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"title": "Five Years After His Death, The Jacka's Collaborators Remember His Complex Legacy",
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"content": "\u003cp>In the weeks before his untimely passing in 2015, the Jacka was in a fluid, focused creative mode that his longtime collaborator RobLo can only describe as “God flow.”\u003c/p>\n\u003cp>“Whatever Jack went through that day prior to his session with me, he lived that life and put it in his lyrics that day,” says the producer. “As fast as I came up with the music on the spot, he wanted to deliver the lyrics. We called that real-time writing. … I wanted him to express his feelings on the mic without having to use a pen.” [aside postid='arts_13874104']\u003c/p>\n\u003cp>Just days before the Jacka’s life was taken in an East Oakland shooting on Feb. 2 of that year, he, RobLo and another of the Jacka’s longtime collaborators, Husalah, had made a music video in Oakland for a new track called “Sink Deep Into It” with Houston rap legend Paul Wall. Over celestial synths that shine like sunbeams through the bass-heavy beat, the Jacka raps about his life’s suffocating pressures in half-whispered bars. The track is emblematic of the pensive style that made him one of the Bay Area’s most beloved lyricists.\u003c/p>\n\u003cp>The Jacka is most closely associated with Bay Area mobb music, a street rap movement that percolated in the late ’80s and early ’90s as gangster rap took off in Los Angeles. In the late ’90s, the Jacka was a young artist picking up the mantle, and he joined the group Mob Figaz under the mentorship of Sacramento’s C-Bo, a pioneering gangster rapper who had collaborated with Tupac on the album \u003cem> All Eyez on Me\u003c/em>.\u003c/p>\n\u003cp>In the West Coast street rap scene, the Jacka stood out. He didn’t have a flamboyant persona like the Bay Area’s elder statesmen, E-40 and Too $hort; nor was his flow aggressive or gravelly like peers Keak Da Sneak and J. Stalin. Instead, with a melancholic timbre and lush, heartrending instrumentals, his music made space for sadness amid realist dispatches from the East Bay’s criminal underworld. With his lyrics, he embraced life’s gray areas, and gave voice to the moral quandaries in which he found himself while trying to follow a spiritual path and also do what it took to survive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/43i2pc9pJa8\u003c/p>\n\u003ch2>An Unreleased ‘Full Body of Work’\u003c/h2>\n\u003cp>“He wanted touch people [who were] like him,” says the Jacka’s longtime manager, PK. PK became part of the rapper’s inner circle when the two met as teenagers. The Jacka used to cut PK’s hair, and they maintained a close relationship until the Jacka’s last days.\u003c/p>\n\u003cp>“Those are people who are in the struggle,” PK continues. “Those are people who are lost. Those are people who don’t know who they are, where they come from, don’t have money, haven’t figured it out, are in jail, are in the streets, are in a life of crime, don’t know their mother, don’t know their father, weren’t raised in a proper home. … All that. He had a lot of experiences of those things.”\u003c/p>\n\u003cp>Since the Jacka’s death, PK has spent the past five years collecting unreleased tracks he recorded at studios in Oakland, Richmond, Seattle and Miami. He’s spent countless hours listening to the music, hammering out details with the Jacka’s numerous collaborators and making executive decisions based on the many days he spent by the Jacka’s side as an executive producer and A&R consultant. The culmination is a long-awaited forthcoming album called \u003cem>Murder Weapon\u003c/em>.\u003c/p>\n\u003cp>“It’s as close to what I could present to the world as something he would’ve done,” says PK, adding that he helped the Jacka choose beats and features for career-defining albums like 2005’s \u003cem>The Jack Artist\u003c/em> and 2009’s \u003cem>Tear Gas\u003c/em>. “I had to add some features, or some of the beats were a little messed up and they had to be finished or polished up. … This was a full body of work from him that’s like, this is how he would’ve wanted it to be.”\u003c/p>\n\u003cp>\u003cem>Murder Weapon \u003c/em>includes features from rap heavyweights like Freddie Gibbs, Paul Wall and Currensy, along with the Jacka’s longtime East Bay collaborators Husalah, Fed-X, Rydah J. Klyde, Dubb 20 and Street Knowledge, among others. Infused with the Jacka’s Muslim spiritual beliefs and political consciousness, at times the album feels eerily prophetic: on one track, he muses, “I won’t be here forever, better cherish me.”\u003c/p>\n\u003cp>The songs on \u003cem>Murder Weapon\u003c/em> shed light on the Jacka’s mental state in the years before his death, when he became increasingly interested in esoteric knowledge that sometimes bordered on conspiratorial thinking. He’d spend hours each day on YouTube, PK recalls, watching documentaries about aliens and ancient civilizations.\u003c/p>\n\u003cp>“He’s in a room, he has a bunch of people over, he’s on YouTube, he’s playing stuff, everyone’s entertained by it,” PK says, describing a typical scene. “But what’s going on in his head is he’s downloading and learning and downloading and learning, practicing. … It’s content for raps and for life.”\u003c/p>\n\u003cfigure id=\"attachment_13874186\" class=\"wp-caption aligncenter\" style=\"max-width: 747px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/the-jacka-roblo2.jpg\" alt=\"The Jacka with producer RobLo circa 2010.\" width=\"747\" height=\"687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/the-jacka-roblo2.jpg 747w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/the-jacka-roblo2-160x147.jpg 160w\" sizes=\"(max-width: 747px) 100vw, 747px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka with producer RobLo, circa 2010. \u003ccite>(Courtesy of RobLo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Forging a Brotherhood\u003c/h2>\n\u003cp>The Jacka was known as a street rapper first and foremost, yet his voraciousness for new information guided his creative process in expansive directions. One of his last albums, 2014’s \u003ca href=\"https://soundcloud.com/project-groundation/sets/the-jacka-what-happened-to-the-world-street-album-mixed-by-dj-child\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>What Happened to the World\u003c/em>\u003c/a>, features soundbites from news clips about Occupy Oakland and the police killing of Oscar Grant.\u003c/p>\n\u003cp>“A lot of the later music is jewels, and that’s why people loved Jack,” says Husalah. “It was knowledge, it was wisdom and understanding. It was every different type of upliftment for the people, because once you’re a street person you can’t abandon that. … In Islam it’s called giving \u003cem>Dawah\u003c/em>, or teaching.”\u003c/p>\n\u003cp>Husalah met the Jacka when the two were young teens in Pittsburg, the Contra Costa County suburb 30 miles east of Oakland. Husalah grew up in Pittsburg’s El Pueblo projects. The Jacka, whose parents were only 14 years old when he was born in Arizona, spent his early years moving between Los Angeles, Stockton, Oakland and Richmond. By the end of his middle school years, his family settled down in Pittsburg, a town that to this day claims him as one of its biggest cultural icons.\u003c/p>\n\u003cp>The Jacka and Husalah clicked instantly over their shared love of sports and music, and their friendship always had an element of brotherly competition. They followed similar paths: both practiced Islam, and both got involved in illegal street activities from a young age. Starting in middle school, they began recording their first raps at RobLo’s house, where they had access to professional equipment because RobLo’s father worked in the music industry.\u003c/p>\n\u003cp>“We developed a friendship, a brotherhood,” Husalah says. “Through each stage of life, we found ourselves around each other.”\u003c/p>\n\u003cfigure id=\"attachment_13874185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/husalah-pk-street-knowledge-800x533.jpg\" alt=\"The Jacka's longtime collaborators Husalah (left) and Street Knowledge (center) with his manager, PK (right).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) The Jacka’s longtime collaborators Husalah and Street Knowledge, and his manager, PK. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An Expansive Creative Vision\u003c/h2>\n\u003cp>The Jacka and Husalah idolized C-Bo and Tupac, but their influences came from other unexpected places: they loved reggae and dancehall, and studied tapes by Sizzla and Yellowman. British trip-hop band Portishead was in heavy rotation, and, surprisingly, the Jacka was a big fan of pop-punk teen idol Avril Lavigne, Husalah remembers.\u003c/p>\n\u003cp>“We thought more on a broad perspective as far as creating and being dope,” Husalah says. “It led us to so many different genres of music and understanding how dope people were in different cultures.”\u003c/p>\n\u003cp>Along with Husalah and the Jacka, Mob Figaz also included FedX, Rydah J. Klyde and AP.9. After the release of \u003cem>C-Bo’s Mob Figaz\u003c/em> in 1999, the crew never officially split. But momentum slowed on their work as a unit because someone in the group would always be in some kind of legal trouble, Husalah recalls, including the Jacka, who spent time behind bars prior to the debut album’s release.\u003c/p>\n\u003cp>Meanwhile, C-Bo was arrested for parole violations \u003ca href=\"http://www.mtv.com/news/3531/rapper-c-bo-claims-first-amendment-victory/\" target=\"_blank\" rel=\"noopener noreferrer\">because of lyrics\u003c/a> from his 1998 album \u003cem>Til My Casket Drops\u003c/em>, prompting outcries from civil rights groups and free speech advocates. Following the 2 Live Crew’s \u003ca href=\"https://www.nytimes.com/1990/10/17/us/obscenity-or-art-trial-on-rap-lyrics-opens.html\" target=\"_blank\" rel=\"noopener noreferrer\">obscenity trial\u003c/a> and Newt Gingrich’s \u003ca href=\"https://www.spin.com/2013/08/the-worst-moments-of-the-90s-worst-band-names-worst-lyrics-worst-video/130809-worst-of-the-90s-c-delores/\" target=\"_blank\" rel=\"noopener noreferrer\">campaign\u003c/a> to pull advertising from hip-hop radio stations, the ordeal was just one of the many ways rap was politicized and censored in the ’90s.\u003c/p>\n\u003cp>As solo artists, the members of Mob Figaz remained close collaborators, and the Jacka and Husalah’s friendship endured when Husalah went to prison for drug trafficking between 2005 and 2009. “He took the music when I was in prison to a level I never realized,” Husalah says, recalling that he was released around the time that the Jacka’s biggest commercial hit, “Glamorous Lifestyle,” was in heavy rotation on the radio.\u003c/p>\n\u003cp>When Husalah came home, the Jacka brought him back into the fold. “We never really relied on music as our income, we didn’t do music for money,” he says. “But when I went to prison, he made it lucrative.”\u003c/p>\n\u003cp>https://youtu.be/bPbgNHDpgAY\u003c/p>\n\u003ch2>Passing Down the Wisdom\u003c/h2>\n\u003cp>The Jacka’s mainstream buzz quieted down in the years after \u003cem>Tear Gas\u003c/em>, but in the last years of his life, he continued to feed music to his loyal followings in the Bay Area and other regional markets with appreciations for underground rap. In addition to spending a lot of time recording in Seattle, he put out a joint album with Pennsylvania rapper Freeway, \u003cem>Highway Robbery\u003c/em>, and recorded \u003cem>Devilz Rejectz 3\u003c/em> with Akron, Ohio’s Ampichino. (\u003cem>Devilz Rejectz 3\u003c/em> came out posthumously, in 2018).\u003c/p>\n\u003cp>Known for his quiet, tough and generous personality, the Jacka spent his later years mentoring many aspiring rappers. Oakland artist Street Knowledge, who was just starting his music career in the late 2000s, remembers living at the Jacka’s house in Oakland with at least 10 other guys. The house was like a training ground to see who was serious enough to sign to the Jacka’s label, The Artist Records. “He was everybody’s mentor, not just me,” Street Knowledge says, adding that few rappers made the cut. “It’s just a matter of if you was gonna listen to him. He would tell you a bunch of shit you don’t wanna hear, but you need to.”\u003c/p>\n\u003cp>Yet there were times when the Jacka became frustrated with his career. In 2014, after the release of \u003cem>What Happened to the World\u003c/em>, \u003ca href=\"https://pitchfork.com/reviews/albums/20045-what-happened-to-the-world/\" target=\"_blank\" rel=\"noopener noreferrer\">Pitchfork\u003c/a> called the Jacka “one of the decade’s strongest writers—both within and outside of hip-hop.” But PK remembers him feeling like he hit a ceiling within the industry.\u003c/p>\n\u003cp>“He put out really good music and he gave his all. And when I say his all, I don’t just mean the energy with creating the records, but the sacrifices with his family, whether it was his kids, his mother, his sister, just not being around,” PK says. “Or himself—sacrificing himself and not doing certain things.”\u003c/p>\n\u003cfigure id=\"attachment_13854053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/04/13-800x771.png\" alt=\"The Jacka and Nipsey, both on stage in Heaven now\" width=\"800\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-800x771.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-160x154.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-768x741.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-1020x984.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13.png 1091w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka and Nipsey Hussle perform at the New Parish in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then there were the Jacka’s struggles with addiction. He had kicked a heroin habit he acquired as a teenager, but towards the end of his life, he became a regular user of lean, or the opioid codeine. “I know those things had a pretty serious grip on him,” PK says, adding that the Jacka didn’t open up to him about it much. “He had a very strong personality. He wasn’t the one to really ask for a lot of help.”\u003c/p>\n\u003cp>Still, despite his personal battles, the Jacka remained an inspiration and a mentor to many. RobLo thinks of him as a spiritual leader. “He got me and my friends, I mean all 20 of us, to go hop in the van and go to the mosque,” he recalls. “A friend that gets you closer to God is a friend worth having.”\u003c/p>\n\u003cp>To this day, the Jacka’s murder remains unsolved. But through the artists he inspired and the music that he made, his presence continues to be deeply felt in the Bay Area and beyond.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We’re keeping it lit for him,” Husalah says, “living in his example.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just days before the Jacka’s life was taken in an East Oakland shooting on Feb. 2 of that year, he, RobLo and another of the Jacka’s longtime collaborators, Husalah, had made a music video in Oakland for a new track called “Sink Deep Into It” with Houston rap legend Paul Wall. Over celestial synths that shine like sunbeams through the bass-heavy beat, the Jacka raps about his life’s suffocating pressures in half-whispered bars. The track is emblematic of the pensive style that made him one of the Bay Area’s most beloved lyricists.\u003c/p>\n\u003cp>The Jacka is most closely associated with Bay Area mobb music, a street rap movement that percolated in the late ’80s and early ’90s as gangster rap took off in Los Angeles. In the late ’90s, the Jacka was a young artist picking up the mantle, and he joined the group Mob Figaz under the mentorship of Sacramento’s C-Bo, a pioneering gangster rapper who had collaborated with Tupac on the album \u003cem> All Eyez on Me\u003c/em>.\u003c/p>\n\u003cp>In the West Coast street rap scene, the Jacka stood out. He didn’t have a flamboyant persona like the Bay Area’s elder statesmen, E-40 and Too $hort; nor was his flow aggressive or gravelly like peers Keak Da Sneak and J. Stalin. Instead, with a melancholic timbre and lush, heartrending instrumentals, his music made space for sadness amid realist dispatches from the East Bay’s criminal underworld. With his lyrics, he embraced life’s gray areas, and gave voice to the moral quandaries in which he found himself while trying to follow a spiritual path and also do what it took to survive.\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/43i2pc9pJa8'\n title='//www.youtube.com/embed/43i2pc9pJa8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>An Unreleased ‘Full Body of Work’\u003c/h2>\n\u003cp>“He wanted touch people [who were] like him,” says the Jacka’s longtime manager, PK. PK became part of the rapper’s inner circle when the two met as teenagers. The Jacka used to cut PK’s hair, and they maintained a close relationship until the Jacka’s last days.\u003c/p>\n\u003cp>“Those are people who are in the struggle,” PK continues. “Those are people who are lost. Those are people who don’t know who they are, where they come from, don’t have money, haven’t figured it out, are in jail, are in the streets, are in a life of crime, don’t know their mother, don’t know their father, weren’t raised in a proper home. … All that. He had a lot of experiences of those things.”\u003c/p>\n\u003cp>Since the Jacka’s death, PK has spent the past five years collecting unreleased tracks he recorded at studios in Oakland, Richmond, Seattle and Miami. He’s spent countless hours listening to the music, hammering out details with the Jacka’s numerous collaborators and making executive decisions based on the many days he spent by the Jacka’s side as an executive producer and A&R consultant. The culmination is a long-awaited forthcoming album called \u003cem>Murder Weapon\u003c/em>.\u003c/p>\n\u003cp>“It’s as close to what I could present to the world as something he would’ve done,” says PK, adding that he helped the Jacka choose beats and features for career-defining albums like 2005’s \u003cem>The Jack Artist\u003c/em> and 2009’s \u003cem>Tear Gas\u003c/em>. “I had to add some features, or some of the beats were a little messed up and they had to be finished or polished up. … This was a full body of work from him that’s like, this is how he would’ve wanted it to be.”\u003c/p>\n\u003cp>\u003cem>Murder Weapon \u003c/em>includes features from rap heavyweights like Freddie Gibbs, Paul Wall and Currensy, along with the Jacka’s longtime East Bay collaborators Husalah, Fed-X, Rydah J. Klyde, Dubb 20 and Street Knowledge, among others. Infused with the Jacka’s Muslim spiritual beliefs and political consciousness, at times the album feels eerily prophetic: on one track, he muses, “I won’t be here forever, better cherish me.”\u003c/p>\n\u003cp>The songs on \u003cem>Murder Weapon\u003c/em> shed light on the Jacka’s mental state in the years before his death, when he became increasingly interested in esoteric knowledge that sometimes bordered on conspiratorial thinking. He’d spend hours each day on YouTube, PK recalls, watching documentaries about aliens and ancient civilizations.\u003c/p>\n\u003cp>“He’s in a room, he has a bunch of people over, he’s on YouTube, he’s playing stuff, everyone’s entertained by it,” PK says, describing a typical scene. “But what’s going on in his head is he’s downloading and learning and downloading and learning, practicing. … It’s content for raps and for life.”\u003c/p>\n\u003cfigure id=\"attachment_13874186\" class=\"wp-caption aligncenter\" style=\"max-width: 747px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/the-jacka-roblo2.jpg\" alt=\"The Jacka with producer RobLo circa 2010.\" width=\"747\" height=\"687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/the-jacka-roblo2.jpg 747w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/the-jacka-roblo2-160x147.jpg 160w\" sizes=\"(max-width: 747px) 100vw, 747px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka with producer RobLo, circa 2010. \u003ccite>(Courtesy of RobLo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Forging a Brotherhood\u003c/h2>\n\u003cp>The Jacka was known as a street rapper first and foremost, yet his voraciousness for new information guided his creative process in expansive directions. One of his last albums, 2014’s \u003ca href=\"https://soundcloud.com/project-groundation/sets/the-jacka-what-happened-to-the-world-street-album-mixed-by-dj-child\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>What Happened to the World\u003c/em>\u003c/a>, features soundbites from news clips about Occupy Oakland and the police killing of Oscar Grant.\u003c/p>\n\u003cp>“A lot of the later music is jewels, and that’s why people loved Jack,” says Husalah. “It was knowledge, it was wisdom and understanding. It was every different type of upliftment for the people, because once you’re a street person you can’t abandon that. … In Islam it’s called giving \u003cem>Dawah\u003c/em>, or teaching.”\u003c/p>\n\u003cp>Husalah met the Jacka when the two were young teens in Pittsburg, the Contra Costa County suburb 30 miles east of Oakland. Husalah grew up in Pittsburg’s El Pueblo projects. The Jacka, whose parents were only 14 years old when he was born in Arizona, spent his early years moving between Los Angeles, Stockton, Oakland and Richmond. By the end of his middle school years, his family settled down in Pittsburg, a town that to this day claims him as one of its biggest cultural icons.\u003c/p>\n\u003cp>The Jacka and Husalah clicked instantly over their shared love of sports and music, and their friendship always had an element of brotherly competition. They followed similar paths: both practiced Islam, and both got involved in illegal street activities from a young age. Starting in middle school, they began recording their first raps at RobLo’s house, where they had access to professional equipment because RobLo’s father worked in the music industry.\u003c/p>\n\u003cp>“We developed a friendship, a brotherhood,” Husalah says. “Through each stage of life, we found ourselves around each other.”\u003c/p>\n\u003cfigure id=\"attachment_13874185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/husalah-pk-street-knowledge-800x533.jpg\" alt=\"The Jacka's longtime collaborators Husalah (left) and Street Knowledge (center) with his manager, PK (right).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) The Jacka’s longtime collaborators Husalah and Street Knowledge, and his manager, PK. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An Expansive Creative Vision\u003c/h2>\n\u003cp>The Jacka and Husalah idolized C-Bo and Tupac, but their influences came from other unexpected places: they loved reggae and dancehall, and studied tapes by Sizzla and Yellowman. British trip-hop band Portishead was in heavy rotation, and, surprisingly, the Jacka was a big fan of pop-punk teen idol Avril Lavigne, Husalah remembers.\u003c/p>\n\u003cp>“We thought more on a broad perspective as far as creating and being dope,” Husalah says. “It led us to so many different genres of music and understanding how dope people were in different cultures.”\u003c/p>\n\u003cp>Along with Husalah and the Jacka, Mob Figaz also included FedX, Rydah J. Klyde and AP.9. After the release of \u003cem>C-Bo’s Mob Figaz\u003c/em> in 1999, the crew never officially split. But momentum slowed on their work as a unit because someone in the group would always be in some kind of legal trouble, Husalah recalls, including the Jacka, who spent time behind bars prior to the debut album’s release.\u003c/p>\n\u003cp>Meanwhile, C-Bo was arrested for parole violations \u003ca href=\"http://www.mtv.com/news/3531/rapper-c-bo-claims-first-amendment-victory/\" target=\"_blank\" rel=\"noopener noreferrer\">because of lyrics\u003c/a> from his 1998 album \u003cem>Til My Casket Drops\u003c/em>, prompting outcries from civil rights groups and free speech advocates. Following the 2 Live Crew’s \u003ca href=\"https://www.nytimes.com/1990/10/17/us/obscenity-or-art-trial-on-rap-lyrics-opens.html\" target=\"_blank\" rel=\"noopener noreferrer\">obscenity trial\u003c/a> and Newt Gingrich’s \u003ca href=\"https://www.spin.com/2013/08/the-worst-moments-of-the-90s-worst-band-names-worst-lyrics-worst-video/130809-worst-of-the-90s-c-delores/\" target=\"_blank\" rel=\"noopener noreferrer\">campaign\u003c/a> to pull advertising from hip-hop radio stations, the ordeal was just one of the many ways rap was politicized and censored in the ’90s.\u003c/p>\n\u003cp>As solo artists, the members of Mob Figaz remained close collaborators, and the Jacka and Husalah’s friendship endured when Husalah went to prison for drug trafficking between 2005 and 2009. “He took the music when I was in prison to a level I never realized,” Husalah says, recalling that he was released around the time that the Jacka’s biggest commercial hit, “Glamorous Lifestyle,” was in heavy rotation on the radio.\u003c/p>\n\u003cp>When Husalah came home, the Jacka brought him back into the fold. “We never really relied on music as our income, we didn’t do music for money,” he says. “But when I went to prison, he made it lucrative.”\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/bPbgNHDpgAY'\n title='//www.youtube.com/embed/bPbgNHDpgAY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Passing Down the Wisdom\u003c/h2>\n\u003cp>The Jacka’s mainstream buzz quieted down in the years after \u003cem>Tear Gas\u003c/em>, but in the last years of his life, he continued to feed music to his loyal followings in the Bay Area and other regional markets with appreciations for underground rap. In addition to spending a lot of time recording in Seattle, he put out a joint album with Pennsylvania rapper Freeway, \u003cem>Highway Robbery\u003c/em>, and recorded \u003cem>Devilz Rejectz 3\u003c/em> with Akron, Ohio’s Ampichino. (\u003cem>Devilz Rejectz 3\u003c/em> came out posthumously, in 2018).\u003c/p>\n\u003cp>Known for his quiet, tough and generous personality, the Jacka spent his later years mentoring many aspiring rappers. Oakland artist Street Knowledge, who was just starting his music career in the late 2000s, remembers living at the Jacka’s house in Oakland with at least 10 other guys. The house was like a training ground to see who was serious enough to sign to the Jacka’s label, The Artist Records. “He was everybody’s mentor, not just me,” Street Knowledge says, adding that few rappers made the cut. “It’s just a matter of if you was gonna listen to him. He would tell you a bunch of shit you don’t wanna hear, but you need to.”\u003c/p>\n\u003cp>Yet there were times when the Jacka became frustrated with his career. In 2014, after the release of \u003cem>What Happened to the World\u003c/em>, \u003ca href=\"https://pitchfork.com/reviews/albums/20045-what-happened-to-the-world/\" target=\"_blank\" rel=\"noopener noreferrer\">Pitchfork\u003c/a> called the Jacka “one of the decade’s strongest writers—both within and outside of hip-hop.” But PK remembers him feeling like he hit a ceiling within the industry.\u003c/p>\n\u003cp>“He put out really good music and he gave his all. And when I say his all, I don’t just mean the energy with creating the records, but the sacrifices with his family, whether it was his kids, his mother, his sister, just not being around,” PK says. “Or himself—sacrificing himself and not doing certain things.”\u003c/p>\n\u003cfigure id=\"attachment_13854053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/04/13-800x771.png\" alt=\"The Jacka and Nipsey, both on stage in Heaven now\" width=\"800\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-800x771.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-160x154.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-768x741.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-1020x984.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13.png 1091w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka and Nipsey Hussle perform at the New Parish in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then there were the Jacka’s struggles with addiction. He had kicked a heroin habit he acquired as a teenager, but towards the end of his life, he became a regular user of lean, or the opioid codeine. “I know those things had a pretty serious grip on him,” PK says, adding that the Jacka didn’t open up to him about it much. “He had a very strong personality. He wasn’t the one to really ask for a lot of help.”\u003c/p>\n\u003cp>Still, despite his personal battles, the Jacka remained an inspiration and a mentor to many. RobLo thinks of him as a spiritual leader. “He got me and my friends, I mean all 20 of us, to go hop in the van and go to the mosque,” he recalls. “A friend that gets you closer to God is a friend worth having.”\u003c/p>\n\u003cp>To this day, the Jacka’s murder remains unsolved. But through the artists he inspired and the music that he made, his presence continues to be deeply felt in the Bay Area and beyond.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re keeping it lit for him,” Husalah says, “living in his example.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "violins-of-hope-survived-the-holocaust-now-they-tour-the-bay-area",
"title": "‘Violins of Hope’ Survived the Holocaust, Now They Tour the Bay Area",
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"headTitle": "‘Violins of Hope’ Survived the Holocaust, Now They Tour the Bay Area | KQED",
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"content": "\u003cp>Ask a musician: every instrument has a story behind it. Who played it, where, why and how. One father and son team in Israel has built a collection of 87 violins (and counting) that survived the Holocaust. Now they’re in the San Francisco Bay Area through mid-March, sharing those violins and their stories.\u003c/p>\n\u003cp>Most of the violins have been restored: revarnished, restrung, the bridge, chin rest and other parts replaced. But some have been left untouched, so you can see they’ve been to hell and back, literally. Violins are light enough to carry, even on a death march; valuable enough to bury in the backyard, or sell, if you’re starving.\u003c/p>\n\u003cp>Many musicians in the concentration camps could lengthen their lives by playing in orchestras there, because many Nazis liked to listen to classical music and forced their prisoners to entertain them. A surprising number of violins survived the Holocaust, even though their owners didn’t.\u003c/p>\n\u003cp>Tel Aviv luthier Amnon Weinstein, himself a son of Holocaust survivors from Lithuania, began collecting these violins after another Holocaust survivor brought him one to restore. When Weinstein opened up the man’s violin, he found ashes inside from the concentration camp the man had once played in.\u003c/p>\n\u003cp>Initially appalled, Weinsten began to lovingly restore them as vehicles for the transmission of history. His collection expanded on that of his father’s, who held on to instruments other Holocaust survivors were desperate to discard as they sloughed off all things German to start life anew in Israel.\u003c/p>\n\u003cfigure id=\"attachment_13874165\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874165\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut.jpg\" alt=\"Amnon Weinstein repairing a violin in his Tel Aviv workshop.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amnon Weinstein repairing a violin in his Tel Aviv workshop. \u003ccite>(Courtesy of Amnon Weinstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weinstein’s son Avshalom inherited his father’s love of violin-making, as well as his passion for keeping the memory of the Holocaust alive as the world’s collective memory of it fades with passing of the last generation of survivors. “There was music everywhere. Every camp had at least one orchestra,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now they have 87 violins, a viola and a cello. That may seem like a lot, but consider that almost every Jewish household in Europe owned one or more violin before World War II. Each violin has a story, though not all the violins come with family members who know of it. Sometimes, the story is one of resilience and survival against the odds. Sometimes, the story is one of inevitable tragedy.\u003c/p>\n\u003cp>When the Weinsteins don’t know who the violin belonged to, they name it after a survivor they do know. One restored violin is named, for instance after Amnon’s wife’s grandfather, one of the three brothers who formed the Bielski brigade in Belarus who inspired the movie \u003ca href=\"https://www.youtube.com/watch?v=yw6Rwum7zcU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Defiance\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Father and son began touring in 2008, combining stories they know of with performances by local musicians. Both Weinsteins feel these violins must be played, not just put on display.\u003c/p>\n\u003cp>So it was this past week at \u003ca href=\"https://www.numulosgatos.org/exhibitions-2/voh\" target=\"_blank\" rel=\"noopener noreferrer\">New Museum Los Gatos\u003c/a>, that violinist \u003ca href=\"https://hannahtarley.weebly.com\" target=\"_blank\" rel=\"noopener noreferrer\">Hannah Tarley\u003c/a>, whose ancestors hailed from Belarus, picked up one of these surviving violins to play a Yiddish song from the 19th century called \u003cem>Oyfn Pripetshik\u003c/em>. It’s considered one of the most poignant musical memories of pre-holocaust Europe.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/752423227″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true” width=”100%” height=”300″ iframe=”true” /]\u003c/p>\n\u003cp>As Tarley played before an audience full of members of \u003ca href=\"https://www.shirhadash.org\" target=\"_blank\" rel=\"noopener noreferrer\">Congregation Shir Hadash\u003c/a> in Los Gatos, many of them began to hum along, haunting proof of the way music has the capacity to survive the loss of so much cultural memory.\u003c/p>\n\u003cp>The lyrics of the fourth stanza reference the long history of persecution of Jews in Europe, but today, they eerily seem to prophesy worse horrors to come:\u003c/p>\n\u003cp>\u003cem>Ir vet, kinder, elter vern,\u003c/em>\u003cbr>\n\u003cem>Vet ir aleyn farshteyn,\u003c/em>\u003cbr>\n\u003cem>Vifl in di oysyes lign trern,\u003c/em>\u003cbr>\n\u003cem>Un vi fil geveyn.\u003c/em>\u003c/p>\n\u003cp>\u003cem>When you grow older, children,\u003c/em>\u003cbr>\n\u003cem>You will understand by yourselves,\u003c/em>\u003cbr>\n\u003cem>How many tears lie in these letters,\u003c/em>\u003cbr>\n\u003cem>And how much lament.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://violinsofhopesfba.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Violins of Hope San Francisco Bay Area Project\u003c/a> has something — a concert, an exhibition, a classroom visit — planned for eight Bay Area counties. The two-month residency, involving more than 40 local arts, educational, community and religious institutions, is the brainchild of Patricia Kristof Moy, the executive director of \u003ca href=\"https://musicatkohl.org/violins-of-hope-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Music at Kohl Mansion\u003c/a> in Burlingame.\u003c/p>\n\u003cfigure id=\"attachment_13874157\" class=\"wp-caption aligncenter\" style=\"max-width: 1045px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874157\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB.jpeg\" alt=\"Detail of an affordably priced German model circa 1870s, designed for an unknown Klezmer musician, hence the inlaid mother of pearl Star of David.\" width=\"1045\" height=\"695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB.jpeg 1045w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-1020x678.jpeg 1020w\" sizes=\"(max-width: 1045px) 100vw, 1045px\">\u003cfigcaption class=\"wp-caption-text\">Detail of an affordably priced German model circa 1870s, designed for an unknown Klezmer musician, hence the inlaid mother of pearl Star of David. \u003ccite>(Courtesy of Amnon Weinstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp id=\"yui_3_17_2_1_1580435548622_162\">Moy, also the descendent of Holocaust survivors, saw the Weinsteins in Cleveland several years ago and committed herself to lining up the funding and organizational support to bring them to the Bay Area.\u003c/p>\n\u003cp>“We really had no idea when we started planning this five years ago that our world would be in the state of turmoil that it’s in,” she said. “This extraordinary project is more timely than we ever knew. It’s the violins of hope. It’s not the violins of despair. To hope is to be human.”\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>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Violins of Hope San Francisco Bay Area Project \u003c/strong>runs through March 15, 2020, featuring more than 70 events region-wide including concerts, lectures, exhibits, films, community forums, ecumenical services, interfaith dialogues and educational workshops. For more information click \u003cstrong>\u003ca href=\"http://violinsofhopesfba.org/events\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"title": "‘Violins of Hope’ Survived the Holocaust, Now They Tour the Bay Area | KQED",
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"headline": "‘Violins of Hope’ Survived the Holocaust, Now They Tour the Bay Area",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask a musician: every instrument has a story behind it. Who played it, where, why and how. One father and son team in Israel has built a collection of 87 violins (and counting) that survived the Holocaust. Now they’re in the San Francisco Bay Area through mid-March, sharing those violins and their stories.\u003c/p>\n\u003cp>Most of the violins have been restored: revarnished, restrung, the bridge, chin rest and other parts replaced. But some have been left untouched, so you can see they’ve been to hell and back, literally. Violins are light enough to carry, even on a death march; valuable enough to bury in the backyard, or sell, if you’re starving.\u003c/p>\n\u003cp>Many musicians in the concentration camps could lengthen their lives by playing in orchestras there, because many Nazis liked to listen to classical music and forced their prisoners to entertain them. A surprising number of violins survived the Holocaust, even though their owners didn’t.\u003c/p>\n\u003cp>Tel Aviv luthier Amnon Weinstein, himself a son of Holocaust survivors from Lithuania, began collecting these violins after another Holocaust survivor brought him one to restore. When Weinstein opened up the man’s violin, he found ashes inside from the concentration camp the man had once played in.\u003c/p>\n\u003cp>Initially appalled, Weinsten began to lovingly restore them as vehicles for the transmission of history. His collection expanded on that of his father’s, who held on to instruments other Holocaust survivors were desperate to discard as they sloughed off all things German to start life anew in Israel.\u003c/p>\n\u003cfigure id=\"attachment_13874165\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874165\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut.jpg\" alt=\"Amnon Weinstein repairing a violin in his Tel Aviv workshop.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amnon Weinstein repairing a violin in his Tel Aviv workshop. \u003ccite>(Courtesy of Amnon Weinstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weinstein’s son Avshalom inherited his father’s love of violin-making, as well as his passion for keeping the memory of the Holocaust alive as the world’s collective memory of it fades with passing of the last generation of survivors. “There was music everywhere. Every camp had at least one orchestra,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now they have 87 violins, a viola and a cello. That may seem like a lot, but consider that almost every Jewish household in Europe owned one or more violin before World War II. Each violin has a story, though not all the violins come with family members who know of it. Sometimes, the story is one of resilience and survival against the odds. Sometimes, the story is one of inevitable tragedy.\u003c/p>\n\u003cp>When the Weinsteins don’t know who the violin belonged to, they name it after a survivor they do know. One restored violin is named, for instance after Amnon’s wife’s grandfather, one of the three brothers who formed the Bielski brigade in Belarus who inspired the movie \u003ca href=\"https://www.youtube.com/watch?v=yw6Rwum7zcU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Defiance\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Father and son began touring in 2008, combining stories they know of with performances by local musicians. Both Weinsteins feel these violins must be played, not just put on display.\u003c/p>\n\u003cp>So it was this past week at \u003ca href=\"https://www.numulosgatos.org/exhibitions-2/voh\" target=\"_blank\" rel=\"noopener noreferrer\">New Museum Los Gatos\u003c/a>, that violinist \u003ca href=\"https://hannahtarley.weebly.com\" target=\"_blank\" rel=\"noopener noreferrer\">Hannah Tarley\u003c/a>, whose ancestors hailed from Belarus, picked up one of these surviving violins to play a Yiddish song from the 19th century called \u003cem>Oyfn Pripetshik\u003c/em>. It’s considered one of the most poignant musical memories of pre-holocaust Europe.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”300″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/752423227″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true”'\n title='”https://api.soundcloud.com/tracks/752423227″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As Tarley played before an audience full of members of \u003ca href=\"https://www.shirhadash.org\" target=\"_blank\" rel=\"noopener noreferrer\">Congregation Shir Hadash\u003c/a> in Los Gatos, many of them began to hum along, haunting proof of the way music has the capacity to survive the loss of so much cultural memory.\u003c/p>\n\u003cp>The lyrics of the fourth stanza reference the long history of persecution of Jews in Europe, but today, they eerily seem to prophesy worse horrors to come:\u003c/p>\n\u003cp>\u003cem>Ir vet, kinder, elter vern,\u003c/em>\u003cbr>\n\u003cem>Vet ir aleyn farshteyn,\u003c/em>\u003cbr>\n\u003cem>Vifl in di oysyes lign trern,\u003c/em>\u003cbr>\n\u003cem>Un vi fil geveyn.\u003c/em>\u003c/p>\n\u003cp>\u003cem>When you grow older, children,\u003c/em>\u003cbr>\n\u003cem>You will understand by yourselves,\u003c/em>\u003cbr>\n\u003cem>How many tears lie in these letters,\u003c/em>\u003cbr>\n\u003cem>And how much lament.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://violinsofhopesfba.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Violins of Hope San Francisco Bay Area Project\u003c/a> has something — a concert, an exhibition, a classroom visit — planned for eight Bay Area counties. The two-month residency, involving more than 40 local arts, educational, community and religious institutions, is the brainchild of Patricia Kristof Moy, the executive director of \u003ca href=\"https://musicatkohl.org/violins-of-hope-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Music at Kohl Mansion\u003c/a> in Burlingame.\u003c/p>\n\u003cfigure id=\"attachment_13874157\" class=\"wp-caption aligncenter\" style=\"max-width: 1045px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874157\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB.jpeg\" alt=\"Detail of an affordably priced German model circa 1870s, designed for an unknown Klezmer musician, hence the inlaid mother of pearl Star of David.\" width=\"1045\" height=\"695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB.jpeg 1045w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-1020x678.jpeg 1020w\" sizes=\"(max-width: 1045px) 100vw, 1045px\">\u003cfigcaption class=\"wp-caption-text\">Detail of an affordably priced German model circa 1870s, designed for an unknown Klezmer musician, hence the inlaid mother of pearl Star of David. \u003ccite>(Courtesy of Amnon Weinstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp id=\"yui_3_17_2_1_1580435548622_162\">Moy, also the descendent of Holocaust survivors, saw the Weinsteins in Cleveland several years ago and committed herself to lining up the funding and organizational support to bring them to the Bay Area.\u003c/p>\n\u003cp>“We really had no idea when we started planning this five years ago that our world would be in the state of turmoil that it’s in,” she said. “This extraordinary project is more timely than we ever knew. It’s the violins of hope. It’s not the violins of despair. To hope is to be human.”\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>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Violins of Hope San Francisco Bay Area Project \u003c/strong>runs through March 15, 2020, featuring more than 70 events region-wide including concerts, lectures, exhibits, films, community forums, ecumenical services, interfaith dialogues and educational workshops. For more information click \u003cstrong>\u003ca href=\"http://violinsofhopesfba.org/events\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dreaming-the-golden-state-with-the-california-report-magazine-part-two",
"title": "'Dreaming the Golden State' With The California Report Magazine (Part Two)",
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"headTitle": "‘Dreaming the Golden State’ With The California Report Magazine (Part Two) | KQED",
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"content": "\u003cp>In late November, The California Report Magazine held a night of live storytelling that explored stories about California dreams found, and lost, and whether that dream is still alive. In Part Two, hear selected highlights from the event, “Dreaming the Golden State,” held at the Brava Theater in San Francisco. You can listen to part one of our program \u003ca href=\"https://www.kqed.org/news/11796176/dreaming-the-golden-state-with-the-california-report-magazine-part-one\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Discovering My True Self in Modesto\u003c/h2>\n\u003cfigure id=\"attachment_11797334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797334\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Toni Rodriguez of Modesto performs his ‘Letter to My California Dreamer’ that he wrote to himself, live on stage at San Francisco’s Brava Theater. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As part of the show’s “Letter to My California Dreamer” series, several listeners shared what they had written to the first person in their family who moved to the Golden State with a dream. For Toni Rodriguez, that person was himself. He wrote a \u003ca href=\"https://www.kqed.org/news/11707691/letter-to-my-california-dreamer-discovering-my-true-self-in-modesto\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> to the kid from the Bronx who dreamed of moving west and surfing with the Beach Boys. After arriving in California, he was able to find and live as his true self.\u003c/p>\n\u003ch2>Her Double Life\u003c/h2>\n\u003cfigure id=\"attachment_11797371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797371\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272-800x548.jpg\" alt=\"\" width=\"800\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">My Linh Le performs a dance titled ‘Underwater.’ \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My Linh Le has been lying to her family about who she really is for decades. Growing up, her Vietnamese immigrant parents were extremely strict and prone to rage. So she didn’t tell them when she decided to switch her major from biochemistry to dance. As My Linh told reporter April Dembosky, she’s had to take some big steps to cover up \u003ca href=\"https://www.kqed.org/news/11670259/her-double-life\" target=\"_blank\" rel=\"noopener noreferrer\">her double life\u003c/a>, and she has her reasons.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Finding Home and Harvest in Salinas\u003c/h2>\n\u003cfigure id=\"attachment_11797386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797386\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254-800x526.jpg\" alt=\"\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sandra Barocio reads a letter she wrote to her big brother, Humberto. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sandra Barocio of Moss Beach wrote a\u003ca href=\"https://www.kqed.org/news/11674420/letter-to-my-california-dreamer-finding-home-and-harvest-in-salinas\" target=\"_blank\" rel=\"noopener noreferrer\"> letter\u003c/a> to the family member who brought her to California, her older brother, Humberto. She remembers making the long drive north from Mexico in the family’s brown Dodge Polara, and how she and her parents and siblings had to sleep under a tree, until Humberto found them shelter. Fifty-two year later, she wants to thank him for delivering their family safely to the Golden State.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Daps and Hugs: I’m Moving Out of Oakland\u003c/h2>\n\u003cfigure id=\"attachment_11797412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797412\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-800x598.jpg\" alt=\"\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pendarvis Harshaw, host of KQED’s arts and culture podcast ‘Rightnowish’ describes leaving his hometown. (Courtesy of Alain McLaughlin)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/ogpenn?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a> is a cultural icon in his own right, with deep roots in Oakland. He’s also the host of KQED’s “\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>” podcast, which explores how Bay Area identity shapes the artists who live and create there. At the event, Pen describes the weekend he \u003ca href=\"https://www.kqed.org/arts/13865533/daps-and-hugs-im-moving-out-of-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">moved away\u003c/a> from his home town.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Pursuing the Next Great American Novel\u003c/h2>\n\u003cfigure id=\"attachment_11797432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797432\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tai Moses reads a letter to her father, who moved to California with dreams of becoming a writer. (Courtesy of Alain McLaughlin)\u003c/figcaption>\u003c/figure>\n\u003cp>The last “\u003ca href=\"https://www.kqed.org/news/tag/letters-to-my-california-dreamer\" target=\"_blank\" rel=\"noopener noreferrer\">Letter to My California Dreamer\u003c/a>” was read by Tai Moses. She \u003ca href=\"https://www.kqed.org/news/11694742/letter-to-my-california-dreamer-pursuing-the-next-great-american-novel\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> to her father, who crossed the country from Coney Island to Los Angeles, with his portable typewriter in hand.\u003c/p>\n\u003ch2>Mike Marshall Gets a Second Chance\u003c/h2>\n\u003cfigure id=\"attachment_11797646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11797646 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">R&B singer Mike Marshall performs “I Love Music.” (Courtesy of Alain McLaughlin)\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID=news_11796176 label='Part One' hero=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/DreamingGoldenState_Eventbrite-1020x538.jpg\"]\u003c/p>\n\u003cp>You may \u003ca href=\"https://www.youtube.com/watch?v=DRte0S2a_dA\" target=\"_blank\" rel=\"noopener noreferrer\">recognize\u003c/a> Mike Marshall’s voice, even if you don’t know his name. The R&B singer wasn’t always credited for his hits, and he struggled for many years with addiction. Now he’s starting to get the recognition he deserves and a \u003ca href=\"https://www.kqed.org/arts/13864913/after-last-black-man-and-us-singer-mike-marshall-gets-a-second-chance\" target=\"_blank\" rel=\"noopener noreferrer\">second chance\u003c/a>. His music has recently been featured in the films “\u003ca href=\"https://youtu.be/hNCmb-4oXJA\" target=\"_blank\" rel=\"noopener noreferrer\">Us\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=C0FnJDhY9-0\" target=\"_blank\" rel=\"noopener noreferrer\">The Last Black Man in San Francisco.\u003c/a>” Mike Marshall closed out our event with a live performance.\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The California Report Magazine listeners and reporters take the stage to share their stories about the 'California Dream' and whether it's still alive.",
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"title": "'Dreaming the Golden State' With The California Report Magazine (Part Two) | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In late November, The California Report Magazine held a night of live storytelling that explored stories about California dreams found, and lost, and whether that dream is still alive. In Part Two, hear selected highlights from the event, “Dreaming the Golden State,” held at the Brava Theater in San Francisco. You can listen to part one of our program \u003ca href=\"https://www.kqed.org/news/11796176/dreaming-the-golden-state-with-the-california-report-magazine-part-one\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Discovering My True Self in Modesto\u003c/h2>\n\u003cfigure id=\"attachment_11797334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797334\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-193.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Toni Rodriguez of Modesto performs his ‘Letter to My California Dreamer’ that he wrote to himself, live on stage at San Francisco’s Brava Theater. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As part of the show’s “Letter to My California Dreamer” series, several listeners shared what they had written to the first person in their family who moved to the Golden State with a dream. For Toni Rodriguez, that person was himself. He wrote a \u003ca href=\"https://www.kqed.org/news/11707691/letter-to-my-california-dreamer-discovering-my-true-self-in-modesto\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> to the kid from the Bronx who dreamed of moving west and surfing with the Beach Boys. After arriving in California, he was able to find and live as his true self.\u003c/p>\n\u003ch2>Her Double Life\u003c/h2>\n\u003cfigure id=\"attachment_11797371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797371\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272-800x548.jpg\" alt=\"\" width=\"800\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-272.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">My Linh Le performs a dance titled ‘Underwater.’ \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My Linh Le has been lying to her family about who she really is for decades. Growing up, her Vietnamese immigrant parents were extremely strict and prone to rage. So she didn’t tell them when she decided to switch her major from biochemistry to dance. As My Linh told reporter April Dembosky, she’s had to take some big steps to cover up \u003ca href=\"https://www.kqed.org/news/11670259/her-double-life\" target=\"_blank\" rel=\"noopener noreferrer\">her double life\u003c/a>, and she has her reasons.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Finding Home and Harvest in Salinas\u003c/h2>\n\u003cfigure id=\"attachment_11797386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797386\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254-800x526.jpg\" alt=\"\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-254.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sandra Barocio reads a letter she wrote to her big brother, Humberto. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sandra Barocio of Moss Beach wrote a\u003ca href=\"https://www.kqed.org/news/11674420/letter-to-my-california-dreamer-finding-home-and-harvest-in-salinas\" target=\"_blank\" rel=\"noopener noreferrer\"> letter\u003c/a> to the family member who brought her to California, her older brother, Humberto. She remembers making the long drive north from Mexico in the family’s brown Dodge Polara, and how she and her parents and siblings had to sleep under a tree, until Humberto found them shelter. Fifty-two year later, she wants to thank him for delivering their family safely to the Golden State.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Daps and Hugs: I’m Moving Out of Oakland\u003c/h2>\n\u003cfigure id=\"attachment_11797412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797412\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-800x598.jpg\" alt=\"\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS-Pendarvis-Harshaw-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pendarvis Harshaw, host of KQED’s arts and culture podcast ‘Rightnowish’ describes leaving his hometown. (Courtesy of Alain McLaughlin)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/ogpenn?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a> is a cultural icon in his own right, with deep roots in Oakland. He’s also the host of KQED’s “\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>” podcast, which explores how Bay Area identity shapes the artists who live and create there. At the event, Pen describes the weekend he \u003ca href=\"https://www.kqed.org/arts/13865533/daps-and-hugs-im-moving-out-of-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">moved away\u003c/a> from his home town.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Pursuing the Next Great American Novel\u003c/h2>\n\u003cfigure id=\"attachment_11797432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11797432\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-289.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tai Moses reads a letter to her father, who moved to California with dreams of becoming a writer. (Courtesy of Alain McLaughlin)\u003c/figcaption>\u003c/figure>\n\u003cp>The last “\u003ca href=\"https://www.kqed.org/news/tag/letters-to-my-california-dreamer\" target=\"_blank\" rel=\"noopener noreferrer\">Letter to My California Dreamer\u003c/a>” was read by Tai Moses. She \u003ca href=\"https://www.kqed.org/news/11694742/letter-to-my-california-dreamer-pursuing-the-next-great-american-novel\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> to her father, who crossed the country from Coney Island to Los Angeles, with his portable typewriter in hand.\u003c/p>\n\u003ch2>Mike Marshall Gets a Second Chance\u003c/h2>\n\u003cfigure id=\"attachment_11797646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11797646 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/KQED19DreamingGS_CRM-226.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">R&B singer Mike Marshall performs “I Love Music.” (Courtesy of Alain McLaughlin)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"label": "Part One ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You may \u003ca href=\"https://www.youtube.com/watch?v=DRte0S2a_dA\" target=\"_blank\" rel=\"noopener noreferrer\">recognize\u003c/a> Mike Marshall’s voice, even if you don’t know his name. The R&B singer wasn’t always credited for his hits, and he struggled for many years with addiction. Now he’s starting to get the recognition he deserves and a \u003ca href=\"https://www.kqed.org/arts/13864913/after-last-black-man-and-us-singer-mike-marshall-gets-a-second-chance\" target=\"_blank\" rel=\"noopener noreferrer\">second chance\u003c/a>. His music has recently been featured in the films “\u003ca href=\"https://youtu.be/hNCmb-4oXJA\" target=\"_blank\" rel=\"noopener noreferrer\">Us\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=C0FnJDhY9-0\" target=\"_blank\" rel=\"noopener noreferrer\">The Last Black Man in San Francisco.\u003c/a>” Mike Marshall closed out our event with a live performance.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "aggregate-space-gallery-displaced-last-year-to-reopen-blocks-away-in-west-oakland",
"title": "Aggregate Space Gallery, Displaced Last Year, to Reopen Blocks Away in West Oakland",
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"headTitle": "Aggregate Space Gallery, Displaced Last Year, to Reopen Blocks Away in West Oakland | KQED",
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"content": "\u003cp>\u003ca href=\"https://aggregatespacegallery.org/\">Aggregate Space Gallery\u003c/a>, the artist-run gallery displaced from its Oakland warehouse location of seven years last July, will reopen blocks away in a two-story unit previously occupied by a circus company in a move that promises stability and more than doubles its exhibition space. [aside postID=arts_13851268,arts_13847646,arts_13851209]\u003c/p>\n\u003cp>Aggregate founders Conrad and Willis Meyers, whose video and installation curating and museum-quality exhibitions made ASG a standout Oakland gallery, called the 3,500 square-foot commercial space at 1255 26th Street a lifeline in a forbidding rental market. “We can do everything we used to, plus the things we’ve dreamed of—and not be so cold,” Conrad said.\u003c/p>\n\u003cp>During a tour, the Meyers described the possibilities of an anticipated $150,000 buildout: A screening room upstairs in what was originally a performance venue with 20-foot high ceilings, and workspace for a residency program in one of the rooms along the mezzanine. Conrad, who’s also a contractor, was relieved to point out fire sprinklers and a wheelchair-accessible elevator.\u003c/p>\n\u003cfigure id=\"attachment_13874092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/1.jpg\" alt=\"Aggregate Space Gallery was displaced from its West Oakland location of nine years in 2018.\" width=\"1920\" height=\"1169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-1020x621.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-1200x731.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Aggregate Space Gallery was displaced from its West Oakland location of nine years in 2018. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Downstairs is a large storefront with additional rooms for office or studio space. There the Meyers see an opportunity for both earned income and community engagement: Before opening, they plan to host neighbors to learn what kind of subtenant could fill the needs of the immediate area. “We want to involve neighbors in this process from the beginning,” Willis said.\u003c/p>\n\u003cp>New works by Nasim Moghadam, a Bay Area photographer and multimedia artist, will mark Aggregate’s first solo show in the new space, and 68th exhibition overall, come Friday, Apr. 3.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The downstairs portion opens Friday, Feb. 7 to show \u003cem>Invulnerable Routes\u003c/em>, a month-long exhibition derived from the gallery’s annual open call for video. The selections, curated by Conrad and Shaghayegh Cyrous, address relationships to society outside patriarchal structures.\u003c/p>\n\u003cp>The landlords, Jacqueline Jackson and her daughter Shannon, a scholar of art and social change at UC Berkeley, will provide the Meyers a decreasing rent subsidy over five years. The deal allows Aggregate, a nonprofit organization, to recover the fundraising momentum lost with its former home. The Jacksons “get Aggregate,” Willis said. “They’re officially our biggest donors.”\u003c/p>\n\u003cfigure id=\"attachment_13874094\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874094\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/3.jpg\" alt=\"The mezzanine-lined upstairs portion of Aggregate Space Gallery's new 1255 26th Street location was originally build as a performance venue.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The mezzanine-lined upstairs portion of Aggregate Space Gallery’s new 1255 26th Street location was originally build as a performance venue. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A Storied Location\u003c/strong>\u003c/p>\n\u003cp>Still, the Meyers hesitated. As KQED\u003ca href=\"https://www.kqed.org/arts/13847646/uc-berkeley-art-professor-displaces-dance-studio-to-create-new-art-space\"> previously reported\u003c/a>, the Jacksons displaced Skyhigh Odditorium, a circus arts studio in the space since 2012, after buying the property in 2017, a move seen as hypocritical given their mission to buoy the arts. “We’ve also struggled with a landlord, so we related,” Conrad said. “Whatever happens in our old place, I’ll probably be pissed.”\u003c/p>\n\u003cp>Shannon Jackson, a prominent figure in the local arts funding establishment, earlier declined to address displacing Skyhigh Odditorium in 2017. In a recent interview, she said she declined to renew the lease for Skyhigh and another tenant, an unpermitted cannabis cultivator, due to “all kinds of health and safety violations,” and that she restored the units to code compliance at “significant expense.”\u003c/p>\n\u003cp>Skyhigh Odditorium founder Madamn Burnz, a circus performer and teacher, said that she’s pleased to learn another arts organization is taking over the space. But she bristled at Jackson’s assertion of safety shortcomings. “That’s bullshit—the place was a dump and we remodeled it,” she said. “If that was her concern why didn’t she say so? … I never even met her before she evicted us.” (Jackson disputes this.)\u003c/p>\n\u003cfigure id=\"attachment_13847696\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13847696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/12/Madamn-Burnz-1.jpg\" alt=\"Madamn Burnz founded dance studio and events space Skyhigh Odditorium in 2012.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Madamn Burnz founded dance studio and events space Skyhigh Odditorium in 2012. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although she has a sideline in Oakland real estate investment, Jackson said she acquired the $3.7 million property, which has 11 live-work units in addition to the commercial space, to create the conditions for an “adventurous aesthetic experiment while also adhering to codes for health and safety.” She continued, “We needed a partner who would be transparent and work with us.”\u003c/p>\n\u003cp>\u003cstrong>Keeping up Momentum\u003c/strong>\u003c/p>\n\u003cp>Aggregate was displaced from its Grand Avenue location last year after the owner insisted on a $1,500 monthly rent hike and for the Meyers to absorb the cost of an estimated $50,000 in code compliance work. The gallery had doubled its annual operating budget every year for the four years prior, in 2018 reaching $142,000, and was beginning to win grants from national funders such as the Andy Warhol Foundation for the Arts and the National Endowment for the Arts.\u003c/p>\n\u003cp>The closure, like \u003ca href=\"https://www.kqed.org/arts/13870004/flight-deck-oaklands-only-black-box-theater-to-close-in-march\" rel=\"noopener noreferrer\" target=\"_blank\">Flight Deck theater’s displacement\u003c/a>, showed the difficulties for Oakland’s growing and creatively rich but not yet institutional arts organizations. In the interim, Aggregate relocated \u003cem>Flash Point\u003c/em>, a video exhibition by Chicago artist Jefferson Pinder, to the San Francisco Art Institute. Oakland artist Leila Weefur sold an edition of \u003cem>Between Beauty & Horror\u003c/em>, which debuted at one of ASG’s \u003ca href=\"https://www.kqed.org/arts/13851209/leila-weefur-positions-black-experience-between-beauty-horror\">final shows\u003c/a> in the old gallery, to Kadist gallery in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13851534\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13851534\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/seated-5-e1580347958946.jpg\" alt=\"Conrad and Willis Meyers sit in the workshop at Aggregate Space Gallerys original location on Grand Avenue.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Conrad and Willis Meyers sit in the workshop at Aggregate Space Gallery’s original location on Grand Avenue. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before settling on the 26th St. location, the Meyers toured the Henry J. Kaiser Convention Center, which Orton Development is marketing \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\" rel=\"noopener noreferrer\" target=\"_blank\">partly to nonprofits\u003c/a>, and met with other real estate developers seeking commercial tenants below new housing. At the previous location in early 2019, Conrad \u003ca href=\"https://www.kqed.org/arts/13851268/despite-doubling-budget-aggregate-space-gallery-faces-displacement\">said\u003c/a> Aggregate wouldn’t move into “the all-windows bottom-floor of condos that’ll be a Gap by 2024.” As it turned out, Aggregate couldn’t afford the opportunity.\u003c/p>\n\u003cp>“Our pitch was a five-year partnership where we meet fundraising benchmarks and then accept rent increases,” Conrad said. “No one was receptive until the Jacksons.”\u003c/p>\n\u003cp>Aggregate struck Shannon Jackson as an organization with proven fundraising and curatorial abilities that needed a runway to fiscal stability, and developed the unique lease terms as an experiment. The rent subsidy is also intended to nudge other property owners “to figure out what we can do to sustain the Bay Area cultural life that we all say we adore,” Jackson said.\u003c/p>\n\u003cp>\u003cstrong>‘Reimagining’ the Space\u003c/strong>\u003c/p>\n\u003cp>The property is the site of earlier experiments: In the 2000s, the Northern California Land Trust spent millions creating the solar-powered live-work units and performance space on what was previously an underground venue called the “Noodle Factory,” keeping the name. The plan excited the local performing arts community, but the land trust’s project floundered amid the 2008 financial crisis, and an investment firm bought the property out of foreclosure in 2011.\u003c/p>\n\u003cp>When Burnz leased the space in 2012, it’d been neglected for years. She redid the floors and walls, and treated the place for bedbugs. The landlord at the time, Urban Green Investments, installed a since-removed kitchen and shower. Skyhigh offered classes in pole and aerial dancing, and subleased workspace to other artists. “We brought it back to life,” Burnz said. Since being displaced, Skyhigh has operated out of a nearby studio and a Richmond fitness facility.\u003c/p>\n\u003cfigure id=\"attachment_13847686\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13847686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675.jpg\" alt=\"The Northern California Land Trust spent millions creating 11 live-work units and the performance and rehearsal space at what was known as the Noodle Factory.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Northern California Land Trust spent millions creating 11 live-work units and the performance and rehearsal space at what was known as the Noodle Factory. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The land trust planned affordable live-work condominiums occupied by working artists who could also use the performance and rehearsal space. Jackson revived the Noodle Factory moniker in a nod to the vision, and said she’s interested in integrating the various tenants. In November, 2018 Jackson and the San Francisco nonprofit Community Arts Stabilization Trust hosted an event attended by local artists and gallerists billed “Reimagining the Noodle Factory.”\u003c/p>\n\u003cp>Jackson, who last fall joined Oakland city officials in an “empowering artists” delegation to France, said that when the Noodle Factory came on the market, she sensed an opportunity. “My mother and I wanted to use our connection to the field of real estate to support a space that could be the embodiment of our values,” she said. Other bidders, she said, wanted to redevelop the whole site. “So we saw it was about to become another story in the gentrification chronicle.”\u003c/p>\n\u003cp>When the Meyers poured their personal resources into the Grand Avenue warehouse in 2011 without a long-term plan for sustainability they were “overconfident and naive,” Conrad said. Now, though, he feels the gallery is fortunate to have a financial partner in the Jacksons who also appreciate Aggregate’s mission. “I want people to have the feeling here that nothing like this will ever happen again,” Conrad said. “And come back in four weeks to feel like that again.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Update: This article has been updated to clarify that Skyhigh Odditorium was not legally evicted, but that its lease was not renewed.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The artist-run Oakland gallery known for video and installation work will more than double its exhibition space. ",
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"title": "Aggregate Space Gallery, Displaced Last Year, to Reopen Blocks Away in West Oakland | KQED",
"description": "The artist-run Oakland gallery known for video and installation work will more than double its exhibition space. ",
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"headline": "Aggregate Space Gallery, Displaced Last Year, to Reopen Blocks Away in West Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://aggregatespacegallery.org/\">Aggregate Space Gallery\u003c/a>, the artist-run gallery displaced from its Oakland warehouse location of seven years last July, will reopen blocks away in a two-story unit previously occupied by a circus company in a move that promises stability and more than doubles its exhibition space. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aggregate founders Conrad and Willis Meyers, whose video and installation curating and museum-quality exhibitions made ASG a standout Oakland gallery, called the 3,500 square-foot commercial space at 1255 26th Street a lifeline in a forbidding rental market. “We can do everything we used to, plus the things we’ve dreamed of—and not be so cold,” Conrad said.\u003c/p>\n\u003cp>During a tour, the Meyers described the possibilities of an anticipated $150,000 buildout: A screening room upstairs in what was originally a performance venue with 20-foot high ceilings, and workspace for a residency program in one of the rooms along the mezzanine. Conrad, who’s also a contractor, was relieved to point out fire sprinklers and a wheelchair-accessible elevator.\u003c/p>\n\u003cfigure id=\"attachment_13874092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/1.jpg\" alt=\"Aggregate Space Gallery was displaced from its West Oakland location of nine years in 2018.\" width=\"1920\" height=\"1169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-1020x621.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/1-1200x731.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Aggregate Space Gallery was displaced from its West Oakland location of nine years in 2018. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Downstairs is a large storefront with additional rooms for office or studio space. There the Meyers see an opportunity for both earned income and community engagement: Before opening, they plan to host neighbors to learn what kind of subtenant could fill the needs of the immediate area. “We want to involve neighbors in this process from the beginning,” Willis said.\u003c/p>\n\u003cp>New works by Nasim Moghadam, a Bay Area photographer and multimedia artist, will mark Aggregate’s first solo show in the new space, and 68th exhibition overall, come Friday, Apr. 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The downstairs portion opens Friday, Feb. 7 to show \u003cem>Invulnerable Routes\u003c/em>, a month-long exhibition derived from the gallery’s annual open call for video. The selections, curated by Conrad and Shaghayegh Cyrous, address relationships to society outside patriarchal structures.\u003c/p>\n\u003cp>The landlords, Jacqueline Jackson and her daughter Shannon, a scholar of art and social change at UC Berkeley, will provide the Meyers a decreasing rent subsidy over five years. The deal allows Aggregate, a nonprofit organization, to recover the fundraising momentum lost with its former home. The Jacksons “get Aggregate,” Willis said. “They’re officially our biggest donors.”\u003c/p>\n\u003cfigure id=\"attachment_13874094\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874094\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/3.jpg\" alt=\"The mezzanine-lined upstairs portion of Aggregate Space Gallery's new 1255 26th Street location was originally build as a performance venue.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/3-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The mezzanine-lined upstairs portion of Aggregate Space Gallery’s new 1255 26th Street location was originally build as a performance venue. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A Storied Location\u003c/strong>\u003c/p>\n\u003cp>Still, the Meyers hesitated. As KQED\u003ca href=\"https://www.kqed.org/arts/13847646/uc-berkeley-art-professor-displaces-dance-studio-to-create-new-art-space\"> previously reported\u003c/a>, the Jacksons displaced Skyhigh Odditorium, a circus arts studio in the space since 2012, after buying the property in 2017, a move seen as hypocritical given their mission to buoy the arts. “We’ve also struggled with a landlord, so we related,” Conrad said. “Whatever happens in our old place, I’ll probably be pissed.”\u003c/p>\n\u003cp>Shannon Jackson, a prominent figure in the local arts funding establishment, earlier declined to address displacing Skyhigh Odditorium in 2017. In a recent interview, she said she declined to renew the lease for Skyhigh and another tenant, an unpermitted cannabis cultivator, due to “all kinds of health and safety violations,” and that she restored the units to code compliance at “significant expense.”\u003c/p>\n\u003cp>Skyhigh Odditorium founder Madamn Burnz, a circus performer and teacher, said that she’s pleased to learn another arts organization is taking over the space. But she bristled at Jackson’s assertion of safety shortcomings. “That’s bullshit—the place was a dump and we remodeled it,” she said. “If that was her concern why didn’t she say so? … I never even met her before she evicted us.” (Jackson disputes this.)\u003c/p>\n\u003cfigure id=\"attachment_13847696\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13847696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/12/Madamn-Burnz-1.jpg\" alt=\"Madamn Burnz founded dance studio and events space Skyhigh Odditorium in 2012.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Madamn-Burnz-1-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Madamn Burnz founded dance studio and events space Skyhigh Odditorium in 2012. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although she has a sideline in Oakland real estate investment, Jackson said she acquired the $3.7 million property, which has 11 live-work units in addition to the commercial space, to create the conditions for an “adventurous aesthetic experiment while also adhering to codes for health and safety.” She continued, “We needed a partner who would be transparent and work with us.”\u003c/p>\n\u003cp>\u003cstrong>Keeping up Momentum\u003c/strong>\u003c/p>\n\u003cp>Aggregate was displaced from its Grand Avenue location last year after the owner insisted on a $1,500 monthly rent hike and for the Meyers to absorb the cost of an estimated $50,000 in code compliance work. The gallery had doubled its annual operating budget every year for the four years prior, in 2018 reaching $142,000, and was beginning to win grants from national funders such as the Andy Warhol Foundation for the Arts and the National Endowment for the Arts.\u003c/p>\n\u003cp>The closure, like \u003ca href=\"https://www.kqed.org/arts/13870004/flight-deck-oaklands-only-black-box-theater-to-close-in-march\" rel=\"noopener noreferrer\" target=\"_blank\">Flight Deck theater’s displacement\u003c/a>, showed the difficulties for Oakland’s growing and creatively rich but not yet institutional arts organizations. In the interim, Aggregate relocated \u003cem>Flash Point\u003c/em>, a video exhibition by Chicago artist Jefferson Pinder, to the San Francisco Art Institute. Oakland artist Leila Weefur sold an edition of \u003cem>Between Beauty & Horror\u003c/em>, which debuted at one of ASG’s \u003ca href=\"https://www.kqed.org/arts/13851209/leila-weefur-positions-black-experience-between-beauty-horror\">final shows\u003c/a> in the old gallery, to Kadist gallery in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13851534\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13851534\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/seated-5-e1580347958946.jpg\" alt=\"Conrad and Willis Meyers sit in the workshop at Aggregate Space Gallerys original location on Grand Avenue.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/seated-5-e1580347958946-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Conrad and Willis Meyers sit in the workshop at Aggregate Space Gallery’s original location on Grand Avenue. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before settling on the 26th St. location, the Meyers toured the Henry J. Kaiser Convention Center, which Orton Development is marketing \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\" rel=\"noopener noreferrer\" target=\"_blank\">partly to nonprofits\u003c/a>, and met with other real estate developers seeking commercial tenants below new housing. At the previous location in early 2019, Conrad \u003ca href=\"https://www.kqed.org/arts/13851268/despite-doubling-budget-aggregate-space-gallery-faces-displacement\">said\u003c/a> Aggregate wouldn’t move into “the all-windows bottom-floor of condos that’ll be a Gap by 2024.” As it turned out, Aggregate couldn’t afford the opportunity.\u003c/p>\n\u003cp>“Our pitch was a five-year partnership where we meet fundraising benchmarks and then accept rent increases,” Conrad said. “No one was receptive until the Jacksons.”\u003c/p>\n\u003cp>Aggregate struck Shannon Jackson as an organization with proven fundraising and curatorial abilities that needed a runway to fiscal stability, and developed the unique lease terms as an experiment. The rent subsidy is also intended to nudge other property owners “to figure out what we can do to sustain the Bay Area cultural life that we all say we adore,” Jackson said.\u003c/p>\n\u003cp>\u003cstrong>‘Reimagining’ the Space\u003c/strong>\u003c/p>\n\u003cp>The property is the site of earlier experiments: In the 2000s, the Northern California Land Trust spent millions creating the solar-powered live-work units and performance space on what was previously an underground venue called the “Noodle Factory,” keeping the name. The plan excited the local performing arts community, but the land trust’s project floundered amid the 2008 financial crisis, and an investment firm bought the property out of foreclosure in 2011.\u003c/p>\n\u003cp>When Burnz leased the space in 2012, it’d been neglected for years. She redid the floors and walls, and treated the place for bedbugs. The landlord at the time, Urban Green Investments, installed a since-removed kitchen and shower. Skyhigh offered classes in pole and aerial dancing, and subleased workspace to other artists. “We brought it back to life,” Burnz said. Since being displaced, Skyhigh has operated out of a nearby studio and a Richmond fitness facility.\u003c/p>\n\u003cfigure id=\"attachment_13847686\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13847686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675.jpg\" alt=\"The Northern California Land Trust spent millions creating 11 live-work units and the performance and rehearsal space at what was known as the Noodle Factory.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Noodle-Factory-e1580348117675-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Northern California Land Trust spent millions creating 11 live-work units and the performance and rehearsal space at what was known as the Noodle Factory. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The land trust planned affordable live-work condominiums occupied by working artists who could also use the performance and rehearsal space. Jackson revived the Noodle Factory moniker in a nod to the vision, and said she’s interested in integrating the various tenants. In November, 2018 Jackson and the San Francisco nonprofit Community Arts Stabilization Trust hosted an event attended by local artists and gallerists billed “Reimagining the Noodle Factory.”\u003c/p>\n\u003cp>Jackson, who last fall joined Oakland city officials in an “empowering artists” delegation to France, said that when the Noodle Factory came on the market, she sensed an opportunity. “My mother and I wanted to use our connection to the field of real estate to support a space that could be the embodiment of our values,” she said. Other bidders, she said, wanted to redevelop the whole site. “So we saw it was about to become another story in the gentrification chronicle.”\u003c/p>\n\u003cp>When the Meyers poured their personal resources into the Grand Avenue warehouse in 2011 without a long-term plan for sustainability they were “overconfident and naive,” Conrad said. Now, though, he feels the gallery is fortunate to have a financial partner in the Jacksons who also appreciate Aggregate’s mission. “I want people to have the feeling here that nothing like this will ever happen again,” Conrad said. “And come back in four weeks to feel like that again.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Update: This article has been updated to clarify that Skyhigh Odditorium was not legally evicted, but that its lease was not renewed.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-weird-and-not-very-wonderful-history-of-the-super-bowl-halftime-show",
"title": "The Weird and (Not Very) Wonderful History of the Super Bowl Halftime Show",
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"headTitle": "The Weird and (Not Very) Wonderful History of the Super Bowl Halftime Show | KQED",
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"content": "\u003cp>For non-football types, the Super Bowl halftime show can be the only life raft in a confusing sea of frowning men wearing shoulder pads and over-long commercial breaks. And, since 1993, when Michael Jackson turned in his game-changing, five-song performance in Pasadena, standards for a successful halftime have been incredibly high.\u003c/p>\n\u003cp>No wonder. Super Bowl \u003ca href=\"https://en.wikipedia.org/wiki/Super_Bowl_television_ratings\" target=\"_blank\" rel=\"noopener noreferrer\">viewing figures\u003c/a> haven’t fallen under 100 million since 1981, and are more commonly closer to the 150 million mark—and that’s in America alone.\u003c/p>\n\u003cp>[aside postid='pop_20247']When it’s done right, the halftime show can be a source of national pride (as when \u003ca href=\"https://www.youtube.com/watch?v=pH5tHgXS-2M\" target=\"_blank\" rel=\"noopener noreferrer\">U2 tried to heal\u003c/a> the nation after 9/11). It can have an immediate and lasting impact on pop culture (Katy Perry’s \u003ca href=\"https://www.youtube.com/watch?v=ZD1QrIe--_Y\" target=\"_blank\" rel=\"noopener noreferrer\">Left Shark\u003c/a> will live on as a\u003ca href=\"https://knowyourmeme.com/memes/super-bowl-xlix-halftime-left-shark\" target=\"_blank\" rel=\"noopener noreferrer\"> meme\u003c/a> forever). And it can bring the country together during turbulent times (everyone stopped thinking about 2017’s divisive inauguration the second \u003ca href=\"https://www.youtube.com/watch?v=txXwg712zw4\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga threw herself\u003c/a> off the top of that stadium).\u003c/p>\n\u003cp>So it’s easy to forget quite how much the pre-Jackson Super Bowl halftime, well, sucked.\u003c/p>\n\u003cp>Going all the way back to the beginning, the first three halftime shows (’67-’69) consisted simply of \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">marching bands\u003c/a>. In 1970, when the NFL decided to jazz things up \u003ca href=\"https://www.theguardian.com/sport/2016/feb/06/carol-channing-super-bowl-broadway\" target=\"_blank\" rel=\"noopener noreferrer\">for Super Bowl IV\u003c/a> in New Orleans, it saw fit to give America \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">a surreal reenactment\u003c/a> of the 1815 Battle of New Orleans. Cannons, on-field “deaths” and Carol Channing singing “When the Saints Go Marching In” were all involved. (All of which makes \u003ca href=\"https://www.youtube.com/watch?v=NGRfz5_Cuo8\" target=\"_blank\" rel=\"noopener noreferrer\">Black Eyed Peas’ \u003cem>Tron\u003c/em> musical \u003c/a>in 2011 look perfectly reasonable.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carol Channing was invited back again two years later, when Ella Fitzgerald and Al Hirt performed a rendition of “Mack the Knife” as part of a single-song “tribute to Louis Armstrong.” And by ’73, Andy Williams had been dragged in to pelt the crowd with two easy listening gems while the Michigan Marching Band did its thing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ny-1Q6qxn-A\u003c/p>\n\u003cp>Despite the fact that the flashiest thing about Williams’ performance was his belt, in subsequent years, the decision was made to return to simpler times. For the next 15 years, marching bands performing a grab bag of “themes” dominated.\u003c/p>\n\u003cp>These regimented “salutes” ranged from fairly reasonable celebrations (America’s bicentennial, “the Big Band era,” Hollywood’s 100th Anniversary), to totally random subjects (Duke Ellington, the Caribbean, Motown). And in between, there were moments of abject surreality (“World of Children’s Dreams,” “KaleidoSUPERscope” and “Beat of the Future,” anyone?)\u003c/p>\n\u003cp>Occasionally, flagrant advertising would interrupt proceedings—even more so than Pepsi does now. The most egregious example of this was 1977’s “It’s a Small World.” Produced by The Walt Disney Company, the halftime exhibition featured grinning but under-utilized Mouseketeers, a human reproduction of Disneyland’s “It’s a Small World” ride and, for reasons that remain unclear, green-hooded figures waving white sheets in formations that made… nothing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-K-7je-6Dk0\u003c/p>\n\u003cp>1987’s “\u003ca href=\"https://www.youtube.com/watch?v=oSXMNbK2e98\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood’s 100th Anniversary\u003c/a>” special with George Burns, as well as New Kids On The Block’s \u003ca href=\"https://www.youtube.com/watch?v=ZTOt6CjYaHc\" target=\"_blank\" rel=\"noopener noreferrer\">weird, child-laden\u003c/a> set in 1991 also served as thinly-veiled Disney commercials.\u003c/p>\n\u003cp>[aside postid='arts_13863975']As late as 1989, the Super Bowl halftime show was such a mess, \u003ca href=\"https://www.youtube.com/watch?v=VqusO8PegFI&t=381s\" target=\"_blank\" rel=\"noopener noreferrer\">the NFL thought nothing of bringing in Elvis Presto, a magician and Elvis impersonator\u003c/a> who spent his time on the field doing one large-scale card trick for the stadium, then a bunch of smaller illusions while singing “Do You Love Me” by The Contours—instead of, you know, an Elvis song.\u003c/p>\n\u003cp>The most noteworthy halftime of that period came in 1988 with a show that answered the question: What happens when you have too many ideas and decide to do all of them at the same time?\u003c/p>\n\u003cp>The final result, featuring 88 grand pianos, 44 Rockettes, four dudes on roller skates, an untold number of “dancersizers,” hundreds of cheerleaders, “the biggest big band ever to swing” and—wouldn’t you know it?—Chubby Checker, is the single most entertaining (and unintentionally hilarious) halftime show of all time. Behold its majesty:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wqrksVDVO6w\u003c/p>\n\u003cp>In the last 25 years, the strides made by the Super Bowl halftime show are immense. But we still find reasons to quibble. For every \u003ca href=\"https://www.youtube.com/watch?v=sLrOSZi2pfw\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny’s Child reunion\u003c/a>, there is a \u003ca href=\"https://www.youtube.com/watch?v=0wL8sAr1Ym0\" target=\"_blank\" rel=\"noopener noreferrer\">Bruno Mars trying\u003c/a> (and failing) to make it work with Red Hot Chili Peppers. For every \u003ca href=\"https://www.youtube.com/watch?v=7NN3gsSf-Ys&t=105s\" target=\"_blank\" rel=\"noopener noreferrer\">Prince flawlessly powering through\u003c/a> a thunderstorm, there is an \u003ca href=\"https://www.youtube.com/watch?v=zIwkhEqVq4s\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Levine\u003c/a> assuming that removing his shirt constitutes a grand finale. And for every \u003ca href=\"https://www.youtube.com/watch?v=i4-0nbHFi4o\" target=\"_blank\" rel=\"noopener noreferrer\">inter-generationally loved Bruce Springsteen set\u003c/a>, there’s an \u003ca href=\"https://www.youtube.com/watch?v=X3ik_8QjM3U\" target=\"_blank\" rel=\"noopener noreferrer\">M.I.A. middle finger\u003c/a> or a \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener noreferrer\">Janet Jackson nipple guard\u003c/a>.\u003c/p>\n\u003cp>[aside postid='pop_20175']Right now, there are three guarantees when it comes to the Super Bowl halftime show. It \u003cem>will\u003c/em> be spectacular, it \u003cem>won’t\u003c/em> please everyone and, even at its worst, it’s still about a million times better than it was in its fledgling years. So this Sunday, if you happen to end up sitting next to someone complaining, feel free to send them a gentle reminder of how bad things used to be. The \u003cem>Peanuts\u003c/em>-related fever dream below ought to do it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X4zzu4Jrl4o\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For non-football types, the Super Bowl halftime show can be the only life raft in a confusing sea of frowning men wearing shoulder pads and over-long commercial breaks. And, since 1993, when Michael Jackson turned in his game-changing, five-song performance in Pasadena, standards for a successful halftime have been incredibly high.\u003c/p>\n\u003cp>No wonder. Super Bowl \u003ca href=\"https://en.wikipedia.org/wiki/Super_Bowl_television_ratings\" target=\"_blank\" rel=\"noopener noreferrer\">viewing figures\u003c/a> haven’t fallen under 100 million since 1981, and are more commonly closer to the 150 million mark—and that’s in America alone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When it’s done right, the halftime show can be a source of national pride (as when \u003ca href=\"https://www.youtube.com/watch?v=pH5tHgXS-2M\" target=\"_blank\" rel=\"noopener noreferrer\">U2 tried to heal\u003c/a> the nation after 9/11). It can have an immediate and lasting impact on pop culture (Katy Perry’s \u003ca href=\"https://www.youtube.com/watch?v=ZD1QrIe--_Y\" target=\"_blank\" rel=\"noopener noreferrer\">Left Shark\u003c/a> will live on as a\u003ca href=\"https://knowyourmeme.com/memes/super-bowl-xlix-halftime-left-shark\" target=\"_blank\" rel=\"noopener noreferrer\"> meme\u003c/a> forever). And it can bring the country together during turbulent times (everyone stopped thinking about 2017’s divisive inauguration the second \u003ca href=\"https://www.youtube.com/watch?v=txXwg712zw4\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga threw herself\u003c/a> off the top of that stadium).\u003c/p>\n\u003cp>So it’s easy to forget quite how much the pre-Jackson Super Bowl halftime, well, sucked.\u003c/p>\n\u003cp>Going all the way back to the beginning, the first three halftime shows (’67-’69) consisted simply of \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">marching bands\u003c/a>. In 1970, when the NFL decided to jazz things up \u003ca href=\"https://www.theguardian.com/sport/2016/feb/06/carol-channing-super-bowl-broadway\" target=\"_blank\" rel=\"noopener noreferrer\">for Super Bowl IV\u003c/a> in New Orleans, it saw fit to give America \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">a surreal reenactment\u003c/a> of the 1815 Battle of New Orleans. Cannons, on-field “deaths” and Carol Channing singing “When the Saints Go Marching In” were all involved. (All of which makes \u003ca href=\"https://www.youtube.com/watch?v=NGRfz5_Cuo8\" target=\"_blank\" rel=\"noopener noreferrer\">Black Eyed Peas’ \u003cem>Tron\u003c/em> musical \u003c/a>in 2011 look perfectly reasonable.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carol Channing was invited back again two years later, when Ella Fitzgerald and Al Hirt performed a rendition of “Mack the Knife” as part of a single-song “tribute to Louis Armstrong.” And by ’73, Andy Williams had been dragged in to pelt the crowd with two easy listening gems while the Michigan Marching Band did its thing.\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/ny-1Q6qxn-A'\n title='//www.youtube.com/embed/ny-1Q6qxn-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite the fact that the flashiest thing about Williams’ performance was his belt, in subsequent years, the decision was made to return to simpler times. For the next 15 years, marching bands performing a grab bag of “themes” dominated.\u003c/p>\n\u003cp>These regimented “salutes” ranged from fairly reasonable celebrations (America’s bicentennial, “the Big Band era,” Hollywood’s 100th Anniversary), to totally random subjects (Duke Ellington, the Caribbean, Motown). And in between, there were moments of abject surreality (“World of Children’s Dreams,” “KaleidoSUPERscope” and “Beat of the Future,” anyone?)\u003c/p>\n\u003cp>Occasionally, flagrant advertising would interrupt proceedings—even more so than Pepsi does now. The most egregious example of this was 1977’s “It’s a Small World.” Produced by The Walt Disney Company, the halftime exhibition featured grinning but under-utilized Mouseketeers, a human reproduction of Disneyland’s “It’s a Small World” ride and, for reasons that remain unclear, green-hooded figures waving white sheets in formations that made… nothing.\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/-K-7je-6Dk0'\n title='//www.youtube.com/embed/-K-7je-6Dk0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1987’s “\u003ca href=\"https://www.youtube.com/watch?v=oSXMNbK2e98\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood’s 100th Anniversary\u003c/a>” special with George Burns, as well as New Kids On The Block’s \u003ca href=\"https://www.youtube.com/watch?v=ZTOt6CjYaHc\" target=\"_blank\" rel=\"noopener noreferrer\">weird, child-laden\u003c/a> set in 1991 also served as thinly-veiled Disney commercials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As late as 1989, the Super Bowl halftime show was such a mess, \u003ca href=\"https://www.youtube.com/watch?v=VqusO8PegFI&t=381s\" target=\"_blank\" rel=\"noopener noreferrer\">the NFL thought nothing of bringing in Elvis Presto, a magician and Elvis impersonator\u003c/a> who spent his time on the field doing one large-scale card trick for the stadium, then a bunch of smaller illusions while singing “Do You Love Me” by The Contours—instead of, you know, an Elvis song.\u003c/p>\n\u003cp>The most noteworthy halftime of that period came in 1988 with a show that answered the question: What happens when you have too many ideas and decide to do all of them at the same time?\u003c/p>\n\u003cp>The final result, featuring 88 grand pianos, 44 Rockettes, four dudes on roller skates, an untold number of “dancersizers,” hundreds of cheerleaders, “the biggest big band ever to swing” and—wouldn’t you know it?—Chubby Checker, is the single most entertaining (and unintentionally hilarious) halftime show of all time. Behold its majesty:\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/wqrksVDVO6w'\n title='//www.youtube.com/embed/wqrksVDVO6w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the last 25 years, the strides made by the Super Bowl halftime show are immense. But we still find reasons to quibble. For every \u003ca href=\"https://www.youtube.com/watch?v=sLrOSZi2pfw\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny’s Child reunion\u003c/a>, there is a \u003ca href=\"https://www.youtube.com/watch?v=0wL8sAr1Ym0\" target=\"_blank\" rel=\"noopener noreferrer\">Bruno Mars trying\u003c/a> (and failing) to make it work with Red Hot Chili Peppers. For every \u003ca href=\"https://www.youtube.com/watch?v=7NN3gsSf-Ys&t=105s\" target=\"_blank\" rel=\"noopener noreferrer\">Prince flawlessly powering through\u003c/a> a thunderstorm, there is an \u003ca href=\"https://www.youtube.com/watch?v=zIwkhEqVq4s\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Levine\u003c/a> assuming that removing his shirt constitutes a grand finale. And for every \u003ca href=\"https://www.youtube.com/watch?v=i4-0nbHFi4o\" target=\"_blank\" rel=\"noopener noreferrer\">inter-generationally loved Bruce Springsteen set\u003c/a>, there’s an \u003ca href=\"https://www.youtube.com/watch?v=X3ik_8QjM3U\" target=\"_blank\" rel=\"noopener noreferrer\">M.I.A. middle finger\u003c/a> or a \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener noreferrer\">Janet Jackson nipple guard\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Right now, there are three guarantees when it comes to the Super Bowl halftime show. It \u003cem>will\u003c/em> be spectacular, it \u003cem>won’t\u003c/em> please everyone and, even at its worst, it’s still about a million times better than it was in its fledgling years. So this Sunday, if you happen to end up sitting next to someone complaining, feel free to send them a gentle reminder of how bad things used to be. The \u003cem>Peanuts\u003c/em>-related fever dream below ought to do it.\u003c/p>\n\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/X4zzu4Jrl4o'\n title='//www.youtube.com/embed/X4zzu4Jrl4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Author Tour for Controversial ‘American Dirt’ is Canceled",
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"content": "\u003cp>NEW YORK (AP) — The publisher of Jeanine Cummins’ controversial novel “American Dirt” has canceled the remainder of her promotional tour, citing concerns for her safety.\u003c/p>\n\u003cp>[aside postID='news_11798033' label='What 'American Dirt' Gets Wrong'?']\u003c/p>\n\u003cp>The novel about a Mexican mother and her young son fleeing to the U.S. border had been praised widely before its Jan. 21 release and was chosen by Oprah Winfrey for her book club. But Mexican American writers have been among those strongly criticizing “American Dirt” for stereotypical depictions of Mexicans. Cummins is of Irish and Puerto Rican background and had herself raised questions about the narrative, writing in an author’s note at the end of the book that she had wondered if “someone slightly browner than me” should have done it.\u003c/p>\n\u003cp>“Jeanine Cummins spent five years of her life writing this book with the intent to shine a spotlight on tragedies facing immigrants,” Bob Miller, president and publisher of Flatiron Books, said in a statement Wednesday. “We are saddened that a work of fiction that was well-intentioned has led to such vitriolic rancor.\u003c/p>\n\u003cp>“Unfortunately, our concerns about safety have led us to the difficult decision to cancel the book tour.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Flatiron Books is instead hoping to organize a series of town hall discussions.\u003c/p>\n\u003cp>Cummins, 45, had made a handful of promotional appearances since her book was released, but over the past few days the St. Louis-based Left Bank Books had called off an event and Flatiron had canceled interviews in California. The tour for her heavily promoted book had been scheduled to last at least through mid-February, with planned stops everywhere from Seattle to Oxford, Mississippi.\u003cbr>\nMiller says that the town hall gatherings would include Cummins and her critics, calling it “an opportunity to come together and unearth difficult truths to help us move forward as a community.” On Wednesday, a spokesperson for Winfrey confirmed that Winfrey will meet as planned with the author next month and that the discussion will air in March on Apple TV Plus. “American Dirt” was the third novel picked by Winfrey since she began a partnership with Apple last year.\u003c/p>\n\u003cp>Earlier Wednesday, dozens of authors, including Valeria Luiselli, Viet Thanh Nguyen and Tommy Orange, published an open letter to Winfrey that urged her to reconsider her selection of Cummins’ novel.\u003c/p>\n\u003cp>“The book club provides a seal of approval that can still, we hope, be changed,” they wrote. “Good intentions do not make good literature particularly not when the execution is so faulty, and the outcome so harmful.”\u003c/p>\n\u003cp>Winfrey first chose “American Dirt” last fall, before any criticism had emerged and acknowledged in a pre-publication interview with the AP that she was unaware of any controversy. She has since posted a video on Instagram, saying that she had been following the debate and hoped for a broad discussion.\u003c/p>\n\u003cp>“I’ve spent the past few days listening to members of the Latinx community to get a greater understanding of their concerns, and I hear them. I do,” Winfrey said in the video. “What I want to do is bring people together from all sides to talk about this book.”\u003c/p>\n\u003cp>“American Dirt” has dramatized ongoing issues of diversity in publishing that mirror criticisms of Hollywood. From publishers and editors to booksellers and agents, the book industry is predominantly white. Miller acknowledged that the novel “exposed deep inadequacies” at Flatiron and apologized for how the novel was promoted.\u003c/p>\n\u003cp>“We should never have claimed that it was a novel that defined the migrant experience; we should not have said that Jeanine’s husband was an undocumented immigrant while not specifying that he was from Ireland,” he wrote. He also referred to a picture that surfaced on social media from a promotional dinner last May, when table centerpieces included barbed wire decorations based on the book’s cover image.\u003c/p>\n\u003cp>“We can now see how insensitive those and other decisions were, and we regret them,” Miller said.\u003c/p>\n\u003cp>Flatiron is a division of Macmillan and has had authors ranging from former Vice President Joe Biden to Winfrey, who also has her own imprint at Flatiron that is releasing an Alicia Keys memoir in March.\u003c/p>\n\u003cp>One of Cummins’ leading detractors, Myriam Gurba, tweeted Wednesday that she, too, had security concerns. She wrote she had received death threats because of her criticisms and added “Let’s talk about the SAFETY of MIGRANTS and LATINX ppl. That’s what that book was intended to do, right?”\u003c/p>\n\u003cp>Cummins was defended by Ann Patchett, the author and bookstore owner who runs Parnassus Books in Nashville and gave the book an early blurb. In an email to The Associated Press, she wrote that Cummins had done a “beautiful job talking about the journey she’s been on with this book,” but that she understood the decision to end the tour.\u003c/p>\n\u003cp>“For the record, I loved ‘American Dirt.’ I’ve never in my life seen this kind of public flogging,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite the criticism, Cummins’ novel was easily the top-selling work of fiction last week, according to NPD BookScan, which tracks around 85 percent of the print market. “American Dirt” sold more than 48,000 copies during its first week, even topping Delia Owens’ blockbuster “Where the Crawdads Sing,” which sold just under 25,000 copies.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>NEW YORK (AP) — The publisher of Jeanine Cummins’ controversial novel “American Dirt” has canceled the remainder of her promotional tour, citing concerns for her safety.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The novel about a Mexican mother and her young son fleeing to the U.S. border had been praised widely before its Jan. 21 release and was chosen by Oprah Winfrey for her book club. But Mexican American writers have been among those strongly criticizing “American Dirt” for stereotypical depictions of Mexicans. Cummins is of Irish and Puerto Rican background and had herself raised questions about the narrative, writing in an author’s note at the end of the book that she had wondered if “someone slightly browner than me” should have done it.\u003c/p>\n\u003cp>“Jeanine Cummins spent five years of her life writing this book with the intent to shine a spotlight on tragedies facing immigrants,” Bob Miller, president and publisher of Flatiron Books, said in a statement Wednesday. “We are saddened that a work of fiction that was well-intentioned has led to such vitriolic rancor.\u003c/p>\n\u003cp>“Unfortunately, our concerns about safety have led us to the difficult decision to cancel the book tour.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Flatiron Books is instead hoping to organize a series of town hall discussions.\u003c/p>\n\u003cp>Cummins, 45, had made a handful of promotional appearances since her book was released, but over the past few days the St. Louis-based Left Bank Books had called off an event and Flatiron had canceled interviews in California. The tour for her heavily promoted book had been scheduled to last at least through mid-February, with planned stops everywhere from Seattle to Oxford, Mississippi.\u003cbr>\nMiller says that the town hall gatherings would include Cummins and her critics, calling it “an opportunity to come together and unearth difficult truths to help us move forward as a community.” On Wednesday, a spokesperson for Winfrey confirmed that Winfrey will meet as planned with the author next month and that the discussion will air in March on Apple TV Plus. “American Dirt” was the third novel picked by Winfrey since she began a partnership with Apple last year.\u003c/p>\n\u003cp>Earlier Wednesday, dozens of authors, including Valeria Luiselli, Viet Thanh Nguyen and Tommy Orange, published an open letter to Winfrey that urged her to reconsider her selection of Cummins’ novel.\u003c/p>\n\u003cp>“The book club provides a seal of approval that can still, we hope, be changed,” they wrote. “Good intentions do not make good literature particularly not when the execution is so faulty, and the outcome so harmful.”\u003c/p>\n\u003cp>Winfrey first chose “American Dirt” last fall, before any criticism had emerged and acknowledged in a pre-publication interview with the AP that she was unaware of any controversy. She has since posted a video on Instagram, saying that she had been following the debate and hoped for a broad discussion.\u003c/p>\n\u003cp>“I’ve spent the past few days listening to members of the Latinx community to get a greater understanding of their concerns, and I hear them. I do,” Winfrey said in the video. “What I want to do is bring people together from all sides to talk about this book.”\u003c/p>\n\u003cp>“American Dirt” has dramatized ongoing issues of diversity in publishing that mirror criticisms of Hollywood. From publishers and editors to booksellers and agents, the book industry is predominantly white. Miller acknowledged that the novel “exposed deep inadequacies” at Flatiron and apologized for how the novel was promoted.\u003c/p>\n\u003cp>“We should never have claimed that it was a novel that defined the migrant experience; we should not have said that Jeanine’s husband was an undocumented immigrant while not specifying that he was from Ireland,” he wrote. He also referred to a picture that surfaced on social media from a promotional dinner last May, when table centerpieces included barbed wire decorations based on the book’s cover image.\u003c/p>\n\u003cp>“We can now see how insensitive those and other decisions were, and we regret them,” Miller said.\u003c/p>\n\u003cp>Flatiron is a division of Macmillan and has had authors ranging from former Vice President Joe Biden to Winfrey, who also has her own imprint at Flatiron that is releasing an Alicia Keys memoir in March.\u003c/p>\n\u003cp>One of Cummins’ leading detractors, Myriam Gurba, tweeted Wednesday that she, too, had security concerns. She wrote she had received death threats because of her criticisms and added “Let’s talk about the SAFETY of MIGRANTS and LATINX ppl. That’s what that book was intended to do, right?”\u003c/p>\n\u003cp>Cummins was defended by Ann Patchett, the author and bookstore owner who runs Parnassus Books in Nashville and gave the book an early blurb. In an email to The Associated Press, she wrote that Cummins had done a “beautiful job talking about the journey she’s been on with this book,” but that she understood the decision to end the tour.\u003c/p>\n\u003cp>“For the record, I loved ‘American Dirt.’ I’ve never in my life seen this kind of public flogging,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite the criticism, Cummins’ novel was easily the top-selling work of fiction last week, according to NPD BookScan, which tracks around 85 percent of the print market. “American Dirt” sold more than 48,000 copies during its first week, even topping Delia Owens’ blockbuster “Where the Crawdads Sing,” which sold just under 25,000 copies.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Amid \u003ca href=\"http://blackalicious.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blackalicious\u003c/a>‘ busy recording and tour schedule, the duo’s MC, Gift of Gab, has been dealing with some serious health issues. After managing his diabetes for years, he was diagnosed with kidney failure in 2012, and made Blackalicious’ last album, \u003cem>Imani Vol. 1\u003c/em>, and his 2018 solo project \u003cem>Rejoice! Rappers Are Rapping Again!\u003c/em> while on dialysis.\u003c/p>\n\u003cp>“This whole thing man, life is all about turning negatives into positives,” Gift of Gab \u003ca href=\"https://www.kqed.org/news/10719848/blackalicious-hip-hop-duo-turns-obstacles-into-musical-gold\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED in 2015\u003c/a>. “We’re all gonna be handed obstacles. It’s just what you do with them.”\u003c/p>\n\u003cp>Yesterday, Gift of Gab announced that he’ll undergo a kidney transplant in March at Arizona’s Mayo Clinic, and asked fans to donate to his \u003ca href=\"https://www.gofundme.com/f/gift-of-gab-kidney-transplant-recover-fund?utm_source=customer&utm_medium=copy_link&utm_campaign=p_cf+share-flow-1\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a>. The fundraiser exceeded its $8,000 goal in less than 24 hours, with 285 donors. In an \u003ca href=\"https://hiphopdx.com/news/id.54295/title.blackalicious-mc-gift-of-gab-launches-gofundme-ahead-of-kidney-transplant\" target=\"_blank\" rel=\"noopener noreferrer\">interview with HipHopDX\u003c/a>, he opened up about the costs associated with the surgery: he’ll have to pay out of pocket for a hotel and caregiver, in addition to being out of work for six weeks.\u003c/p>\n\u003cp>“l’ll get the call any day to get a kidney and I am overwhelmingly grateful for all of the support thus far,” he told HipHopDX.\u003c/p>\n\u003cp>Gift of Gab and producer Chief Xcel founded Blackalicious in the early ’90s after meeting in high school in Sacramento. During Chief Xcel’s college years at UC Davis, the duo was part of a dynamic scene that included fellow Northern California hip-hop icons DJ Shadow and Lyrics Born. In 2000, Blackalicious made waves with their debut album \u003cem>Nia\u003c/em>, which showcased Gift of Gab’s singular gift for tongue-twisting, multi-syllabic rhymes. The duo celebrated the album’s 20th anniversary last September with a show at Slim’s in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gift of Gab promised his GoFundMe donors access to an exclusive solo EP, \u003cem>Offering\u003c/em>, and hinted at a new Blackalicious album on the way.\u003c/p>\n\u003cp>“THANK YOU SO MUCH FOR THE OUTPOURING OF LOVE!” he wrote once the fundraiser reached its goal. “We did it! Even though we hit our goal, any overage will go to extra expenses including transportation, medication costs, housing costs, caregiver costs, food, and a thousand other things. Every dollar makes it a little bit easier for me on the road back to recovery and health.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/blackalicious_/status/1222229153929236480?s=20\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amid \u003ca href=\"http://blackalicious.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blackalicious\u003c/a>‘ busy recording and tour schedule, the duo’s MC, Gift of Gab, has been dealing with some serious health issues. After managing his diabetes for years, he was diagnosed with kidney failure in 2012, and made Blackalicious’ last album, \u003cem>Imani Vol. 1\u003c/em>, and his 2018 solo project \u003cem>Rejoice! Rappers Are Rapping Again!\u003c/em> while on dialysis.\u003c/p>\n\u003cp>“This whole thing man, life is all about turning negatives into positives,” Gift of Gab \u003ca href=\"https://www.kqed.org/news/10719848/blackalicious-hip-hop-duo-turns-obstacles-into-musical-gold\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED in 2015\u003c/a>. “We’re all gonna be handed obstacles. It’s just what you do with them.”\u003c/p>\n\u003cp>Yesterday, Gift of Gab announced that he’ll undergo a kidney transplant in March at Arizona’s Mayo Clinic, and asked fans to donate to his \u003ca href=\"https://www.gofundme.com/f/gift-of-gab-kidney-transplant-recover-fund?utm_source=customer&utm_medium=copy_link&utm_campaign=p_cf+share-flow-1\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a>. The fundraiser exceeded its $8,000 goal in less than 24 hours, with 285 donors. In an \u003ca href=\"https://hiphopdx.com/news/id.54295/title.blackalicious-mc-gift-of-gab-launches-gofundme-ahead-of-kidney-transplant\" target=\"_blank\" rel=\"noopener noreferrer\">interview with HipHopDX\u003c/a>, he opened up about the costs associated with the surgery: he’ll have to pay out of pocket for a hotel and caregiver, in addition to being out of work for six weeks.\u003c/p>\n\u003cp>“l’ll get the call any day to get a kidney and I am overwhelmingly grateful for all of the support thus far,” he told HipHopDX.\u003c/p>\n\u003cp>Gift of Gab and producer Chief Xcel founded Blackalicious in the early ’90s after meeting in high school in Sacramento. During Chief Xcel’s college years at UC Davis, the duo was part of a dynamic scene that included fellow Northern California hip-hop icons DJ Shadow and Lyrics Born. In 2000, Blackalicious made waves with their debut album \u003cem>Nia\u003c/em>, which showcased Gift of Gab’s singular gift for tongue-twisting, multi-syllabic rhymes. The duo celebrated the album’s 20th anniversary last September with a show at Slim’s in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Though its calendar is booked year-round, \u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tiny Telephone\u003c/a>‘s San Francisco recording studio isn’t financially solvent, owner John Vanderslice tells KQED.\u003c/p>\n\u003cp>That’s why, come July 1, Vanderslice will close the studio in the location he’s held in the Mission District since 1997.\u003c/p>\n\u003cp>“We pay over a thousand dollars a month in electricity—so much about being in San Francisco is impossibly expensive,” says Vanderslice, adding that he’s been diverting his clients to the Tiny Telephone location in Oakland, which he opened in 2016. [aside postid='arts_13873207']\u003c/p>\n\u003cp>For over 20 years, Tiny Telephone has been a bastion for indie rock in the Bay Area and beyond. Clients have included notable locals Tune-Yards, Shannon and the Clams and Thao & the Get Down Stay Down, and big names like Sleater-Kinney, Spoon, Death Cab for Cutie and the Mountain Goats.\u003c/p>\n\u003cp>Known for its analog recordings on tape, Tiny Telephone offers access to rare, vintage equipment, top-notch audio engineers and even a string ensemble, the Magik*Magik Orchestra. Yet, out of commitment to San Francisco’s financially squeezed independent musicians, Vanderslice has intentionally kept his rates relatively affordable ($300-$400 a day, excluding the price of an engineer), and hasn’t raised the price of his original A room since 2004.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’ve served a vulnerable arts community, so that community is very sensitive to us raising our prices,” he says. “We’ve probably been under market—especially compared to studios in L.A.—but I also don’t feel there’s that much room to raise our prices, so we’re in this strange predicament. … I think if we were in any other city, we would have been able to survive.”\u003c/p>\n\u003cp>Mounting costs have caught up to Vanderslice, despite the fact that his landlords, Marilyn and Chris Goode, have actually lowered his rent in recent years. “We’ve tried to make sure engineers got paid enough money to live and to thrive here, so the pressures are from everywhere,” Vanderslice says. “Our techs are phenomenal, but they live in San Francisco. There are techs that are $100 an hour.” [aside postid='arts_13869323']\u003c/p>\n\u003cp>“I think our landlord has shielded us, but you can only shield someone so far,” he adds.\u003c/p>\n\u003cp>Tiny Telephone’s San Francisco location is part of a four-building compound \u003ca href=\"http://www.foundsf.org/index.php?title=The_Farm\" target=\"_blank\" rel=\"noopener noreferrer\">known as the Farm\u003c/a>, which has a colorful history as a hub for radical ideas, urban gardening and DIY culture in San Francisco since the 1970s, when it was founded by conceptual artists \u003ca href=\"https://bampfa.org/news/q-bonnie-ora-sherk-and-performance-being\" target=\"_blank\" rel=\"noopener noreferrer\">Bonnie Ora Sherk\u003c/a> and Jack Wickert. Comprised of converted industrial warehouses, the property borders Potrero and San Bruno Avenues, and is nestled between between Potrero del Sol park and Highway 101. In its first iteration, the Farm hosted gardening classes for school kids and served as a rehearsal space for performing arts groups such as the San Francisco Mime Troupe.\u003c/p>\n\u003cp>In the ’80s, punk bands like the Descendents and Bad Brains performed at the Farm. The \u003ca href=\"http://www.foundsf.org/index.php?title=The_Farm\" target=\"_blank\" rel=\"noopener noreferrer\">original tenants\u003c/a> were evicted in 1987. In its current incarnation, it includes three commercial buildings and one residential one (plus another adjoining residential building that isn’t owned by the Goode family). In addition to Tiny Telephone, the compound is home to punk label Subterranean Records, three art studios, a florist, a bike bag maker, a biotech company and other small businesses.\u003c/p>\n\u003cp>Tiny Telephone’s departure foreshadows what could be another end of an era at the mixed-use creative space. The fate of the Farm has hung in limbo for years as the owners have announced, and then called off, major changes at the property. Currently, they’re awaiting the Planning Department’s approval on a \u003ca href=\"https://socketsite.com/archives/2019/12/bonus-development-on-the-edge-of-the-mission-closer-to-reality.html\" target=\"_blank\" rel=\"noopener noreferrer\">six-story (plus basement) apartment building\u003c/a> that will require the demolition of the three commercial-use buildings in the compound. [aside postid='arts_13873069']\u003c/p>\n\u003cp>“We’ve always known that the property is not sustainable the way it is and that sometime it’s gonna change,” Chris Goode tells KQED.\u003c/p>\n\u003cp>“This property has had a lot of interesting uses—whether it’s artists, quirky businesses or people living there—because the rents are super cheap, not by national standards, but by San Francisco standards,” Goode adds. “They’re cheap not because we’re wonderful landlords—though we generally have a good relationship—but it’s a funky, weird piece of property up against the freeway.”\u003c/p>\n\u003cp>Construction won’t start for another five or so years, Goode anticipates, but some of the commercial tenants are already uneasy about what comes next.\u003c/p>\n\u003cp>Sculptor \u003ca href=\"http://mikgaspay.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mik Gaspay\u003c/a>, who rents an art studio in one of the buildings, says that he received a verbal notice about the slated development two years ago and a written notice late last summer. “To kind of give it a concrete image of the rendering, and seeing surveyors and architects come by, definitely raises anxiety and the uncertainty of my future here in the city as an artist,” says Gaspay, adding that he and the other artists in the building are on month-to-month leases. “I don’t think I could find a similar place for the same price, and the vibe and proximity to my apartment.” [aside postid='arts_13870917']\u003c/p>\n\u003cp>For Vanderslice’s part, he says he knew development would one day come to the Farm since he signed his lease in the ’90s, and that San Francisco’s financial pressures are the primary driver behind his decision to shutter the original Tiny Telephone location. He recently relocated to Los Angeles, where he opened a new recording studio with two Tiny Telephone engineers called Grandma’s Couch, but he comes to the Bay Area regularly to tend to his businesses and property in Sonoma County.\u003c/p>\n\u003cp>Despite the upcoming San Francisco closure, he says business at Tiny Telephone isn’t slowing down. In fact, he anticipates his Oakland studio will be in even greater demand.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve been so busy—we were booked on Christmas for all three rooms this year,” he says, praising the resilience of the Bay Area’s creative community. “There are still tons and tons of people making art.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though its calendar is booked year-round, \u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tiny Telephone\u003c/a>‘s San Francisco recording studio isn’t financially solvent, owner John Vanderslice tells KQED.\u003c/p>\n\u003cp>That’s why, come July 1, Vanderslice will close the studio in the location he’s held in the Mission District since 1997.\u003c/p>\n\u003cp>“We pay over a thousand dollars a month in electricity—so much about being in San Francisco is impossibly expensive,” says Vanderslice, adding that he’s been diverting his clients to the Tiny Telephone location in Oakland, which he opened in 2016. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For over 20 years, Tiny Telephone has been a bastion for indie rock in the Bay Area and beyond. Clients have included notable locals Tune-Yards, Shannon and the Clams and Thao & the Get Down Stay Down, and big names like Sleater-Kinney, Spoon, Death Cab for Cutie and the Mountain Goats.\u003c/p>\n\u003cp>Known for its analog recordings on tape, Tiny Telephone offers access to rare, vintage equipment, top-notch audio engineers and even a string ensemble, the Magik*Magik Orchestra. Yet, out of commitment to San Francisco’s financially squeezed independent musicians, Vanderslice has intentionally kept his rates relatively affordable ($300-$400 a day, excluding the price of an engineer), and hasn’t raised the price of his original A room since 2004.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve served a vulnerable arts community, so that community is very sensitive to us raising our prices,” he says. “We’ve probably been under market—especially compared to studios in L.A.—but I also don’t feel there’s that much room to raise our prices, so we’re in this strange predicament. … I think if we were in any other city, we would have been able to survive.”\u003c/p>\n\u003cp>Mounting costs have caught up to Vanderslice, despite the fact that his landlords, Marilyn and Chris Goode, have actually lowered his rent in recent years. “We’ve tried to make sure engineers got paid enough money to live and to thrive here, so the pressures are from everywhere,” Vanderslice says. “Our techs are phenomenal, but they live in San Francisco. There are techs that are $100 an hour.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think our landlord has shielded us, but you can only shield someone so far,” he adds.\u003c/p>\n\u003cp>Tiny Telephone’s San Francisco location is part of a four-building compound \u003ca href=\"http://www.foundsf.org/index.php?title=The_Farm\" target=\"_blank\" rel=\"noopener noreferrer\">known as the Farm\u003c/a>, which has a colorful history as a hub for radical ideas, urban gardening and DIY culture in San Francisco since the 1970s, when it was founded by conceptual artists \u003ca href=\"https://bampfa.org/news/q-bonnie-ora-sherk-and-performance-being\" target=\"_blank\" rel=\"noopener noreferrer\">Bonnie Ora Sherk\u003c/a> and Jack Wickert. Comprised of converted industrial warehouses, the property borders Potrero and San Bruno Avenues, and is nestled between between Potrero del Sol park and Highway 101. In its first iteration, the Farm hosted gardening classes for school kids and served as a rehearsal space for performing arts groups such as the San Francisco Mime Troupe.\u003c/p>\n\u003cp>In the ’80s, punk bands like the Descendents and Bad Brains performed at the Farm. The \u003ca href=\"http://www.foundsf.org/index.php?title=The_Farm\" target=\"_blank\" rel=\"noopener noreferrer\">original tenants\u003c/a> were evicted in 1987. In its current incarnation, it includes three commercial buildings and one residential one (plus another adjoining residential building that isn’t owned by the Goode family). In addition to Tiny Telephone, the compound is home to punk label Subterranean Records, three art studios, a florist, a bike bag maker, a biotech company and other small businesses.\u003c/p>\n\u003cp>Tiny Telephone’s departure foreshadows what could be another end of an era at the mixed-use creative space. The fate of the Farm has hung in limbo for years as the owners have announced, and then called off, major changes at the property. Currently, they’re awaiting the Planning Department’s approval on a \u003ca href=\"https://socketsite.com/archives/2019/12/bonus-development-on-the-edge-of-the-mission-closer-to-reality.html\" target=\"_blank\" rel=\"noopener noreferrer\">six-story (plus basement) apartment building\u003c/a> that will require the demolition of the three commercial-use buildings in the compound. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve always known that the property is not sustainable the way it is and that sometime it’s gonna change,” Chris Goode tells KQED.\u003c/p>\n\u003cp>“This property has had a lot of interesting uses—whether it’s artists, quirky businesses or people living there—because the rents are super cheap, not by national standards, but by San Francisco standards,” Goode adds. “They’re cheap not because we’re wonderful landlords—though we generally have a good relationship—but it’s a funky, weird piece of property up against the freeway.”\u003c/p>\n\u003cp>Construction won’t start for another five or so years, Goode anticipates, but some of the commercial tenants are already uneasy about what comes next.\u003c/p>\n\u003cp>Sculptor \u003ca href=\"http://mikgaspay.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mik Gaspay\u003c/a>, who rents an art studio in one of the buildings, says that he received a verbal notice about the slated development two years ago and a written notice late last summer. “To kind of give it a concrete image of the rendering, and seeing surveyors and architects come by, definitely raises anxiety and the uncertainty of my future here in the city as an artist,” says Gaspay, adding that he and the other artists in the building are on month-to-month leases. “I don’t think I could find a similar place for the same price, and the vibe and proximity to my apartment.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Vanderslice’s part, he says he knew development would one day come to the Farm since he signed his lease in the ’90s, and that San Francisco’s financial pressures are the primary driver behind his decision to shutter the original Tiny Telephone location. He recently relocated to Los Angeles, where he opened a new recording studio with two Tiny Telephone engineers called Grandma’s Couch, but he comes to the Bay Area regularly to tend to his businesses and property in Sonoma County.\u003c/p>\n\u003cp>Despite the upcoming San Francisco closure, he says business at Tiny Telephone isn’t slowing down. In fact, he anticipates his Oakland studio will be in even greater demand.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve been so busy—we were booked on Christmas for all three rooms this year,” he says, praising the resilience of the Bay Area’s creative community. “There are still tons and tons of people making art.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A group of San Francisco residents is campaigning to change the name of a major city street to honor a famous California labor leader and civil rights activist.\u003c/p>\n\u003cp>An \u003ca href=\"https://sign.moveon.org/petitions/rename-south-van-ness-as-dolores-huerta-boulevard?bucket&source=facebook-share-button&time=1579398959&utm_campaign&utm_source=facebook&share=7760f4cc-e5ea-4828-bde1-cd1390af1c5d&fbclid=IwAR2hy78R7jqGIop_1VFnAoBygt9qlJ2lWDJZemCOfdMIIdxeZAx4Sh0SgOU\" target=\"_blank\" rel=\"noopener noreferrer\">online petition\u003c/a> to rename South Van Ness Avenue to Dolores Huerta Boulevard has so far attracted over 1,100 signatures.\u003c/p>\n\u003cp>Local resident Sean Scullion is behind the petition. He says it’s high time the city honored Huerta, who co-founded the National Farmworkers Association (now \u003ca href=\"https://ufw.org/\" target=\"_blank\" rel=\"noopener noreferrer\">United Farm Workers\u003c/a>) with Cesar Chavez and fought tirelessly for decades on behalf of workers rights, in the same way it’s honored Chavez.\u003c/p>\n\u003cp>“I was around San Francisco when Cesar Chavez Street was named,” Scullion says of the thoroughfare formerly known as Army Street. “And I always thought it was strange that Dolores didn’t get a street as well.”\u003c/p>\n\u003cp>Scullion, a resident of the Haight-Ashbury neighborhood, says he’s known of Chavez and Huerta since he was a child, and that his parents participated in the Delano Grape Strike of 1965. Huerta led the fight against table grape growers in Delano, California to stop the exploitation of farm workers.\u003c/p>\n\u003cp>“Over the years, I’ve read news articles about her and always considered her a personal hero,” Scullion says. “I saw the documentary \u003cem>Dolores\u003c/em> and went to hear her speak at the Herbst Theater.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"DOLORES Official Theatrical Trailer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Unzr9kiFScQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Some public officials are aware of the campaign, and supportive of it—in principle.\u003c/p>\n\u003cp>“Dolores Huerta is one of my all-time heroes, and it’s exciting and fitting that people are raising the idea of renaming a major street running through the Latino Cultural District in her honor,” says \u003ca href=\"https://sfbos.org/supervisor-ronen-district-9\" target=\"_blank\" rel=\"noopener noreferrer\">District 9 Supervisor Hillary Ronen\u003c/a>, in whose jurisdiction the proposed street name change partially falls. “I would be happy to carry it forward if we see broad community support for the change.”\u003c/p>\n\u003cp>Huerta is 89 years old. The Presidential Medal of Freedom honoree already has a square named after her in Los Angeles, as well as several schools in California and beyond. Scullion says naming a San Francisco street after Huerta would be a fitting tribute for her upcoming 90th birthday. (April 10, Huerta’s birthday, is Dolores Huerta Day in California.)\u003c/p>\n\u003cp>“Renaming South Van Ness seems like a win for everyone,” Scullion says. “The mayor and supervisors can have a chance to shine a spotlight on someone who exemplifies the spirit of San Francisco, the neighborhood and city get a constant reminder of a role model, and Ms. Huerta can be given a birthday gift acknowledging her contributions and sacrifices.”\u003c/p>\n\u003cp>The petition comes at a time when the city of San Francisco has \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=6652905&GUID=6042BF04-6B7C-4319-A442-E535F3E9F012\" target=\"_blank\" rel=\"noopener noreferrer\">legislation\u003c/a> in place to increase the representation of women on the city’s street names, public buildings, and public art by 30 percent before the end of 2020.\u003c/p>\n\u003cp>Despite the race to meet the legislative requirements, it seems unlikely that the street name change, if it comes to pass, will happen in time for Huerta’s birthday.\u003c/p>\n\u003cp>\u003ca href=\"https://sfpublicworks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Department of Public Works\u003c/a> spokeswoman Rachel Gordon says street name changes involve getting a groundswell of community buy-in before her department begins its in-depth review process, and then potentially sends the request on to the board of supervisors and mayor for approval.\u003c/p>\n\u003cp>“The ones that succeed are the ones where there is a lot of community outreach,” Rosen says. “And the ones where there are not a lot of properties on the street.”\u003c/p>\n\u003cp>An \u003ca href=\"https://sfpublicworks.org/services/establishing-street-names\" target=\"_blank\" rel=\"noopener noreferrer\">online Department of Public Works information sheet\u003c/a> about the process mentions the need for property owners to be on board with the potential street name change: “If a member of the public initiates the request, they must present their petition to Public Works with signatures from property owners whose lots are abutting the subject street. The number of signatures must indicate a very strong majority in favor of the change.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While some local street name changes, like the \u003ca href=\"http://kqed.org/news/11710877/san-francisco-unveils-frida-kahlo-way-renaming-phelan-avenue\">2018 switch from Phelan Avenue to Frida Kahlo Way\u003c/a>, don’t meet with too much opposition, some street name changes are controversial.\u003c/p>\n\u003cp>Gordon says many people in San Francisco opposed the decision to rename Army Street to Cesar Chavez Street in the mid-1990s.\u003c/p>\n\u003cp>“It’s an old school San Francisco street,” Gordon says. “There are still some bumper stickers you see around town that say ‘It Will Always Be Army Street To Me.'”\u003c/p>\n\u003cp>Because of the number of properties on South Van Ness, Gordon says getting the necessary community buy-in could be tough.\u003c/p>\n\u003cp>“That would be a huge undertaking, to change the name of South Van Ness,” Gordon says. “Possibly even bigger than Cesar Chavez Street.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A group of San Francisco residents is campaigning to change the name of a major city street to honor a famous California labor leader and civil rights activist.\u003c/p>\n\u003cp>An \u003ca href=\"https://sign.moveon.org/petitions/rename-south-van-ness-as-dolores-huerta-boulevard?bucket&source=facebook-share-button&time=1579398959&utm_campaign&utm_source=facebook&share=7760f4cc-e5ea-4828-bde1-cd1390af1c5d&fbclid=IwAR2hy78R7jqGIop_1VFnAoBygt9qlJ2lWDJZemCOfdMIIdxeZAx4Sh0SgOU\" target=\"_blank\" rel=\"noopener noreferrer\">online petition\u003c/a> to rename South Van Ness Avenue to Dolores Huerta Boulevard has so far attracted over 1,100 signatures.\u003c/p>\n\u003cp>Local resident Sean Scullion is behind the petition. He says it’s high time the city honored Huerta, who co-founded the National Farmworkers Association (now \u003ca href=\"https://ufw.org/\" target=\"_blank\" rel=\"noopener noreferrer\">United Farm Workers\u003c/a>) with Cesar Chavez and fought tirelessly for decades on behalf of workers rights, in the same way it’s honored Chavez.\u003c/p>\n\u003cp>“I was around San Francisco when Cesar Chavez Street was named,” Scullion says of the thoroughfare formerly known as Army Street. “And I always thought it was strange that Dolores didn’t get a street as well.”\u003c/p>\n\u003cp>Scullion, a resident of the Haight-Ashbury neighborhood, says he’s known of Chavez and Huerta since he was a child, and that his parents participated in the Delano Grape Strike of 1965. Huerta led the fight against table grape growers in Delano, California to stop the exploitation of farm workers.\u003c/p>\n\u003cp>“Over the years, I’ve read news articles about her and always considered her a personal hero,” Scullion says. “I saw the documentary \u003cem>Dolores\u003c/em> and went to hear her speak at the Herbst Theater.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"DOLORES Official Theatrical Trailer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Unzr9kiFScQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Some public officials are aware of the campaign, and supportive of it—in principle.\u003c/p>\n\u003cp>“Dolores Huerta is one of my all-time heroes, and it’s exciting and fitting that people are raising the idea of renaming a major street running through the Latino Cultural District in her honor,” says \u003ca href=\"https://sfbos.org/supervisor-ronen-district-9\" target=\"_blank\" rel=\"noopener noreferrer\">District 9 Supervisor Hillary Ronen\u003c/a>, in whose jurisdiction the proposed street name change partially falls. “I would be happy to carry it forward if we see broad community support for the change.”\u003c/p>\n\u003cp>Huerta is 89 years old. The Presidential Medal of Freedom honoree already has a square named after her in Los Angeles, as well as several schools in California and beyond. Scullion says naming a San Francisco street after Huerta would be a fitting tribute for her upcoming 90th birthday. (April 10, Huerta’s birthday, is Dolores Huerta Day in California.)\u003c/p>\n\u003cp>“Renaming South Van Ness seems like a win for everyone,” Scullion says. “The mayor and supervisors can have a chance to shine a spotlight on someone who exemplifies the spirit of San Francisco, the neighborhood and city get a constant reminder of a role model, and Ms. Huerta can be given a birthday gift acknowledging her contributions and sacrifices.”\u003c/p>\n\u003cp>The petition comes at a time when the city of San Francisco has \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=6652905&GUID=6042BF04-6B7C-4319-A442-E535F3E9F012\" target=\"_blank\" rel=\"noopener noreferrer\">legislation\u003c/a> in place to increase the representation of women on the city’s street names, public buildings, and public art by 30 percent before the end of 2020.\u003c/p>\n\u003cp>Despite the race to meet the legislative requirements, it seems unlikely that the street name change, if it comes to pass, will happen in time for Huerta’s birthday.\u003c/p>\n\u003cp>\u003ca href=\"https://sfpublicworks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Department of Public Works\u003c/a> spokeswoman Rachel Gordon says street name changes involve getting a groundswell of community buy-in before her department begins its in-depth review process, and then potentially sends the request on to the board of supervisors and mayor for approval.\u003c/p>\n\u003cp>“The ones that succeed are the ones where there is a lot of community outreach,” Rosen says. “And the ones where there are not a lot of properties on the street.”\u003c/p>\n\u003cp>An \u003ca href=\"https://sfpublicworks.org/services/establishing-street-names\" target=\"_blank\" rel=\"noopener noreferrer\">online Department of Public Works information sheet\u003c/a> about the process mentions the need for property owners to be on board with the potential street name change: “If a member of the public initiates the request, they must present their petition to Public Works with signatures from property owners whose lots are abutting the subject street. The number of signatures must indicate a very strong majority in favor of the change.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While some local street name changes, like the \u003ca href=\"http://kqed.org/news/11710877/san-francisco-unveils-frida-kahlo-way-renaming-phelan-avenue\">2018 switch from Phelan Avenue to Frida Kahlo Way\u003c/a>, don’t meet with too much opposition, some street name changes are controversial.\u003c/p>\n\u003cp>Gordon says many people in San Francisco opposed the decision to rename Army Street to Cesar Chavez Street in the mid-1990s.\u003c/p>\n\u003cp>“It’s an old school San Francisco street,” Gordon says. “There are still some bumper stickers you see around town that say ‘It Will Always Be Army Street To Me.'”\u003c/p>\n\u003cp>Because of the number of properties on South Van Ness, Gordon says getting the necessary community buy-in could be tough.\u003c/p>\n\u003cp>“That would be a huge undertaking, to change the name of South Van Ness,” Gordon says. “Possibly even bigger than Cesar Chavez Street.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s no denying that the 62nd Grammy Awards made history with performances by more talented women of different genres, generations and walks of life than any award ceremony in recent memory.\u003c/p>\n\u003cp>Minutes into the show, Lizzo performed a virtuosic flute solo as part of a medley with orchestral accompaniment, and hit the high notes of “Cuz I Love You” with panache. Later, with her bourbon-soaked, husky voice, Tanya Tucker claimed her place as country music royalty with a rendition of “Bring Me My Flowers Now” with Brandi Carlile on piano.\u003c/p>\n\u003cp>Billie Eilish’s whisper-sung “When the Party’s Over” and Demi Lovato’s gut-wrenching “Anyone” drew tears. Sheila E. rocked out on the timbales during a tribute to Prince. And jaws fell to the floor as H.E.R. nimbly switched from dexterous piano playing to a wailing guitar solo that would’ve made any Rock & Roll Hall of Famer proud.\u003c/p>\n\u003cp>Yet hovering over these top-tier displays of talent were the recent allegations of sexism and corruption within the Recording Academy, which presents the Grammy Awards, from Deborah Dugan, the organization’s first female CEO.\u003c/p>\n\u003cp>After being put on administrative leave for allegedly fostering an abusive work environment, Dugan responded with her own accusations. She said she was ousted for speaking out against sexual harassment from the Academy’s general counsel, Joel Katz. She also said that the Academy’s previous CEO, Neil Portnow—the one who infamously said women need to “step up” in response to questions about sexism in the music industry—had been accused of rape, and that the Academy had covered it up. (Portnow denies the allegations.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dugan also dropped a bombshell claim that the Grammy voting process is rigged, a rumor that’s long floated within the music industry, but had never been acknowledged by someone from within the Recording Academy. [aside postid='news_11798001']\u003c/p>\n\u003cp>These allegations roiled the entertainment world in the days before the Grammy Awards Sunday night, and, \u003ca href=\"https://pagesix.com/2020/01/24/taylor-swift-cancels-planned-grammys-performance-over-sexism-allegations/\" target=\"_blank\" rel=\"noopener noreferrer\">according to reports\u003c/a>, led Taylor Swift to cancel a secret performance slated for the show.\u003c/p>\n\u003cp>Host Alicia Keys, whose relaxed, heartfelt presence guided the broadcast, appeared to indirectly reference the controversy.\u003c/p>\n\u003cp>“We refuse the old systems, feel me on that,” she said after acknowledging that it had been “one hell of a week.”\u003c/p>\n\u003cp>She continued, “We want to be respected and safe in our diversity; we want to be shifting in realness and inclusivity. So tonight we want to celebrate the people, the artists who put themselves on the line and share their truth with us.” [aside postid='arts_13873896']\u003c/p>\n\u003cp>Yet aside from Keys’ comments, the scandal was an elephant in the room throughout the ceremony. And the majority of artists’ silence points to the catch-22 women and other underrepresented people face when it comes to gaining access to prestigious institutions with histories of racism and sexism. The Recording Academy is so powerful that, in order to rise to the highest echelons of the music industry, underrepresented artists hardly have a choice than to play by its rules and gloss over its shortcomings.\u003c/p>\n\u003cp>On one hand, the Grammys’ many impactful performances by women artists have the potential to shift industry culture by leading by example. Yet they also serve as great PR for the Recording Academy at a time when it’s questionable whether it has taken meaningful steps to fix its culture of sexism from within.\u003c/p>\n\u003cp>(The show wasn’t without its issues: massively gifted vocalist FKA Twigs silently pole danced while Usher sang a tribute to Prince, prompting outcries on social media. And few women of color \u003ca href=\"https://www.grammy.com/grammys/awards/62nd-annual-grammy-awards-2019\" target=\"_blank\" rel=\"noopener noreferrer\">won awards\u003c/a> in the televised categories despite being well represented in onstage performances.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So what needs to happen for meaningful change to occur at the Recording Academy, and in the music industry more broadly? Perhaps Dua Lipa said it best when presenting the award for Best New Artist with Keys. “There are so many stellar female producers, artists, songwriters, engineers,” she said. “And if you’re in the business, and you’re hiring, raise your sights to the amazing, talented women out there, because we all deserve a seat at every table.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet aside from Keys’ comments, the scandal was an elephant in the room throughout the ceremony. And the majority of artists’ silence points to the catch-22 women and other underrepresented people face when it comes to gaining access to prestigious institutions with histories of racism and sexism. The Recording Academy is so powerful that, in order to rise to the highest echelons of the music industry, underrepresented artists hardly have a choice than to play by its rules and gloss over its shortcomings.\u003c/p>\n\u003cp>On one hand, the Grammys’ many impactful performances by women artists have the potential to shift industry culture by leading by example. Yet they also serve as great PR for the Recording Academy at a time when it’s questionable whether it has taken meaningful steps to fix its culture of sexism from within.\u003c/p>\n\u003cp>(The show wasn’t without its issues: massively gifted vocalist FKA Twigs silently pole danced while Usher sang a tribute to Prince, prompting outcries on social media. And few women of color \u003ca href=\"https://www.grammy.com/grammys/awards/62nd-annual-grammy-awards-2019\" target=\"_blank\" rel=\"noopener noreferrer\">won awards\u003c/a> in the televised categories despite being well represented in onstage performances.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So what needs to happen for meaningful change to occur at the Recording Academy, and in the music industry more broadly? Perhaps Dua Lipa said it best when presenting the award for Best New Artist with Keys. “There are so many stellar female producers, artists, songwriters, engineers,” she said. “And if you’re in the business, and you’re hiring, raise your sights to the amazing, talented women out there, because we all deserve a seat at every table.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Tonight is for Kobe,” said Lizzo as she took the stage at Los Angeles’ Staples Center on Sunday night—the first words spoken at the 62nd Grammy Awards.\u003c/p>\n\u003cp>The death of Kobe Bryant and eight others (including his 13-year-old daughter, Gianna) in a horrific helicopter crash that morning rocked the nation, including the music industry, and was ever-present at Sunday’s ceremony. And an outpouring on social media from stars across all genres spoke to the impact the basketball legend had on culture, far beyond sports.\u003c/p>\n\u003cp>https://twitter.com/taylorswift13/status/1221545674988310533\u003c/p>\n\u003cp>https://twitter.com/MariahCarey/status/1221537029114253313\u003c/p>\n\u003cp>https://www.instagram.com/p/B7y8sChHPNT\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/MeekMill/status/1221519262784733184\u003c/p>\n\u003cp>https://twitter.com/kanyewest/status/1221558611320528896\u003c/p>\n\u003cp>https://twitter.com/flea333/status/1221520186353696768\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Bryant’s untimely death the morning of “music’s biggest night” left an indelible mark on the ceremony. And the timing was exacerbated by the venue: the Staples Center, where Bryant spent his entire 20-year career playing for the Lakers. It was of little surprise to anyone when Lizzo dedicated the night to him before it even began. [aside postid='arts_13873909']\u003c/p>\n\u003cp>It was, however, up to Grammys host Alicia Keys to fully acknowledge—and attempt to disperse—the dark cloud hanging over the Staples Center.\u003c/p>\n\u003cp>“To be honest with you,” Keys said after Lizzo’s show-opening performance (of “Cuz I Love You” and “Truth Hurts”), “we’re all feeling crazy sadness right now. Because earlier today, Los Angeles, America and the whole wide world lost a hero. And we’re literally standing here heartbroken in the house that Kobe Bryant built.”\u003c/p>\n\u003cp>She continued, “Right now, all of those that have been tragically lost today are in our spirit, our prayers, and in this building… Take a moment and just hold them inside of you and share our strength and our support with their families. We never imagined in a million years that we’d have to start the show like this.”\u003c/p>\n\u003cp>To provide some catharsis, Boyz II Men (who were already scheduled to perform “Earfquake” with Tyler, the Creator) joined Keys on stage for a special performance of “It’s So Hard to Say Goodbye to Yesterday.”\u003c/p>\n\u003cp>Bryant’s spirit was ever-present throughout the evening. Lil Nas X added a Bryant 24 jersey to his living room set during “Old Town Road”; Run DMC held one aloft throughout their performance of “Walk This Way” with Aerosmith. And DJ Khaled gave Bryant a shoutout at the end of his performance of “Higher” with John Legend, Meek Mill, Roddy Ricch, YG and Kirk Franklin. Originally intended as a tribute to Nipsey Hussle, Bryant’s image was projected next to the “\u003ca href=\"https://www.youtube.com/watch?v=pwBFOuCrdr4\" target=\"_blank\" rel=\"noopener noreferrer\">Double Up\u003c/a>” rapper’s at the end of the song.\u003c/p>\n\u003cp>Kirk Franklin, talking on the red carpet before the awards began, noted in regards to both Hussle and Bryant: “Life is more valuable than trophies. We take life sometimes in such a passive way… We should feel this tragedy.” Later, while accepting the award for best rap/sung performance, Legend noted: “We’ve seen so much tragedy today—and last year. Let’s love each other, love our families and hold each other tight.”\u003c/p>\n\u003cp>Lizzo alluded to Bryant once more as she accepted the award for best pop solo performance. “This whole week, I’ve been lost in my problems, stressed out,” she said. “And then, in an instant, all of that can go away and your priorities can really shift. And today, all of my little problems that I thought were big as the world, were gone.”\u003c/p>\n\u003cp>“It’s been a hell of a week,” Alicia Keys acknowledged early in the evening. “I know how much Kobe loved music, so we’ve gotta make this a celebration in his honor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mission accomplished.\u003c/p>\n\n",
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"content": "\u003cp>The Clay Theatre in San Francisco showed cult-classic “The Rocky Horror Picture Show” one last time this weekend before closing its doors for good.\u003c/p>\n\u003cp>On the last Saturday of the month for the past 13 years, “Rocky Horror” has been a midnight movie staple at the theater. The Clay took on the show when no other theater in San Francisco was hosting it, and the cast followed the “Rocky Horror” tradition of creating an inclusive space where everyone is made to feel like family.\u003c/p>\n\u003cp>Many are mourning the loss of the single-screen independent movie theater in Pacific Heights, including filmmaker \u003ca href=\"https://www.kqed.org/news/11797773/john-waters-on-clay-theatre-closure-a-real-era-for-me-is-shutting-down-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>“If you played at the Clay it gave your movie kind of a little honor of being a real art movie, and being difficult, and causing trouble, and it was just a good club to belong to,” Waters told KQED. “It really mattered very much of climbing up from the underground to play there.”\u003c/p>\n\u003cp>While “Rocky Horror” — performed by the troupe \u003ca href=\"http://www.bawdycaste.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bawdy Caste\u003c/a> — will live on in San Francisco at a to-be-determined location, the Clay Theatre is set to close Sunday, Jan. 26, after 110 years in business.\u003c/p>\n\u003cfigure id=\"attachment_11798112\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798112\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-800x533.jpg\" alt=\"The Rocky Horror Picture Show character Dr. Scott meets with the cast outside of the Clay Theater before their midnight movie performance on Saturday. The theater is closing its doors on Sunday January 26, 2020 after the last showing, after 110 years in business.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rocky Horror Picture Show character Dr. Scott laughs with the cast and crew outside of the Clay Theatre before their last midnight movie performance at the theater on Saturday. After 110 years in business, the theater will close its doors on Sunday, January 26, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798130\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798130\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-800x533.jpg\" alt=\"Carolyn Patten and Blake Griffin, both dressed as the character Dr. Frank-N-Furter, pick up tickets from the box office at the Clay Theater for a sold-out performance of the Rocky Horror Picture show on Saturday. This midnight movie performance is the last for the theater, which is shutting its doors on Sunday after 110 years.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blake Griffin and Carolyn Patten, both dressed as the character Dr. Frank-N-Furter, pick up tickets from the box office at the Clay Theatre for a sold-out performance of the Rocky Horror Picture show on Saturday. This midnight movie performance is the last for the theater, which is shutting its doors on Sunday after 110 years. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798118\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798118\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-800x533.jpg\" alt=\"Clay Theater projectionist and employee of 15 years, Michael Blythe, talks on stage to a sold-out crowd for the last performance of Rocky Horror Picture Show at the theater on Saturday. 10 years previously when the theater faced a shut-down, he was able to stand on stage with the good news that the theater would stay open. This Saturday, he didn't share the same news but remained optimistic about the theaters future.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clay Theatre projectionist and employee of 15 years, Michael Blythe, talks on stage to a sold-out crowd for the last performance of Rocky Horror Picture Show at the theater on Saturday. 10 years previously when the theater faced a shut-down, he was able to stand on stage with the good news that the theater would stay open. This Saturday, he didn’t share the same news but remained optimistic about the theater’s future. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798156\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798156\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-800x533.jpg\" alt=\"Crowds fill the Clay Theater in San Francisco for the final midnight movie on Saturday, before the theater closes after 110 years of operation. The independent theater is known for its arthouse movies and showed the San Francisco midnight premiere of John Water's film, Pink Flamingos, in 1972.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowds fill the Clay Theatre in San Francisco for the final midnight movie on Saturday, before the theater closes after 110 years of operation. The independent theater is known for its arthouse movies and showed the San Francisco midnight premiere of John Water’s film, Pink Flamingos, in 1972. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798123\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798123\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-800x533.jpg\" alt=\"The Rocky Horror Picture Show, performed by Bawdy Caste, opened up at the Clay Theater for its last midnight movie show Saturday night, before its doors will close on Sunday.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rocky Horror Picture Show, performed by Bawdy Caste, opened up at the Clay Theatre for its last midnight movie show Saturday night. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798148\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798148\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-800x533.jpg\" alt=\"An emotional Julie Shepard took the stage to talk about the loss of the Clay Theater before the Rocky Horror Picture Show performance on Saturday. She has performed in the show since it first opened at the Clay in January of 2007 and on Saturday played Susan Sarandon's character Janet Weiss. She said that Rocky would find a new home but as far as the theater, "it's a real loss for the City, employees and the neighborhood."\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An emotional Julie Shepard took the stage to talk about the loss of the Clay Theatre before the Rocky Horror Picture Show performance on Saturday. She has performed in the show since it first opened at the Clay in January of 2007 and on Saturday played Susan Sarandon’s character, Janet Weiss. She said that Rocky would find a new home but as far as the theater, “it’s a real loss for the City, employees and the neighborhood.” \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798126\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798126\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-800x533.jpg\" alt=\"Rice flies in the air during the wedding scene in the Rocky Horror Picture Show during a sold out performance at the Clay Theater on Saturday. Many theaters don't like to host Rocky Horror due to the mess of rice and toilet paper and the late night debauchery. The Clay welcomed the cast of Rocky Horror in 2007 when no other theater was playing the film.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rice flies in the air during the wedding scene in the Rocky Horror Picture Show during a sold-out performance at the Clay Theatre on Saturday. Many theaters don’t like to host Rocky Horror due to the mess of rice and toilet paper and the late-night debauchery. The Clay welcomed the cast of Rocky Horror in 2007 when no other theater was playing the film. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11798135\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798135\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-800x533.jpg\" alt=\"The last midnight movie at the Clay Theater on Fillmore Street in San Francisco on Saturday. The theater is set to close on Sunday January 26, 2020.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The last midnight movie at the Clay Theatre on Fillmore Street in San Francisco on Saturday. The theater is set to close on Sunday, January 26, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "While \"Rocky Horror\" will live on in San Francisco at a to-be-determined location, the Clay Theatre is set to close after 110 years in business.",
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"title": "Last Picture Show: Historic SF Theater Plays its Final Midnight Movie | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Clay Theatre in San Francisco showed cult-classic “The Rocky Horror Picture Show” one last time this weekend before closing its doors for good.\u003c/p>\n\u003cp>On the last Saturday of the month for the past 13 years, “Rocky Horror” has been a midnight movie staple at the theater. The Clay took on the show when no other theater in San Francisco was hosting it, and the cast followed the “Rocky Horror” tradition of creating an inclusive space where everyone is made to feel like family.\u003c/p>\n\u003cp>Many are mourning the loss of the single-screen independent movie theater in Pacific Heights, including filmmaker \u003ca href=\"https://www.kqed.org/news/11797773/john-waters-on-clay-theatre-closure-a-real-era-for-me-is-shutting-down-in-sf\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>“If you played at the Clay it gave your movie kind of a little honor of being a real art movie, and being difficult, and causing trouble, and it was just a good club to belong to,” Waters told KQED. “It really mattered very much of climbing up from the underground to play there.”\u003c/p>\n\u003cp>While “Rocky Horror” — performed by the troupe \u003ca href=\"http://www.bawdycaste.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bawdy Caste\u003c/a> — will live on in San Francisco at a to-be-determined location, the Clay Theatre is set to close Sunday, Jan. 26, after 110 years in business.\u003c/p>\n\u003cfigure id=\"attachment_11798112\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798112\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-800x533.jpg\" alt=\"The Rocky Horror Picture Show character Dr. Scott meets with the cast outside of the Clay Theater before their midnight movie performance on Saturday. The theater is closing its doors on Sunday January 26, 2020 after the last showing, after 110 years in business.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/002_KQED_ClayTheater_RockyHorror_01252020_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rocky Horror Picture Show character Dr. Scott laughs with the cast and crew outside of the Clay Theatre before their last midnight movie performance at the theater on Saturday. After 110 years in business, the theater will close its doors on Sunday, January 26, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798130\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798130\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-800x533.jpg\" alt=\"Carolyn Patten and Blake Griffin, both dressed as the character Dr. Frank-N-Furter, pick up tickets from the box office at the Clay Theater for a sold-out performance of the Rocky Horror Picture show on Saturday. This midnight movie performance is the last for the theater, which is shutting its doors on Sunday after 110 years.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40908_011_KQED_ClayTheater_RockyHorror_01252020_8912-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blake Griffin and Carolyn Patten, both dressed as the character Dr. Frank-N-Furter, pick up tickets from the box office at the Clay Theatre for a sold-out performance of the Rocky Horror Picture show on Saturday. This midnight movie performance is the last for the theater, which is shutting its doors on Sunday after 110 years. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798118\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798118\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-800x533.jpg\" alt=\"Clay Theater projectionist and employee of 15 years, Michael Blythe, talks on stage to a sold-out crowd for the last performance of Rocky Horror Picture Show at the theater on Saturday. 10 years previously when the theater faced a shut-down, he was able to stand on stage with the good news that the theater would stay open. This Saturday, he didn't share the same news but remained optimistic about the theaters future.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40914_010_KQED_ClayTheater_RockyHorror_01262020_7061-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clay Theatre projectionist and employee of 15 years, Michael Blythe, talks on stage to a sold-out crowd for the last performance of Rocky Horror Picture Show at the theater on Saturday. 10 years previously when the theater faced a shut-down, he was able to stand on stage with the good news that the theater would stay open. This Saturday, he didn’t share the same news but remained optimistic about the theater’s future. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798156\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798156\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-800x533.jpg\" alt=\"Crowds fill the Clay Theater in San Francisco for the final midnight movie on Saturday, before the theater closes after 110 years of operation. The independent theater is known for its arthouse movies and showed the San Francisco midnight premiere of John Water's film, Pink Flamingos, in 1972.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40921_003_KQED_ClayTheater_RockyHorror_01262020_8975-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowds fill the Clay Theatre in San Francisco for the final midnight movie on Saturday, before the theater closes after 110 years of operation. The independent theater is known for its arthouse movies and showed the San Francisco midnight premiere of John Water’s film, Pink Flamingos, in 1972. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798123\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798123\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-800x533.jpg\" alt=\"The Rocky Horror Picture Show, performed by Bawdy Caste, opened up at the Clay Theater for its last midnight movie show Saturday night, before its doors will close on Sunday.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/018_KQED_ClayTheater_RockyHorror_01262020_7113.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rocky Horror Picture Show, performed by Bawdy Caste, opened up at the Clay Theatre for its last midnight movie show Saturday night. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798148\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798148\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-800x533.jpg\" alt=\"An emotional Julie Shepard took the stage to talk about the loss of the Clay Theater before the Rocky Horror Picture Show performance on Saturday. She has performed in the show since it first opened at the Clay in January of 2007 and on Saturday played Susan Sarandon's character Janet Weiss. She said that Rocky would find a new home but as far as the theater, "it's a real loss for the City, employees and the neighborhood."\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40925_012_KQED_ClayTheater_RockyHorror_01262020_7066-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An emotional Julie Shepard took the stage to talk about the loss of the Clay Theatre before the Rocky Horror Picture Show performance on Saturday. She has performed in the show since it first opened at the Clay in January of 2007 and on Saturday played Susan Sarandon’s character, Janet Weiss. She said that Rocky would find a new home but as far as the theater, “it’s a real loss for the City, employees and the neighborhood.” \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11798126\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798126\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-800x533.jpg\" alt=\"Rice flies in the air during the wedding scene in the Rocky Horror Picture Show during a sold out performance at the Clay Theater on Saturday. Many theaters don't like to host Rocky Horror due to the mess of rice and toilet paper and the late night debauchery. The Clay welcomed the cast of Rocky Horror in 2007 when no other theater was playing the film.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/019_KQED_ClayTheater_RockyHorror_01262020_7125.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rice flies in the air during the wedding scene in the Rocky Horror Picture Show during a sold-out performance at the Clay Theatre on Saturday. Many theaters don’t like to host Rocky Horror due to the mess of rice and toilet paper and the late-night debauchery. The Clay welcomed the cast of Rocky Horror in 2007 when no other theater was playing the film. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11798135\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11798135\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-800x533.jpg\" alt=\"The last midnight movie at the Clay Theater on Fillmore Street in San Francisco on Saturday. The theater is set to close on Sunday January 26, 2020.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/007_KQED_ClayTheater_RockyHorror_01262020_7045.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The last midnight movie at the Clay Theatre on Fillmore Street in San Francisco on Saturday. The theater is set to close on Sunday, January 26, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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