Prietta and Siri. Go-go dancers will shake it all night as DJ Rubella Spreads keeps the house and disco beats pumping.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "megan-thee-stallion-stans-hotties-election-biden-trump-san-francisco",
"title": "Megan Thee Stallion Stans Are Salty Over Their Choice of Candidates",
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"headTitle": "Megan Thee Stallion Stans Are Salty Over Their Choice of Candidates | KQED",
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"content": "\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of significant pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>[dropcap]M[/dropcap]egan Thee Stallion fans from the Bay Area and beyond flocked to San Francisco’s Chase Center on June 23 for the rapper’s Hot Girl Summer Tour.\u003c/p>\n\u003cp>As anticipation filled the air outside the arena, we talked with Megan Thee Stallion fans, known as \u003ca href=\"https://www.complex.com/music/a/cmplxkishlal/megan-thee-stallion-fans\">Hotties\u003c/a>, about what they admire about the rap star — and, evidently, what they do \u003cem>not\u003c/em> admire about the candidates in the 2024 Presidential Election.\u003c/p>\n\u003cfigure id=\"attachment_13960247\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abby Nation (left) and her fiancé Emma Gray pose for a portrait outside the Chase Center on Sunday, June 23, 2024, during Megan Thee Stallion’s Hot Girl Summer Tour. Gray said Palestine is among the top concerns on her mind during this election. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emma Gray, who lives near Stockton, came to see Megan Thee Stallion with her fiancé, Abby Nation. “It’s very disappointing that I don’t feel there is a candidate that I can trust to end genocide,” Gray said. “I would vote for a third party, [even if] I know it’s probably not going to result in that person being elected,” she explained. “But I’m also not going to put my vote to someone who is causing so much harm.”\u003c/p>\n\u003cfigure id=\"attachment_13960238\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Left: Adrienne Williams, Erica Williams, Lauryn Major and Jasmine Cannon pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me, the most important thing is to free Palestine,” echoed Lauryn Major, who showed up to the concert with three of her friends. “That’s the only thing that I’m voting on this year.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Adding to Major’s comment, her friend Jasmine Cannon listed some of her priorities: “Ceasefire, reproductive rights, voting access, education, funding libraries, decriminalizing weed and other nonviolent crimes.”\u003c/p>\n\u003cfigure id=\"attachment_13960244\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28.jpg 853w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian, who declined to give her last name, poses for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Christian considers President Biden her only option of the two leading candidates, but is conflicted due to his support of Israel. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christian, who declined to give her last name, flew in for the show from Arkansas. She said she “doesn’t really like either of [the candidates], but Biden is better.” Still, she’s upset by Biden’s continued support of Israel and “sending money to help kill other people […] when we should be helping our citizens.”\u003c/p>\n\u003cfigure id=\"attachment_13960450\" class=\"wp-caption aligncenter\" style=\"max-width: 1746px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych.jpg\" alt=\"\" width=\"1746\" height=\"1280\" class=\"size-full wp-image-13960450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych.jpg 1746w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-1536x1126.jpg 1536w\" sizes=\"(max-width: 1746px) 100vw, 1746px\">\u003cfigcaption class=\"wp-caption-text\">Kierunya Davis, who brought a bouquet of flowers, poses in her custom Megan The Stallion-inspired outfit outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kierunya Davis flew in from Compton bearing gifts for Megan Thee Stallion, who later accepted them on stage. “White men do not speak for the majority,” Davis said. “We deserve better as brown and black people — for somebody to actually make promises and follow through.”\u003c/p>\n\u003cfigure id=\"attachment_13960236\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Cruz (left) and Katarina Ruiz pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Cruz has reproductive and immigration rights front of mind this election year. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Self-identified Hottie Alex Cruz said she’s anxious about the election, “especially with Roe v. Wade recently being overturned.” She said it’s “disappointing that Biden hasn’t been able to do more” regarding reproductive rights and immigration reform, but clarified that she is “probably just going to end up voting for him anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13960231\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960231\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mia Williams poses for a portrait in her Starfire superhero costume outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Williams isn’t happy with the choice of presidential candidates in the upcoming election. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mia Williams, from Seattle, also traveled hundreds of miles to see Megan Thee Stallion. “She stands up for body positivity and she helped push female rap to where it is,” Williams said.\u003c/p>\n\u003cp>When asked about the election, Williams was less hopeful. “I feel like regardless, it’s a bad choice,” she said. “I don’t know how [Joe Biden] could do another four years,” she said, “and [Donald Trump] is just a bigot.” She continued, “Also, he’s a felon now, so I don’t think a felon should be a president.”\u003c/p>\n\u003cfigure id=\"attachment_13960243\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mourice Grey (left) and Karl Daniels pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mourice Grey and Karl Daniels both live in San Leandro, and cited rent control, women’s rights and queer rights as their top concerns this year. “[Trump] broke the law, so he should not get the opportunity,” Daniels noted.\u003c/p>\n\u003cfigure id=\"attachment_13960242\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Left: Iyobosa Igbinake, Ayah Benjamin, Aminah Benjamin, Ifela Hayes pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Benjamin has yet to decide if she’ll be voting this year, and said being a young person today is exhausting. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Decked out in Sailor Mars cosplay, Ayah Benjamin said she “hasn’t made a decision yet” on whether she will vote this year. “Capitalism and being a young person in society is genuinely exhausting,” she expressed with frustration. “Civil rights, humanitarian issues and obviously the genocides globally” are her primary concerns in this election.\u003c/p>\n\u003cfigure id=\"attachment_13960240\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960240\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Destiny Phan (left) and Jeneveive Kongkham pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Megan Thee Stallion show at the Chase Center was Destiny Phan’s first concert. This year’s election will mark another first, as she’s finally old enough to vote. Phan said it’s been “hard to keep up” with politics this year.\u003c/p>\n\u003cfigure id=\"attachment_13960246\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tourean Barnes (right) poses for a portrait with his nephew Javonte Barnes outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Tourean Barnes is unsure if he’ll vote in the next election and said he sees the two leading candidates as entertainers rather than presidents. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Tourean Barnes was there to attend the concert with his nephew Javonte Barnes. “My main issue would be the stability of our democracy,” said Tourean, adding that the two front-running candidates are “more like entertainers than presidents.”\u003c/p>\n\n",
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"title": "Megan Thee Stallion Stans Are Salty Over Their Choice of Candidates | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of significant pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>egan Thee Stallion fans from the Bay Area and beyond flocked to San Francisco’s Chase Center on June 23 for the rapper’s Hot Girl Summer Tour.\u003c/p>\n\u003cp>As anticipation filled the air outside the arena, we talked with Megan Thee Stallion fans, known as \u003ca href=\"https://www.complex.com/music/a/cmplxkishlal/megan-thee-stallion-fans\">Hotties\u003c/a>, about what they admire about the rap star — and, evidently, what they do \u003cem>not\u003c/em> admire about the candidates in the 2024 Presidential Election.\u003c/p>\n\u003cfigure id=\"attachment_13960247\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abby Nation (left) and her fiancé Emma Gray pose for a portrait outside the Chase Center on Sunday, June 23, 2024, during Megan Thee Stallion’s Hot Girl Summer Tour. Gray said Palestine is among the top concerns on her mind during this election. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emma Gray, who lives near Stockton, came to see Megan Thee Stallion with her fiancé, Abby Nation. “It’s very disappointing that I don’t feel there is a candidate that I can trust to end genocide,” Gray said. “I would vote for a third party, [even if] I know it’s probably not going to result in that person being elected,” she explained. “But I’m also not going to put my vote to someone who is causing so much harm.”\u003c/p>\n\u003cfigure id=\"attachment_13960238\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Left: Adrienne Williams, Erica Williams, Lauryn Major and Jasmine Cannon pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me, the most important thing is to free Palestine,” echoed Lauryn Major, who showed up to the concert with three of her friends. “That’s the only thing that I’m voting on this year.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adding to Major’s comment, her friend Jasmine Cannon listed some of her priorities: “Ceasefire, reproductive rights, voting access, education, funding libraries, decriminalizing weed and other nonviolent crimes.”\u003c/p>\n\u003cfigure id=\"attachment_13960244\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28.jpg 853w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian, who declined to give her last name, poses for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Christian considers President Biden her only option of the two leading candidates, but is conflicted due to his support of Israel. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christian, who declined to give her last name, flew in for the show from Arkansas. She said she “doesn’t really like either of [the candidates], but Biden is better.” Still, she’s upset by Biden’s continued support of Israel and “sending money to help kill other people […] when we should be helping our citizens.”\u003c/p>\n\u003cfigure id=\"attachment_13960450\" class=\"wp-caption aligncenter\" style=\"max-width: 1746px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych.jpg\" alt=\"\" width=\"1746\" height=\"1280\" class=\"size-full wp-image-13960450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych.jpg 1746w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-1536x1126.jpg 1536w\" sizes=\"(max-width: 1746px) 100vw, 1746px\">\u003cfigcaption class=\"wp-caption-text\">Kierunya Davis, who brought a bouquet of flowers, poses in her custom Megan The Stallion-inspired outfit outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kierunya Davis flew in from Compton bearing gifts for Megan Thee Stallion, who later accepted them on stage. “White men do not speak for the majority,” Davis said. “We deserve better as brown and black people — for somebody to actually make promises and follow through.”\u003c/p>\n\u003cfigure id=\"attachment_13960236\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Cruz (left) and Katarina Ruiz pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Cruz has reproductive and immigration rights front of mind this election year. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Self-identified Hottie Alex Cruz said she’s anxious about the election, “especially with Roe v. Wade recently being overturned.” She said it’s “disappointing that Biden hasn’t been able to do more” regarding reproductive rights and immigration reform, but clarified that she is “probably just going to end up voting for him anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13960231\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960231\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mia Williams poses for a portrait in her Starfire superhero costume outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Williams isn’t happy with the choice of presidential candidates in the upcoming election. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mia Williams, from Seattle, also traveled hundreds of miles to see Megan Thee Stallion. “She stands up for body positivity and she helped push female rap to where it is,” Williams said.\u003c/p>\n\u003cp>When asked about the election, Williams was less hopeful. “I feel like regardless, it’s a bad choice,” she said. “I don’t know how [Joe Biden] could do another four years,” she said, “and [Donald Trump] is just a bigot.” She continued, “Also, he’s a felon now, so I don’t think a felon should be a president.”\u003c/p>\n\u003cfigure id=\"attachment_13960243\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mourice Grey (left) and Karl Daniels pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mourice Grey and Karl Daniels both live in San Leandro, and cited rent control, women’s rights and queer rights as their top concerns this year. “[Trump] broke the law, so he should not get the opportunity,” Daniels noted.\u003c/p>\n\u003cfigure id=\"attachment_13960242\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Left: Iyobosa Igbinake, Ayah Benjamin, Aminah Benjamin, Ifela Hayes pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Benjamin has yet to decide if she’ll be voting this year, and said being a young person today is exhausting. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Decked out in Sailor Mars cosplay, Ayah Benjamin said she “hasn’t made a decision yet” on whether she will vote this year. “Capitalism and being a young person in society is genuinely exhausting,” she expressed with frustration. “Civil rights, humanitarian issues and obviously the genocides globally” are her primary concerns in this election.\u003c/p>\n\u003cfigure id=\"attachment_13960240\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960240\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Destiny Phan (left) and Jeneveive Kongkham pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Megan Thee Stallion show at the Chase Center was Destiny Phan’s first concert. This year’s election will mark another first, as she’s finally old enough to vote. Phan said it’s been “hard to keep up” with politics this year.\u003c/p>\n\u003cfigure id=\"attachment_13960246\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tourean Barnes (right) poses for a portrait with his nephew Javonte Barnes outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Tourean Barnes is unsure if he’ll vote in the next election and said he sees the two leading candidates as entertainers rather than presidents. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tourean Barnes was there to attend the concert with his nephew Javonte Barnes. “My main issue would be the stability of our democracy,” said Tourean, adding that the two front-running candidates are “more like entertainers than presidents.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Vendors and Customers Rally to Save the Alemany Flea Market",
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"content": "\u003cp>\u003cb>Update, 10:00 a.m. Saturday:\u003c/b> Supervisor Hillary Ronen \u003ca href=\"https://www.instagram.com/p/C8fL1I6vk6g/?img_index=1\">announced on social media\u003c/a> that the Alemany Flea Market will not be cut from the city budget for at least the next year. “Thank you to the outpouring of community members who spoke up to defend the market,” she wrote. “Your advocacy made a difference!”\u003c/p>\n\u003cp>\u003cb>Original story, 12:38 p.m. Friday:\u003c/b> Vendors at San Francisco’s \u003ca href=\"https://www.sf.gov/location/alemany-flea-market\">Alemany Flea Market\u003c/a> and their loyal customers are rallying to save the weekly event at 100 Alemany Blvd., which is in danger of being eliminated by upcoming city budget cuts.\u003c/p>\n\u003cp>After a week of emails and phone calls to supervisors and city representatives, it seems the flea market’s supporters have made an impact. The City Administrator’s Office provided a statement to KQED that it is “working with the Mayor’s Office to maintain funding, including long term solutions, for the Flea Market.”\u003c/p>\n\u003cp>The City Administrator’s Office stated that the flea market has been “operating at a deficit for some time.” City departments have been tasked by Mayor London Breed with cutting 10% of their general operating expenses to help close an $800 million deficit over the next two years. \u003c/p>\n\u003cp>Rico Duenas, a regular flea market attendee who grew up going every Sunday with his family, was shocked to learn, only through word of mouth, that the event might be eliminated from the city’s budget. “I don’t understand how it could have just ended,” he said. “No one would have said anything, and it just would be gone one day, which is crazy to me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Board of Supervisors is expected to finalize the budget in July, and the mayor will sign it into law. The \u003ca href=\"https://sfbos.org/sites/default/files/2024_Public_Comment_Day_Details.pdf\">public can provide comment\u003c/a> on the annual budget at the Budget and Appropriations Committee meeting on Monday, June 24, at 10 a.m.\u003c/p>\n\u003cp>[aside postID='arts_13921882']The Alemany Flea Market is the scruffier sibling of the Alemany Farmers’ Market, which occupies the same lot and stalls on Saturdays. The flea market’s size has contracted since the pandemic, but any given Sunday sees hundreds of attendees roaming the eight-hour event.\u003c/p>\n\u003cp>Supervisor Hillary Ronen, whose district includes 100 Alemany Blvd., is against ending the flea market.\u003c/p>\n\u003cp>“I fully support the Alemany Flea Market, and will oppose any attempt to eliminate it through any proposed cuts in the current budget or otherwise,” Ronen said in a statement to KQED. “The flea market is a historical and cultural San Francisco landmark that plays an important role in the economic security of people who sell and buy at the weekly market, supporting small businesses and individuals in District 9 and Citywide.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.instagram.com/p/C8WFpzJOHkT/?hl=en\">video posted to social media\u003c/a>, Jon Rolston, owner of a \u003ca href=\"https://www.haulerfame.com/\">junk hauling service\u003c/a> and a frequent vendor at the flea market, urged his many followers to contact their city representatives. “That flea market is 100 small business owners, and they in turn sell to another 100 small business owners,” he said. “All those cool shops that people love to go to … where do you think that stuff is coming from? It’s coming from the flea market.”\u003c/p>\n\u003cp>The Alemany Flea Market is managed by the city’s Real Estate Division. Since the \u003ca href=\"https://sfstandard.com/2024/03/21/un-plaza-gift-gallery-closes/\">abrupt closure of the Fulton Plaza Gift Gallery\u003c/a> on April 1, the Alemany Flea Market remains the only city-managed venue for the sale of used goods. Stalls cost vendors $50 each. \u003c/p>\n\u003cp>Concern about the future of the flea market began in early March, when the Real Estate Division released a \u003ca href=\"https://www.sf.gov/sites/default/files/2024-03/LEASE%20OF%20REAL%20PROPERTY%20RED%20%E2%80%93%20RFP24%20%E2%80%93%20001%20AFM.pdf\">request for proposals\u003c/a> to manage 100 Alemany Blvd.\u003c/p>\n\u003cp>The RFP, though standard enough, put flea market vendors and customers on edge: nowhere in the 78-page document was there mention of the Sunday flea market. The Saturday farmers’ market, meanwhile, was enshrined within the proposal. (The address was referred to throughout by the shorthand “Alemany Farmers’ Market Property.”)\u003c/p>\n\u003cp>The Real Estate Division did not receive any responses to the RFP, even after extending the deadline for an additional 10 days past the original April 12 due date. \u003c/p>\n\u003cp>The flea market didn’t always operate at a deficit. A \u003ca href=\"https://sfbos.org/sites/default/files/FileCenter/Documents/37009-Alemany_Farmers_Market_Real_Estate_Div_Final_Report_101310.pdf\">2010 audit\u003c/a> shows that the flea market created $255,644 of net revenue; combined with the farmers’ market, the Alemany markets sent $424,243 back into the general operating fund.\u003c/p>\n\u003cp>For lifetime customers like Duenas, it’s difficult to quantify the value of the flea market, which he grew up referring to as “church.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I understand that cities change, but can’t we keep some of the old?” Duenas said. “Everything doesn’t have to be this shiny new park, this shiny new thing. This is a trash flea market, but it is a part of the community.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Update, 10:00 a.m. Saturday:\u003c/b> Supervisor Hillary Ronen \u003ca href=\"https://www.instagram.com/p/C8fL1I6vk6g/?img_index=1\">announced on social media\u003c/a> that the Alemany Flea Market will not be cut from the city budget for at least the next year. “Thank you to the outpouring of community members who spoke up to defend the market,” she wrote. “Your advocacy made a difference!”\u003c/p>\n\u003cp>\u003cb>Original story, 12:38 p.m. Friday:\u003c/b> Vendors at San Francisco’s \u003ca href=\"https://www.sf.gov/location/alemany-flea-market\">Alemany Flea Market\u003c/a> and their loyal customers are rallying to save the weekly event at 100 Alemany Blvd., which is in danger of being eliminated by upcoming city budget cuts.\u003c/p>\n\u003cp>After a week of emails and phone calls to supervisors and city representatives, it seems the flea market’s supporters have made an impact. The City Administrator’s Office provided a statement to KQED that it is “working with the Mayor’s Office to maintain funding, including long term solutions, for the Flea Market.”\u003c/p>\n\u003cp>The City Administrator’s Office stated that the flea market has been “operating at a deficit for some time.” City departments have been tasked by Mayor London Breed with cutting 10% of their general operating expenses to help close an $800 million deficit over the next two years. \u003c/p>\n\u003cp>Rico Duenas, a regular flea market attendee who grew up going every Sunday with his family, was shocked to learn, only through word of mouth, that the event might be eliminated from the city’s budget. “I don’t understand how it could have just ended,” he said. “No one would have said anything, and it just would be gone one day, which is crazy to me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Board of Supervisors is expected to finalize the budget in July, and the mayor will sign it into law. The \u003ca href=\"https://sfbos.org/sites/default/files/2024_Public_Comment_Day_Details.pdf\">public can provide comment\u003c/a> on the annual budget at the Budget and Appropriations Committee meeting on Monday, June 24, at 10 a.m.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Alemany Flea Market is the scruffier sibling of the Alemany Farmers’ Market, which occupies the same lot and stalls on Saturdays. The flea market’s size has contracted since the pandemic, but any given Sunday sees hundreds of attendees roaming the eight-hour event.\u003c/p>\n\u003cp>Supervisor Hillary Ronen, whose district includes 100 Alemany Blvd., is against ending the flea market.\u003c/p>\n\u003cp>“I fully support the Alemany Flea Market, and will oppose any attempt to eliminate it through any proposed cuts in the current budget or otherwise,” Ronen said in a statement to KQED. “The flea market is a historical and cultural San Francisco landmark that plays an important role in the economic security of people who sell and buy at the weekly market, supporting small businesses and individuals in District 9 and Citywide.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.instagram.com/p/C8WFpzJOHkT/?hl=en\">video posted to social media\u003c/a>, Jon Rolston, owner of a \u003ca href=\"https://www.haulerfame.com/\">junk hauling service\u003c/a> and a frequent vendor at the flea market, urged his many followers to contact their city representatives. “That flea market is 100 small business owners, and they in turn sell to another 100 small business owners,” he said. “All those cool shops that people love to go to … where do you think that stuff is coming from? It’s coming from the flea market.”\u003c/p>\n\u003cp>The Alemany Flea Market is managed by the city’s Real Estate Division. Since the \u003ca href=\"https://sfstandard.com/2024/03/21/un-plaza-gift-gallery-closes/\">abrupt closure of the Fulton Plaza Gift Gallery\u003c/a> on April 1, the Alemany Flea Market remains the only city-managed venue for the sale of used goods. Stalls cost vendors $50 each. \u003c/p>\n\u003cp>Concern about the future of the flea market began in early March, when the Real Estate Division released a \u003ca href=\"https://www.sf.gov/sites/default/files/2024-03/LEASE%20OF%20REAL%20PROPERTY%20RED%20%E2%80%93%20RFP24%20%E2%80%93%20001%20AFM.pdf\">request for proposals\u003c/a> to manage 100 Alemany Blvd.\u003c/p>\n\u003cp>The RFP, though standard enough, put flea market vendors and customers on edge: nowhere in the 78-page document was there mention of the Sunday flea market. The Saturday farmers’ market, meanwhile, was enshrined within the proposal. (The address was referred to throughout by the shorthand “Alemany Farmers’ Market Property.”)\u003c/p>\n\u003cp>The Real Estate Division did not receive any responses to the RFP, even after extending the deadline for an additional 10 days past the original April 12 due date. \u003c/p>\n\u003cp>The flea market didn’t always operate at a deficit. A \u003ca href=\"https://sfbos.org/sites/default/files/FileCenter/Documents/37009-Alemany_Farmers_Market_Real_Estate_Div_Final_Report_101310.pdf\">2010 audit\u003c/a> shows that the flea market created $255,644 of net revenue; combined with the farmers’ market, the Alemany markets sent $424,243 back into the general operating fund.\u003c/p>\n\u003cp>For lifetime customers like Duenas, it’s difficult to quantify the value of the flea market, which he grew up referring to as “church.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I understand that cities change, but can’t we keep some of the old?” Duenas said. “Everything doesn’t have to be this shiny new park, this shiny new thing. This is a trash flea market, but it is a part of the community.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tyler, the Creator has canceled his headlining sets at \u003ca href=\"https://sfoutsidelands.com/\">San Francisco’s Outside Lands\u003c/a> and Chicago’s Lollapalooza, both slated for August.\u003c/p>\n\u003cp>“i made a commitment that i can no longer keep, and that bums me out knowing how excited folks were. that is not sexy at all. please please forgive me or call me names when you see me in person. love,” he wrote on X, formerly known as Twitter.\u003c/p>\n\u003cp>Outside Lands quickly announced that rising star Sabrina Carpenter will take Tyler’s place as the festival’s Saturday headliner when the annual festival returns to Golden Gate Park Aug. 9-11. She joins rock icons The Killers and country hitmaker Sturgill Simpson at the top of the bill.\u003c/p>\n\u003cp>Carpenter also announced her own headlining tour, which brings her to the Chase Center in San Francisco on Nov. 9. Tickets go on sale to the general public on Friday, June 28, while presale tickets go on sale Tuesday, June 25. Fans can currently sign up for ticket presale info by RSVPing on \u003ca href=\"https://store.sabrinacarpenter.com/pages/tour\">her tour site\u003c/a>.\u003c/p>\n\u003cp>Carpenter’s ultra-catchy “Espresso” and its \u003ca href=\"https://mashable.com/article/espresso-sabrina-carpenter-memes\">corresponding memes\u003c/a> have been inescapable this year. The lightly funky earworm contains a danceable groove and oddly memorable hook: “That’s that me espresso.” Hazy, sunny and perfect for day drinking, it’s a top contender for song of the summer (with a much different audience than the other obvious choice, Kendrick Lamar’s “\u003ca href=\"https://www.kqed.org/arts/13960019/the-culture-kendrick-lamar-pop-out-juneteenth\">Not Like Us\u003c/a>“).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/eVli-tstM5E?si=OMQ6gPv-zDyhY0XY\u003c/p>\n\u003cp>Carpenter has spent past several years plotting her crossover from Disney to pop stardom, and recently followed “Espresso” with “Please Please Please,” another dance-pop banger with anthemic ’80s synths and tongue-in-cheek lyrics, this time about indulging in an ill-advised love affair against her better judgment. (Its kitschy, gangster flick-style music video stars Carpenter’s boyfriend, “\u003ca href=\"https://www.usatoday.com/story/entertainment/celebrities/2024/06/14/hot-rodent-men-summer/74093463007/\">hot rodent man\u003c/a>” archetype and \u003cem>Saltburn \u003c/em>star Barry Keoghan.) Expect to hear both tracks blasting at Pride parties everywhere throughout June.\u003c/p>\n\u003cp>Carpenter’s sixth studio album \u003cem>Short n’ Sweet\u003c/em> (a nod to her 4’11” stature and \u003ca href=\"https://x.com/scarpenterbr/status/1684285823586275331\">Polly Pocket look\u003c/a>) will be released Aug. 23, two weeks after her Outside Lands appearance.\u003c/p>\n\u003cp>https://youtu.be/cF1Na4AIecM?si=7irXq3tXc4ZfbAk5\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Outside Lands takes place Aug. 9-11 in San Francisco’s Golden Gate Park. Single-day tickets start at $199 plus fees; three-day tickets start at $465. \u003ca href=\"https://sfoutsidelands.com/tickets/\">Full lineup and details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cp>On Wednesday evenings, Alex Wolfert feels like he’s on stage — even if none of his three bands is performing that night.\u003c/p>\n\u003cp>That’s because Wolfert, 24, works Wednesdays at \u003ca href=\"https://www.thelaundromatsf.com/\">The Laundromat\u003c/a> — a bagels-in-the-morning, pizzas-and-wine-in-the-evening spot in San Francisco’s Outer Richmond that doubles as a micro-community of the city’s indie musicians. Hours pass to the hum of vinyl LPs from its sizable collection; dough and industry advice are thrown and caught; band tees are complimented. Co-workers’ demos are played on shared rides home, and employees cover shifts when others play shows or go on tour.\u003c/p>\n\u003cp>But mainly, The Laundromat’s supportive, tight-knit staff show that the artist’s tradition of working behind a counter on the nights not spent on stage is alive and well in an increasingly unaffordable, tech-centered city.\u003c/p>\n\u003cfigure id=\"attachment_13959564\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert serves orders at The Laundromat, where he works alongside other musicians from San Francisco bands. Wolfert plays in Uncle Chris, Double Helix Peace Treaty and Starfish Prime. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a typical shift, Wolfert, with his easy smile, might step outside to wipe down a table, passing the hour-long line and white horizon of Ocean Beach. His thoughts will race: He needs to text Joey he can record this week; Korey wants to rehearse next week; that one party needs water; two tables need to be set. Then he’ll grab a mushroom combo, balancing dipping dishes of honey and ranch between his fingers, and slide them all onto a crowded table.\u003c/p>\n\u003cp>As the phone rings, he’ll notice the Groove Armada record is on the penultimate track of Side B.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One! More! Song!” he chirps in these moments over the beat to co-workers, Max Edelman, 29 (drummer for alt-rock band \u003ca href=\"https://www.instagram.com/sourwidows\">Sour Widows\u003c/a> and black metal band \u003ca href=\"https://www.instagram.com/rokeblackmetal/\">Roke\u003c/a>), and Eva Treadway, 29 (guitarist in the ’60s-style pop band \u003ca href=\"https://www.instagram.com/theshesmusic/\">The She’s\u003c/a> and the noisy ’90s-style rock group \u003ca href=\"https://www.instagram.com/world_smasher/\">World Smasher\u003c/a>). Edelman might be pouring a skin-contact orange wine into one patron’s glass while Treadway — wearing a baseball cap with the word “Laundromat” in a squiggly font, designed by \u003ca href=\"https://www.instagram.com/secret.cobra.information/\">Trey Flanigan\u003c/a> of local band \u003ca href=\"https://pardoner.bandcamp.com/\">Pardoner\u003c/a> — pours a chilled red into another. A sausage pie’s ready for delivery. The phone’s ringing again.\u003c/p>\n\u003cfigure id=\"attachment_13959565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway and Max Edelman work behind the bar at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Busy nights like these are exhilarating to Wolfert. It’s like when his fingers are on the bass strings at Kilowatt or the Knockout. He plays with the jazz-inspired indie-pop group \u003ca href=\"https://www.kqed.org/news/11985883/uncle-chris-dove-on-the-ocean\">Uncle Chris,\u003c/a> the rock-driven songwriting-forward alt-pop of \u003ca href=\"https://www.instagram.com/starfishprime999/\">Starfish Prime\u003c/a> and the gritty, edgy sounds of \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a>. Working at The Laundromat can be like the climax of a song, he says. The crowd is rapt. The band’s locked in. The sound engineer is waving a symbol he can half see. His friends are in the front row making heart hands.\u003c/p>\n\u003cp>There’s a beast flowing through the air at that moment, he says. At The Laundromat, it’s caught and upheld by his co-workers, who are also his friends and some of his favorite musicians, similarly running pizzas or laughing in passing.\u003c/p>\n\u003cp>“There are parallels in service as in performance,” says Treadway just before their shift on a recent Wednesday. “We have our flow and we’re putting on a little bit of a show. Like, you’re providing this environment, you’re helping to curate it and you’re helping it to run, and you’re really fucking leaning on the people around you as your team.”\u003c/p>\n\u003cp>Navigating this organized chaos comes naturally to people who’ve worked together in a collaborative way artistically, Treadway adds, “because so much of being in a band is compromise and truly working together and doing hard things together. I don’t know anyone that’s a working musician in San Francisco that’s not working really, really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13959557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway poses for a portrait at The Laundromat. Treadway plays in The She’s and World Smasher. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musicians have worked service jobs since the beginning of undercompensated music and undercompensated labor. But the marriage’s harmony largely depends on institutional support – especially in San Francisco, where rents are always going up, prices are high and \u003ca href=\"https://www.sfgate.com/local/article/under-100k-low-income-san-francisco-18168899.php\">anyone making less than $100,000 a year is considered low-income\u003c/a>. The Tenderloin rehearsal space shared by two of Wolfert’s bands, a tight room split between five bands total, costs $800 a month. He lives with four roommates, one of whom is a bandmate.\u003c/p>\n\u003cp>When asked how to best support San Francisco’s musicians, Treadway says to tip well and pay in cash. Break out of the “transaction” mindset. Sometimes people forget their waiter is “a cool person who’s working really hard, who has their own interests, who maybe has their own band,” they add.\u003c/p>\n\u003cp>“Supporting your local restaurant is supporting your local musicians,” says Treadway. “Never forget it.”\u003c/p>\n\u003cfigure id=\"attachment_13959555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Edelman poses for a portrait at The Laundromat. Edelman plays in the bands Sour Widows and Roke. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s music scene is a fragile ecosystem, one supported through ticket and merch sales and prenegotiated percentages of the bar. And it’s supported most directly by the musicians themselves, waiting tables and humming a song idea as they grab Table Three’s vegan cheese.\u003c/p>\n\u003cp>Local music survives, says Wolfert, because of places like The Laundromat, and because people in the scene help each other out. Musicians hook other musicians up with places to practice or record; they ask local acts to open when they headline; they let them know when their neighborhood pizza place is hiring.\u003c/p>\n\u003cfigure id=\"attachment_13959563\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert talks with a co-worker at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a musician, I feel like you’re working so many different jobs all at once,” says Edelman. “And then you work your job. And you’re not being paid, usually, for the music aspect.” Edelman, who’s tended bar at The Laundromat for more than a year, learned about the job from an Instagram post by Treadway, right after the two returned to San Francisco from playing South by Southwest.\u003c/p>\n\u003cp>Treadway calls The Laundromat “a project”; Edelman opts for a musician-artist space as well as a culinary spot. Wolfert jokes that people say from the outside, it looks like “a little cult.” (The Laundromat’s musician staff also includes Keith Frerichs of \u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a>, who is absent on this particular day to prepare for a North American tour.)\u003c/p>\n\u003cp>When Wolfert worked at a prior pizza place, he says he felt validated as a musician. But there’s validation, and then there’s encouragement from managers and owners. Here, your co-workers and bosses will proactively sit down around a calendar of your upcoming tour dates. They’ll work together to cover shifts; they’ll make it happen.\u003c/p>\n\u003cfigure id=\"attachment_13959559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959559\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bumper stickers by Christopher DeLoach (@thatscoolthankyou on Instagram) hang at the entrance to The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laundromat co-owners Kevin Rodgers and Jenna O’Connell don’t play music themselves, but both have histories of working with musicians in the service industry. The Laundromat, Rodgers says, is the most musician-concentrated workplace in his career. With so many band members and music lovers on staff, Rodgers says, they all just get it.\u003c/p>\n\u003cp>“Feeling like you’re in a place where your actual artistic endeavors are supported, that feels really important to me as someone who has played music my whole life,” says Treadway. “What makes people whole is being able to participate in their artistic endeavors.”\u003c/p>\n\u003cp>Ever since Treadway started in San Francisco’s music scene, people have said that the scene is dying. That everyone’s moving to L.A. They don’t think that’s true.\u003c/p>\n\u003cp>“There’s always going to be music in San Francisco,” Treadway says. “It’s in the DNA of the city, and has been since before any of us even were considered to exist.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a> are currently touring North America, and play \u003ca href=\"https://dice.fm/event/wkpon-the-umbrellas-pocket-full-of-crumbs-and-latitude-29th-jun-kilowatt-san-francisco-tickets?\">Saturday, June 29, at Kilowatt in San Francisco\u003c/a>. \u003ca href=\"https://www.sourwidows.com/\">Sour Widows\u003c/a> begins a U.S. tour this month, and plays \u003ca href=\"https://theindependentsf.com/event/13375114/sour-widows/\">Saturday, July 13, at the Independent\u003c/a> in San Francisco. \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a> plays \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/credit-electric-w-dutch-interior-amp-double-helix-peace-treaty-doors-700-pm-music-730-pm\">Wednesday, August 14, at the 4 Star Theater\u003c/a> in San Francisco.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday evenings, Alex Wolfert feels like he’s on stage — even if none of his three bands is performing that night.\u003c/p>\n\u003cp>That’s because Wolfert, 24, works Wednesdays at \u003ca href=\"https://www.thelaundromatsf.com/\">The Laundromat\u003c/a> — a bagels-in-the-morning, pizzas-and-wine-in-the-evening spot in San Francisco’s Outer Richmond that doubles as a micro-community of the city’s indie musicians. Hours pass to the hum of vinyl LPs from its sizable collection; dough and industry advice are thrown and caught; band tees are complimented. Co-workers’ demos are played on shared rides home, and employees cover shifts when others play shows or go on tour.\u003c/p>\n\u003cp>But mainly, The Laundromat’s supportive, tight-knit staff show that the artist’s tradition of working behind a counter on the nights not spent on stage is alive and well in an increasingly unaffordable, tech-centered city.\u003c/p>\n\u003cfigure id=\"attachment_13959564\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert serves orders at The Laundromat, where he works alongside other musicians from San Francisco bands. Wolfert plays in Uncle Chris, Double Helix Peace Treaty and Starfish Prime. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a typical shift, Wolfert, with his easy smile, might step outside to wipe down a table, passing the hour-long line and white horizon of Ocean Beach. His thoughts will race: He needs to text Joey he can record this week; Korey wants to rehearse next week; that one party needs water; two tables need to be set. Then he’ll grab a mushroom combo, balancing dipping dishes of honey and ranch between his fingers, and slide them all onto a crowded table.\u003c/p>\n\u003cp>As the phone rings, he’ll notice the Groove Armada record is on the penultimate track of Side B.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One! More! Song!” he chirps in these moments over the beat to co-workers, Max Edelman, 29 (drummer for alt-rock band \u003ca href=\"https://www.instagram.com/sourwidows\">Sour Widows\u003c/a> and black metal band \u003ca href=\"https://www.instagram.com/rokeblackmetal/\">Roke\u003c/a>), and Eva Treadway, 29 (guitarist in the ’60s-style pop band \u003ca href=\"https://www.instagram.com/theshesmusic/\">The She’s\u003c/a> and the noisy ’90s-style rock group \u003ca href=\"https://www.instagram.com/world_smasher/\">World Smasher\u003c/a>). Edelman might be pouring a skin-contact orange wine into one patron’s glass while Treadway — wearing a baseball cap with the word “Laundromat” in a squiggly font, designed by \u003ca href=\"https://www.instagram.com/secret.cobra.information/\">Trey Flanigan\u003c/a> of local band \u003ca href=\"https://pardoner.bandcamp.com/\">Pardoner\u003c/a> — pours a chilled red into another. A sausage pie’s ready for delivery. The phone’s ringing again.\u003c/p>\n\u003cfigure id=\"attachment_13959565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway and Max Edelman work behind the bar at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Busy nights like these are exhilarating to Wolfert. It’s like when his fingers are on the bass strings at Kilowatt or the Knockout. He plays with the jazz-inspired indie-pop group \u003ca href=\"https://www.kqed.org/news/11985883/uncle-chris-dove-on-the-ocean\">Uncle Chris,\u003c/a> the rock-driven songwriting-forward alt-pop of \u003ca href=\"https://www.instagram.com/starfishprime999/\">Starfish Prime\u003c/a> and the gritty, edgy sounds of \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a>. Working at The Laundromat can be like the climax of a song, he says. The crowd is rapt. The band’s locked in. The sound engineer is waving a symbol he can half see. His friends are in the front row making heart hands.\u003c/p>\n\u003cp>There’s a beast flowing through the air at that moment, he says. At The Laundromat, it’s caught and upheld by his co-workers, who are also his friends and some of his favorite musicians, similarly running pizzas or laughing in passing.\u003c/p>\n\u003cp>“There are parallels in service as in performance,” says Treadway just before their shift on a recent Wednesday. “We have our flow and we’re putting on a little bit of a show. Like, you’re providing this environment, you’re helping to curate it and you’re helping it to run, and you’re really fucking leaning on the people around you as your team.”\u003c/p>\n\u003cp>Navigating this organized chaos comes naturally to people who’ve worked together in a collaborative way artistically, Treadway adds, “because so much of being in a band is compromise and truly working together and doing hard things together. I don’t know anyone that’s a working musician in San Francisco that’s not working really, really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13959557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway poses for a portrait at The Laundromat. Treadway plays in The She’s and World Smasher. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musicians have worked service jobs since the beginning of undercompensated music and undercompensated labor. But the marriage’s harmony largely depends on institutional support – especially in San Francisco, where rents are always going up, prices are high and \u003ca href=\"https://www.sfgate.com/local/article/under-100k-low-income-san-francisco-18168899.php\">anyone making less than $100,000 a year is considered low-income\u003c/a>. The Tenderloin rehearsal space shared by two of Wolfert’s bands, a tight room split between five bands total, costs $800 a month. He lives with four roommates, one of whom is a bandmate.\u003c/p>\n\u003cp>When asked how to best support San Francisco’s musicians, Treadway says to tip well and pay in cash. Break out of the “transaction” mindset. Sometimes people forget their waiter is “a cool person who’s working really hard, who has their own interests, who maybe has their own band,” they add.\u003c/p>\n\u003cp>“Supporting your local restaurant is supporting your local musicians,” says Treadway. “Never forget it.”\u003c/p>\n\u003cfigure id=\"attachment_13959555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Edelman poses for a portrait at The Laundromat. Edelman plays in the bands Sour Widows and Roke. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s music scene is a fragile ecosystem, one supported through ticket and merch sales and prenegotiated percentages of the bar. And it’s supported most directly by the musicians themselves, waiting tables and humming a song idea as they grab Table Three’s vegan cheese.\u003c/p>\n\u003cp>Local music survives, says Wolfert, because of places like The Laundromat, and because people in the scene help each other out. Musicians hook other musicians up with places to practice or record; they ask local acts to open when they headline; they let them know when their neighborhood pizza place is hiring.\u003c/p>\n\u003cfigure id=\"attachment_13959563\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert talks with a co-worker at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a musician, I feel like you’re working so many different jobs all at once,” says Edelman. “And then you work your job. And you’re not being paid, usually, for the music aspect.” Edelman, who’s tended bar at The Laundromat for more than a year, learned about the job from an Instagram post by Treadway, right after the two returned to San Francisco from playing South by Southwest.\u003c/p>\n\u003cp>Treadway calls The Laundromat “a project”; Edelman opts for a musician-artist space as well as a culinary spot. Wolfert jokes that people say from the outside, it looks like “a little cult.” (The Laundromat’s musician staff also includes Keith Frerichs of \u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a>, who is absent on this particular day to prepare for a North American tour.)\u003c/p>\n\u003cp>When Wolfert worked at a prior pizza place, he says he felt validated as a musician. But there’s validation, and then there’s encouragement from managers and owners. Here, your co-workers and bosses will proactively sit down around a calendar of your upcoming tour dates. They’ll work together to cover shifts; they’ll make it happen.\u003c/p>\n\u003cfigure id=\"attachment_13959559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959559\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bumper stickers by Christopher DeLoach (@thatscoolthankyou on Instagram) hang at the entrance to The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laundromat co-owners Kevin Rodgers and Jenna O’Connell don’t play music themselves, but both have histories of working with musicians in the service industry. The Laundromat, Rodgers says, is the most musician-concentrated workplace in his career. With so many band members and music lovers on staff, Rodgers says, they all just get it.\u003c/p>\n\u003cp>“Feeling like you’re in a place where your actual artistic endeavors are supported, that feels really important to me as someone who has played music my whole life,” says Treadway. “What makes people whole is being able to participate in their artistic endeavors.”\u003c/p>\n\u003cp>Ever since Treadway started in San Francisco’s music scene, people have said that the scene is dying. That everyone’s moving to L.A. They don’t think that’s true.\u003c/p>\n\u003cp>“There’s always going to be music in San Francisco,” Treadway says. “It’s in the DNA of the city, and has been since before any of us even were considered to exist.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a> are currently touring North America, and play \u003ca href=\"https://dice.fm/event/wkpon-the-umbrellas-pocket-full-of-crumbs-and-latitude-29th-jun-kilowatt-san-francisco-tickets?\">Saturday, June 29, at Kilowatt in San Francisco\u003c/a>. \u003ca href=\"https://www.sourwidows.com/\">Sour Widows\u003c/a> begins a U.S. tour this month, and plays \u003ca href=\"https://theindependentsf.com/event/13375114/sour-widows/\">Saturday, July 13, at the Independent\u003c/a> in San Francisco. \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a> plays \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/credit-electric-w-dutch-interior-amp-double-helix-peace-treaty-doors-700-pm-music-730-pm\">Wednesday, August 14, at the 4 Star Theater\u003c/a> in San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"meta": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
},
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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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"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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},
"link": "/radio/program/on-the-media",
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"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"meta": {
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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