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"content": "\u003cp>Paul Reubens, who for years portrayed the young-at-heart character of Pee-wee Herman, has died after a private battle with cancer. He was 70.\u003c/p>\n\u003cp>Reubens died Sunday night after a six-year struggle with cancer that he did not make public, his publicist said in a statement.\u003c/p>\n\u003cp>“Please accept my apology for not going public with what I’ve been facing the last six years,” Reubens said in \u003ca href=\"https://www.instagram.com/p/CvXme4ZxAR0/?img_index=2\">a statement released with the announcement of his death\u003c/a>. “I have always felt a huge amount of love and respect from my friends, fans and supporters. I have loved you all so much and enjoyed making art for you.”\u003c/p>\n\u003cp>[aside postID='arts_13874995']Reubens made his name in the 1980s with the fun-loving character of Pee-wee Herman, which brought ostentatious camp to Saturday morning TV and the movie theater screen. The character with his too-tight gray suit, white chunky loafers and red bow tie was best known for the film \u003cem>Pee-wee’s Big Adventure\u003c/em> and the TV series \u003cem>Pee-wee’s Playhouse\u003c/em>.\u003c/p>\n\u003cp>Herman created Pee-wee when he was part of the Los Angeles improv group The Groundlings in the late 1970s. The live \u003cem>Pee-wee Herman Show\u003c/em> debuted at a Los Angeles theater in 1981 and was a success with both kids during matinees and adults at a midnight show. HBO would air the show as a special.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reubens took Pee-wee to the big screen in 1985’s \u003cem>Pee-wee’s Big Adventure\u003c/em>. The film, in which Pee-wee’s cherished bike is stolen, was said to be loosely based on Vittorio De Sica’s Italian neo-realist classic, \u003cem>The Bicycle Thief\u003c/em>. The film was directed by Tim Burton and co-written by Phil Hartman of \u003cem>Saturday Night Live\u003c/em>, and sent Pee-wee on a nationwide escapade. The movie was a success, grossing $40 million, and continued to spawn a cult following for its oddball whimsy.\u003c/p>\n\u003cfigure id=\"attachment_13932424\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-563956909.jpg\" alt=\"\" width=\"1024\" height=\"700\" class=\"size-full wp-image-13932424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-768x525.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Publicity still from ‘Pee Wee’s Playhouse,’ CBS TV’s comedy starring Paul Reubens and S. Epatha Merkerson, 1986. \u003ccite>(John Kisch Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sequel followed three years later in the less well-received \u003cem>Big Top Pee-wee\u003c/em>, in which Pee-wee seeks to join a circus. Reubens’ character wouldn’t get another movie starring role until 2016’s \u003cem>Pee-wee’s Big Holiday\u003c/em>, for Netflix. Judd Apatow produced Pee-wee’s big-screen revival.\u003c/p>\n\u003cp>His television series, \u003cem>Pee-wee’s Playhouse\u003c/em>, ran for five seasons, earned 22 Emmys and attracted not only children but adults to Saturday-morning TV.\u003c/p>\n\u003cp>Both silly and subversive and championing nonconformity, the Pee-wee universe was a surreal place, populated by things such as a talking armchair and a friendly pterodactyl. The host, who is fond of secret words and loves fruit salad so much he once married it, is prone to lines like, “I know you are, but what am I?” and “Why don’t you take a picture; it’ll last longer?” The act was a hit because it worked on multiple levels, even though Reubens insists that wasn’t the plan.\u003c/p>\n\u003cp>“It’s for kids,” Reubens told The Associated Press in 2010. “People have tried to get me for years to go, ‘It wasn’t really for kids, right?’ Even the original show was for kids. I always censored myself to have it be kid-friendly.”\u003c/p>\n\u003cp>“The whole thing has been just a gut feeling from the beginning,” Reubens told the AP. “That’s all it ever is and I think always ever be. Much as people want me to dissect it and explain it, I can’t. One, I don’t know, and two, I don’t want to know, and three, I feel like I’ll hex myself if I know.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Gabe Meline and Associated Press Writer Alicia Rancilio and Film Writer Jake Coyle contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reubens took Pee-wee to the big screen in 1985’s \u003cem>Pee-wee’s Big Adventure\u003c/em>. The film, in which Pee-wee’s cherished bike is stolen, was said to be loosely based on Vittorio De Sica’s Italian neo-realist classic, \u003cem>The Bicycle Thief\u003c/em>. The film was directed by Tim Burton and co-written by Phil Hartman of \u003cem>Saturday Night Live\u003c/em>, and sent Pee-wee on a nationwide escapade. The movie was a success, grossing $40 million, and continued to spawn a cult following for its oddball whimsy.\u003c/p>\n\u003cfigure id=\"attachment_13932424\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-563956909.jpg\" alt=\"\" width=\"1024\" height=\"700\" class=\"size-full wp-image-13932424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-563956909-768x525.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Publicity still from ‘Pee Wee’s Playhouse,’ CBS TV’s comedy starring Paul Reubens and S. Epatha Merkerson, 1986. \u003ccite>(John Kisch Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sequel followed three years later in the less well-received \u003cem>Big Top Pee-wee\u003c/em>, in which Pee-wee seeks to join a circus. Reubens’ character wouldn’t get another movie starring role until 2016’s \u003cem>Pee-wee’s Big Holiday\u003c/em>, for Netflix. Judd Apatow produced Pee-wee’s big-screen revival.\u003c/p>\n\u003cp>His television series, \u003cem>Pee-wee’s Playhouse\u003c/em>, ran for five seasons, earned 22 Emmys and attracted not only children but adults to Saturday-morning TV.\u003c/p>\n\u003cp>Both silly and subversive and championing nonconformity, the Pee-wee universe was a surreal place, populated by things such as a talking armchair and a friendly pterodactyl. The host, who is fond of secret words and loves fruit salad so much he once married it, is prone to lines like, “I know you are, but what am I?” and “Why don’t you take a picture; it’ll last longer?” The act was a hit because it worked on multiple levels, even though Reubens insists that wasn’t the plan.\u003c/p>\n\u003cp>“It’s for kids,” Reubens told The Associated Press in 2010. “People have tried to get me for years to go, ‘It wasn’t really for kids, right?’ Even the original show was for kids. I always censored myself to have it be kid-friendly.”\u003c/p>\n\u003cp>“The whole thing has been just a gut feeling from the beginning,” Reubens told the AP. “That’s all it ever is and I think always ever be. Much as people want me to dissect it and explain it, I can’t. One, I don’t know, and two, I don’t want to know, and three, I feel like I’ll hex myself if I know.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Gabe Meline and Associated Press Writer Alicia Rancilio and Film Writer Jake Coyle contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sinéad O’Connor, Gifted and Provocative Irish Singer, Dies at 56",
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"content": "\u003cp>Sinéad O’Connor, the gifted Irish singer-songwriter who became a superstar in her mid-20s but was known as much for her private struggles and provocative actions as for her fierce and expressive music, has died at 56.\u003c/p>\n\u003cp>“It is with great sadness that we announce the passing of our beloved Sinéad. Her family and friends are devastated and have requested privacy at this very difficult time,” the singer’s family said in a statement reported Wednesday by the BBC and RTE.\u003c/p>\n\u003cp>Recognizable by her shaved head and elfin features, O’Connor began her career singing on the streets of Dublin and soon rose to international fame. She was a star from her 1987 debut album T\u003cem>he Lion and the Cobra\u003c/em> and became a sensation in 1990 with her cover of Prince’s ballad “Nothing Compares 2 U,” a seething, shattering performance that topped charts from Europe to Australia and was heightened by a video featuring the gray-eyed O’Connor in intense close-up.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0-EF60neguk\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\n“Nothing Compares 2 U” received three Grammy nominations and was the featured track off her acclaimed album \u003cem>I Do Not Want What I Haven’t Got\u003c/em>, which helped lead \u003cem>Rolling Stone\u003c/em> to name her Artist of the Year in 1991.\u003c/p>\n\u003cp>“She proved that a recording artist could refuse to compromise and still connect with millions of listeners hungry for music of substance,” the magazine declared.\u003c/p>\n\u003cp>She was a lifelong non-conformist — she would say that she shaved her head in response to record executives pressuring her to be conventionally glamorous — but her political and cultural stances and troubled private life often overshadowed her music. She feuded with Frank Sinatra over her refusal to allow the playing of “The Star-Spangled Banner” at one of her shows and accused Prince of physically threatening her. In 1989 she declared her support for the Irish Republican Army, a statement she retracted a year later. Around the same time, she skipped the Grammy ceremony, saying it was too commercialized.[aside postid='arts_13919744']\u003c/p>\n\u003cp>A critic of the Catholic Church well before allegations sexual abuse were widely reported, O’Connor made headlines in October 1992 when she tore up a photo of Pope John Paul II while appearing live on NBC’s \u003cem>Saturday Night Live\u003c/em> and denounced the church as the enemy. The following week, Joe Pesci hosted \u003cem>Saturday Night Live\u003c/em>, held up a repaired photo of the Pope and said that if he had been on the show with O’Connor he “would have gave her such a smack.” Days later, she appeared at an all-star tribute for Bob Dylan at Madison Square Garden and was immediately booed. She was supposed to sing Dylan’s “I Believe in You,” but switched to an a cappella version of Bob Marley’s “War,” which she had sung on \u003cem>Saturday Night Live\u003c/em>.\u003c/p>\n\u003cp>Although consoled and encouraged on stage by her friend Kris Kristofferson, she left and broke down, and her performance was kept off the concert CD. (Years later, Kristofferson recorded “Sister Sinead,” for which he wrote “And maybe she’s crazy and maybe she ain’t/But so was Picasso and so were the saints.”)\u003c/p>\n\u003cp>In 1999, O’Connor caused uproar in Ireland when she became a priestess of the breakaway Latin Tridentine Church — a position that was not recognized by the mainstream Catholic Church. For many years, she called for a full investigation into the extent of the church’s role in concealing child abuse by clergy. In 2010, when Pope Benedict XVI apologized to Ireland to atone for decades of abuse, O’Connor condemned the apology for not going far enough and called for Catholics to boycott Mass until there was a full investigation into the Vatican’s role, which by 2018 was making international headlines.\u003c/p>\n\u003cfigure id=\"attachment_13932103\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1203492767.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932103\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1203492767-800x571.jpg\" alt=\"a woman in a traditional Muslim headdress performs onstage\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sinead O’Connor performs on stage at Vogue Theatre on Feb. 1, 2020 in Vancouver. The singer converted to Islam in 2018 and changed her name to Shuhada’ Davitt, though she continued using ‘Sinead O’Connor’ professionally. \u003ccite>(Andrew Chin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People assumed I didn’t believe in God. That’s not the case at all. I’m Catholic by birth and culture and would be the first at the church door if the Vatican offered sincere reconciliation,” she wrote in the \u003cem>Washington Post\u003c/em> in 2010.\u003c/p>\n\u003cp>O’Connor announced in 2018 that she had converted to Islam and would be adopting the name Shuhada’ Sadaqat — although she continued to use Sinéad O’Connor professionally. In 2020, she staged a U.S. tour after years away, performing a slew of sold-out shows. The following year, she published a memoir, \u003ca href=\"https://www.npr.org/2021/06/01/992501997/sinead-oconnor-has-a-new-memoir-and-no-regrets\">\u003cem>Rememberings\u003c/em>\u003c/a>, and said she planned to keep making music, noting that the pandemic had given her time to “do what I love.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sinéad O’Connor, the gifted Irish singer-songwriter who became a superstar in her mid-20s but was known as much for her private struggles and provocative actions as for her fierce and expressive music, has died at 56.\u003c/p>\n\u003cp>“It is with great sadness that we announce the passing of our beloved Sinéad. Her family and friends are devastated and have requested privacy at this very difficult time,” the singer’s family said in a statement reported Wednesday by the BBC and RTE.\u003c/p>\n\u003cp>Recognizable by her shaved head and elfin features, O’Connor began her career singing on the streets of Dublin and soon rose to international fame. She was a star from her 1987 debut album T\u003cem>he Lion and the Cobra\u003c/em> and became a sensation in 1990 with her cover of Prince’s ballad “Nothing Compares 2 U,” a seething, shattering performance that topped charts from Europe to Australia and was heightened by a video featuring the gray-eyed O’Connor in intense close-up.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0-EF60neguk'\n title='//www.youtube.com/embed/0-EF60neguk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\n“Nothing Compares 2 U” received three Grammy nominations and was the featured track off her acclaimed album \u003cem>I Do Not Want What I Haven’t Got\u003c/em>, which helped lead \u003cem>Rolling Stone\u003c/em> to name her Artist of the Year in 1991.\u003c/p>\n\u003cp>“She proved that a recording artist could refuse to compromise and still connect with millions of listeners hungry for music of substance,” the magazine declared.\u003c/p>\n\u003cp>She was a lifelong non-conformist — she would say that she shaved her head in response to record executives pressuring her to be conventionally glamorous — but her political and cultural stances and troubled private life often overshadowed her music. She feuded with Frank Sinatra over her refusal to allow the playing of “The Star-Spangled Banner” at one of her shows and accused Prince of physically threatening her. In 1989 she declared her support for the Irish Republican Army, a statement she retracted a year later. Around the same time, she skipped the Grammy ceremony, saying it was too commercialized.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A critic of the Catholic Church well before allegations sexual abuse were widely reported, O’Connor made headlines in October 1992 when she tore up a photo of Pope John Paul II while appearing live on NBC’s \u003cem>Saturday Night Live\u003c/em> and denounced the church as the enemy. The following week, Joe Pesci hosted \u003cem>Saturday Night Live\u003c/em>, held up a repaired photo of the Pope and said that if he had been on the show with O’Connor he “would have gave her such a smack.” Days later, she appeared at an all-star tribute for Bob Dylan at Madison Square Garden and was immediately booed. She was supposed to sing Dylan’s “I Believe in You,” but switched to an a cappella version of Bob Marley’s “War,” which she had sung on \u003cem>Saturday Night Live\u003c/em>.\u003c/p>\n\u003cp>Although consoled and encouraged on stage by her friend Kris Kristofferson, she left and broke down, and her performance was kept off the concert CD. (Years later, Kristofferson recorded “Sister Sinead,” for which he wrote “And maybe she’s crazy and maybe she ain’t/But so was Picasso and so were the saints.”)\u003c/p>\n\u003cp>In 1999, O’Connor caused uproar in Ireland when she became a priestess of the breakaway Latin Tridentine Church — a position that was not recognized by the mainstream Catholic Church. For many years, she called for a full investigation into the extent of the church’s role in concealing child abuse by clergy. In 2010, when Pope Benedict XVI apologized to Ireland to atone for decades of abuse, O’Connor condemned the apology for not going far enough and called for Catholics to boycott Mass until there was a full investigation into the Vatican’s role, which by 2018 was making international headlines.\u003c/p>\n\u003cfigure id=\"attachment_13932103\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1203492767.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932103\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1203492767-800x571.jpg\" alt=\"a woman in a traditional Muslim headdress performs onstage\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1203492767.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sinead O’Connor performs on stage at Vogue Theatre on Feb. 1, 2020 in Vancouver. The singer converted to Islam in 2018 and changed her name to Shuhada’ Davitt, though she continued using ‘Sinead O’Connor’ professionally. \u003ccite>(Andrew Chin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People assumed I didn’t believe in God. That’s not the case at all. I’m Catholic by birth and culture and would be the first at the church door if the Vatican offered sincere reconciliation,” she wrote in the \u003cem>Washington Post\u003c/em> in 2010.\u003c/p>\n\u003cp>O’Connor announced in 2018 that she had converted to Islam and would be adopting the name Shuhada’ Sadaqat — although she continued to use Sinéad O’Connor professionally. In 2020, she staged a U.S. tour after years away, performing a slew of sold-out shows. The following year, she published a memoir, \u003ca href=\"https://www.npr.org/2021/06/01/992501997/sinead-oconnor-has-a-new-memoir-and-no-regrets\">\u003cem>Rememberings\u003c/em>\u003c/a>, and said she planned to keep making music, noting that the pandemic had given her time to “do what I love.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "San Francisco Loved Tony Bennett Right Back",
"headTitle": "San Francisco Loved Tony Bennett Right Back | KQED",
"content": "\u003cfigure id=\"attachment_13931947\" class=\"wp-caption aligncenter\" style=\"max-width: 1480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931947\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/TonyBennett.MAIN_.jpg\" alt=\"\" width=\"1480\" height=\"973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_-768x505.jpg 768w\" sizes=\"(max-width: 1480px) 100vw, 1480px\">\u003cfigcaption class=\"wp-caption-text\">Tony Bennett performs at the Hyatt Regency in San Francisco in February, 2000. \u003ccite>(Lea Suzuki / San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]he first time I ever saw Tony Bennett was in 1995, for a free noontime show in Union Square. In San Francisco. Naturally.\u003c/p>\n\u003cp>After proclamations by various city figures — I distinctly remember Angela Alioto got booed — Bennett took the stage with his trio of piano, bass and drums, and went right into what he did so well, over and over. What he was unquestionably born to do, really, until his \u003ca href=\"https://www.kqed.org/arts/13931917/tony-bennett-dies-at-96\">death this week at age 96\u003c/a>.\u003c/p>\n\u003cp>My friend Kim and I stood in the large crowd with a sense of awe. There we were, seeing a legend, Tony Bennett, for free, singing timeless numbers like “Fascinatin’ Rhythm” and “Fly Me to the Moon” with elegant grace. All around the square, the city seemed to grind to a halt. Cabbies on Geary Street leaned their heads out to listen. Hotel guests in the upper floors of the St. Francis watched out of their windows.\u003c/p>\n\u003cp>And then, in the heart of the city with which he’d be forever associated, Tony Bennett started singing “I Left My Heart in San Francisco.” The crowd collectively sighed — a good sigh — as Bennett settled into the familiar verse about going home to his city by the Bay.\u003c/p>\n\u003cp>Right then and there, in the middle of Tony Bennett singing “I Left My Heart in San Francisco,” a cable car rattled up Powell Street behind the stage, piercing the hushed city quiet. In a moment I’ll never forget, right on time with the song, it rang its bell.\u003c/p>\n\u003cfigure id=\"attachment_13931943\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931943\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1298825223-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-1536x1178.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-2048x1571.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-1920x1473.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mayor Dianne Feinstein rides a cable car with Tony Bennett. June 22, 1984. \u003ccite>(Frederic Larson/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was no singer in the world like Tony Bennett. Or, I should say, there were many singers \u003cem>like\u003c/em> Bennett, tons of Steve Lawrences and Vic Damones and Al Martinos. But none on his level of seemingly effortless technique, nor his gift of interpretation. As Frank Sinatra once said, in his famous quote to \u003cem>Life\u003c/em> magazine about Bennett being “the best singer in the business”: “He’s the singer who gets across what the composer has in mind, and probably a little more.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How Bennett came to record the defining song about San Francisco is a story \u003ca href=\"https://web.archive.org/web/20160807090410/http://www.sfweekly.com/sanfrancisco/where-the-heart-is-the-story-behind-san-franciscos-official-ballad-tony-bennett-george-cory-the-fairmont-hotel-i-left-my-heart-in-san-fra/Content?oid=4814656&showFullText=true\">full of improbable twists and turns\u003c/a>, ending with the city adopting it as \u003ca href=\"https://sfmuseum.org/hist1/song.html\">one of two official songs\u003c/a>, artist-painted \u003ca href=\"https://sfghf.org/hearts-in-san-francisco/\">hearts all over the city\u003c/a>, a \u003ca href=\"https://www.billboard.com/music/music-news/tony-bennett-honored-with-statue-for-90th-birthday-in-san-francisco-7480167/\">statue in front of the Fairmont Hotel\u003c/a>, and the ceremonial \u003ca href=\"https://www.youtube.com/watch?v=YC-vb76c30g\">playing of the song at the ballpark after Giants games\u003c/a>. (Or, occasionally, Bennett \u003ca href=\"https://www.youtube.com/watch?v=fB5WJsaOM7Q\">waltzing onto the field and singing it live\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13931964\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-595239568-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1728\" class=\"size-full wp-image-13931964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-1536x1037.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-2048x1382.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-1920x1296.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Former San Francisco Giants Willie Mays (L) stands with singer Tony Bennett (R) as the San Francisco Giants honor Bennett for his 90th birthday prior to the start of the game against the New York Mets at AT&T Park on August 19, 2016 in San Francisco. \u003ccite>(Thearon W. Henderson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Written by George Cory and Douglass Cross, a gay couple then living in Lake County, “I Left My Heart in San Francisco” was recorded almost on a fluke. In 1959, Cory and Cross had run into Bennett’s pianist Ralph Sharon on the street in New York and handed him the sheet music. Two whole years later, before going on the road out West, Sharon tossed it into his suitcase on a whim.\u003c/p>\n\u003cp>After trying the song out in after-hours sessions, Bennett premiered it at the Venetian Room of the Fairmont Hotel in 1961; the applause was so great he was forced to turn right around and sing it again.\u003c/p>\n\u003cp>Not everyone liked “I Left My Heart in San Francisco.” Herb Caen once called it “a travel poster, and just as two-dimensional.” Bob Grimes, a San Francisco store proprietor who built one of the largest private collections of sheet music in the country, said to the \u003cem>San Francisco Chronicle\u003c/em> that it was “saccharine, soporific and focuses on people who are out of the city rather than its residents.”\u003c/p>\n\u003cp>Plus, Bennett had \u003cem>so many other songs\u003c/em>. Hundreds. “Just In Time.” “Boulevard of Broken Dreams.” “The Good Life.” “Because of You.” “For Once in My Life.” The list goes \u003ca href=\"https://twitter.com/gmeline/status/1072910960245977089\">on and on\u003c/a>. All indelible reminders that love and sincerity are more valuable than jadedness and irony. All sung in thousands of concerts all over the globe, and punctuated on the final downbeat by Bennett’s signature pose: outstretching his arms to the audience and smiling wide.\u003c/p>\n\u003cfigure id=\"attachment_13931932\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1160447812-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-1920x1278.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Tony Bennett performs on stage during a concert in Everett, Massachusetts in 2019. \u003ccite>(JOSEPH PREZIOSO/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was lucky to have seen Bennett six or seven times over the years. One time I paid $125 for a ticket; another time, I snuck in for free. Yet another time I hung around the backstage door afterward to watch him emerge, flanked by two large Italian bodyguards, and got to shake his hand.\u003c/p>\n\u003cp>The last time he came around was in 2018, two years into his Alzheimer’s diagnosis. I had made an unusual habit of bringing tattooed friends from the punk scene to see Tony Bennett with me, but this time was special: I went with my 9-year-old daughter.\u003c/p>\n\u003cp>At an incredible 92 years old, he sang 24 songs. And then, at the end of the night, came another Tony Bennett moment I’ll never forget: he set the microphone down, walked to the front of the stage, and, unamplified, sang “Fly Me to the Moon” to the rafters.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sP9skLqKQ2c\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>It brought the house down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s true that Tony Bennett genuinely loved San Francisco. But San Francisco loved him right back, tenfold. Wherever he is now, he’s left much more than his heart here. Indeed, a giant piece of him is woven into this city — and me — forever.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13931947\" class=\"wp-caption aligncenter\" style=\"max-width: 1480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931947\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/TonyBennett.MAIN_.jpg\" alt=\"\" width=\"1480\" height=\"973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_-768x505.jpg 768w\" sizes=\"(max-width: 1480px) 100vw, 1480px\">\u003cfigcaption class=\"wp-caption-text\">Tony Bennett performs at the Hyatt Regency in San Francisco in February, 2000. \u003ccite>(Lea Suzuki / San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he first time I ever saw Tony Bennett was in 1995, for a free noontime show in Union Square. In San Francisco. Naturally.\u003c/p>\n\u003cp>After proclamations by various city figures — I distinctly remember Angela Alioto got booed — Bennett took the stage with his trio of piano, bass and drums, and went right into what he did so well, over and over. What he was unquestionably born to do, really, until his \u003ca href=\"https://www.kqed.org/arts/13931917/tony-bennett-dies-at-96\">death this week at age 96\u003c/a>.\u003c/p>\n\u003cp>My friend Kim and I stood in the large crowd with a sense of awe. There we were, seeing a legend, Tony Bennett, for free, singing timeless numbers like “Fascinatin’ Rhythm” and “Fly Me to the Moon” with elegant grace. All around the square, the city seemed to grind to a halt. Cabbies on Geary Street leaned their heads out to listen. Hotel guests in the upper floors of the St. Francis watched out of their windows.\u003c/p>\n\u003cp>And then, in the heart of the city with which he’d be forever associated, Tony Bennett started singing “I Left My Heart in San Francisco.” The crowd collectively sighed — a good sigh — as Bennett settled into the familiar verse about going home to his city by the Bay.\u003c/p>\n\u003cp>Right then and there, in the middle of Tony Bennett singing “I Left My Heart in San Francisco,” a cable car rattled up Powell Street behind the stage, piercing the hushed city quiet. In a moment I’ll never forget, right on time with the song, it rang its bell.\u003c/p>\n\u003cfigure id=\"attachment_13931943\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931943\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1298825223-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-1536x1178.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-2048x1571.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-1920x1473.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mayor Dianne Feinstein rides a cable car with Tony Bennett. June 22, 1984. \u003ccite>(Frederic Larson/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was no singer in the world like Tony Bennett. Or, I should say, there were many singers \u003cem>like\u003c/em> Bennett, tons of Steve Lawrences and Vic Damones and Al Martinos. But none on his level of seemingly effortless technique, nor his gift of interpretation. As Frank Sinatra once said, in his famous quote to \u003cem>Life\u003c/em> magazine about Bennett being “the best singer in the business”: “He’s the singer who gets across what the composer has in mind, and probably a little more.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How Bennett came to record the defining song about San Francisco is a story \u003ca href=\"https://web.archive.org/web/20160807090410/http://www.sfweekly.com/sanfrancisco/where-the-heart-is-the-story-behind-san-franciscos-official-ballad-tony-bennett-george-cory-the-fairmont-hotel-i-left-my-heart-in-san-fra/Content?oid=4814656&showFullText=true\">full of improbable twists and turns\u003c/a>, ending with the city adopting it as \u003ca href=\"https://sfmuseum.org/hist1/song.html\">one of two official songs\u003c/a>, artist-painted \u003ca href=\"https://sfghf.org/hearts-in-san-francisco/\">hearts all over the city\u003c/a>, a \u003ca href=\"https://www.billboard.com/music/music-news/tony-bennett-honored-with-statue-for-90th-birthday-in-san-francisco-7480167/\">statue in front of the Fairmont Hotel\u003c/a>, and the ceremonial \u003ca href=\"https://www.youtube.com/watch?v=YC-vb76c30g\">playing of the song at the ballpark after Giants games\u003c/a>. (Or, occasionally, Bennett \u003ca href=\"https://www.youtube.com/watch?v=fB5WJsaOM7Q\">waltzing onto the field and singing it live\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13931964\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-595239568-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1728\" class=\"size-full wp-image-13931964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-1536x1037.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-2048x1382.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-1920x1296.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Former San Francisco Giants Willie Mays (L) stands with singer Tony Bennett (R) as the San Francisco Giants honor Bennett for his 90th birthday prior to the start of the game against the New York Mets at AT&T Park on August 19, 2016 in San Francisco. \u003ccite>(Thearon W. Henderson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Written by George Cory and Douglass Cross, a gay couple then living in Lake County, “I Left My Heart in San Francisco” was recorded almost on a fluke. In 1959, Cory and Cross had run into Bennett’s pianist Ralph Sharon on the street in New York and handed him the sheet music. Two whole years later, before going on the road out West, Sharon tossed it into his suitcase on a whim.\u003c/p>\n\u003cp>After trying the song out in after-hours sessions, Bennett premiered it at the Venetian Room of the Fairmont Hotel in 1961; the applause was so great he was forced to turn right around and sing it again.\u003c/p>\n\u003cp>Not everyone liked “I Left My Heart in San Francisco.” Herb Caen once called it “a travel poster, and just as two-dimensional.” Bob Grimes, a San Francisco store proprietor who built one of the largest private collections of sheet music in the country, said to the \u003cem>San Francisco Chronicle\u003c/em> that it was “saccharine, soporific and focuses on people who are out of the city rather than its residents.”\u003c/p>\n\u003cp>Plus, Bennett had \u003cem>so many other songs\u003c/em>. Hundreds. “Just In Time.” “Boulevard of Broken Dreams.” “The Good Life.” “Because of You.” “For Once in My Life.” The list goes \u003ca href=\"https://twitter.com/gmeline/status/1072910960245977089\">on and on\u003c/a>. All indelible reminders that love and sincerity are more valuable than jadedness and irony. All sung in thousands of concerts all over the globe, and punctuated on the final downbeat by Bennett’s signature pose: outstretching his arms to the audience and smiling wide.\u003c/p>\n\u003cfigure id=\"attachment_13931932\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1160447812-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-1920x1278.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Tony Bennett performs on stage during a concert in Everett, Massachusetts in 2019. \u003ccite>(JOSEPH PREZIOSO/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was lucky to have seen Bennett six or seven times over the years. One time I paid $125 for a ticket; another time, I snuck in for free. Yet another time I hung around the backstage door afterward to watch him emerge, flanked by two large Italian bodyguards, and got to shake his hand.\u003c/p>\n\u003cp>The last time he came around was in 2018, two years into his Alzheimer’s diagnosis. I had made an unusual habit of bringing tattooed friends from the punk scene to see Tony Bennett with me, but this time was special: I went with my 9-year-old daughter.\u003c/p>\n\u003cp>At an incredible 92 years old, he sang 24 songs. And then, at the end of the night, came another Tony Bennett moment I’ll never forget: he set the microphone down, walked to the front of the stage, and, unamplified, sang “Fly Me to the Moon” to the rafters.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sP9skLqKQ2c'\n title='//www.youtube.com/embed/sP9skLqKQ2c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>It brought the house down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s true that Tony Bennett genuinely loved San Francisco. But San Francisco loved him right back, tenfold. Wherever he is now, he’s left much more than his heart here. Indeed, a giant piece of him is woven into this city — and me — forever.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tony Bennett, Masterful Stylist of American Song, Dies at 96",
"headTitle": "Tony Bennett, Masterful Stylist of American Song, Dies at 96 | KQED",
"content": "\u003cp>Tony Bennett, the eminent and timeless stylist whose devotion to classic American songs and knack for creating new standards such as “I Left My Heart In San Francisco” graced a decadeslong career that brought him admirers from Frank Sinatra to Lady Gaga, died Friday. He was 96, just two weeks short of his birthday.\u003c/p>\n\u003cp>Publicist Sylvia Weiner confirmed Bennett’s death to The Associated Press, saying he died in his hometown of New York. There was no specific cause, but Bennett had been diagnosed with Alzheimer’s disease in 2016.\u003c/p>\n\u003cp>The last of the great saloon singers of the mid-20th century, Bennett often said his lifelong ambition was to create “a hit catalog rather than hit records.” He released more than 70 albums, bringing him 19 competitive Grammys — all but two after he reached his 60s — and enjoyed deep and lasting affection from fans and fellow artists.\u003c/p>\n\u003cfigure id=\"attachment_13879120\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/GettyImages-106373428-e1587583661461.jpg\" alt=\"Tony Bennett performing in 2010.\" width=\"1920\" height=\"1217\" class=\"size-full wp-image-13879120\">\u003cfigcaption class=\"wp-caption-text\">Tony Bennett performing in 2010. \u003ccite>(BRENDAN SMIALOWSKI/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bennett didn’t tell his own story when performing; he let the music speak instead — the Gershwins and Cole Porter, Irving Berlin and Jerome Kern. Unlike his friend and mentor Sinatra, he would interpret a song rather than embody it.\u003c/p>\n\u003cp>If his singing and public life lacked the high drama of Sinatra’s, Bennett appealed with an easy, courtly manner and an uncommonly rich and durable voice — “A tenor who sings like a baritone,” he called himself — that made him a master of caressing a ballad or brightening an up-tempo number.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I enjoy entertaining the audience, making them forget their problems,” he told The Associated Press in 2006. “I think people … are touched if they hear something that’s sincere and honest and maybe has a little sense of humor. … I just like to make people feel good when I perform.”\u003c/p>\n\u003cp>Bennett was praised often by his peers, but never more meaningfully than by what Sinatra said in a 1965 Life magazine interview: “For my money, Tony Bennett is the best singer in the business. He excites me when I watch him. He moves me. He’s the singer who gets across what the composer has in mind, and probably a little more.”\u003c/p>\n\u003cfigure id=\"attachment_11936142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-800x486.jpg\" alt=\"Sculptor Bruce Wolfe and his model, singer Tony Bennett in Wolfe's Piedmont studio\" width=\"800\" height=\"486\" class=\"size-medium wp-image-11936142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-800x486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-400x243.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-1180x717.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-1920x1166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-960x583.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sculptor Bruce Wolfe and his model, singer Tony Bennett, in Wolfe’s Piedmont studio. Wolfe created a statue to honor Tony Bennett in San Francisco. \u003ccite>(Courtesy of Bruce Wolfe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He not only survived the rise of rock music but endured so long and so well that he gained new fans and collaborators, some young enough to be his grandchildren. In 2014, at age 88, Bennett broke his own record as the oldest living performer with a No. 1 album on the Billboard 200 chart for “Cheek to Cheek,” his duets project with Lady Gaga. Three years earlier, he topped the charts with “Duets II,” featuring such contemporary stars as Gaga, Carrie Underwood and Amy Winehouse, in her last studio recording. His rapport with Winehouse was captured in the Oscar-nominated documentary “Amy,” which showed Bennett patiently encouraging the insecure young singer through a performance of “Body and Soul.”\u003c/p>\n\u003cp>His final album, the 2021 release “Love for Sale,” featured duets with Lady Gaga on the title track, “Night and Day” and other Porter songs.\u003c/p>\n\u003cp>For Bennett, one of the few performers to move easily between pop and jazz, such collaborations were part of his crusade to expose new audiences to what he called the Great American Songbook.\u003c/p>\n\u003cp>“No country has given the world such great music,” Bennett said in a 2015 interview with Downbeat Magazine. “Cole Porter, Irving Berlin, George Gershwin, Jerome Kern. Those songs will never die.”\u003c/p>\n\u003cp>[aside postID='arts_11928855']Ironically, his most famous contribution came through two unknowns, George Cory and Douglass Cross, who in the early ’60s provided Bennett with his signature song at a time his career was in a lull. They gave Bennett’s musical director, pianist Ralph Sharon, some sheet music that he stuck in a dresser drawer and forgot about until he was packing for a tour that included a stop in San Francisco.\u003c/p>\n\u003cp>“Ralph saw some sheet music in his shirt drawer … and on top of the pile was a song called ‘I Left My Heart In San Francisco.’ Ralph thought it would be good material for San Francisco,” Bennett said. “We were rehearsing and the bartender in the club in Little Rock, Arkansas, said, ‘If you record that song, I’m going to be the first to buy it.'”\u003c/p>\n\u003cp>Released in 1962 as the B-side of the single “Once Upon a Time,” the reflective ballad became a grassroots phenomenon staying on the charts for more than two years and earning Bennett his first two Grammys, including record of the year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YSIF3KtwGUA\u003c/p>\n\u003cp>By his early 40s, he was seemingly out of fashion. But after turning 60, an age when even the most popular artists often settle for just pleasing their older fans, Bennett and his son and manager, Danny, found creative ways to market the singer to the MTV Generation. He made guest appearances on “Late Night with David Letterman” and became a celebrity guest artist on “The Simpsons.” He wore a black T-shirt and sunglasses as a presenter with the Red Hot Chili Peppers at the 1993 MTV Music Video Awards, and his own video of “Steppin’ Out With My Baby” from his Grammy-winning Fred Astaire tribute album ended up on MTV’s hip “Buzz Bin.”\u003c/p>\n\u003cp>That led to an offer in 1994 to do an episode of “MTV Unplugged” with special guests Elvis Costello and k.d. lang. The evening’s performance resulted in the album, “Tony Bennett: MTV Unplugged,” which won two Grammys, including album of the year.\u003c/p>\n\u003cp>Bennett would win Grammys for his tributes to female vocalists (“Here’s to the Ladies”), Billie Holiday (“Tony Bennett on Holiday”), and Duke Ellington (“Bennett Sings Ellington — Hot & Cool”). He also won Grammys for his collaborations with other singers: “Playin’ With My Friends — Bennett Sings the Blues,” and his Louis Armstrong tribute, “A Wonderful World” with lang, the first full album he had ever recorded with another singer. He celebrated his 80th birthday with “Duets: An American Classic,” featuring Barbra Streisand, Paul McCartney and Stevie Wonder among others.\u003c/p>\n\u003cp>“They’re all giants in the industry, and all of a sudden they’re saying to me ‘You’re the master,'” Bennett told the AP in 2006.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VLjXbkSm8B4\u003c/p>\n\u003cp>Long associated with San Francisco, Bennett would note that his true home was Astoria, the working-class community in the New York City borough of Queens, where he grew up during the Great Depression. The singer chose his old neighborhood as the site for the “Fame”-style public high school, the Frank Sinatra School of the Arts, that he and his third wife, Susan Crow Benedetto, a former teacher, helped found in 2001.\u003c/p>\n\u003cp>The school is not far from the birthplace of the man who was once Anthony Dominick Benedetto. His father was an Italian immigrant who inspired his love of singing, but he died when Anthony was 10. Bennett credited his mother, Anna, with teaching him a valuable lesson as he watched her working at home, supporting her three children as a seamstress doing piecework after his father died.\u003c/p>\n\u003cp>“We were very impoverished,” Bennett said in a 2016 AP interview. “I saw her working and every once in a while she’d take a dress and throw it over her shoulder and she’d say, ‘Don’t have me work on a bad dress. I’ll only work on good dresses.'”\u003c/p>\n\u003cfigure id=\"attachment_13931920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/TonyBennett.astoria-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13931920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Tony Bennett’s album ‘Astoria: Portrait of the Artist,’ picturing the singer as a young man in front of his childhood home. \u003ccite>(Columbia Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He studied commercial art in high school, but had to drop out to help support his family. The teenager got a job as a copy boy for the AP, performed as a singing waiter and competed in amateur shows. A combat infantryman during World War II, he served as a librarian for the Armed Forces Network after the war and sang with an army big band in occupied Germany. His earliest recording is a 1946 air check from Armed Forces Radio of the blues “St. James Infirmary.”\u003c/p>\n\u003cp>Bennett took advantage of the GI Bill to attend the American Theater Wing, which later became The Actors Studio. His acting lessons helped him develop his phrasing and learn how to tell a story. He learned the more intimate Bel Canto vocal technique which helped him sustain and extend the expressive range of his voice. And he took to heart the advice of his vocal coach, Miriam Spier.\u003c/p>\n\u003cp>“She said please don’t imitate other singers because you’ll just be one of the chorus whoever you imitate whether it’s Bing Crosby or Frank Sinatra and won’t develop an original sound,” Bennett recalled in the 2006 AP interview. “She said imitate musicians that you like, find out how they phrase. I was particularly influenced by the jazz musicians like (pianist) Art Tatum and (saxophonists) Lester Young and Stan Getz.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I5f-e3Wajq4\u003c/p>\n\u003cp>In 1947, Bennett made his first recording, the Gershwins’ standard “Fascinatin’ Rhythm” for a small label under the stage name Joe Bari. The following year he gained notice when he finished behind Rosemary Clooney on the radio show “Arthur Godfrey’s Talent Scouts.” Bennett’s big break came in 1949 when singer Pearl Bailey invited him to join her revue at a Greenwich Village club. Bob Hope dropped by one night and was so impressed that he offered the young singer a spot opening his shows at the famed Paramount Theater, where teens had swooned for Sinatra. But the comedian didn’t care for his stage name and thought his real name was too long for the marquee.\u003c/p>\n\u003cp>“He thought for a moment, then he said, ‘We’ll call you Tony Bennett,'” the singer wrote in his autobiography, “The Good Life,” published in 1998.\u003c/p>\n\u003cp>In 1950, Mitch Miller, the head of Columbia Records’ pop singles division, signed Bennett and released the single, “The Boulevard of Broken Dreams,” a semi-hit. Bennett was on the verge of being dropped from the label in 1951 when he had his first No. 1 on the pop charts with “Because of You.” More hits followed, including “Rags to Riches,” “Blue Velvet,” and Hank Williams’ “Cold, Cold Heart,” the first country song to become an international pop hit.\u003c/p>\n\u003cp>Bennett found himself frequently clashing with Miller, who pushed him to sing Sinatra-style ballads and gimmicky novelty songs. But Bennett took advantage of the young LP album format, starting in 1955 with “Cloud 7,” featuring a small jazz combo led by guitarist Chuck Wayne. Bennett reached out to the jazz audience with such innovative albums as the 1957 “The Beat of My Heart,” an album of standards that paired him with such jazz percussion masters as Chico Hamilton, and Art Blakey. He also became the first white male singer to record with the Count Basie Orchestra, releasing two albums in 1958. Sinatra would later do the same.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ll1cmbBrvlM\u003c/p>\n\u003cp>Bennett’s friendship with Black musicians and his disgust at the racial prejudice he encountered in the Army led him to become an active supporter of the Civil Rights Movement. He answered Harry Belafonte’s call to join Martin Luther King Jr.’s 1965 Selma-to-Montgomery voting rights march and perform for the protesters.\u003c/p>\n\u003cp>Bennett’s early career peaked in the 1960s as he topped the charts with “San Francisco” and became the first male pop solo performer to headline at Carnegie Hall, releasing a live album of the 1962 concert.\u003c/p>\n\u003cp>In 1966, he released “The Movie Song Album,” a personal favorite which featured Johnny Mandel’s Oscar-winning song “The Shadow of Your Smile” and “Maybe September,” the theme from the epic flop “The Oscar,” noteworthy because it marked Bennett’s first and only big-screen acting role.\u003c/p>\n\u003cp>But as rock continued to overtake traditional pop, he clashed with Columbia label head Clive Davis, who insisted that the singer do the 1970 album “Tony Sings the Great Hits of Today,” with such songs as “MacArthur Park” and “Little Green Apples.” Bennett left Columbia in 1972, and went on to form his own record label, Improv, which in 1975-76 produced two duet albums with the impressionistic pianist Bill Evans now considered jazz classics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7LIW7q_cFeA\u003c/p>\n\u003cp>Despite artistic successes, Improv proved a financial disaster for Bennett, who also faced difficulties in his personal life. His marriage to artist Patricia Beech collapsed in 1971. He wed actress Sandra Grant the same year, but that marriage ended in 1984. With no recording deals, his debts brought him close to bankruptcy and the IRS was trying to seize his house in Los Angeles. After a near-fatal drug overdose in 1979, he turned to his son, Danny, who eventually signed on as his manager. Bennett kicked his drug habit and got his finances in order, moved back to New York and resumed doing more than 200 shows a year.\u003c/p>\n\u003cp>He is survived by his wife Susan, daughters Johanna and Antonia, sons Danny and Dae and nine grandchildren.\u003c/p>\n\u003cp>Bennett was named a Kennedy Center Honoree in 2005 and a National Endowment for the Arts Jazz Master in 2006. He also won two Emmy Awards — for “Tony Bennett Live By Request: A Valentine Special” (1996) and “Tony Bennett: An American Classic” (2007).\u003c/p>\n\u003cp>Besides singing, Bennett pursued his lifelong passion for painting by taking art lessons and bringing his sketchbook on the road. His paintings, signed with his family name Benedetto — including portraits of his musician friends and Central Park landscapes — were displayed in public and private collections, including the Smithsonian Museum of American Art.\u003c/p>\n\u003cp>“I love to paint as much as I love to sing,” Bennett told the AP in 2006. “It worked out to be such a blessing in my life because if I started getting burnt-out singing … I would go to my painting and that’s a big lift. … So I stay in this creative zone all the time.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>AP National Writer Hillel Italie contributed to this story.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tony Bennett, the eminent and timeless stylist whose devotion to classic American songs and knack for creating new standards such as “I Left My Heart In San Francisco” graced a decadeslong career that brought him admirers from Frank Sinatra to Lady Gaga, died Friday. He was 96, just two weeks short of his birthday.\u003c/p>\n\u003cp>Publicist Sylvia Weiner confirmed Bennett’s death to The Associated Press, saying he died in his hometown of New York. There was no specific cause, but Bennett had been diagnosed with Alzheimer’s disease in 2016.\u003c/p>\n\u003cp>The last of the great saloon singers of the mid-20th century, Bennett often said his lifelong ambition was to create “a hit catalog rather than hit records.” He released more than 70 albums, bringing him 19 competitive Grammys — all but two after he reached his 60s — and enjoyed deep and lasting affection from fans and fellow artists.\u003c/p>\n\u003cfigure id=\"attachment_13879120\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/GettyImages-106373428-e1587583661461.jpg\" alt=\"Tony Bennett performing in 2010.\" width=\"1920\" height=\"1217\" class=\"size-full wp-image-13879120\">\u003cfigcaption class=\"wp-caption-text\">Tony Bennett performing in 2010. \u003ccite>(BRENDAN SMIALOWSKI/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bennett didn’t tell his own story when performing; he let the music speak instead — the Gershwins and Cole Porter, Irving Berlin and Jerome Kern. Unlike his friend and mentor Sinatra, he would interpret a song rather than embody it.\u003c/p>\n\u003cp>If his singing and public life lacked the high drama of Sinatra’s, Bennett appealed with an easy, courtly manner and an uncommonly rich and durable voice — “A tenor who sings like a baritone,” he called himself — that made him a master of caressing a ballad or brightening an up-tempo number.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I enjoy entertaining the audience, making them forget their problems,” he told The Associated Press in 2006. “I think people … are touched if they hear something that’s sincere and honest and maybe has a little sense of humor. … I just like to make people feel good when I perform.”\u003c/p>\n\u003cp>Bennett was praised often by his peers, but never more meaningfully than by what Sinatra said in a 1965 Life magazine interview: “For my money, Tony Bennett is the best singer in the business. He excites me when I watch him. He moves me. He’s the singer who gets across what the composer has in mind, and probably a little more.”\u003c/p>\n\u003cfigure id=\"attachment_11936142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-800x486.jpg\" alt=\"Sculptor Bruce Wolfe and his model, singer Tony Bennett in Wolfe's Piedmont studio\" width=\"800\" height=\"486\" class=\"size-medium wp-image-11936142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-800x486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-400x243.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-1180x717.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-1920x1166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-960x583.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sculptor Bruce Wolfe and his model, singer Tony Bennett, in Wolfe’s Piedmont studio. Wolfe created a statue to honor Tony Bennett in San Francisco. \u003ccite>(Courtesy of Bruce Wolfe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He not only survived the rise of rock music but endured so long and so well that he gained new fans and collaborators, some young enough to be his grandchildren. In 2014, at age 88, Bennett broke his own record as the oldest living performer with a No. 1 album on the Billboard 200 chart for “Cheek to Cheek,” his duets project with Lady Gaga. Three years earlier, he topped the charts with “Duets II,” featuring such contemporary stars as Gaga, Carrie Underwood and Amy Winehouse, in her last studio recording. His rapport with Winehouse was captured in the Oscar-nominated documentary “Amy,” which showed Bennett patiently encouraging the insecure young singer through a performance of “Body and Soul.”\u003c/p>\n\u003cp>His final album, the 2021 release “Love for Sale,” featured duets with Lady Gaga on the title track, “Night and Day” and other Porter songs.\u003c/p>\n\u003cp>For Bennett, one of the few performers to move easily between pop and jazz, such collaborations were part of his crusade to expose new audiences to what he called the Great American Songbook.\u003c/p>\n\u003cp>“No country has given the world such great music,” Bennett said in a 2015 interview with Downbeat Magazine. “Cole Porter, Irving Berlin, George Gershwin, Jerome Kern. Those songs will never die.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ironically, his most famous contribution came through two unknowns, George Cory and Douglass Cross, who in the early ’60s provided Bennett with his signature song at a time his career was in a lull. They gave Bennett’s musical director, pianist Ralph Sharon, some sheet music that he stuck in a dresser drawer and forgot about until he was packing for a tour that included a stop in San Francisco.\u003c/p>\n\u003cp>“Ralph saw some sheet music in his shirt drawer … and on top of the pile was a song called ‘I Left My Heart In San Francisco.’ Ralph thought it would be good material for San Francisco,” Bennett said. “We were rehearsing and the bartender in the club in Little Rock, Arkansas, said, ‘If you record that song, I’m going to be the first to buy it.'”\u003c/p>\n\u003cp>Released in 1962 as the B-side of the single “Once Upon a Time,” the reflective ballad became a grassroots phenomenon staying on the charts for more than two years and earning Bennett his first two Grammys, including record of the year.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YSIF3KtwGUA'\n title='//www.youtube.com/embed/YSIF3KtwGUA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By his early 40s, he was seemingly out of fashion. But after turning 60, an age when even the most popular artists often settle for just pleasing their older fans, Bennett and his son and manager, Danny, found creative ways to market the singer to the MTV Generation. He made guest appearances on “Late Night with David Letterman” and became a celebrity guest artist on “The Simpsons.” He wore a black T-shirt and sunglasses as a presenter with the Red Hot Chili Peppers at the 1993 MTV Music Video Awards, and his own video of “Steppin’ Out With My Baby” from his Grammy-winning Fred Astaire tribute album ended up on MTV’s hip “Buzz Bin.”\u003c/p>\n\u003cp>That led to an offer in 1994 to do an episode of “MTV Unplugged” with special guests Elvis Costello and k.d. lang. The evening’s performance resulted in the album, “Tony Bennett: MTV Unplugged,” which won two Grammys, including album of the year.\u003c/p>\n\u003cp>Bennett would win Grammys for his tributes to female vocalists (“Here’s to the Ladies”), Billie Holiday (“Tony Bennett on Holiday”), and Duke Ellington (“Bennett Sings Ellington — Hot & Cool”). He also won Grammys for his collaborations with other singers: “Playin’ With My Friends — Bennett Sings the Blues,” and his Louis Armstrong tribute, “A Wonderful World” with lang, the first full album he had ever recorded with another singer. He celebrated his 80th birthday with “Duets: An American Classic,” featuring Barbra Streisand, Paul McCartney and Stevie Wonder among others.\u003c/p>\n\u003cp>“They’re all giants in the industry, and all of a sudden they’re saying to me ‘You’re the master,'” Bennett told the AP in 2006.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VLjXbkSm8B4'\n title='//www.youtube.com/embed/VLjXbkSm8B4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Long associated with San Francisco, Bennett would note that his true home was Astoria, the working-class community in the New York City borough of Queens, where he grew up during the Great Depression. The singer chose his old neighborhood as the site for the “Fame”-style public high school, the Frank Sinatra School of the Arts, that he and his third wife, Susan Crow Benedetto, a former teacher, helped found in 2001.\u003c/p>\n\u003cp>The school is not far from the birthplace of the man who was once Anthony Dominick Benedetto. His father was an Italian immigrant who inspired his love of singing, but he died when Anthony was 10. Bennett credited his mother, Anna, with teaching him a valuable lesson as he watched her working at home, supporting her three children as a seamstress doing piecework after his father died.\u003c/p>\n\u003cp>“We were very impoverished,” Bennett said in a 2016 AP interview. “I saw her working and every once in a while she’d take a dress and throw it over her shoulder and she’d say, ‘Don’t have me work on a bad dress. I’ll only work on good dresses.'”\u003c/p>\n\u003cfigure id=\"attachment_13931920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/TonyBennett.astoria-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13931920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Tony Bennett’s album ‘Astoria: Portrait of the Artist,’ picturing the singer as a young man in front of his childhood home. \u003ccite>(Columbia Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He studied commercial art in high school, but had to drop out to help support his family. The teenager got a job as a copy boy for the AP, performed as a singing waiter and competed in amateur shows. A combat infantryman during World War II, he served as a librarian for the Armed Forces Network after the war and sang with an army big band in occupied Germany. His earliest recording is a 1946 air check from Armed Forces Radio of the blues “St. James Infirmary.”\u003c/p>\n\u003cp>Bennett took advantage of the GI Bill to attend the American Theater Wing, which later became The Actors Studio. His acting lessons helped him develop his phrasing and learn how to tell a story. He learned the more intimate Bel Canto vocal technique which helped him sustain and extend the expressive range of his voice. And he took to heart the advice of his vocal coach, Miriam Spier.\u003c/p>\n\u003cp>“She said please don’t imitate other singers because you’ll just be one of the chorus whoever you imitate whether it’s Bing Crosby or Frank Sinatra and won’t develop an original sound,” Bennett recalled in the 2006 AP interview. “She said imitate musicians that you like, find out how they phrase. I was particularly influenced by the jazz musicians like (pianist) Art Tatum and (saxophonists) Lester Young and Stan Getz.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/I5f-e3Wajq4'\n title='//www.youtube.com/embed/I5f-e3Wajq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1947, Bennett made his first recording, the Gershwins’ standard “Fascinatin’ Rhythm” for a small label under the stage name Joe Bari. The following year he gained notice when he finished behind Rosemary Clooney on the radio show “Arthur Godfrey’s Talent Scouts.” Bennett’s big break came in 1949 when singer Pearl Bailey invited him to join her revue at a Greenwich Village club. Bob Hope dropped by one night and was so impressed that he offered the young singer a spot opening his shows at the famed Paramount Theater, where teens had swooned for Sinatra. But the comedian didn’t care for his stage name and thought his real name was too long for the marquee.\u003c/p>\n\u003cp>“He thought for a moment, then he said, ‘We’ll call you Tony Bennett,'” the singer wrote in his autobiography, “The Good Life,” published in 1998.\u003c/p>\n\u003cp>In 1950, Mitch Miller, the head of Columbia Records’ pop singles division, signed Bennett and released the single, “The Boulevard of Broken Dreams,” a semi-hit. Bennett was on the verge of being dropped from the label in 1951 when he had his first No. 1 on the pop charts with “Because of You.” More hits followed, including “Rags to Riches,” “Blue Velvet,” and Hank Williams’ “Cold, Cold Heart,” the first country song to become an international pop hit.\u003c/p>\n\u003cp>Bennett found himself frequently clashing with Miller, who pushed him to sing Sinatra-style ballads and gimmicky novelty songs. But Bennett took advantage of the young LP album format, starting in 1955 with “Cloud 7,” featuring a small jazz combo led by guitarist Chuck Wayne. Bennett reached out to the jazz audience with such innovative albums as the 1957 “The Beat of My Heart,” an album of standards that paired him with such jazz percussion masters as Chico Hamilton, and Art Blakey. He also became the first white male singer to record with the Count Basie Orchestra, releasing two albums in 1958. Sinatra would later do the same.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ll1cmbBrvlM'\n title='//www.youtube.com/embed/Ll1cmbBrvlM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bennett’s friendship with Black musicians and his disgust at the racial prejudice he encountered in the Army led him to become an active supporter of the Civil Rights Movement. He answered Harry Belafonte’s call to join Martin Luther King Jr.’s 1965 Selma-to-Montgomery voting rights march and perform for the protesters.\u003c/p>\n\u003cp>Bennett’s early career peaked in the 1960s as he topped the charts with “San Francisco” and became the first male pop solo performer to headline at Carnegie Hall, releasing a live album of the 1962 concert.\u003c/p>\n\u003cp>In 1966, he released “The Movie Song Album,” a personal favorite which featured Johnny Mandel’s Oscar-winning song “The Shadow of Your Smile” and “Maybe September,” the theme from the epic flop “The Oscar,” noteworthy because it marked Bennett’s first and only big-screen acting role.\u003c/p>\n\u003cp>But as rock continued to overtake traditional pop, he clashed with Columbia label head Clive Davis, who insisted that the singer do the 1970 album “Tony Sings the Great Hits of Today,” with such songs as “MacArthur Park” and “Little Green Apples.” Bennett left Columbia in 1972, and went on to form his own record label, Improv, which in 1975-76 produced two duet albums with the impressionistic pianist Bill Evans now considered jazz classics.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7LIW7q_cFeA'\n title='//www.youtube.com/embed/7LIW7q_cFeA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite artistic successes, Improv proved a financial disaster for Bennett, who also faced difficulties in his personal life. His marriage to artist Patricia Beech collapsed in 1971. He wed actress Sandra Grant the same year, but that marriage ended in 1984. With no recording deals, his debts brought him close to bankruptcy and the IRS was trying to seize his house in Los Angeles. After a near-fatal drug overdose in 1979, he turned to his son, Danny, who eventually signed on as his manager. Bennett kicked his drug habit and got his finances in order, moved back to New York and resumed doing more than 200 shows a year.\u003c/p>\n\u003cp>He is survived by his wife Susan, daughters Johanna and Antonia, sons Danny and Dae and nine grandchildren.\u003c/p>\n\u003cp>Bennett was named a Kennedy Center Honoree in 2005 and a National Endowment for the Arts Jazz Master in 2006. He also won two Emmy Awards — for “Tony Bennett Live By Request: A Valentine Special” (1996) and “Tony Bennett: An American Classic” (2007).\u003c/p>\n\u003cp>Besides singing, Bennett pursued his lifelong passion for painting by taking art lessons and bringing his sketchbook on the road. His paintings, signed with his family name Benedetto — including portraits of his musician friends and Central Park landscapes — were displayed in public and private collections, including the Smithsonian Museum of American Art.\u003c/p>\n\u003cp>“I love to paint as much as I love to sing,” Bennett told the AP in 2006. “It worked out to be such a blessing in my life because if I started getting burnt-out singing … I would go to my painting and that’s a big lift. … So I stay in this creative zone all the time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-jacka-allah-muslim-bay-area-islam-hip-hop",
"title": "The Jacka: In Search of Allah on the Mic",
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"headTitle": "The Jacka: In Search of Allah on the Mic | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>[dropcap]I[/dropcap]t was a characteristic East Oakland scene: On the night of Feb. 2, 2015, a group of friends sat in their car on 94th Avenue and MacArthur Boulevard in East Oakland, taking turns rapping. Another group, including Dominick Newton, stood on the sidewalk, watching the fun go down. As the vibes continued, all was good.\u003c/p>\n\u003cp>Suddenly, around 8:15 p.m, a car slid by spitting bullets at the parked car. Newton was hit in the head. A neighbor tried to slow the bleeding with a towel until medics arrived, but Newton, known in Islamic circles as Shaheed Akbar, \u003ca href=\"https://www.kqed.org/arts/10357773/the-jacka-killed-in-oakland-shooting\">died at Eden Medical Center\u003c/a> a few hours later.\u003c/p>\n\u003cp>[aside postID='arts_13923938']If you really knew the gangsta rap scene well, you knew Newton as \u003ca href=\"https://www.instagram.com/jackamobfigaz/?hl=en\">The Jacka\u003c/a>. Hailing from Pittsburg, California, Jacka was respected around the world for his violently visual lyrics laced with positive Islamic undertones. The murder of the 37-year-old rapper \u003ca href=\"https://www.kqed.org/arts/13874024/five-years-after-his-death-the-jackas-collaborators-remember-his-complex-legacy\">shook the Bay Area rap world to its core\u003c/a>, and his killers have never been caught.\u003c/p>\n\u003cp>Very few murders of rappers are ever solved. The shootings of \u003ca href=\"https://www.kqed.org/arts/13869588/slow-burn-season-3-is-taking-on-the-murders-of-biggie-and-tupac\">Tupac Shakur\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/105-remembering-mac-dre-the-jacka/id1459775067?i=1000464857465\">Mac Dre\u003c/a> and \u003ca href=\"https://podcasts.apple.com/us/podcast/105-remembering-mac-dre-the-jacka/id1459775067?i=1000464857465\">The Jacka\u003c/a>, along with the\u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\"> death of Zion I’s Zumbi\u003c/a> under suspicious circumstances at Alta Bates Medical Center, remain conspicuously unsolved or ignored by local police departments. For many, this can feel like deliberate psychological warfare on Black America; piles upon piles of cold cases leave grieving families and fans hollow from the pain inside.\u003c/p>\n\u003cfigure id=\"attachment_13931803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931803\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094.jpg\" alt=\"\" width=\"1920\" height=\"1275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka, in contemplation between takes, recording at 17 Hertz Studios in Hayward. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often, a rapper’s murder becomes their identity, eclipsing their artistry. In death, most rappers’ music fades under the algorithms as new artists and sounds try to claw their way to the top. Many die with no legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But The Jacka was different. His legacy in rap shines bright as the light from the East. Why is that so? The most common answer, for most who knew him well, is Islam.\u003c/p>\n\u003ch2>A Black crescent over The Bay\u003c/h2>\n\u003cp>To those outside of hip-hop, Islam’s influence on the art form might seem unlikely. But if you know that the seeds of hip-hop were sown in Black American ghettos, and understand their history, it makes perfect sense.\u003c/p>\n\u003cp>The religion of Islam arrived in America within the hearts of Muslims trapped in the hulls of ships during the transatlantic slave trade. Some of them were \u003ca href=\"https://www.youtube.com/watch?v=qXVAE4eMFn8\">legitimate royalty\u003c/a>, and intellectually miles above those who kidnapped, tortured and sold their people. Centuries of this brutal treatment, along with Jim Crow, redlining and other racist policies, created the degraded living environment of the 1970s American ghetto.\u003c/p>\n\u003cp>[aside postID='arts_13924126']Rap music arose in these hoods like a divine phoenix from of the ashes of the civil rights era, during which the United States government demolished radical Black Power movements (and their \u003ca href=\"https://www.politico.com/news/magazine/2020/05/03/us-history-first-women-terrorist-group-191037\">white allies\u003c/a>). As rap music got its baby legs, the crack epidemic and an unprecedented \u003ca href=\"https://www.youtube.com/watch?v=XWX562Q8t38\">wave of gang violence\u003c/a> spread across the country.\u003c/p>\n\u003cp>Those in Black neighborhoods lucky enough to avoid being murdered usually did some time in jail. Poet Sonia Sanchez once remarked that, for Black men, prison was the first time they were able to be still and think. Copies of \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Autobiography_of_Malcolm_X\">The Autobiography of Malcolm X\u003c/a>\u003c/em> and Elijah Muhammad’s \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Message_to_the_Blackman_in_America\">Message to the Blackman in America\u003c/a>\u003c/em> circulated, and the \u003ca href=\"https://www.youtube.com/watch?v=AJZ6lxgQjiM\">5% Nation of Gods and Earths\u003c/a> grew in American prisons.\u003c/p>\n\u003cp>In the late 1980s and early 1990s, African American Sunni Muslims and followers of the Nation of Islam helped the hood thrive with new dignity, negotiating truces among warring gangs and creating entrepreneurial businesses. Among the gang violence and crack epidemic of the era, the Muslim message of self-reliance and living a clean lifestyle held an understandable appeal.\u003c/p>\n\u003cfigure id=\"attachment_13925188\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/tcd1.jpg\" alt=\"\" width=\"750\" height=\"745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd1.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd1-160x159.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">The Conscious Daughters with mentor and producer Paris in the 1990s. \u003ccite>(Courtesy of CMG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parallel with the rise of hip-hop, Islam gave young Black people an understanding of their history before slavery. It highlighted Black achievements in math, science, art and literature that weren’t taught in the racially bigoted American education system. While both Black and Islamic societies were often framed in America’s schools as savage, rap became the pathway by which many Black kids learned about Black and Muslim history and culture.\u003c/p>\n\u003cp>The impact on hip-hop was immeasurable.\u003c/p>\n\u003cp>“In the 1980s, the rising despair, unemployment rates, violence and cases of police brutality fomented conditions that made the Black nationalist message of self-determination, racial pride and self-defense more attractive,” says Dr. Jeffrey O.G. Ogbar, author of \u003cem>Hip-Hop Revolution: The Culture and Politics of Rap\u003c/em>. “Malcolm X, the former spokesman for the Nation of Islam, was sampled by everyone from Public Enemy to Ice Cube. Simultaneously, the current head of the Nation of Islam, Louis Farrakhan, was ascending in popularity among the hip-hop generation.”\u003c/p>\n\u003cp>Zaheed, a.k.a. \u003ca href=\"https://www.instagram.com/mobmanagement/?hl=en\">Big Za\u003c/a> from Richmond, was one of the early young Muslims to convert in that late-’80s, early-’90s era.\u003c/p>\n\u003cp>“Rap had consciousness to it and it had substance to it,” Za recalls. He names \u003ca href=\"https://www.youtube.com/watch?v=h1vKOchATXs\">Boogie Down Productions\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=jo83vZkS8Zc\">Public Enemy\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=rhEQ43gGTuU\">Brand Nubian\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=Ze0C08bkPJY\">Big Daddy Kane\u003c/a> as long-distance teachers to millions of Black youth. The influence of the Nation of Islam, Malcolm X and Oakland’s Black Panthers pulsed in their veins.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9SatYcmmSWA\u003c/p>\n\u003cp>Big Za swung on a deadly pendulum between the cocaine-powdered street corners and a love for the Qu’ran. He was not alone: In 1991, the West Coast success of Ice Cube’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=7hPEHrRWCYo&list=PLJaQqb1_vqOR61QOgVgb9femXfFW6BDZz\">Death Certificate\u003c/a>\u003c/em> and Da Lench Mob’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=7hPEHrRWCYo&list=PLJaQqb1_vqOR61QOgVgb9femXfFW6BDZz\">Guerillas in The Mist\u003c/a>\u003c/em> brought an intoxicating balance of Black Panther militance with Islamic spiritual conviction.\u003c/p>\n\u003cp>Meanwhile, albums arrived from Bay Area rappers like Paris with \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=-RSQqcvvmp4\">The Devil Made Me Do It\u003c/a>\u003c/em>, Askari X with \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=9SatYcmmSWA\">Ward of the State \u003c/a>\u003c/em>and the Ansārs with \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=TSnLtTdiG_s\">Righteous Black Guerillas\u003c/a>\u003c/em>, keeping the streets aflame with militant \u003ca href=\"https://www.youtube.com/watch?v=rXiK47eSncw\">anti-war\u003c/a>, anti-police abuse lyrics.\u003c/p>\n\u003cp>To government officials, church leaders and white America at large, these fearless, militant Black men in rap were cause for full-blown alarm. Black Islam-infused rap lyrics were feeding the minds and hearts of millions of young Black men and women.\u003c/p>\n\u003cp>Young aspiring rapper Dominick Newton was one of them.\u003c/p>\n\u003cfigure id=\"attachment_13931799\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931799\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DJQUESTJACK-015-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Straight outta Pittsburg\u003c/h2>\n\u003cp>Newton was born in Phoenix, Arizona to young teenage parents before moving to Richmond. Family life was hard, and in the late ’80s, along with many other Black families, Newton moved to Pittsburg. Despite being new to town, he quickly got along with pretty much everyone.\u003c/p>\n\u003cp>Jacka’s former manager \u003ca href=\"https://www.instagram.com/goldenmeanpk/?hl=en\">PK\u003c/a> was just 15 when he met Newton through a mutual friend known as Tron, sometime around 1994. PK and Tron both went to De La Salle High School in Concord. Jacka cut hair on the side for cash, and PK and Tron would often be at Jacka’s place to get a fade or to just hang out.\u003c/p>\n\u003cp>PK can still recall his first impression of Newton. “He was a cool dude. You wanted to be around him. He made people feel good about themselves just being around him,” he says. After attending USC and moving back to the Bay Area, PK reconnected with Newton, who asked PK to be his manager. Their partnership would last until Jacka’s death.\u003c/p>\n\u003cp>[pullquote size='large' citation='Husalah']It was hard to find anybody who had knowledge of self at all. There were people that all they knew was crack cocaine.[/pullquote]\u003c/p>\n\u003cp>But before he was known as The Jacka, Newton recorded with his friend FedX at the Pittsburg home of then-undiscovered producer \u003ca href=\"https://www.instagram.com/robloblahkop/?hl=en\">RobLo\u003c/a>. “They had a song out back then called ‘\u003ca href=\"https://www.youtube.com/watch?v=YX0Cv1oEnL8\">Million Dollar Dream\u003c/a>,’ under the group name Fatal Mentality,” PK says.\u003c/p>\n\u003cp>Through RobLo, Newton met Husalah, an aspiring rapper who played first-chair trumpet in high school. His grandfather had introduced him to the beauty of jazz, but he grew to love rap more. Huslah was raised in Pittsburg on “the project side of town,” and connected with Newton at RobLo’s house, which was central for many teen boys in the ‘hood at that time.\u003c/p>\n\u003cfigure id=\"attachment_13931809\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931809\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Photos-By-D-Ray-1-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Along with close friend the Jacka, Husalah (above) found a way out of dire circumstances through music. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Husalah says of meeting Jacka, “He was one of the coolest dudes. He didn’t have to act tough or act hard. He hung with all the tough guys and all the square guys. We were learning how to rhyme, and how to make intricate rhyme patterns. Our styles were all over the place.”\u003c/p>\n\u003cp>Husalah recounts how drug dealing permeated their circle. The schools and the streets had them “indoctrinated with self-hate. It was hard to find anybody who had knowledge of self at all. There were people that all they knew was crack cocaine. Almost everyone you knew had a physical vice. Aunties, uncles, parents, neighbors. Crack cocaine was everywhere.”\u003c/p>\n\u003cp>Music and searching for a higher power through Islam became pathways out for both of them.\u003cbr>\n\u003c/p>\n\u003ch2>Thugs in the masjid\u003c/h2>\n\u003cp>Before long, Jacka, \u003ca href=\"https://www.instagram.com/golasoaso/?hl=en\">Husalah\u003c/a>, his cousin \u003ca href=\"https://www.instagram.com/klydesta/?hl=en\">Rydah J. Clyde\u003c/a>, \u003ca href=\"https://www.instagram.com/mobfigaz_ap9/?hl=en\">AP-9\u003c/a> and \u003ca href=\"https://www.instagram.com/fedx_mobfigaz/?hl=en\">FedX\u003c/a> came together to create the group \u003ca href=\"https://www.youtube.com/shorts/f5CfU2pSUqY\">Mob Figaz\u003c/a>. Their music quickly took over the streets with RobLo’s hypnotic mix of Bay Area basslines, hard drums and emotionally shifting samples. Sacramento gangsta rapper C-Bo was impressed by their lyricism and authenticity, and agreed to put out their debut album. \u003cem>C-Bo’s Mob Figaz\u003c/em> moved more than 100,000 units with almost zero support from local radio. The streets, however, validated their sound and their flow.\u003c/p>\n\u003cfigure id=\"attachment_13931802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931802\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy.jpg\" alt=\"\" width=\"1920\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-1020x797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-1536x1200.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Mob Figaz. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not long after, Jacka got caught for some robberies in the East Bay. At that point, he had already studied the Nation of Islam theology under Oakland’s Dr. Yusuf Bey. While locked up, though, Jacka was exposed to the Orthodox practice of Sunni Islam, and his mind and music began to expand.\u003c/p>\n\u003cp>According to Big Za, after serving time in Santa Rita Jail, Newton took Shahada, the Islamic testimony that affirms one’s faith. Big Za and his friend Shak had taken Shahada in 1991; Shak was involved in a murder case in 1995 and met Newton in Santa Rita. Behind the cold steel and cement walls of the jail, Shak taught Jacka how to pray and gave him his Islamic foundation. Not long after, Jacka took on the Islamic name Shaheed Akbar.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to a playlist of songs by the Jacka influenced by Islam, curated by his former manager PK:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/2JDsWmFPJDkccZa7WuKYlB?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Obviously there is a clash between how young men like Jacka know they should be living and the backdrop of soul-scorching poverty, addiction and miseducation. Unfortunately, few support systems exist for new converts stuck between the Detroit Red lifestyle of a young Malcolm X and the cultivation of a higher self. For converts like Big Za, Jacka and millions of others, the Shahada does not always mean an immediate 180-degree turn from the life they’ve been living.\u003c/p>\n\u003cp>[aside postID='arts_13928550']Also, like Tupac, Jacka had respect from East Coast rappers with real street credibility. His relationships with Cormega, \u003ca href=\"https://www.youtube.com/watch?v=AS670D0j7UQ\">Freeway\u003c/a>, Beanie Sigel and many others were truly unique.\u003c/p>\n\u003cp>As PK points out, it helped that Freeway and Beanie Sigel were also Sunni Muslim. “But I think it was because he was a real rapper, an MC with skills,” he adds. When they came out to California, they got firsthand proof that what Jacka rapped about was authentic. “Whether it’s the sideshows, the guns, the drugs — all that stuff is really happening out here. Then they were like ‘OK, this dude is real.’”\u003c/p>\n\u003cp>That magnitude of respect from the East Coast was rare for a Bay Area rapper. “Other than Pac, I never saw anybody get love like that,” PK recounts.\u003c/p>\n\u003ch2>Deeper than rap\u003c/h2>\n\u003cp>As Jacka’s star rose, instead of staying in the streets or partying 24/7, he could often be seen in Richmond’s Masjid An-Noor on Cutting Boulevard. Filled with books and ruby-red rugs, the mosque provided Jacka with solace in searching for Allah.\u003c/p>\n\u003cfigure id=\"attachment_13931804\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931804\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IR3725868.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">During the hyphy era, the Jacka remained close with others who weren’t necessarily on his same spiritual path. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He could just as easily be over at Masjid Al-Islam on 82nd and MacArthur in Oakland — or anywhere he could continue his search for knowledge and a higher understanding of Islamic philosophy. Kevin, a.k.a. K9, his former assistant manager, says that “Islam spoke to more of the realities that he was seeing. He got interested and read the Qu’ran in jail, and went back to it often.”\u003c/p>\n\u003cp>K9 recalls a day in 2008, when Jacka brought him to Rumi Bookstore in Fremont, owned by respected teacher \u003ca href=\"https://www.youtube.com/watch?v=NEfyDMkdlxI&t=20s\">Feraidoon Mojadedi\u003c/a>. Jacka bought up a series of lectures from Zaytuna College Founder Hamza Yusuf. One of the books recommended to him was called \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=bp9KifxHZy8&list=PLNVqarhUYzInkISPRcMVFnUjnqFMFdpu6\">Purification of the Heart\u003c/a>\u003c/em>, a Mauritanian sacred text from 1844 CE about the spiritual diseases of the heart (greed, anger, jealousy) and their cures.\u003c/p>\n\u003cp>[aside postID='arts_13874024']After studying the text deeply in 2009, Jacka released \u003ca href=\"https://www.youtube.com/watch?v=ss_z3d6sV2Q\">a song with the same title\u003c/a>. A rap song with Islamic themes — the streets went nuts for it.\u003c/p>\n\u003cp>When asked how such an unlikely situation could unfold, Mojadedi says that Jacka “was with the right people, in the right place, with the right intention.”\u003c/p>\n\u003cp>Those intentions took The Jacka across the planet, something most kids from the Bay can only dream of.\u003c/p>\n\u003ch2>Writing without a pen\u003c/h2>\n\u003cp>Philadelphia rapper \u003ca href=\"https://www.instagram.com/phillyfreeway/?hl=en\">Freeway\u003c/a> met Jacka in 2001 while on tour with Jay-Z in Oakland. Once they connected, they never stopped working together, be it in the studio or learning about their faith. They traveled across Africa together in 2012, and went on a lecture tour in the UK in 2014 on the topic of Islam and hip-hop.\u003c/p>\n\u003cp>“I realized that they [Bay Area rappers like Jacka] were just like me,” Freeway says today. “They were living just like me. They were Muslim, but they were on the West Coast.”\u003c/p>\n\u003cfigure id=\"attachment_13931806\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931806\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280.jpg\" alt=\"\" width=\"1920\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-1536x1010.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) The Jacka, photographer D-Ray and Nipsey Hussle backstage at the New Parish nightclub in Oakland, 2013. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the studio, Freeway says, Jacka was a force of nature.\u003c/p>\n\u003cp>“He mastered writing [songs] without a pen. He would write in his phone. But by the time he got to \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=8I4QJ4F_mgg\">What Happened to the World\u003c/a>\u003c/em>, he said, ‘Yeah Free, I mastered writing [whole songs] without a pen.’” Jacka was keeping whole songs complete, in his head, with no paper and no phone.\u003c/p>\n\u003cp>While on tour together, Freeway says he saw Jacka literally give people the shirt off his back: “He would get an outfit for the tour. Then when he got off stage he would give the hoodie away. When he died it affected me more than with some people I grew up with. That’s how much our hearts connected.”\u003c/p>\n\u003cfigure id=\"attachment_13931801\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931801\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC_0507.jpg\" alt=\"\" width=\"1920\" height=\"1767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-800x736.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-1020x939.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-768x707.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-1536x1414.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A roadside memorial for The Jacka near the intersection of 94th and MacArthur in East Oakland, shortly after his murder in 2015. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Freeway was not alone in that feeling. Bay Area rap fans and Muslims across the planet are still mourning Dominick Newton, a.k.a. the Jacka, a.k.a. Shaheed Akbar. However, his impact on the streets — and in the hearts of young Muslims — will remain through his music for decades to come.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/real64blocks/?hl=en\">Adisa Banjoko\u003c/a> is an author and curator of hip-hop history. In 2015, he delivered a lecture on The Jacka and Malcolm X at the \u003ca href=\"https://vimeo.com/120733251\">Malcolm X 50 Conference at Lehigh University\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story has been updated to reflect that Newton was born in Phoenix, Ariz., and not Richmond, Calif. as originally stated. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Islam and Bay Area hip-hop have intertwined since the 1980s. For the Jacka, the overlap was deeply personal.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>t was a characteristic East Oakland scene: On the night of Feb. 2, 2015, a group of friends sat in their car on 94th Avenue and MacArthur Boulevard in East Oakland, taking turns rapping. Another group, including Dominick Newton, stood on the sidewalk, watching the fun go down. As the vibes continued, all was good.\u003c/p>\n\u003cp>Suddenly, around 8:15 p.m, a car slid by spitting bullets at the parked car. Newton was hit in the head. A neighbor tried to slow the bleeding with a towel until medics arrived, but Newton, known in Islamic circles as Shaheed Akbar, \u003ca href=\"https://www.kqed.org/arts/10357773/the-jacka-killed-in-oakland-shooting\">died at Eden Medical Center\u003c/a> a few hours later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If you really knew the gangsta rap scene well, you knew Newton as \u003ca href=\"https://www.instagram.com/jackamobfigaz/?hl=en\">The Jacka\u003c/a>. Hailing from Pittsburg, California, Jacka was respected around the world for his violently visual lyrics laced with positive Islamic undertones. The murder of the 37-year-old rapper \u003ca href=\"https://www.kqed.org/arts/13874024/five-years-after-his-death-the-jackas-collaborators-remember-his-complex-legacy\">shook the Bay Area rap world to its core\u003c/a>, and his killers have never been caught.\u003c/p>\n\u003cp>Very few murders of rappers are ever solved. The shootings of \u003ca href=\"https://www.kqed.org/arts/13869588/slow-burn-season-3-is-taking-on-the-murders-of-biggie-and-tupac\">Tupac Shakur\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/105-remembering-mac-dre-the-jacka/id1459775067?i=1000464857465\">Mac Dre\u003c/a> and \u003ca href=\"https://podcasts.apple.com/us/podcast/105-remembering-mac-dre-the-jacka/id1459775067?i=1000464857465\">The Jacka\u003c/a>, along with the\u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\"> death of Zion I’s Zumbi\u003c/a> under suspicious circumstances at Alta Bates Medical Center, remain conspicuously unsolved or ignored by local police departments. For many, this can feel like deliberate psychological warfare on Black America; piles upon piles of cold cases leave grieving families and fans hollow from the pain inside.\u003c/p>\n\u003cfigure id=\"attachment_13931803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931803\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094.jpg\" alt=\"\" width=\"1920\" height=\"1275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/The-Jacka-Freeway-17Hertz-Studio-day-2-094-1536x1020.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka, in contemplation between takes, recording at 17 Hertz Studios in Hayward. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often, a rapper’s murder becomes their identity, eclipsing their artistry. In death, most rappers’ music fades under the algorithms as new artists and sounds try to claw their way to the top. Many die with no legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But The Jacka was different. His legacy in rap shines bright as the light from the East. Why is that so? The most common answer, for most who knew him well, is Islam.\u003c/p>\n\u003ch2>A Black crescent over The Bay\u003c/h2>\n\u003cp>To those outside of hip-hop, Islam’s influence on the art form might seem unlikely. But if you know that the seeds of hip-hop were sown in Black American ghettos, and understand their history, it makes perfect sense.\u003c/p>\n\u003cp>The religion of Islam arrived in America within the hearts of Muslims trapped in the hulls of ships during the transatlantic slave trade. Some of them were \u003ca href=\"https://www.youtube.com/watch?v=qXVAE4eMFn8\">legitimate royalty\u003c/a>, and intellectually miles above those who kidnapped, tortured and sold their people. Centuries of this brutal treatment, along with Jim Crow, redlining and other racist policies, created the degraded living environment of the 1970s American ghetto.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rap music arose in these hoods like a divine phoenix from of the ashes of the civil rights era, during which the United States government demolished radical Black Power movements (and their \u003ca href=\"https://www.politico.com/news/magazine/2020/05/03/us-history-first-women-terrorist-group-191037\">white allies\u003c/a>). As rap music got its baby legs, the crack epidemic and an unprecedented \u003ca href=\"https://www.youtube.com/watch?v=XWX562Q8t38\">wave of gang violence\u003c/a> spread across the country.\u003c/p>\n\u003cp>Those in Black neighborhoods lucky enough to avoid being murdered usually did some time in jail. Poet Sonia Sanchez once remarked that, for Black men, prison was the first time they were able to be still and think. Copies of \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Autobiography_of_Malcolm_X\">The Autobiography of Malcolm X\u003c/a>\u003c/em> and Elijah Muhammad’s \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Message_to_the_Blackman_in_America\">Message to the Blackman in America\u003c/a>\u003c/em> circulated, and the \u003ca href=\"https://www.youtube.com/watch?v=AJZ6lxgQjiM\">5% Nation of Gods and Earths\u003c/a> grew in American prisons.\u003c/p>\n\u003cp>In the late 1980s and early 1990s, African American Sunni Muslims and followers of the Nation of Islam helped the hood thrive with new dignity, negotiating truces among warring gangs and creating entrepreneurial businesses. Among the gang violence and crack epidemic of the era, the Muslim message of self-reliance and living a clean lifestyle held an understandable appeal.\u003c/p>\n\u003cfigure id=\"attachment_13925188\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/tcd1.jpg\" alt=\"\" width=\"750\" height=\"745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd1.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/tcd1-160x159.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">The Conscious Daughters with mentor and producer Paris in the 1990s. \u003ccite>(Courtesy of CMG)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parallel with the rise of hip-hop, Islam gave young Black people an understanding of their history before slavery. It highlighted Black achievements in math, science, art and literature that weren’t taught in the racially bigoted American education system. While both Black and Islamic societies were often framed in America’s schools as savage, rap became the pathway by which many Black kids learned about Black and Muslim history and culture.\u003c/p>\n\u003cp>The impact on hip-hop was immeasurable.\u003c/p>\n\u003cp>“In the 1980s, the rising despair, unemployment rates, violence and cases of police brutality fomented conditions that made the Black nationalist message of self-determination, racial pride and self-defense more attractive,” says Dr. Jeffrey O.G. Ogbar, author of \u003cem>Hip-Hop Revolution: The Culture and Politics of Rap\u003c/em>. “Malcolm X, the former spokesman for the Nation of Islam, was sampled by everyone from Public Enemy to Ice Cube. Simultaneously, the current head of the Nation of Islam, Louis Farrakhan, was ascending in popularity among the hip-hop generation.”\u003c/p>\n\u003cp>Zaheed, a.k.a. \u003ca href=\"https://www.instagram.com/mobmanagement/?hl=en\">Big Za\u003c/a> from Richmond, was one of the early young Muslims to convert in that late-’80s, early-’90s era.\u003c/p>\n\u003cp>“Rap had consciousness to it and it had substance to it,” Za recalls. He names \u003ca href=\"https://www.youtube.com/watch?v=h1vKOchATXs\">Boogie Down Productions\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=jo83vZkS8Zc\">Public Enemy\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=rhEQ43gGTuU\">Brand Nubian\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=Ze0C08bkPJY\">Big Daddy Kane\u003c/a> as long-distance teachers to millions of Black youth. The influence of the Nation of Islam, Malcolm X and Oakland’s Black Panthers pulsed in their veins.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9SatYcmmSWA'\n title='//www.youtube.com/embed/9SatYcmmSWA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Big Za swung on a deadly pendulum between the cocaine-powdered street corners and a love for the Qu’ran. He was not alone: In 1991, the West Coast success of Ice Cube’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=7hPEHrRWCYo&list=PLJaQqb1_vqOR61QOgVgb9femXfFW6BDZz\">Death Certificate\u003c/a>\u003c/em> and Da Lench Mob’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=7hPEHrRWCYo&list=PLJaQqb1_vqOR61QOgVgb9femXfFW6BDZz\">Guerillas in The Mist\u003c/a>\u003c/em> brought an intoxicating balance of Black Panther militance with Islamic spiritual conviction.\u003c/p>\n\u003cp>Meanwhile, albums arrived from Bay Area rappers like Paris with \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=-RSQqcvvmp4\">The Devil Made Me Do It\u003c/a>\u003c/em>, Askari X with \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=9SatYcmmSWA\">Ward of the State \u003c/a>\u003c/em>and the Ansārs with \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=TSnLtTdiG_s\">Righteous Black Guerillas\u003c/a>\u003c/em>, keeping the streets aflame with militant \u003ca href=\"https://www.youtube.com/watch?v=rXiK47eSncw\">anti-war\u003c/a>, anti-police abuse lyrics.\u003c/p>\n\u003cp>To government officials, church leaders and white America at large, these fearless, militant Black men in rap were cause for full-blown alarm. Black Islam-infused rap lyrics were feeding the minds and hearts of millions of young Black men and women.\u003c/p>\n\u003cp>Young aspiring rapper Dominick Newton was one of them.\u003c/p>\n\u003cfigure id=\"attachment_13931799\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931799\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DJQUESTJACK-015-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DJQUESTJACK-015.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Straight outta Pittsburg\u003c/h2>\n\u003cp>Newton was born in Phoenix, Arizona to young teenage parents before moving to Richmond. Family life was hard, and in the late ’80s, along with many other Black families, Newton moved to Pittsburg. Despite being new to town, he quickly got along with pretty much everyone.\u003c/p>\n\u003cp>Jacka’s former manager \u003ca href=\"https://www.instagram.com/goldenmeanpk/?hl=en\">PK\u003c/a> was just 15 when he met Newton through a mutual friend known as Tron, sometime around 1994. PK and Tron both went to De La Salle High School in Concord. Jacka cut hair on the side for cash, and PK and Tron would often be at Jacka’s place to get a fade or to just hang out.\u003c/p>\n\u003cp>PK can still recall his first impression of Newton. “He was a cool dude. You wanted to be around him. He made people feel good about themselves just being around him,” he says. After attending USC and moving back to the Bay Area, PK reconnected with Newton, who asked PK to be his manager. Their partnership would last until Jacka’s death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But before he was known as The Jacka, Newton recorded with his friend FedX at the Pittsburg home of then-undiscovered producer \u003ca href=\"https://www.instagram.com/robloblahkop/?hl=en\">RobLo\u003c/a>. “They had a song out back then called ‘\u003ca href=\"https://www.youtube.com/watch?v=YX0Cv1oEnL8\">Million Dollar Dream\u003c/a>,’ under the group name Fatal Mentality,” PK says.\u003c/p>\n\u003cp>Through RobLo, Newton met Husalah, an aspiring rapper who played first-chair trumpet in high school. His grandfather had introduced him to the beauty of jazz, but he grew to love rap more. Huslah was raised in Pittsburg on “the project side of town,” and connected with Newton at RobLo’s house, which was central for many teen boys in the ‘hood at that time.\u003c/p>\n\u003cfigure id=\"attachment_13931809\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931809\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Photos-By-D-Ray-1-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Photos-By-D-Ray-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Along with close friend the Jacka, Husalah (above) found a way out of dire circumstances through music. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Husalah says of meeting Jacka, “He was one of the coolest dudes. He didn’t have to act tough or act hard. He hung with all the tough guys and all the square guys. We were learning how to rhyme, and how to make intricate rhyme patterns. Our styles were all over the place.”\u003c/p>\n\u003cp>Husalah recounts how drug dealing permeated their circle. The schools and the streets had them “indoctrinated with self-hate. It was hard to find anybody who had knowledge of self at all. There were people that all they knew was crack cocaine. Almost everyone you knew had a physical vice. Aunties, uncles, parents, neighbors. Crack cocaine was everywhere.”\u003c/p>\n\u003cp>Music and searching for a higher power through Islam became pathways out for both of them.\u003cbr>\n\u003c/p>\n\u003ch2>Thugs in the masjid\u003c/h2>\n\u003cp>Before long, Jacka, \u003ca href=\"https://www.instagram.com/golasoaso/?hl=en\">Husalah\u003c/a>, his cousin \u003ca href=\"https://www.instagram.com/klydesta/?hl=en\">Rydah J. Clyde\u003c/a>, \u003ca href=\"https://www.instagram.com/mobfigaz_ap9/?hl=en\">AP-9\u003c/a> and \u003ca href=\"https://www.instagram.com/fedx_mobfigaz/?hl=en\">FedX\u003c/a> came together to create the group \u003ca href=\"https://www.youtube.com/shorts/f5CfU2pSUqY\">Mob Figaz\u003c/a>. Their music quickly took over the streets with RobLo’s hypnotic mix of Bay Area basslines, hard drums and emotionally shifting samples. Sacramento gangsta rapper C-Bo was impressed by their lyricism and authenticity, and agreed to put out their debut album. \u003cem>C-Bo’s Mob Figaz\u003c/em> moved more than 100,000 units with almost zero support from local radio. The streets, however, validated their sound and their flow.\u003c/p>\n\u003cfigure id=\"attachment_13931802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931802\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy.jpg\" alt=\"\" width=\"1920\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-1020x797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/PHOTOS-BY-D-RAY-mob-figaz-15-Copy-1536x1200.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Mob Figaz. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not long after, Jacka got caught for some robberies in the East Bay. At that point, he had already studied the Nation of Islam theology under Oakland’s Dr. Yusuf Bey. While locked up, though, Jacka was exposed to the Orthodox practice of Sunni Islam, and his mind and music began to expand.\u003c/p>\n\u003cp>According to Big Za, after serving time in Santa Rita Jail, Newton took Shahada, the Islamic testimony that affirms one’s faith. Big Za and his friend Shak had taken Shahada in 1991; Shak was involved in a murder case in 1995 and met Newton in Santa Rita. Behind the cold steel and cement walls of the jail, Shak taught Jacka how to pray and gave him his Islamic foundation. Not long after, Jacka took on the Islamic name Shaheed Akbar.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to a playlist of songs by the Jacka influenced by Islam, curated by his former manager PK:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/2JDsWmFPJDkccZa7WuKYlB?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Obviously there is a clash between how young men like Jacka know they should be living and the backdrop of soul-scorching poverty, addiction and miseducation. Unfortunately, few support systems exist for new converts stuck between the Detroit Red lifestyle of a young Malcolm X and the cultivation of a higher self. For converts like Big Za, Jacka and millions of others, the Shahada does not always mean an immediate 180-degree turn from the life they’ve been living.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also, like Tupac, Jacka had respect from East Coast rappers with real street credibility. His relationships with Cormega, \u003ca href=\"https://www.youtube.com/watch?v=AS670D0j7UQ\">Freeway\u003c/a>, Beanie Sigel and many others were truly unique.\u003c/p>\n\u003cp>As PK points out, it helped that Freeway and Beanie Sigel were also Sunni Muslim. “But I think it was because he was a real rapper, an MC with skills,” he adds. When they came out to California, they got firsthand proof that what Jacka rapped about was authentic. “Whether it’s the sideshows, the guns, the drugs — all that stuff is really happening out here. Then they were like ‘OK, this dude is real.’”\u003c/p>\n\u003cp>That magnitude of respect from the East Coast was rare for a Bay Area rapper. “Other than Pac, I never saw anybody get love like that,” PK recounts.\u003c/p>\n\u003ch2>Deeper than rap\u003c/h2>\n\u003cp>As Jacka’s star rose, instead of staying in the streets or partying 24/7, he could often be seen in Richmond’s Masjid An-Noor on Cutting Boulevard. Filled with books and ruby-red rugs, the mosque provided Jacka with solace in searching for Allah.\u003c/p>\n\u003cfigure id=\"attachment_13931804\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931804\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IR3725868.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IR3725868-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">During the hyphy era, the Jacka remained close with others who weren’t necessarily on his same spiritual path. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He could just as easily be over at Masjid Al-Islam on 82nd and MacArthur in Oakland — or anywhere he could continue his search for knowledge and a higher understanding of Islamic philosophy. Kevin, a.k.a. K9, his former assistant manager, says that “Islam spoke to more of the realities that he was seeing. He got interested and read the Qu’ran in jail, and went back to it often.”\u003c/p>\n\u003cp>K9 recalls a day in 2008, when Jacka brought him to Rumi Bookstore in Fremont, owned by respected teacher \u003ca href=\"https://www.youtube.com/watch?v=NEfyDMkdlxI&t=20s\">Feraidoon Mojadedi\u003c/a>. Jacka bought up a series of lectures from Zaytuna College Founder Hamza Yusuf. One of the books recommended to him was called \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=bp9KifxHZy8&list=PLNVqarhUYzInkISPRcMVFnUjnqFMFdpu6\">Purification of the Heart\u003c/a>\u003c/em>, a Mauritanian sacred text from 1844 CE about the spiritual diseases of the heart (greed, anger, jealousy) and their cures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After studying the text deeply in 2009, Jacka released \u003ca href=\"https://www.youtube.com/watch?v=ss_z3d6sV2Q\">a song with the same title\u003c/a>. A rap song with Islamic themes — the streets went nuts for it.\u003c/p>\n\u003cp>When asked how such an unlikely situation could unfold, Mojadedi says that Jacka “was with the right people, in the right place, with the right intention.”\u003c/p>\n\u003cp>Those intentions took The Jacka across the planet, something most kids from the Bay can only dream of.\u003c/p>\n\u003ch2>Writing without a pen\u003c/h2>\n\u003cp>Philadelphia rapper \u003ca href=\"https://www.instagram.com/phillyfreeway/?hl=en\">Freeway\u003c/a> met Jacka in 2001 while on tour with Jay-Z in Oakland. Once they connected, they never stopped working together, be it in the studio or learning about their faith. They traveled across Africa together in 2012, and went on a lecture tour in the UK in 2014 on the topic of Islam and hip-hop.\u003c/p>\n\u003cp>“I realized that they [Bay Area rappers like Jacka] were just like me,” Freeway says today. “They were living just like me. They were Muslim, but they were on the West Coast.”\u003c/p>\n\u003cfigure id=\"attachment_13931806\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931806\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280.jpg\" alt=\"\" width=\"1920\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thanksgiving-Nipsey-Hussle-280-1536x1010.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) The Jacka, photographer D-Ray and Nipsey Hussle backstage at the New Parish nightclub in Oakland, 2013. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the studio, Freeway says, Jacka was a force of nature.\u003c/p>\n\u003cp>“He mastered writing [songs] without a pen. He would write in his phone. But by the time he got to \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=8I4QJ4F_mgg\">What Happened to the World\u003c/a>\u003c/em>, he said, ‘Yeah Free, I mastered writing [whole songs] without a pen.’” Jacka was keeping whole songs complete, in his head, with no paper and no phone.\u003c/p>\n\u003cp>While on tour together, Freeway says he saw Jacka literally give people the shirt off his back: “He would get an outfit for the tour. Then when he got off stage he would give the hoodie away. When he died it affected me more than with some people I grew up with. That’s how much our hearts connected.”\u003c/p>\n\u003cfigure id=\"attachment_13931801\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931801\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC_0507.jpg\" alt=\"\" width=\"1920\" height=\"1767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-800x736.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-1020x939.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-768x707.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC_0507-1536x1414.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A roadside memorial for The Jacka near the intersection of 94th and MacArthur in East Oakland, shortly after his murder in 2015. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Freeway was not alone in that feeling. Bay Area rap fans and Muslims across the planet are still mourning Dominick Newton, a.k.a. the Jacka, a.k.a. Shaheed Akbar. However, his impact on the streets — and in the hearts of young Muslims — will remain through his music for decades to come.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/real64blocks/?hl=en\">Adisa Banjoko\u003c/a> is an author and curator of hip-hop history. In 2015, he delivered a lecture on The Jacka and Malcolm X at the \u003ca href=\"https://vimeo.com/120733251\">Malcolm X 50 Conference at Lehigh University\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated to reflect that Newton was born in Phoenix, Ariz., and not Richmond, Calif. as originally stated. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "skateboarding-san-francisco-ted-barrow-thrasher",
"title": "Seeing San Francisco Through a Skateboarder’s Eyes",
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"headTitle": "Seeing San Francisco Through a Skateboarder’s Eyes | KQED",
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"content": "\u003cp>If you’ve ever walked around a city with a skateboarder, you’ve probably been inundated with comments about a concrete ledge’s history here, or the backstory of a set of stairs there. Through magazines and videos, skaters map the world according to the spots they skate. \u003c/p>\n\u003cp>Skaters are clerks to memorized libraries of not just existing skate spots, but potential spots, across our daily environment. Staircases become new measuring sticks for difficult tricks, and parking lot curbs become ageless playgrounds. As Dischord Records founder Ian MacKaye said in \u003ca href=\"https://www.youtube.com/watch?v=YYKYU-Qj_Ro\">a 2013 lecture to the Library of Congress\u003c/a>, skateboarding means “learning how to redefine the world around you.” \u003c/p>\n\u003cp>Viewers can now take a tour of San Francisco with this unique eye to the streets with art historian, writer and skateboarder \u003ca href=\"https://www.instagram.com/tedbarrow/?hl=en\">Ted Barrow\u003c/a> in \u003cem>Thrasher\u003c/em> magazine’s new web series “This Old Ledge.” Barrow offers a new way of seeing things most residents pass by every day, delivering onsite historical lessons on both the architectural and skateboarding history of key skate spots. Barrows’ seemingly freestyle, well-researched presentations are interspersed with archival photos from the San Francisco Public Library’s \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections\">Digital Archive\u003c/a> and \u003cem>Thrasher\u003c/em>’s \u003ca href=\"https://m.thrashermagazine.com/magazine/covers-archive/\">own\u003c/a>, telling the city’s history through those who have skated its streets. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hXrdZ5kWRqs\u003c/p>\n\u003cp>Barrow is the professor who can skate and dress better than his students. With a bemused grin and sharp tongue, his commentaries are part snark, part self-deprecation. In one episode, dedicated to the \u003ca href=\"https://artandarchitecture-sf.com/embarcadero-ribbon.html\">Embarcadero Art Ribbon project\u003c/a> that became the skate spot Bay Blocks, Barrow details the “massive compromises” made to the project before construction, including gaps added between the concrete ledges for pedestrian accessibility — and opportunity. “It’s the gaps that activate this as a [skate] spot,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“All of a sudden these ideas crystallize around you,” Barrow tells me. “You can see the actual history of a built environment in a city and how people’s stories impacted the city through the juxtaposition of buildings and different spaces.” \u003c/p>\n\u003cfigure id=\"attachment_13931481\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Thrasher.Triptych-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1268\" class=\"size-full wp-image-13931481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1536x761.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-2048x1015.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1920x951.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Karl Watson, nollie 180 switch crooked grind at Pier 7, 1996; Chico Brenes, backside kickflip at Bay Blocks, 1997; Fred Gall, switch crooked grind at Hubba Hideout, 1995. \u003ccite>(Watson and Brenes: Luke Ogden; Gall: Gabe Morford; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barrow returned to the Bay Area a few years ago after many years in New York, teaching art history at such universities as Baruch and City College, while pursuing his PhD (he successfully defended his dissertation this year) and appearing in skate videos. He also gave walking tours, sneaking in skate references when describing the First Customs House where George Washington signed the Declaration of Independence.\u003c/p>\n\u003cp>“It always seemed like there was this very rich history that videos and interviews with skateboarders didn’t always fully address,” he says, particularly around “how we think about space and how we think about place.”\u003c/p>\n\u003cfigure id=\"attachment_13931484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland.jpg\" alt=\"Two teenage boys in baggy shirts on a concrete ledge\" width=\"1200\" height=\"786\" class=\"size-full wp-image-13931484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-768x503.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Henry Sanchez and John Cardiel at Embarcadero, 1992. \u003ccite>(Tobin Yelland; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Revisiting landmarks of modern street skating\u003c/h2>\n\u003cp>“This Old Ledge” begins at Justin Herman Plaza, simply known to skaters as Embarcadero or Embarco. Designed in 1971 by modernist architect \u003ca href=\"https://www.kqed.org/arts/11316687/halprins-experiments-in-environment-still-radical-50-years-later\">Lawrence Halprin\u003c/a>, it’s one of several civic-minded projects designed by Halprin in response to a generation of failed urban renewal projects, describing it as a “total environment in which all the elements working together create a place for participation.” \u003c/p>\n\u003cp>Much of the plaza’s skateable features have changed over the years. But the silhouettes of former plaza obstacles are still visible along the bricks, Barrow shows, as are thousands of axle marks from skateboarders turning the plaza, from 1991 to 1994, into street skating’s modern laboratory of innovation. \u003c/p>\n\u003cp>[aside postID='arts_13916267']Reading these visual histories is “part of the intimidation of these skate spots,” Barrow explains. “They’re palimpsests: they’ve changed, things have been removed, but you can still read the history of skateboarding etched into those places.”\u003c/p>\n\u003cp>Researching the series, Barrow discovered how “the actual ledges and obstacles that people skated in the late ‘80s, early ‘90s weren’t there. And I always presumed that they were there.” \u003c/p>\n\u003cfigure id=\"attachment_13931482\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Hubba-Hideout-destruction.jpg\" alt=\"A backhoe demolishes a large concrete walkway\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13931482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">After years as a formative skate spot, as detailed in ‘This Old Ledge,’ Hubba Hideout was eventually demolished. \u003ccite>(Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a different episode, we follow Barrow to another skate spot Halprin unintentionally designed, Hubba Hideout. In 1976, Halprin joined a team to connect the Alcoa Building with the waterfront through a pedestrian bridge extending from the building, over Davis Street, and into a newly landscaped plaza. The X-braised Alcoa Building would eventually mark the spot for skaters to find the bridge’s “harsh, brutalist concrete” handrails going down some stairs into a plaza with Halprin’s signature red bricks. \u003c/p>\n\u003cp>Here, many would “hide out and smoke crack in the middle of one of the most profitable commercial districts in the world in broad daylight” explains Barrow. Hubba, \u003ca href=\"https://www.youtube.com/watch?v=pArkWvlAebg\">Bay Area slang for crack cocaine\u003c/a>, became skate lingo for any concrete ledge acting as a handrail downstairs.\u003c/p>\n\u003cp>\u003cem>Thrasher\u003c/em> magazine’s President, Tony Vitello, describes the now-defunct spot as “a proving ground,” with the nickname representative of San Francisco’s influence on skateboarding. “You could be at a [skatepark] planning meeting with some local government, and they’re talking about a hubba ledge.”\u003c/p>\n\u003cfigure id=\"attachment_13931483\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky.jpg\" alt=\"A man in a flannel shirt rides a skateboard high atop a concrete block\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13931483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jack Curtin, switch nosegrind at Bay Blocks. \u003ccite>(Dan Zaslavsky; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A historian’s eye for design and context\u003c/h2>\n\u003cp>Part of Vitello’s inspiration for “This Old Ledge” came at jury duty. On the wall of the courthouse was a framed photo of an abandoned San Francisco mansion, the Old Koshland House on Washington Street, whose curved exterior hubba ledge was \u003ca href=\"https://64.media.tumblr.com/b52e8b45d1554d98e9978416f510d2a1/tumblr_nqglutAUZJ1sgg3dvo1_500.gifv\">briefly a popular skate spot\u003c/a>. The photo was “dated the day after the 1906 earthquake,” with notable damage to buildings nearby. Vitello then considered the popular St. Paul’s Cathedral in London, and found drawings from when the Cathedral was built. “The out ledge that \u003ca href=\"https://www.thrashermagazine.com/articles/videos/atlantic-drift-episode-2-st-paul-s/\">everyone has skated\u003c/a> is sitting there in the 1600s, from a period before skateboarding was even invented – that trips me out.” \u003c/p>\n\u003cp>Through original videos, \u003cem>Thrasher\u003c/em>’s “been pushing to expand further into personality and cultural stuff,” Vitello says, “beyond just ‘Here’s a [skate] video with music in the background.’” \u003c/p>\n\u003cp>This push isn’t only palpable across their nearly seven million Instagram followers, but in the magazine’s hiring a full-time archivist to help log \u003cem>Thrasher\u003c/em>’s entire photo and video history. Between these archives and the number of San Francisco skate spots replicated in skateparks worldwide, “San Francisco has had such an outsized influence on skateboarding,” Vitello says, “and therefore everything connected to our culture.” \u003c/p>\n\u003cfigure id=\"attachment_13931485\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419.jpg\" alt=\"Young boys sit on their skateboards amidst a concrete and brick plaza\" width=\"1118\" height=\"739\" class=\"size-full wp-image-13931485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419.jpg 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-768x508.jpg 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Skaters at Embarcadero, 1992. \u003ccite>(Kevin Thatcher; courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Betsy Gordon, Project Manager at the Smithsonian’s National Museum of the American Indian, struck up a friendship with Barrow at the academic skate conference Pushing Boarders, where they both presented. She attests to his style of teaching: “I appreciate the fact that he has advanced skills and is very well-educated,” she says, “but never makes you feel stupid.”\u003c/p>\n\u003cp>Barrow recently contributed to \u003cem>\u003ca href=\"https://www.smithsonianstore.com/four-wheels-and-a-board-11042/\">Four Wheels and a Board: The Smithsonian History of Skateboarding\u003c/a>\u003c/em>, co-edited by Gordon. She looped in Barrow to write and contribute several pieces, including an introductory chapter to the 1990s section. “Not everybody can have that historian’s eye of seeing that context and say, ‘Oh, that trick for the ‘90s was really progressive’ with a sense of what was possible,” she says. \u003c/p>\n\u003cp>[aside postID='arts_13891248']Still, a skateboarder’s relationship with space evolves over time. \u003c/p>\n\u003cp>“Skateboarding is aging,” Gordon explains. “It was always very future-focused; now there’s more appreciation for history and what came before.” This ongoing relationship with space grounds Barrow’s deep historical knowledge into the present, making his onsite testimonies resonate that much deeper.\u003c/p>\n\u003cp>Vitello places that impact, and the project’s, into his everyday life.\u003c/p>\n\u003cp>“Sometimes you just forget to look up,” he explains. “I’ve found myself, even in a city I grew up in, looking up and looking at things a bit different.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘This Old Ledge’ is on \u003ca href=\"https://www.thrashermagazine.com/articles/videos/\">Thrasher magazine’s website\u003c/a> and \u003ca href=\"https://www.youtube.com/@ThrasherMag/videos\">YouTube channel\u003c/a> now. New episodes drop each Wednesday. Ted Barrow also runs a Patreon, \u003ca href=\"https://www.patreon.com/beratethebirds\">Berate the Birds\u003c/a>, centered around art history and skateboarding. \u003c/em>\u003c/p>\n\n",
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"title": "Ted Barrow on Historic San Francisco Skate Spots in 'This Old Ledge' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve ever walked around a city with a skateboarder, you’ve probably been inundated with comments about a concrete ledge’s history here, or the backstory of a set of stairs there. Through magazines and videos, skaters map the world according to the spots they skate. \u003c/p>\n\u003cp>Skaters are clerks to memorized libraries of not just existing skate spots, but potential spots, across our daily environment. Staircases become new measuring sticks for difficult tricks, and parking lot curbs become ageless playgrounds. As Dischord Records founder Ian MacKaye said in \u003ca href=\"https://www.youtube.com/watch?v=YYKYU-Qj_Ro\">a 2013 lecture to the Library of Congress\u003c/a>, skateboarding means “learning how to redefine the world around you.” \u003c/p>\n\u003cp>Viewers can now take a tour of San Francisco with this unique eye to the streets with art historian, writer and skateboarder \u003ca href=\"https://www.instagram.com/tedbarrow/?hl=en\">Ted Barrow\u003c/a> in \u003cem>Thrasher\u003c/em> magazine’s new web series “This Old Ledge.” Barrow offers a new way of seeing things most residents pass by every day, delivering onsite historical lessons on both the architectural and skateboarding history of key skate spots. Barrows’ seemingly freestyle, well-researched presentations are interspersed with archival photos from the San Francisco Public Library’s \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections\">Digital Archive\u003c/a> and \u003cem>Thrasher\u003c/em>’s \u003ca href=\"https://m.thrashermagazine.com/magazine/covers-archive/\">own\u003c/a>, telling the city’s history through those who have skated its streets. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hXrdZ5kWRqs'\n title='//www.youtube.com/embed/hXrdZ5kWRqs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Barrow is the professor who can skate and dress better than his students. With a bemused grin and sharp tongue, his commentaries are part snark, part self-deprecation. In one episode, dedicated to the \u003ca href=\"https://artandarchitecture-sf.com/embarcadero-ribbon.html\">Embarcadero Art Ribbon project\u003c/a> that became the skate spot Bay Blocks, Barrow details the “massive compromises” made to the project before construction, including gaps added between the concrete ledges for pedestrian accessibility — and opportunity. “It’s the gaps that activate this as a [skate] spot,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“All of a sudden these ideas crystallize around you,” Barrow tells me. “You can see the actual history of a built environment in a city and how people’s stories impacted the city through the juxtaposition of buildings and different spaces.” \u003c/p>\n\u003cfigure id=\"attachment_13931481\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Thrasher.Triptych-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1268\" class=\"size-full wp-image-13931481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1536x761.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-2048x1015.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1920x951.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Karl Watson, nollie 180 switch crooked grind at Pier 7, 1996; Chico Brenes, backside kickflip at Bay Blocks, 1997; Fred Gall, switch crooked grind at Hubba Hideout, 1995. \u003ccite>(Watson and Brenes: Luke Ogden; Gall: Gabe Morford; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barrow returned to the Bay Area a few years ago after many years in New York, teaching art history at such universities as Baruch and City College, while pursuing his PhD (he successfully defended his dissertation this year) and appearing in skate videos. He also gave walking tours, sneaking in skate references when describing the First Customs House where George Washington signed the Declaration of Independence.\u003c/p>\n\u003cp>“It always seemed like there was this very rich history that videos and interviews with skateboarders didn’t always fully address,” he says, particularly around “how we think about space and how we think about place.”\u003c/p>\n\u003cfigure id=\"attachment_13931484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland.jpg\" alt=\"Two teenage boys in baggy shirts on a concrete ledge\" width=\"1200\" height=\"786\" class=\"size-full wp-image-13931484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-768x503.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Henry Sanchez and John Cardiel at Embarcadero, 1992. \u003ccite>(Tobin Yelland; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Revisiting landmarks of modern street skating\u003c/h2>\n\u003cp>“This Old Ledge” begins at Justin Herman Plaza, simply known to skaters as Embarcadero or Embarco. Designed in 1971 by modernist architect \u003ca href=\"https://www.kqed.org/arts/11316687/halprins-experiments-in-environment-still-radical-50-years-later\">Lawrence Halprin\u003c/a>, it’s one of several civic-minded projects designed by Halprin in response to a generation of failed urban renewal projects, describing it as a “total environment in which all the elements working together create a place for participation.” \u003c/p>\n\u003cp>Much of the plaza’s skateable features have changed over the years. But the silhouettes of former plaza obstacles are still visible along the bricks, Barrow shows, as are thousands of axle marks from skateboarders turning the plaza, from 1991 to 1994, into street skating’s modern laboratory of innovation. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Reading these visual histories is “part of the intimidation of these skate spots,” Barrow explains. “They’re palimpsests: they’ve changed, things have been removed, but you can still read the history of skateboarding etched into those places.”\u003c/p>\n\u003cp>Researching the series, Barrow discovered how “the actual ledges and obstacles that people skated in the late ‘80s, early ‘90s weren’t there. And I always presumed that they were there.” \u003c/p>\n\u003cfigure id=\"attachment_13931482\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Hubba-Hideout-destruction.jpg\" alt=\"A backhoe demolishes a large concrete walkway\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13931482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">After years as a formative skate spot, as detailed in ‘This Old Ledge,’ Hubba Hideout was eventually demolished. \u003ccite>(Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a different episode, we follow Barrow to another skate spot Halprin unintentionally designed, Hubba Hideout. In 1976, Halprin joined a team to connect the Alcoa Building with the waterfront through a pedestrian bridge extending from the building, over Davis Street, and into a newly landscaped plaza. The X-braised Alcoa Building would eventually mark the spot for skaters to find the bridge’s “harsh, brutalist concrete” handrails going down some stairs into a plaza with Halprin’s signature red bricks. \u003c/p>\n\u003cp>Here, many would “hide out and smoke crack in the middle of one of the most profitable commercial districts in the world in broad daylight” explains Barrow. Hubba, \u003ca href=\"https://www.youtube.com/watch?v=pArkWvlAebg\">Bay Area slang for crack cocaine\u003c/a>, became skate lingo for any concrete ledge acting as a handrail downstairs.\u003c/p>\n\u003cp>\u003cem>Thrasher\u003c/em> magazine’s President, Tony Vitello, describes the now-defunct spot as “a proving ground,” with the nickname representative of San Francisco’s influence on skateboarding. “You could be at a [skatepark] planning meeting with some local government, and they’re talking about a hubba ledge.”\u003c/p>\n\u003cfigure id=\"attachment_13931483\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky.jpg\" alt=\"A man in a flannel shirt rides a skateboard high atop a concrete block\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13931483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jack Curtin, switch nosegrind at Bay Blocks. \u003ccite>(Dan Zaslavsky; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A historian’s eye for design and context\u003c/h2>\n\u003cp>Part of Vitello’s inspiration for “This Old Ledge” came at jury duty. On the wall of the courthouse was a framed photo of an abandoned San Francisco mansion, the Old Koshland House on Washington Street, whose curved exterior hubba ledge was \u003ca href=\"https://64.media.tumblr.com/b52e8b45d1554d98e9978416f510d2a1/tumblr_nqglutAUZJ1sgg3dvo1_500.gifv\">briefly a popular skate spot\u003c/a>. The photo was “dated the day after the 1906 earthquake,” with notable damage to buildings nearby. Vitello then considered the popular St. Paul’s Cathedral in London, and found drawings from when the Cathedral was built. “The out ledge that \u003ca href=\"https://www.thrashermagazine.com/articles/videos/atlantic-drift-episode-2-st-paul-s/\">everyone has skated\u003c/a> is sitting there in the 1600s, from a period before skateboarding was even invented – that trips me out.” \u003c/p>\n\u003cp>Through original videos, \u003cem>Thrasher\u003c/em>’s “been pushing to expand further into personality and cultural stuff,” Vitello says, “beyond just ‘Here’s a [skate] video with music in the background.’” \u003c/p>\n\u003cp>This push isn’t only palpable across their nearly seven million Instagram followers, but in the magazine’s hiring a full-time archivist to help log \u003cem>Thrasher\u003c/em>’s entire photo and video history. Between these archives and the number of San Francisco skate spots replicated in skateparks worldwide, “San Francisco has had such an outsized influence on skateboarding,” Vitello says, “and therefore everything connected to our culture.” \u003c/p>\n\u003cfigure id=\"attachment_13931485\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419.jpg\" alt=\"Young boys sit on their skateboards amidst a concrete and brick plaza\" width=\"1118\" height=\"739\" class=\"size-full wp-image-13931485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419.jpg 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-768x508.jpg 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Skaters at Embarcadero, 1992. \u003ccite>(Kevin Thatcher; courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Betsy Gordon, Project Manager at the Smithsonian’s National Museum of the American Indian, struck up a friendship with Barrow at the academic skate conference Pushing Boarders, where they both presented. She attests to his style of teaching: “I appreciate the fact that he has advanced skills and is very well-educated,” she says, “but never makes you feel stupid.”\u003c/p>\n\u003cp>Barrow recently contributed to \u003cem>\u003ca href=\"https://www.smithsonianstore.com/four-wheels-and-a-board-11042/\">Four Wheels and a Board: The Smithsonian History of Skateboarding\u003c/a>\u003c/em>, co-edited by Gordon. She looped in Barrow to write and contribute several pieces, including an introductory chapter to the 1990s section. “Not everybody can have that historian’s eye of seeing that context and say, ‘Oh, that trick for the ‘90s was really progressive’ with a sense of what was possible,” she says. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, a skateboarder’s relationship with space evolves over time. \u003c/p>\n\u003cp>“Skateboarding is aging,” Gordon explains. “It was always very future-focused; now there’s more appreciation for history and what came before.” This ongoing relationship with space grounds Barrow’s deep historical knowledge into the present, making his onsite testimonies resonate that much deeper.\u003c/p>\n\u003cp>Vitello places that impact, and the project’s, into his everyday life.\u003c/p>\n\u003cp>“Sometimes you just forget to look up,” he explains. “I’ve found myself, even in a city I grew up in, looking up and looking at things a bit different.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘This Old Ledge’ is on \u003ca href=\"https://www.thrashermagazine.com/articles/videos/\">Thrasher magazine’s website\u003c/a> and \u003ca href=\"https://www.youtube.com/@ThrasherMag/videos\">YouTube channel\u003c/a> now. New episodes drop each Wednesday. Ted Barrow also runs a Patreon, \u003ca href=\"https://www.patreon.com/beratethebirds\">Berate the Birds\u003c/a>, centered around art history and skateboarding. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Titan Arum, or corpse flower, has become a rockstar in the plant world for its unpredictable displays, and more notoriously, its putrid stench of rotting flesh.\u003c/p>\n\u003cp>\u003cstrong>What is it? \u003c/strong>The very large flowering plant is related to the calla lily, and in fact looks like a supersized and more macabre version, with a large central spike surrounded by a frilly maroon skirt of a leaf.\u003c/p>\n\u003cul>\n\u003cli>The Titan Arum is native only to the Indonesian island of Sumatra, but has become even more difficult to see in the wild due to habitat loss. In the last few decades, advances in technology and horticultural knowledge have allowed botanical gardens to cultivate the corpse flower more widely.\u003c/li>\n\u003cli>If you’re not familiar with why the flower has its distinctive name — when the corpse flower unfurls, tiny male and female flowers at the base of its large central spike emit a putrid odor, akin to rotting meat and stinky laundry.\u003c/li>\n\u003cli>Titan Arums have a fairly long and unpredictable flowering cycle, and they can take up to a decade before they flower for the first time. Even mature plants can go years between blooms. Essentially, they work on their own schedules — which is part of the excitement for viewers.\u003c/li>\n\u003c/ul>\n\u003cp>https://www.instagram.com/p/CuSUe7tvCS3/\u003c/p>\n\u003cp>\u003cstrong>What’s the big deal? \u003c/strong>Right now, two corpse flowers are blooming in California.\u003c/p>\n\u003cul>\n\u003cli>One is at San Francisco’s Conservatory of Flowers, while the other is at the San Diego Botanic Gardens.\u003c/li>\n\u003cli>The Conservatory’s corpse flower is named Scarlet, and last bloomed in 2019. She began blooming again earlier this week, and is \u003ca href=\"https://conservatoryofflowers.org/corpse-flower-2023/\">still standing tall\u003c/a> for her many visitors in San Francisco’s Golden Gate Park.\u003c/li>\n\u003cli>San Diego’s flower du jour last bloomed in 2021, and is already \u003ca href=\"https://sdbg.org/explore-our-plants/whats-in-bloom/corpse-plant/#live-stream\">noticeably more shriveled \u003c/a>than the peak event earlier this week. That’s because corpse flower blooms are brief, shining, stinky moments in time, typically lasting just a couple days.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>What are people saying? \u003c/strong>Ari Novy, president and CEO at the San Diego Botanic Garden, spoke to NPR’s Daniel Estrin about witnessing the symphony of stench in real time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His own description of the corpse flower’s perfume:\u003c/p>\n\u003cblockquote>\u003cp>The way I describe it is it smells like if you took your teenager’s dirty laundry and you put it in a big black garbage bag, and then you added in some hamburger meat, maybe some fish, a little garlic and some parmesan cheese. And you left that by the side of the road on a very hot desert day for about 24 hours. And then you came back to it. That’s not even exaggerating. That is really what the smell was.\u003c/p>\u003c/blockquote>\n\u003cp>On why the corpse flower has evolved to smell this rank:\u003c/p>\n\u003cblockquote>\u003cp>There are insects out there that really like the smell of rotting flesh or other fetid or rotting odors. And those insects can pollinate plants. There are several plants that utilize this strategy of using rotting flesh odors that humans find repulsive to attract a bunch of insects who actually love that smell.\u003c/p>\u003c/blockquote>\n\u003cp>On the public reaction to the bloom:\u003c/p>\n\u003cblockquote>\u003cp>This is like the rock star plant of the plant world. It’s kind of like a panda if you were in a zoo. It’s amazing, people come from all over the place. We had one bloom about 18 months ago and a guy saw it on the webcam in Texas and immediately got in his car so that he could make it for the blooming. And he drove day and night and got to San Diego 14 hours later. This plant really brings out people, and for a smell that’s so putrid and disgusting for human beings, somehow we’re still pretty attracted to it.\u003c/p>\u003c/blockquote>\n\u003chr>\n\u003cp>\u003cstrong>Want the full scoop on this stink? Hit the play button at the top of the page.\u003c/strong>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nSo, what now?\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>If you’re local to either establishment and want to catch the tail end of the bloom, you better head out quickly; the flowers will continue to droop from here on out.\u003c/li>\n\u003cli>And if you were hoping to catch that signature stench, Novy says better luck next time: “At this point in the blooming cycle, it’s done with its formal flowering. The flowers have done their work and so it doesn’t have that much of a smell. There’s some residual, but the real pungent punch typically comes in the evening, early morning on the first and second nights of flowering.”\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more,\u003ca href=\"https://www.npr.org\"> visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Unspeakably+stinky+and+unpredictable%3A+two+corpse+flowers+are+blooming+in+the+U.S.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Titan Arum, or corpse flower, has become a rockstar in the plant world for its unpredictable displays, and more notoriously, its putrid stench of rotting flesh.\u003c/p>\n\u003cp>\u003cstrong>What is it? \u003c/strong>The very large flowering plant is related to the calla lily, and in fact looks like a supersized and more macabre version, with a large central spike surrounded by a frilly maroon skirt of a leaf.\u003c/p>\n\u003cul>\n\u003cli>The Titan Arum is native only to the Indonesian island of Sumatra, but has become even more difficult to see in the wild due to habitat loss. In the last few decades, advances in technology and horticultural knowledge have allowed botanical gardens to cultivate the corpse flower more widely.\u003c/li>\n\u003cli>If you’re not familiar with why the flower has its distinctive name — when the corpse flower unfurls, tiny male and female flowers at the base of its large central spike emit a putrid odor, akin to rotting meat and stinky laundry.\u003c/li>\n\u003cli>Titan Arums have a fairly long and unpredictable flowering cycle, and they can take up to a decade before they flower for the first time. Even mature plants can go years between blooms. Essentially, they work on their own schedules — which is part of the excitement for viewers.\u003c/li>\n\u003c/ul>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>What’s the big deal? \u003c/strong>Right now, two corpse flowers are blooming in California.\u003c/p>\n\u003cul>\n\u003cli>One is at San Francisco’s Conservatory of Flowers, while the other is at the San Diego Botanic Gardens.\u003c/li>\n\u003cli>The Conservatory’s corpse flower is named Scarlet, and last bloomed in 2019. She began blooming again earlier this week, and is \u003ca href=\"https://conservatoryofflowers.org/corpse-flower-2023/\">still standing tall\u003c/a> for her many visitors in San Francisco’s Golden Gate Park.\u003c/li>\n\u003cli>San Diego’s flower du jour last bloomed in 2021, and is already \u003ca href=\"https://sdbg.org/explore-our-plants/whats-in-bloom/corpse-plant/#live-stream\">noticeably more shriveled \u003c/a>than the peak event earlier this week. That’s because corpse flower blooms are brief, shining, stinky moments in time, typically lasting just a couple days.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>What are people saying? \u003c/strong>Ari Novy, president and CEO at the San Diego Botanic Garden, spoke to NPR’s Daniel Estrin about witnessing the symphony of stench in real time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His own description of the corpse flower’s perfume:\u003c/p>\n\u003cblockquote>\u003cp>The way I describe it is it smells like if you took your teenager’s dirty laundry and you put it in a big black garbage bag, and then you added in some hamburger meat, maybe some fish, a little garlic and some parmesan cheese. And you left that by the side of the road on a very hot desert day for about 24 hours. And then you came back to it. That’s not even exaggerating. That is really what the smell was.\u003c/p>\u003c/blockquote>\n\u003cp>On why the corpse flower has evolved to smell this rank:\u003c/p>\n\u003cblockquote>\u003cp>There are insects out there that really like the smell of rotting flesh or other fetid or rotting odors. And those insects can pollinate plants. There are several plants that utilize this strategy of using rotting flesh odors that humans find repulsive to attract a bunch of insects who actually love that smell.\u003c/p>\u003c/blockquote>\n\u003cp>On the public reaction to the bloom:\u003c/p>\n\u003cblockquote>\u003cp>This is like the rock star plant of the plant world. It’s kind of like a panda if you were in a zoo. It’s amazing, people come from all over the place. We had one bloom about 18 months ago and a guy saw it on the webcam in Texas and immediately got in his car so that he could make it for the blooming. And he drove day and night and got to San Diego 14 hours later. This plant really brings out people, and for a smell that’s so putrid and disgusting for human beings, somehow we’re still pretty attracted to it.\u003c/p>\u003c/blockquote>\n\u003chr>\n\u003cp>\u003cstrong>Want the full scoop on this stink? Hit the play button at the top of the page.\u003c/strong>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nSo, what now?\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>If you’re local to either establishment and want to catch the tail end of the bloom, you better head out quickly; the flowers will continue to droop from here on out.\u003c/li>\n\u003cli>And if you were hoping to catch that signature stench, Novy says better luck next time: “At this point in the blooming cycle, it’s done with its formal flowering. The flowers have done their work and so it doesn’t have that much of a smell. There’s some residual, but the real pungent punch typically comes in the evening, early morning on the first and second nights of flowering.”\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more,\u003ca href=\"https://www.npr.org\"> visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Unspeakably+stinky+and+unpredictable%3A+two+corpse+flowers+are+blooming+in+the+U.S.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nine more women are accusing Bill Cosby of sexual assault in a lawsuit that alleges he used his “enormous power, fame and prestige” to victimize them.\u003c/p>\n\u003cp>A lawsuit filed Wednesday in federal court in Nevada alleges that the women were individually drugged and assaulted between approximately 1979 and 1992 in Las Vegas, Reno and Lake Tahoe homes, dressing rooms and hotels.\u003c/p>\n\u003cp>[aside postid='arts_13875370']One woman alleges that Cosby, claiming to be her acting mentor, lured her from New York to Nevada, where he drugged her in a hotel room with what he had claimed to be non-alcoholic sparkling cider and then raped her.\u003c/p>\n\u003cp>The 85-year-old former \u003cem>Cosby Show\u003c/em> star has now been accused of rape, sexual assault and sexual harassment by more than 60 women. He has denied all allegations involving sex crimes. He was the first celebrity tried and convicted in the #MeToo era — and spent nearly three years at a state prison near Philadelphia before a higher court threw out the conviction and released him in 2021.\u003c/p>\n\u003cp>Earlier this year, a Los Angeles jury awarded $500,000 to a woman who said Cosby sexually abused her at the Playboy Mansion when she was 16 in 1975.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Nevada lawsuit came only a few weeks after Gov. Joe Lombardo signed a bill that eliminated a two-year deadline for adults to file sexual abuse cases. Similar suits have followed other “lookback laws” in other states.\u003c/p>\n\u003cp>One of the plaintiffs, Lise-Lotte Lublin, a Nevada native, had advocated for the change. She had previously alleged that Cosby gave her spiked drinks and raped her at a Las Vegas hotel in 1989.\u003c/p>\n\u003cp>[aside postid='arts_13914526']The Associated Press does not identify people who say they have been sexually assaulted unless they come forward publicly.\u003c/p>\n\u003cp>“For years I have fought for survivors of sexual assault and today is the first time I will be able to fight for myself,” Lotte-Lublin said in a statement cited by the \u003cem>Las Vegas Review-Journal\u003c/em>. “With the new law change, I now have the ability to take my assailant Bill Cosby to court. My journey has just begun, but I am grateful for this opportunity to find justice.”\u003c/p>\n\u003cp>In California, a former Playboy model who alleges Cosby drugged and sexually assaulted her and another woman at his home in 1969 sued him on June 1 under a new California law that suspends the statute of limitations on sex abuse claims.\u003c/p>\n\u003cp>Cosby publicist Andrew Wyatt blasted such laws in a statement Wednesday.\u003c/p>\n\u003cp>“Mr. Cosby is a Citizen of these United States but these judges and lawmakers are consistently allowing these civil suits to flood their dockets — knowing that these women are not fighting for victims — but for their addiction to massive amounts of media attention and greed,” Wyatt said.\u003c/p>\n\u003cp>[aside postid='arts_13908728']“From this day forward, we will not continue to allow these women to parade various accounts of an alleged allegation against Mr. Cosby anymore without vetting them in the court of public opinion and inside of the courtroom,” Wyatt said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the latest suit, the women contend that Cosby “used his enormous power, fame, and prestige, and claimed interest in helping them and/or their careers as a pretense to isolate and sexually assault them.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One woman alleges that Cosby, claiming to be her acting mentor, lured her from New York to Nevada, where he drugged her in a hotel room with what he had claimed to be non-alcoholic sparkling cider and then raped her.\u003c/p>\n\u003cp>The 85-year-old former \u003cem>Cosby Show\u003c/em> star has now been accused of rape, sexual assault and sexual harassment by more than 60 women. He has denied all allegations involving sex crimes. He was the first celebrity tried and convicted in the #MeToo era — and spent nearly three years at a state prison near Philadelphia before a higher court threw out the conviction and released him in 2021.\u003c/p>\n\u003cp>Earlier this year, a Los Angeles jury awarded $500,000 to a woman who said Cosby sexually abused her at the Playboy Mansion when she was 16 in 1975.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Nevada lawsuit came only a few weeks after Gov. Joe Lombardo signed a bill that eliminated a two-year deadline for adults to file sexual abuse cases. Similar suits have followed other “lookback laws” in other states.\u003c/p>\n\u003cp>One of the plaintiffs, Lise-Lotte Lublin, a Nevada native, had advocated for the change. She had previously alleged that Cosby gave her spiked drinks and raped her at a Las Vegas hotel in 1989.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Associated Press does not identify people who say they have been sexually assaulted unless they come forward publicly.\u003c/p>\n\u003cp>“For years I have fought for survivors of sexual assault and today is the first time I will be able to fight for myself,” Lotte-Lublin said in a statement cited by the \u003cem>Las Vegas Review-Journal\u003c/em>. “With the new law change, I now have the ability to take my assailant Bill Cosby to court. My journey has just begun, but I am grateful for this opportunity to find justice.”\u003c/p>\n\u003cp>In California, a former Playboy model who alleges Cosby drugged and sexually assaulted her and another woman at his home in 1969 sued him on June 1 under a new California law that suspends the statute of limitations on sex abuse claims.\u003c/p>\n\u003cp>Cosby publicist Andrew Wyatt blasted such laws in a statement Wednesday.\u003c/p>\n\u003cp>“Mr. Cosby is a Citizen of these United States but these judges and lawmakers are consistently allowing these civil suits to flood their dockets — knowing that these women are not fighting for victims — but for their addiction to massive amounts of media attention and greed,” Wyatt said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“From this day forward, we will not continue to allow these women to parade various accounts of an alleged allegation against Mr. Cosby anymore without vetting them in the court of public opinion and inside of the courtroom,” Wyatt said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the latest suit, the women contend that Cosby “used his enormous power, fame, and prestige, and claimed interest in helping them and/or their careers as a pretense to isolate and sexually assault them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Getting \u003ca href=\"https://www.darcydrollinger.com/\">D’Arcy Drollinger\u003c/a> ready for her first official appearance as San Francisco drag laureate was a production.\u003c/p>\n\u003cp>The artist, night club owner and newly appointed government official stood in the living room of her San Francisco apartment as two helpers grappled with a set of bejeweled, custom-made artificial nails and wedged her into a pair of white patent stilettos and a tight, pink skirt suit. Finally, Drollinger stepped out of the house, and into a very busy schedule.\u003c/p>\n\u003cp>“I am speaking at the San Francisco Arts Commission,” Drollinger said. “I’m also on the same day speaking at the Entertainment Commission. I’m also going to speak at a high school. I’ll be in the parade with the mayor.”\u003c/p>\n\u003cp>The word “laureate” is most often attached to the winner of a Nobel Prize, or a poet whose job it is to mark official occasions in verse. But a “drag laureate” is something new.\u003c/p>\n\u003cfigure id=\"attachment_13930406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-800x600.jpe\" alt=\"A drag queen in a blond wig sits before a stage makeup mirror, lipstick in hand. She is pouting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger applies lipstick at her apartment in preparation for her inaugural appearance as San Francisco drag laureate. \u003ccite>(Chloe Veltman/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s LGBTQ task-force proposed the creation of the \u003ca href=\"https://sf.gov/drag-laureate-program\">drag laureate position\u003c/a> around three years ago during the darkest days of the COVID-19 pandemic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’ve been through a really hard time,” said San Francisco Mayor London Breed a few days ahead of the flag-raising ceremony that’s the kick-off to the city’s annual \u003ca href=\"https://sfpride.org/\">Pride celebration\u003c/a>. And so to city officials, a drag laureate seemed to be — if not a cure, at least something of a panacea, thanks to “the creativity, the joy that a drag laureate brings.”\u003c/p>\n\u003cp>[aside postid='arts_13883181']Breed said one of Drollinger’s selling points as a candidate for the job, which comes with an 18-month term and $55,000 stipend, was her track record as a spreader of sparkle.\u003c/p>\n\u003cp>The nightclub owner pivoted during lockdown to run a food delivery service — “Meals on Heels” — out of \u003ca href=\"https://www.sfoasis.com/\">Oasis\u003c/a>, the drag club she owns in downtown San Francisco. Performers in drag from Oasis delivered meals and cocktails to local residents, with a side order of curb-side lip-synching.\u003c/p>\n\u003cp>“It brought a lot of love and excitement,” Breed said of Drollinger’s drag performance-infused food delivery service.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oBWRRwJk-jc\u003c/p>\n\u003cp>But Breed said the recent attacks against drag performers, as well as a \u003ca href=\"https://www.npr.org/2023/02/08/1151731736/at-least-10-state-legislatures-trying-restrict-criminalize-drag-shows\">rise in anti-drag legislation\u003c/a> in different parts of the country, now make the appointment of a drag laureate particularly crucial.\u003c/p>\n\u003cp>“In some of those communities where something like this wouldn’t be considered acceptable behavior, there’s a kid that’s thinking, ‘Oh my goodness: she’s like me. I can be myself without fear,'” Breed said.\u003c/p>\n\u003cp>LGBTQ activists around the country are working to fight a slew of anti-drag laws currently under consideration in various states.\u003c/p>\n\u003cp>“It’s scary right now,” said Kylo Freeman, CEO and founder of \u003ca href=\"https://www.forthem.com/\">For Them\u003c/a>, a trans-owned brand that makes apparel for transgender people, and the force behind “Drag is Divine,” an advertising campaign that aims to raise awareness and funding to help fight anti-drag laws. “The backlash is real.”\u003c/p>\n\u003cfigure id=\"attachment_13930407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930407\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-800x350.jpg\" alt='A drag king and queen recline together in a tropical green space. Next to them is the text: \"So hot they started a culture war for us.\"' width=\"800\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-800x350.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-1020x446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-768x336.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-1536x672.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712.jpg 1916w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A “Drag is Divine” advertising campaign poster. \u003ccite>(For Them)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Freeman said they’re excited to see local governments highlight drag culture in such a visible way. In West Hollywood, \u003ca href=\"https://www.weho.org/community/arts-and-culture/drag-laureate\">officials plan to appoint a drag laureate\u003c/a> later this month.\u003c/p>\n\u003cp>[aside postid='arts_13835007']“I think it’s a real step forward to have these roles in place, giving us folks that can speak on behalf of the community at a large scale,” Freeman said.\u003c/p>\n\u003cp>But \u003ca href=\"https://legistar.council.nyc.gov/LegislationDetail.aspx?ID=5656533&GUID=5C982F50-33A6-4C4D-A4C3-1AA2F5CE2754\">plans to create a drag laureate in New York\u003c/a>, where Freeman is based, have stalled. And Freeman said they don’t see similar positions cropping up in parts of the country that are less friendly to LGBTQ people anytime soon.\u003c/p>\n\u003cp>“We are so politicized right now,” Freeman said. “And I think we’ve forgotten that this is just a human rights issue.”\u003c/p>\n\u003cp>At the San Francisco Pride kickoff, Drollinger not only assisted the mayor in the traditional unfurling of the Pride flag outside City Hall — she also posed for photos, dispensed hugs and made her first official speech as drag laureate.\u003c/p>\n\u003cfigure id=\"attachment_13930408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930408\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-800x600.jpe\" alt=\"A drag queen in a pink and white suit stands at a podium and speaks, with a Black woman in a white suit to her right, and a white man in a grey suit to her lift. A series of flag poles are visible lined up behind her.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger delivers her inaugural speech as drag laureate flanked by California State Senator Scott Wiener, left, and San Francisco Mayor London Breed. \u003ccite>(Chloe Veltman/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Drag is many things,” said Drollinger before the crowd of assembled dignitaries and members of the local LGBTQ community. “Drag is art. Drag is activism. Drag is joy. Drag is instrumental to bringing people together. Drag is fabulous.”\u003c/p>\n\u003cp>[aside postid='arts_13834837']Afterward, Drollinger cheerfully admitted to not feeling quite prepared to meet the demands of her new job. For instance, being on one’s feet at long-winded civic functions isn’t super compatible with the wearing of three-inch stilettos.\u003c/p>\n\u003cp>“I’ll have to rethink my heels,” she said.\u003c/p>\n\u003cp>But the nation’s first ever drag laureate said she’s willing to improvise: “Sometimes you have to lip sync to whatever song gets turned on.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem>Jennifer Vanasco\u003c/em>\u003c/a>\u003cem>. Audio produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez-Sarmiento\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nation%27s+first+%27drag+laureate%27+kicks+off+Pride+in+San+Francisco&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Getting \u003ca href=\"https://www.darcydrollinger.com/\">D’Arcy Drollinger\u003c/a> ready for her first official appearance as San Francisco drag laureate was a production.\u003c/p>\n\u003cp>The artist, night club owner and newly appointed government official stood in the living room of her San Francisco apartment as two helpers grappled with a set of bejeweled, custom-made artificial nails and wedged her into a pair of white patent stilettos and a tight, pink skirt suit. Finally, Drollinger stepped out of the house, and into a very busy schedule.\u003c/p>\n\u003cp>“I am speaking at the San Francisco Arts Commission,” Drollinger said. “I’m also on the same day speaking at the Entertainment Commission. I’m also going to speak at a high school. I’ll be in the parade with the mayor.”\u003c/p>\n\u003cp>The word “laureate” is most often attached to the winner of a Nobel Prize, or a poet whose job it is to mark official occasions in verse. But a “drag laureate” is something new.\u003c/p>\n\u003cfigure id=\"attachment_13930406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-800x600.jpe\" alt=\"A drag queen in a blond wig sits before a stage makeup mirror, lipstick in hand. She is pouting.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8177-6fe6530fb505ac502334efa0bfce0d2a859571d2-scaled-e1686590792900.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger applies lipstick at her apartment in preparation for her inaugural appearance as San Francisco drag laureate. \u003ccite>(Chloe Veltman/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s LGBTQ task-force proposed the creation of the \u003ca href=\"https://sf.gov/drag-laureate-program\">drag laureate position\u003c/a> around three years ago during the darkest days of the COVID-19 pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve been through a really hard time,” said San Francisco Mayor London Breed a few days ahead of the flag-raising ceremony that’s the kick-off to the city’s annual \u003ca href=\"https://sfpride.org/\">Pride celebration\u003c/a>. And so to city officials, a drag laureate seemed to be — if not a cure, at least something of a panacea, thanks to “the creativity, the joy that a drag laureate brings.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Breed said one of Drollinger’s selling points as a candidate for the job, which comes with an 18-month term and $55,000 stipend, was her track record as a spreader of sparkle.\u003c/p>\n\u003cp>The nightclub owner pivoted during lockdown to run a food delivery service — “Meals on Heels” — out of \u003ca href=\"https://www.sfoasis.com/\">Oasis\u003c/a>, the drag club she owns in downtown San Francisco. Performers in drag from Oasis delivered meals and cocktails to local residents, with a side order of curb-side lip-synching.\u003c/p>\n\u003cp>“It brought a lot of love and excitement,” Breed said of Drollinger’s drag performance-infused food delivery service.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oBWRRwJk-jc'\n title='//www.youtube.com/embed/oBWRRwJk-jc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Breed said the recent attacks against drag performers, as well as a \u003ca href=\"https://www.npr.org/2023/02/08/1151731736/at-least-10-state-legislatures-trying-restrict-criminalize-drag-shows\">rise in anti-drag legislation\u003c/a> in different parts of the country, now make the appointment of a drag laureate particularly crucial.\u003c/p>\n\u003cp>“In some of those communities where something like this wouldn’t be considered acceptable behavior, there’s a kid that’s thinking, ‘Oh my goodness: she’s like me. I can be myself without fear,'” Breed said.\u003c/p>\n\u003cp>LGBTQ activists around the country are working to fight a slew of anti-drag laws currently under consideration in various states.\u003c/p>\n\u003cp>“It’s scary right now,” said Kylo Freeman, CEO and founder of \u003ca href=\"https://www.forthem.com/\">For Them\u003c/a>, a trans-owned brand that makes apparel for transgender people, and the force behind “Drag is Divine,” an advertising campaign that aims to raise awareness and funding to help fight anti-drag laws. “The backlash is real.”\u003c/p>\n\u003cfigure id=\"attachment_13930407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930407\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-800x350.jpg\" alt='A drag king and queen recline together in a tropical green space. Next to them is the text: \"So hot they started a culture war for us.\"' width=\"800\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-800x350.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-1020x446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-768x336.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712-1536x672.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/for-them-campaign-poster_custom-e3a730771e0d2f0f7a6a3ba1bc625714e3432712.jpg 1916w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A “Drag is Divine” advertising campaign poster. \u003ccite>(For Them)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Freeman said they’re excited to see local governments highlight drag culture in such a visible way. In West Hollywood, \u003ca href=\"https://www.weho.org/community/arts-and-culture/drag-laureate\">officials plan to appoint a drag laureate\u003c/a> later this month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I think it’s a real step forward to have these roles in place, giving us folks that can speak on behalf of the community at a large scale,” Freeman said.\u003c/p>\n\u003cp>But \u003ca href=\"https://legistar.council.nyc.gov/LegislationDetail.aspx?ID=5656533&GUID=5C982F50-33A6-4C4D-A4C3-1AA2F5CE2754\">plans to create a drag laureate in New York\u003c/a>, where Freeman is based, have stalled. And Freeman said they don’t see similar positions cropping up in parts of the country that are less friendly to LGBTQ people anytime soon.\u003c/p>\n\u003cp>“We are so politicized right now,” Freeman said. “And I think we’ve forgotten that this is just a human rights issue.”\u003c/p>\n\u003cp>At the San Francisco Pride kickoff, Drollinger not only assisted the mayor in the traditional unfurling of the Pride flag outside City Hall — she also posed for photos, dispensed hugs and made her first official speech as drag laureate.\u003c/p>\n\u003cfigure id=\"attachment_13930408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930408\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-800x600.jpe\" alt=\"A drag queen in a pink and white suit stands at a podium and speaks, with a Black woman in a white suit to her right, and a white man in a grey suit to her lift. A series of flag poles are visible lined up behind her.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/img_8204-1976b30214ae7bb4a80a9e172d007c02399ef15e-scaled-e1686591138390.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger delivers her inaugural speech as drag laureate flanked by California State Senator Scott Wiener, left, and San Francisco Mayor London Breed. \u003ccite>(Chloe Veltman/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Drag is many things,” said Drollinger before the crowd of assembled dignitaries and members of the local LGBTQ community. “Drag is art. Drag is activism. Drag is joy. Drag is instrumental to bringing people together. Drag is fabulous.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Afterward, Drollinger cheerfully admitted to not feeling quite prepared to meet the demands of her new job. For instance, being on one’s feet at long-winded civic functions isn’t super compatible with the wearing of three-inch stilettos.\u003c/p>\n\u003cp>“I’ll have to rethink my heels,” she said.\u003c/p>\n\u003cp>But the nation’s first ever drag laureate said she’s willing to improvise: “Sometimes you have to lip sync to whatever song gets turned on.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by \u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem>Jennifer Vanasco\u003c/em>\u003c/a>\u003cem>. Audio produced by \u003c/em>\u003ca href=\"https://www.npr.org/people/766798576/isabella-gomez-sarmiento\">\u003cem>Isabella Gomez-Sarmiento\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nation%27s+first+%27drag+laureate%27+kicks+off+Pride+in+San+Francisco&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "10-jazz-and-classical-performances-to-catch-in-the-bay-area-this-summer",
"title": "10 Jazz and Classical Performances to Catch in the Bay Area This Summer",
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"content": "\u003cp>They say that jazz is best as a cool, late-night experience, and classical concerts are often a nighttime affair. But don’t let that notion get in the way of enjoying the season where both genres hang a little loose, and let their formal suit buttons out. Here’s a solid list of picks for the club, concert hall and outdoor setting this summer.\u003c/p>\n\u003cfigure id=\"attachment_13929696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/AndyBrick.GameOn.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn-768x511.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Video game composer Andy Brock conducts ‘Game On!’ \u003ccite>(Courtesy Andy Brick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.symphonysanjose.org/season/\">Game On!\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 26 and 27\u003cbr>\nSan Jose Center for the Performing Arts\u003c/em>\u003c/p>\n\u003cp>Like trap music or TikTok, video game music is a generational divider: younger people who came of age playing \u003cem>Super Mario Bros.\u003c/em> recognize it as high art, and a certain older generation dismisses it as commercial decoration. While not all video game scores rise to the brilliant level of, say, \u003cem>Final Fantasy VII\u003c/em>, there’s enough craft in the canon at this point that symphonic concerts of video game music have become frequent — and popular. In \u003cem>Game On!\u003c/em>, game composer Andy Brick conducts the San Jose Symphony in an evening of music from titles like \u003cem>World of Warcraft, Diablo, Assassin’s Creed, League of Legends, Until Dawn\u003c/em> and more.\u003c/p>\n\u003cfigure id=\"attachment_13929695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/NavayeAzadiEnsemble-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble.jpg 1280w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Navaye Azadi Ensemble sings of the ‘women, life, freedom’ movement in Iran. \u003ccite>(SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfiaf.org/2023_navaye_azadi\">Navaye Azadi Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 11\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>As inspiring as the \u003ca href=\"https://en.wikipedia.org/wiki/Woman,_Life,_Freedom\">Women, Life, Freedom\u003c/a> movement in Iran may be, it’s important to remember that the opposition of the country’s morality police is strong, deadly, and not waning. To keep the movement in the public eye, and to express the issues of women’s rights and democracy through song, the Navaya Azadi Ensemble sings contemporary texts in Farsi, accompanied by violin and piano. The concert is part of the \u003ca href=\"https://www.sfiaf.org/\">San Francisco International Arts Festival\u003c/a>, itself a cornucopia of socially conscious performances over an 11-day span.\u003c/p>\n\u003cfigure id=\"attachment_13929694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929694\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera.jpg 1600w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guadalupe Paz and Alfredo Daza in the San Diego Opera world premiere of ‘El ultimo sueño de Frida y Diego.’ \u003ccite>(Karli Cadel / San Diego Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">El último sueño de Frida y Diego\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 13–30\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In this summer’s most anticipated new work, the story of Frida Kahlo and Diego Rivera’s rollercoaster romance gets a creative treatment by Boonville-based composer Gabriela Lena Frank and librettist Nilo Cruz. Set three years after Kahlo’s death, and weeks before Rivera’s own, the opera imagines Rivera (Alfredo Daza) pining to see his wife Frida (Daniela Mack) one last time. Since it happens to be Día de los Muertos, his wish becomes an absorbing journey for both of them. With a relatively short run time of just over two hours, consider \u003cem>Frida y Diego\u003c/em> a perfect option for introducing first-timers to the opera.\u003c/p>\n\u003cfigure id=\"attachment_10811128\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10811128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/TerryDavid.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TerryDavid.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TerryDavid-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley with the Kronos Quartet’s David Harrington at the SFJAZZ Center. \u003ccite>(Evan Neff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://kronosquartet.org/kronos-festival-2023/\">Kronos Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 22–24\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Put the classical canon in an air fryer, send it 50 years into the future, and play it at 1.5x speed, and you’d get something close to the atmospheres created by the Kronos Quartet. The Bay Area institution’s annual festival is always thrilling, with guest performers and daring works. This year’s lineup includes pieces by West African singer Angélique Kidjo, Pulitzer winner Henry Threadgill, Bay Area composer Gullermo Galindo, jazz-thrash polyglot Trey Spruance, and even some reliable standbys like Terry Riley (above) and Philip Glass. With Aizuri Quartet, Attacca Quartet and Friction Quartet joining Kronos, check your preconceptions at the door.\u003c/p>\n\u003cfigure id=\"attachment_13929699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/IsaiahCollier.jpg\" alt=\"\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier-768x498.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaiah Collier. \u003ccite>(Tiffany Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/\">Isaiah Collier & the Chosen Few\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 22–25\u003cbr>\nThe Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>If you’ve ever wanted to travel back in time to see John Coltrane recording his landmark album \u003cem>A Love Supreme\u003c/em>, Isaiah Collier & the Chosen Few have a deal for you. For the saxophonist’s 2021 album \u003cem>Cosmic Transitions\u003c/em>, he brought his group to the same recording studio where \u003cem>A Love Supreme\u003c/em> was made, and on John Coltrane’s birthday, no less. This quaint anecdote could have ended there — if the results weren’t so vital and stunning. Live, Collier is always on his game, and in the classic confines of this Tenderloin basement club, his sets are bound to be a transporting experience.\u003c/p>\n\u003cfigure id=\"attachment_13929700\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/WillieColon.jpg\" alt=\"\" width=\"660\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WillieColon.jpg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WillieColon-160x116.jpg 160w\" sizes=\"auto, (max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Willie Colón. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.livenation.com/event/G5vYZ9Pb4EECE/cafe-con-leche-starring-willie-colon\">Willie Colón\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 15\u003cbr>\nShoreline Amphitheater, Mountain View\u003c/em>\u003c/p>\n\u003cp>Willie Colón’s name is near-synonymous with the New York Salsa renaissance of the early 1970s. In a series of underworld-themed albums on the Fania label, the trombonist, vocalist and bandleader worked with Hector Lavoe, Celia Cruz, Ruben Blades and many others. The Latin music legend headlines this package tour with Los Hermanos Rosario, Hector Acosta, Los Hermanos Flores and Fulanito. Pro tip: For a free concert of New York Latin music without the snarled traffic into and out of the parking lot, the Latin soul legend \u003ca href=\"https://ybgfestival.org/event/joe-bataan_la-dona/\">Joe Bataan plays with Mission District favorite La Doña at Yerba Buena Gardens\u003c/a> on the same day, July 15.\u003c/p>\n\u003cfigure id=\"attachment_13929728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Marshall.Allen_-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Allen of the Sun Ra Arkestra performs on stage in the United Kingdom in 2012. \u003ccite>(Gary Wolstenholme/Redferns via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/summer23/sun-ra-arkestra-adventure-into-outer-space/\">Sun Ra Arkestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 20–23\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>The music and mystique of Sun Ra just keep growing, and while Ra himself left this Earth to travel the outer spaceways in 1993, his mission is, thankfully, kept alive by 99-year-old saxophonist and bandleader Marshall Allen. (Note: Allen, 99, is no longer performing on the road with the band, and will not appear at these shows.) Cunningly, the group’s residency is split in half: two nights of Ra’s more borderless, avant-garde music, and two nights of his singular take on big-band swing. Attendees are advised to be ready for a journey — no one who experiences the music of Sun Ra in a live setting leaves unchanged.\u003c/p>\n\u003cfigure id=\"attachment_13929729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Peter.Drake_-800x394.jpg\" alt=\"\" width=\"800\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-800x394.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-768x378.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_.jpg 1015w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tchaikovsky and… Drake?\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/Hackman-Tchaikovsky-X-Drake\">Tchaikovsky x Drake\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 29\u003cbr>\nDavis Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dude, I don’t know either. The classical establishment is always looking for ways to make classical music more enticing to younger people, and this seems to be its latest attempt: a touring production that blends the symphonies of Tchaikovsky with the half-melodic melodies and incel-adjacent bars of the famous Canadian rapper Drake. For a more local spin on this experiment, San Francisco rap icon \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2867\">Andre Nickatina hosts a “reimagining” of his music with a classical ensemble\u003c/a> just one block away from Davies on June 24. Attention, NBA Youngboy and Yo-Yo Ma: your move!\u003c/p>\n\u003cfigure id=\"attachment_13929730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Ahya.Simone-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone.jpg 1298w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ahya Simone. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://operaparallele.org/expansive/\">Expansive: A Showcase of Transgender and Non-Binary Classical Artists\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Aug. 3 and 4\u003cbr>\nStrand Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>San Francisco’s first-of-its-kind Transgender District was founded in 2017, and in 2022, it partnered with Opera Parallèle to celebrate trans and nonbinary classical musicians. The series returns in a year that’s seen increased attacks on trans rights, both in distant state legislatures and on San Francisco’s own streets. Performing this year are singer Katherine Goforth, harpist Ahya Simone (above) and mezzo-soprano Nikola Printz. With host Afrika America, expect poignancy, humor and artistry of high order.\u003c/p>\n\u003cfigure id=\"attachment_13929731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Patrice-Rushen-800x494.jpg\" alt=\"\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen.jpg 1332w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrice Rushen. \u003ccite>(San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 11-13\u003cbr>\nVarious venues, downtown San Jose\u003c/em>\u003c/p>\n\u003cp>It’s remarkably common for small festivals to lose their steam and peter out after a couple years. Rare is the festival, like San Jose Summerfest, that just gets bigger and better each year. This year’s fun comes in the form of headliners like bassist extraordinaire Marcus Miller, experimentalists The Bad Plus, Zambian rock band W.I.T.C.H., soulful vocalist Gregory Porter and jazz phenomenon Veronica Swift. Spread out over central San Jose, the festival offers the sublime opportunity to listen to Patrice Rushen (above) on a Sunday afternoon, laying on a blanket in Plaza de César Chávez. Does summertime get much better?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> \u003c/em>\u003cem>This story previously stated that San Jose Jazz Summer Fest takes place Aug. 3 and 4. The correct dates are Aug. 11-13. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story has also been updated to reflect that Marshall Allen is not performing with the Sun Ra Arkestra in Sam Francisco.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A Frida Kahlo opera, a salsa legend, an afrofuturist big band and, ahem, a mash-up between Tchaikovsky and Drake keep the jazz and classical scene lively this summer.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They say that jazz is best as a cool, late-night experience, and classical concerts are often a nighttime affair. But don’t let that notion get in the way of enjoying the season where both genres hang a little loose, and let their formal suit buttons out. Here’s a solid list of picks for the club, concert hall and outdoor setting this summer.\u003c/p>\n\u003cfigure id=\"attachment_13929696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/AndyBrick.GameOn.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn-768x511.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Video game composer Andy Brock conducts ‘Game On!’ \u003ccite>(Courtesy Andy Brick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.symphonysanjose.org/season/\">Game On!\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 26 and 27\u003cbr>\nSan Jose Center for the Performing Arts\u003c/em>\u003c/p>\n\u003cp>Like trap music or TikTok, video game music is a generational divider: younger people who came of age playing \u003cem>Super Mario Bros.\u003c/em> recognize it as high art, and a certain older generation dismisses it as commercial decoration. While not all video game scores rise to the brilliant level of, say, \u003cem>Final Fantasy VII\u003c/em>, there’s enough craft in the canon at this point that symphonic concerts of video game music have become frequent — and popular. In \u003cem>Game On!\u003c/em>, game composer Andy Brick conducts the San Jose Symphony in an evening of music from titles like \u003cem>World of Warcraft, Diablo, Assassin’s Creed, League of Legends, Until Dawn\u003c/em> and more.\u003c/p>\n\u003cfigure id=\"attachment_13929695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/NavayeAzadiEnsemble-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble.jpg 1280w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Navaye Azadi Ensemble sings of the ‘women, life, freedom’ movement in Iran. \u003ccite>(SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfiaf.org/2023_navaye_azadi\">Navaye Azadi Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 11\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>As inspiring as the \u003ca href=\"https://en.wikipedia.org/wiki/Woman,_Life,_Freedom\">Women, Life, Freedom\u003c/a> movement in Iran may be, it’s important to remember that the opposition of the country’s morality police is strong, deadly, and not waning. To keep the movement in the public eye, and to express the issues of women’s rights and democracy through song, the Navaya Azadi Ensemble sings contemporary texts in Farsi, accompanied by violin and piano. The concert is part of the \u003ca href=\"https://www.sfiaf.org/\">San Francisco International Arts Festival\u003c/a>, itself a cornucopia of socially conscious performances over an 11-day span.\u003c/p>\n\u003cfigure id=\"attachment_13929694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929694\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera.jpg 1600w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guadalupe Paz and Alfredo Daza in the San Diego Opera world premiere of ‘El ultimo sueño de Frida y Diego.’ \u003ccite>(Karli Cadel / San Diego Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">El último sueño de Frida y Diego\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 13–30\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this summer’s most anticipated new work, the story of Frida Kahlo and Diego Rivera’s rollercoaster romance gets a creative treatment by Boonville-based composer Gabriela Lena Frank and librettist Nilo Cruz. Set three years after Kahlo’s death, and weeks before Rivera’s own, the opera imagines Rivera (Alfredo Daza) pining to see his wife Frida (Daniela Mack) one last time. Since it happens to be Día de los Muertos, his wish becomes an absorbing journey for both of them. With a relatively short run time of just over two hours, consider \u003cem>Frida y Diego\u003c/em> a perfect option for introducing first-timers to the opera.\u003c/p>\n\u003cfigure id=\"attachment_10811128\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10811128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/TerryDavid.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TerryDavid.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TerryDavid-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley with the Kronos Quartet’s David Harrington at the SFJAZZ Center. \u003ccite>(Evan Neff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://kronosquartet.org/kronos-festival-2023/\">Kronos Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 22–24\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Put the classical canon in an air fryer, send it 50 years into the future, and play it at 1.5x speed, and you’d get something close to the atmospheres created by the Kronos Quartet. The Bay Area institution’s annual festival is always thrilling, with guest performers and daring works. This year’s lineup includes pieces by West African singer Angélique Kidjo, Pulitzer winner Henry Threadgill, Bay Area composer Gullermo Galindo, jazz-thrash polyglot Trey Spruance, and even some reliable standbys like Terry Riley (above) and Philip Glass. With Aizuri Quartet, Attacca Quartet and Friction Quartet joining Kronos, check your preconceptions at the door.\u003c/p>\n\u003cfigure id=\"attachment_13929699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/IsaiahCollier.jpg\" alt=\"\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier-768x498.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaiah Collier. \u003ccite>(Tiffany Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/\">Isaiah Collier & the Chosen Few\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 22–25\u003cbr>\nThe Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>If you’ve ever wanted to travel back in time to see John Coltrane recording his landmark album \u003cem>A Love Supreme\u003c/em>, Isaiah Collier & the Chosen Few have a deal for you. For the saxophonist’s 2021 album \u003cem>Cosmic Transitions\u003c/em>, he brought his group to the same recording studio where \u003cem>A Love Supreme\u003c/em> was made, and on John Coltrane’s birthday, no less. This quaint anecdote could have ended there — if the results weren’t so vital and stunning. Live, Collier is always on his game, and in the classic confines of this Tenderloin basement club, his sets are bound to be a transporting experience.\u003c/p>\n\u003cfigure id=\"attachment_13929700\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/WillieColon.jpg\" alt=\"\" width=\"660\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WillieColon.jpg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WillieColon-160x116.jpg 160w\" sizes=\"auto, (max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Willie Colón. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.livenation.com/event/G5vYZ9Pb4EECE/cafe-con-leche-starring-willie-colon\">Willie Colón\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 15\u003cbr>\nShoreline Amphitheater, Mountain View\u003c/em>\u003c/p>\n\u003cp>Willie Colón’s name is near-synonymous with the New York Salsa renaissance of the early 1970s. In a series of underworld-themed albums on the Fania label, the trombonist, vocalist and bandleader worked with Hector Lavoe, Celia Cruz, Ruben Blades and many others. The Latin music legend headlines this package tour with Los Hermanos Rosario, Hector Acosta, Los Hermanos Flores and Fulanito. Pro tip: For a free concert of New York Latin music without the snarled traffic into and out of the parking lot, the Latin soul legend \u003ca href=\"https://ybgfestival.org/event/joe-bataan_la-dona/\">Joe Bataan plays with Mission District favorite La Doña at Yerba Buena Gardens\u003c/a> on the same day, July 15.\u003c/p>\n\u003cfigure id=\"attachment_13929728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Marshall.Allen_-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Allen of the Sun Ra Arkestra performs on stage in the United Kingdom in 2012. \u003ccite>(Gary Wolstenholme/Redferns via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/summer23/sun-ra-arkestra-adventure-into-outer-space/\">Sun Ra Arkestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 20–23\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>The music and mystique of Sun Ra just keep growing, and while Ra himself left this Earth to travel the outer spaceways in 1993, his mission is, thankfully, kept alive by 99-year-old saxophonist and bandleader Marshall Allen. (Note: Allen, 99, is no longer performing on the road with the band, and will not appear at these shows.) Cunningly, the group’s residency is split in half: two nights of Ra’s more borderless, avant-garde music, and two nights of his singular take on big-band swing. Attendees are advised to be ready for a journey — no one who experiences the music of Sun Ra in a live setting leaves unchanged.\u003c/p>\n\u003cfigure id=\"attachment_13929729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Peter.Drake_-800x394.jpg\" alt=\"\" width=\"800\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-800x394.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-768x378.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_.jpg 1015w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tchaikovsky and… Drake?\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/Hackman-Tchaikovsky-X-Drake\">Tchaikovsky x Drake\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 29\u003cbr>\nDavis Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dude, I don’t know either. The classical establishment is always looking for ways to make classical music more enticing to younger people, and this seems to be its latest attempt: a touring production that blends the symphonies of Tchaikovsky with the half-melodic melodies and incel-adjacent bars of the famous Canadian rapper Drake. For a more local spin on this experiment, San Francisco rap icon \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2867\">Andre Nickatina hosts a “reimagining” of his music with a classical ensemble\u003c/a> just one block away from Davies on June 24. Attention, NBA Youngboy and Yo-Yo Ma: your move!\u003c/p>\n\u003cfigure id=\"attachment_13929730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Ahya.Simone-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone.jpg 1298w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ahya Simone. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://operaparallele.org/expansive/\">Expansive: A Showcase of Transgender and Non-Binary Classical Artists\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Aug. 3 and 4\u003cbr>\nStrand Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>San Francisco’s first-of-its-kind Transgender District was founded in 2017, and in 2022, it partnered with Opera Parallèle to celebrate trans and nonbinary classical musicians. The series returns in a year that’s seen increased attacks on trans rights, both in distant state legislatures and on San Francisco’s own streets. Performing this year are singer Katherine Goforth, harpist Ahya Simone (above) and mezzo-soprano Nikola Printz. With host Afrika America, expect poignancy, humor and artistry of high order.\u003c/p>\n\u003cfigure id=\"attachment_13929731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Patrice-Rushen-800x494.jpg\" alt=\"\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen.jpg 1332w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrice Rushen. \u003ccite>(San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 11-13\u003cbr>\nVarious venues, downtown San Jose\u003c/em>\u003c/p>\n\u003cp>It’s remarkably common for small festivals to lose their steam and peter out after a couple years. Rare is the festival, like San Jose Summerfest, that just gets bigger and better each year. This year’s fun comes in the form of headliners like bassist extraordinaire Marcus Miller, experimentalists The Bad Plus, Zambian rock band W.I.T.C.H., soulful vocalist Gregory Porter and jazz phenomenon Veronica Swift. Spread out over central San Jose, the festival offers the sublime opportunity to listen to Patrice Rushen (above) on a Sunday afternoon, laying on a blanket in Plaza de César Chávez. Does summertime get much better?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> \u003c/em>\u003cem>This story previously stated that San Jose Jazz Summer Fest takes place Aug. 3 and 4. The correct dates are Aug. 11-13. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has also been updated to reflect that Marshall Allen is not performing with the Sun Ra Arkestra in Sam Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This Summer, a Return of the Return to the Movie Theater",
"headTitle": "This Summer, a Return of the Return to the Movie Theater | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Last year, vaccinated against the virus and reaching escape velocity from the Netflix/Prime Video force field, audiences thronged back to theaters. It wasn’t just teenagers, either: Lobbies and aisles were crammed with adults attracted by the drumbeat of Tom Toms (Cruise in \u003cem>Top Gun: Maverick\u003c/em>, Hanks in \u003cem>Elvis\u003c/em>). \u003c/p>\n\u003cp>Hollywood’s betting even bigger this year that moviegoers want to escape to familiar places with crash-bang sequels of the \u003cem>Spider-Verse\u003c/em>, \u003cem>Transformers\u003c/em>, \u003cem>Mission: Impossible\u003c/em>, \u003cem>Indiana Jones\u003c/em>, \u003cem>Teenage Mutant Ninja Turtles\u003c/em> and \u003cem>Insidious\u003c/em> variety. (Aren’t we lucky these flicks were finished before the writers went on strike!)\u003c/p>\n\u003cp>For escapism with a dash of familiarity, summer screens offer plenty of options.\u003c/p>\n\u003cfigure id=\"attachment_13929558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/invasion-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13929558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion.jpg 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jeff Goldblum and Leonard Nimoy in 1978’s ‘Invasion of the Body Snatchers.’ \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.sfparksalliance.org/event/sundown-cinema-member-seating-invasion-of-the-body-snatchers/e486884\" rel=\"noopener\" target=\"_blank\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various locations, San Francisco\u003cbr>\nJune 8–Oct. 20\u003c/em>\u003cbr>\nSan Francisco’s free annual outdoor series intriguingly matches seven movies you’ve seen (more than once, probably) to seven allusive settings. Get of your hood and head to the Presidio for the military macho of \u003cem>Top Gun: Maverick\u003c/em> (June 30) or to Dolores Park for the ABBA-infused \u003cem>Mamma Mia!\u003c/em> (Aug. 18). Philip Kaufman’s 1978 \u003cem>Invasion of the Body Snatchers\u003c/em> (June 8 at Alamo Square Park), the best film in the lineup and the only one set in San Francisco, reimagines Don Siegel’s 1956 parable of creeping small-town McCarthyism as a terrifying tale of New Age seduction and smug urban “individualism.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1sgct9yCmHk\u003c/p>\n\u003ch2>\u003ca href=\"https://www.magpictures.com/bluejean/\">\u003cem>Blue Jean\u003c/em>\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nGet in gear for Pride Month — if you haven’t already been galvanized by the latest right-wing attacks on LBGTQIA+ folks — with UK writer-director Georgia Oakley’s jangly drama set in the late 1980s. Rosy McEwen plays a lesbian high school P.E. teacher who’s profoundly afraid of being exposed in Thatcher’s England, yet also excited about the love, life and community within her reach. The arrival of a new student upsets Jean’s balancing act.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hXzcyx9V0xw\u003c/p>\n\u003ch2>Elemental\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nVeteran Pixar animator and voice actor Peter Sohn (\u003cem>The Good Dinosaur\u003c/em>) returns to the director’s chair with a fairy tale about diversity, equity and inclusiveness. Think I’m kidding? Fire, water, air and earth residents live together peaceably in the same city, explored by new pals and apparent opposites Ember and Wade. I can’t wait to see Disney’s Florida marketing campaign!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=moiRCJR4ToY\u003c/p>\n\u003ch2>The Blackening\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nThe stabs at humor in summer horror films are typically broader than in their autumn cousins, but that doesn’t mean they skimp on the chills. Tracy Oliver (\u003cem>Harlem\u003c/em>) and Dewayne Perkins’s screenplay, helmed by Tim Story, reunites seven Black college friends for a Juneteenth party at the requisite cabin in the woods with the requisite slasher in the wings. Sacred and not-so-sacred genre conventions are cheerfully skewered, along with a raft of stereotypes and (unhappily) a few cast members. Presumably there are breaks in the banter so the audience can scream, “Don’t open that door!” (For fantastical fun from a different Black perspective, check out East Bay multi-talent Boots Riley’s limited series about a 13-foot-tall Oakland native, \u003cem>I’m a Virgo\u003c/em>, premiering June 23 on Prime Video.)\u003c/p>\n\u003cfigure id=\"attachment_13929555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-800x490.jpg\" alt=\"\" width=\"800\" height=\"490\" class=\"size-medium wp-image-13929555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1020x624.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1536x940.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-2048x1254.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1920x1175.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Catherine Deneuve in a famous scene from Luis Buñuel’s 1967 film ‘Belle de Jour.’ \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/luis-bunuels-magnificent-weapon\" rel=\"noopener\" target=\"_blank\">Luis Buñuel’s Magnificent Weapon\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 7–Nov. 23 at BAMPFA, Berkeley\u003c/em>\u003cbr>\nThe master of delicious perversity for half of the 20th century, Spanish-born filmmaker Luis Buñuel slid his stiletto into the fatty liver of upper-middle-class entitlement, religious hypocrisy and base sexual desire. Shocking for their time and savagely funny, Buñuel’s social satires used dream sequences and flashbacks to fracture narrative expectations. (A lifelong surrealist, his influence extends to David Lynch, Gaspar Noé and the aforementioned Mr. Riley.) BAMPFA’s retrospective begins with the brilliant ’60s and ’70s films — \u003cem>Viridiana\u003c/em>, \u003cem>Diary of a Chambermaid\u003c/em>, \u003cem>Belle de Jour\u003c/em> and \u003cem>The Discreet Charm of the Bourgeoisie\u003c/em> among them — that cemented Buñuel’s reputation and became rep house staples for a subsequent generation.\u003c/p>\n\u003cfigure id=\"attachment_13929550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Dragon-Painter.13-800x556.jpg\" alt=\"A Japanese man and woman get close near a granite boulder.\" width=\"800\" height=\"556\" class=\"size-medium wp-image-13929550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1536x1068.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1920x1335.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13.jpg 1940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sessue Hayakawa and Tsuru Aoki in ‘The Dragon Painter,’ directed by William Worthington and filmed in Yosemite National Park (standing in for Japan), 1919. A restoration of the film screens at this year’s San Francisco Silent Film Festival. \u003ccite>(Courtesy SFSFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://silentfilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Silent Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 12–16 at the Castro Theatre\u003c/em>\u003cbr>\nThe uncertain future of the Castro Theatre provides additional incentive, as if it’s needed, to bask in the movie-palace ambience and movie-love sentiment embodied by the venerable SFSFF. I used to think it was a nostalgia-fest for eccentric movie buffs who yearned for the past — until I attended my first show. Innovative storytelling and cinematography (showcased in flawless 35mm prints) by cinema’s most gifted pioneers is always a revelation, and the live performances of witty scores by great musicians is irresistible. Pick any program and you’re bound to have a blast, but the hot tickets are the three premiering restorations: \u003cem>The Dragon Painter\u003c/em> (1919) starring Sessue Hayakawa with musical accompaniment by the Masaru Koga Ensemble, Joseph De Grasse’s 1924 Texas oil melodrama \u003cem>Flowing Gold\u003c/em> accompanied by Utsav Lal, and the prolific-yet-underrated Allan Dwan’s unknown \u003cem>Padlocked\u003c/em> (1926) accompanied by Stephen Horne.\u003c/p>\n\u003cfigure id=\"attachment_13929551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-800x641.jpg\" alt=\"\" width=\"800\" height=\"641\" class=\"size-medium wp-image-13929551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-1536x1231.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a still from ‘The Catskills,’ Jackie Horner (in blue dress, at left), dances with hotel staff at Grossinger’s Resort. Horner would serve as the real-life inspiration for “Baby” in the 1987 film ‘Dirty Dancing.’ \u003ccite>(Courtesy San Francisco Jewish Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://jfi.org/film-festival\" rel=\"noopener\" target=\"_blank\">San Francisco Jewish Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 20–Aug. 6 at the Castro and Vogue Theaters; also at the Piedmont Theater in Oakland\u003c/em>\u003cbr>\nThe festival has to navigate a challenging tightrope this year, marking Israel’s 75th anniversary even as an extremist right-wing government continues its clampdown on the Palestinians and seeks to constrain Israeli artists. If controversy isn’t your cup of Sanka, the festival offers several nonfiction portraits of American Jewish culture: Lex Gillespie compiles an oral history of \u003cem>The Catskills\u003c/em>, octogenarian filmmaker Ralph Arlyck disarmingly confronts aging in \u003cem>I Like It Here\u003c/em> and Ruth Reichl embarks on a cross-country odyssey among local farmers, ranchers and chefs in Laura Gabbert’s \u003cem>Food and Country\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DmNDddKcA2s\u003c/p>\n\u003ch2>\u003ca href=\"https://www.barbie-themovie.com/\">Barbie\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Comes Out July 21 \u003c/em>\u003cbr>\nGreta Gerwig’s ambitious (and possibly misguided) satire of conformity and consumerism looks like no other movie this year. Barbie (Margot Robbie) and Ken (Ryan Gosling) live their plastic existence in a cloying candy-cane dollhouse world that will either set your teeth on edge or propel you on a pastel journey for the perfect summer outfit. Will Gerwig (and co-writer and \u003cem>White Noise\u003c/em> director Noah Baumbach) eviscerate gender roles and heterosexual anxieties with laugh-out-loud precision? Or will Mattel and Warner Bros. experience buyers’ remorse for this alt-world swan dive into product placement?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uYPbbksJxIg\u003c/p>\n\u003ch2>\u003ca href=\"https://www.oppenheimermovie.com/\">Oppenheimer\u003c/a>\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Comes Out July 21 \u003c/em>\u003cbr>\nChristopher Nolan fancies himself a craftier Kubrick and a smarter Spielberg, an inventor of fantastic worlds (\u003cem>Inception\u003c/em>, \u003cem>Interstellar\u003c/em>, \u003cem>Tenet\u003c/em>) for adults that spin the turnstiles and spark conversations. This three-hour (!) recapitulation of the Manhattan Project, the nuclear-bomb program headed by theoretical physicist J. Robert Oppenheimer (Cillian Murphy) during World War II to defeat the Nazis, employs Nolan’s tried-and-tired formula of nonlinear story structure, gargantuan set pieces and melodramatic acting. \u003cem>A Compassionate Spy\u003c/em> (August 4) provides a nonfiction bookend: Steve James presents the perspective of young Manhattan Project physicist Ted Hall, whose concern about the U.S.’s exclusive ownership of nuclear weapons led him to pass information to the Soviet Union. Summer apocalypse, anyone?\u003c/p>\n\n",
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"excerpt": "Our Bay Area summer movie guide has festivals, outdoor screenings, big-budget blockbusters—and no sequels!",
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"subhead": "Dodge the deluge of sequels with a blockbuster with a brain, a festival or a retrospective.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Last year, vaccinated against the virus and reaching escape velocity from the Netflix/Prime Video force field, audiences thronged back to theaters. It wasn’t just teenagers, either: Lobbies and aisles were crammed with adults attracted by the drumbeat of Tom Toms (Cruise in \u003cem>Top Gun: Maverick\u003c/em>, Hanks in \u003cem>Elvis\u003c/em>). \u003c/p>\n\u003cp>Hollywood’s betting even bigger this year that moviegoers want to escape to familiar places with crash-bang sequels of the \u003cem>Spider-Verse\u003c/em>, \u003cem>Transformers\u003c/em>, \u003cem>Mission: Impossible\u003c/em>, \u003cem>Indiana Jones\u003c/em>, \u003cem>Teenage Mutant Ninja Turtles\u003c/em> and \u003cem>Insidious\u003c/em> variety. (Aren’t we lucky these flicks were finished before the writers went on strike!)\u003c/p>\n\u003cp>For escapism with a dash of familiarity, summer screens offer plenty of options.\u003c/p>\n\u003cfigure id=\"attachment_13929558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/invasion-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13929558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/invasion.jpg 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jeff Goldblum and Leonard Nimoy in 1978’s ‘Invasion of the Body Snatchers.’ \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.sfparksalliance.org/event/sundown-cinema-member-seating-invasion-of-the-body-snatchers/e486884\" rel=\"noopener\" target=\"_blank\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various locations, San Francisco\u003cbr>\nJune 8–Oct. 20\u003c/em>\u003cbr>\nSan Francisco’s free annual outdoor series intriguingly matches seven movies you’ve seen (more than once, probably) to seven allusive settings. Get of your hood and head to the Presidio for the military macho of \u003cem>Top Gun: Maverick\u003c/em> (June 30) or to Dolores Park for the ABBA-infused \u003cem>Mamma Mia!\u003c/em> (Aug. 18). Philip Kaufman’s 1978 \u003cem>Invasion of the Body Snatchers\u003c/em> (June 8 at Alamo Square Park), the best film in the lineup and the only one set in San Francisco, reimagines Don Siegel’s 1956 parable of creeping small-town McCarthyism as a terrifying tale of New Age seduction and smug urban “individualism.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1sgct9yCmHk'\n title='//www.youtube.com/embed/1sgct9yCmHk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.magpictures.com/bluejean/\">\u003cem>Blue Jean\u003c/em>\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nGet in gear for Pride Month — if you haven’t already been galvanized by the latest right-wing attacks on LBGTQIA+ folks — with UK writer-director Georgia Oakley’s jangly drama set in the late 1980s. Rosy McEwen plays a lesbian high school P.E. teacher who’s profoundly afraid of being exposed in Thatcher’s England, yet also excited about the love, life and community within her reach. The arrival of a new student upsets Jean’s balancing act.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hXzcyx9V0xw'\n title='//www.youtube.com/embed/hXzcyx9V0xw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Elemental\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nVeteran Pixar animator and voice actor Peter Sohn (\u003cem>The Good Dinosaur\u003c/em>) returns to the director’s chair with a fairy tale about diversity, equity and inclusiveness. Think I’m kidding? Fire, water, air and earth residents live together peaceably in the same city, explored by new pals and apparent opposites Ember and Wade. I can’t wait to see Disney’s Florida marketing campaign!\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/moiRCJR4ToY'\n title='//www.youtube.com/embed/moiRCJR4ToY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Blackening\u003c/h2>\n\u003cp>\u003cem>Comes Out June 16\u003c/em>\u003cbr>\nThe stabs at humor in summer horror films are typically broader than in their autumn cousins, but that doesn’t mean they skimp on the chills. Tracy Oliver (\u003cem>Harlem\u003c/em>) and Dewayne Perkins’s screenplay, helmed by Tim Story, reunites seven Black college friends for a Juneteenth party at the requisite cabin in the woods with the requisite slasher in the wings. Sacred and not-so-sacred genre conventions are cheerfully skewered, along with a raft of stereotypes and (unhappily) a few cast members. Presumably there are breaks in the banter so the audience can scream, “Don’t open that door!” (For fantastical fun from a different Black perspective, check out East Bay multi-talent Boots Riley’s limited series about a 13-foot-tall Oakland native, \u003cem>I’m a Virgo\u003c/em>, premiering June 23 on Prime Video.)\u003c/p>\n\u003cfigure id=\"attachment_13929555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-800x490.jpg\" alt=\"\" width=\"800\" height=\"490\" class=\"size-medium wp-image-13929555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-800x490.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1020x624.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1536x940.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-2048x1254.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Bunuel_Belle-de-Jour_033-1920x1175.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Catherine Deneuve in a famous scene from Luis Buñuel’s 1967 film ‘Belle de Jour.’ \u003ccite>(Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://bampfa.org/program/luis-bunuels-magnificent-weapon\" rel=\"noopener\" target=\"_blank\">Luis Buñuel’s Magnificent Weapon\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 7–Nov. 23 at BAMPFA, Berkeley\u003c/em>\u003cbr>\nThe master of delicious perversity for half of the 20th century, Spanish-born filmmaker Luis Buñuel slid his stiletto into the fatty liver of upper-middle-class entitlement, religious hypocrisy and base sexual desire. Shocking for their time and savagely funny, Buñuel’s social satires used dream sequences and flashbacks to fracture narrative expectations. (A lifelong surrealist, his influence extends to David Lynch, Gaspar Noé and the aforementioned Mr. Riley.) BAMPFA’s retrospective begins with the brilliant ’60s and ’70s films — \u003cem>Viridiana\u003c/em>, \u003cem>Diary of a Chambermaid\u003c/em>, \u003cem>Belle de Jour\u003c/em> and \u003cem>The Discreet Charm of the Bourgeoisie\u003c/em> among them — that cemented Buñuel’s reputation and became rep house staples for a subsequent generation.\u003c/p>\n\u003cfigure id=\"attachment_13929550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Dragon-Painter.13-800x556.jpg\" alt=\"A Japanese man and woman get close near a granite boulder.\" width=\"800\" height=\"556\" class=\"size-medium wp-image-13929550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1536x1068.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13-1920x1335.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Dragon-Painter.13.jpg 1940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sessue Hayakawa and Tsuru Aoki in ‘The Dragon Painter,’ directed by William Worthington and filmed in Yosemite National Park (standing in for Japan), 1919. A restoration of the film screens at this year’s San Francisco Silent Film Festival. \u003ccite>(Courtesy SFSFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://silentfilm.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Silent Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 12–16 at the Castro Theatre\u003c/em>\u003cbr>\nThe uncertain future of the Castro Theatre provides additional incentive, as if it’s needed, to bask in the movie-palace ambience and movie-love sentiment embodied by the venerable SFSFF. I used to think it was a nostalgia-fest for eccentric movie buffs who yearned for the past — until I attended my first show. Innovative storytelling and cinematography (showcased in flawless 35mm prints) by cinema’s most gifted pioneers is always a revelation, and the live performances of witty scores by great musicians is irresistible. Pick any program and you’re bound to have a blast, but the hot tickets are the three premiering restorations: \u003cem>The Dragon Painter\u003c/em> (1919) starring Sessue Hayakawa with musical accompaniment by the Masaru Koga Ensemble, Joseph De Grasse’s 1924 Texas oil melodrama \u003cem>Flowing Gold\u003c/em> accompanied by Utsav Lal, and the prolific-yet-underrated Allan Dwan’s unknown \u003cem>Padlocked\u003c/em> (1926) accompanied by Stephen Horne.\u003c/p>\n\u003cfigure id=\"attachment_13929551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-800x641.jpg\" alt=\"\" width=\"800\" height=\"641\" class=\"size-medium wp-image-13929551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner-1536x1231.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/JackieHornerGrossingersdanceteacherLwomaninbluewithhoteldancestaffCREDITJackieHorner.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a still from ‘The Catskills,’ Jackie Horner (in blue dress, at left), dances with hotel staff at Grossinger’s Resort. Horner would serve as the real-life inspiration for “Baby” in the 1987 film ‘Dirty Dancing.’ \u003ccite>(Courtesy San Francisco Jewish Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://jfi.org/film-festival\" rel=\"noopener\" target=\"_blank\">San Francisco Jewish Film Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 20–Aug. 6 at the Castro and Vogue Theaters; also at the Piedmont Theater in Oakland\u003c/em>\u003cbr>\nThe festival has to navigate a challenging tightrope this year, marking Israel’s 75th anniversary even as an extremist right-wing government continues its clampdown on the Palestinians and seeks to constrain Israeli artists. If controversy isn’t your cup of Sanka, the festival offers several nonfiction portraits of American Jewish culture: Lex Gillespie compiles an oral history of \u003cem>The Catskills\u003c/em>, octogenarian filmmaker Ralph Arlyck disarmingly confronts aging in \u003cem>I Like It Here\u003c/em> and Ruth Reichl embarks on a cross-country odyssey among local farmers, ranchers and chefs in Laura Gabbert’s \u003cem>Food and Country\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DmNDddKcA2s'\n title='//www.youtube.com/embed/DmNDddKcA2s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.barbie-themovie.com/\">Barbie\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Comes Out July 21 \u003c/em>\u003cbr>\nGreta Gerwig’s ambitious (and possibly misguided) satire of conformity and consumerism looks like no other movie this year. 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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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