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"slug": "malik-seneferu-hunters-point-studio-painting-san-francisco",
"title": "In Hunters Point, Black History Comes Alive in Malik Seneferu’s Paintings",
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"content": "\n\u003cp>Inside \u003ca href=\"https://www.instagram.com/maliksart/\">Malik Seneferu’s\u003c/a> arts studio, cultural movements take the form of paintings.\u003c/p>\n\n\n\n\u003cp>Situated on the hallowed grounds of the Hunters Point Shipyard, the eggshell-colored room holds brightly painted canvases that illustrate the artist’s appreciation of history, connection to the soil and love for the people.\u003c/p>\n\n\n\n\u003cp>Seneferu paints portraits that pair elements of the African Diaspora with Bay Area culture under one common philosophy: “Remain creative.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-scaled.jpeg\" alt=\"A man faces a colorful canvas as he paints in a studio.\" class=\"wp-image-13994120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Malik Seneferu, ‘Juneteenth to Black August,’ 2025. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Seneferu’s art has been in galleries and museums, but it’s also been out in the community. He worked with \u003ca href=\"https://www.markdoox.com/\">Mark Dukes\u003c/a> on \u003cem>Dancing Saints\u003c/em>, a piece that adorns the walls of St. Gregory’s Church in San Francisco. In 2020, he partnered with community members to paint the words “\u003ca href=\"https://www.kqed.org/news/11832947/housing-black-tenderloin-mural-spotlights-black-san-franciscos-housing-crisis\">HOUSING BLACK\u003c/a>” on the streets of the Tenderloin to shed light on the housing crisis. A year later, he worked with young artists to create a series of pieces on \u003ca href=\"https://www.sfpuc.gov/about-us/news/malik-seneferus-mural-installation-evans-avenue\">Evans Avenue\u003c/a> in Hunters Point to amplify calls for environmental justice.\u003c/p>\n\n\n\n\u003cp>Seneferu is no stranger to working on multiple projects at a time. Currently, that includes a series of paved symbols to be laid as part of the new \u003ca href=\"https://sfrecpark.org/m/newsflash/Home/Detail/3050\">Buchanan Street Mall\u003c/a>’s “memory walk” in the Fillmore District. This week, for \u003ca href=\"https://nexus2026a.sched.com/\">Bay Area Black Arts Week\u003c/a>, he’ll lead \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScoxuNSR-RTUu9BXTciOj1gJWmxt7wNzVsU-_YNDLTA10BLDQ/viewform\">a workshop touring the Third Street area of Bayview-Hunters Point\u003c/a>.\u003c/p>\n\n\n\n\u003cp>But no matter where his work goes, he tells me, it never strays too far from where he started, or why.\u003c/p>\n\n\n\n\u003cp>“I was the youngest [artist], and first artist from Bayview-Hunters Point, to be given the opportunity to have a studio down here in terms of a residency,” Seneferu tells me as we stand at the \u003ca href=\"https://www.thepointart.com/hunters-point-shipyard\">Hunters Point Shipyard studios\u003c/a>. The building is a remnant of the U.S. Navy shipyard and laboratory that was housed at the southeasternmost point of San Francisco for most of the 20th century. The crane off the coast and \u003ca href=\"https://www.kqed.org/news/12088662/toxic-land-protest-targets-sf-housing-plans-at-contaminated-hunters-point-naval-shipyard\">constant reports of toxins in the soil\u003c/a> are lingering ghosts of that history.\u003c/p>\n\n\n\n\u003cp>Seneferu first worked in this studio 30 years ago. In 1996, he was awarded a fellowship and commissioned to do a piece for the film \u003cem>The Panther\u003c/em>, which he debuted at the film’s premiere. Before that, he was just a kid creating at the crib. “I was still doing my work out of my mother’s house when I lived on Harbor Road,” he recalls.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-scaled.jpeg\" alt=\"\" class=\"wp-image-13994124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Inside of a studio at Hunters Point Shipyard, Malik Seneferu’s art fills a room with stories of the past and visions of the future. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Born and raised in Hunters Point, Seneferu grew up with a mother who was a clandestine artist. But the glimmers of her work that he did see stayed with him. “I saw a doodling on a matchbook,” he recalls, “which inspired a lot of my miniature work that I do.” Similarly, her depictions of the local landscape influence his work to this day, particularly his 2014 \u003ca href=\"https://www.artsy.net/artwork/malik-senefreru-from-the-hill-and-beyond\">\u003cem>From the Hill and Beyond\u003c/em> \u003c/a>series.\u003c/p>\n\n\n\n\u003cp>Seneferu pushed his mother to pursue her art, but she was clear: Creating was \u003cem>his\u003c/em> thing.\u003c/p>\n\n\n\n\u003cp>“I really started out on a mission to prove to my mom that [art] could be something valuable to get into,” Seneferu tells me. As his work grew, so did his goals. “I wanted to use my art to show that I can defy gravity,” he says — metaphorically referencing economic disparities, food deserts, traumatic experiences and “white supremacy across the board.”\u003c/p>\n\n\n\n\u003cp>Self-taught as an artist, the young Seneferu bounced between a dozen elementary schools and a handful of middle schools before graduating high school from McAteer School of the Arts. As a young adult, Seneferu worked with the organizer Ms. \u003ca href=\"https://www.sfgate.com/bayarea/article/Julia-Middleton-leader-of-youth-in-Hunters-2650605.php\">Julia “Aunt Bea” Middleton\u003c/a> and taught art to kids at tenant association meetings around the city.\u003c/p>\n\n\n\n\u003cp>Around that time, he saw a mural that changed his artistic trajectory.\u003c/p>\n\n\n\n\u003cp>“\u003ca href=\"https://deweycrumpler.com/\">Dewey Crumpler\u003c/a> was working on this mural called \u003ca href=\"http://www.sfmuralarts.com/mural/270.html#\">\u003cem>The Fire Next Time\u003c/em>,\u003c/a>” recalls Seneferu. It was based on James Baldwin’s book of the same name, as well as Baldwin’s San Francisco-based documentary film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=C4sjoomxSa8\">Take This Hammer\u003c/a>\u003c/em>, “When the youngsters were saying ‘Man, you know the issues in San Francisco are even worse than the south,’” says Seneferu.\u003c/p>\n\n\n\n\u003cp>It opened Seneferu’s eyes to what art could achieve. Crumpler, along with the late painter and community pillar \u003ca href=\"https://www.shipyardartists.com/artist/joesam/\">JoeSam\u003c/a>, became a mentor to Seneferu. (For this year’s \u003ca href=\"https://nexus2026a.sched.com/\">Black Arts Week\u003c/a>, Crumpler will open his first major solo museum exhibition in nearly two decades, \u003ca href=\"https://nexus2026a.sched.com/event/2QyY2/dewey-crumpler-sonic-lineages?iframe=no\">\u003cem>Sonic Lineages\u003c/em>\u003c/a> at the Museum of the African Diaspora.) \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-scaled.jpeg\" alt=\"An African American man in a brown outfit panting a giant colorful mural.\" class=\"wp-image-13994148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-2000x2667.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Artist at work: a glimpse inside of Malik Seneferu’s studio. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In his studio, Seneferu walks around the many supplies, splotches of paint and canvases to show me a series in progress called \u003cem>Forever Fourteen\u003c/em>. In his long locs and brown monotone outfit, he explains that the series traces tragic instances, at 11-year intervals, from African-American history.\u003c/p>\n\n\n\n\u003cp>He starts with 1933, when Marcus Garvey stopped publishing his newspaper, \u003cem>The Negro World\u003c/em>. \u003c/p>\n\n\n\n\u003cp>“And in 1944, we got \u003ca href=\"https://deathpenaltyinfo.org/remembering-the-execution-of-14-year-old-george-stinney-80-years-later\">George Stinney\u003c/a>,” Seneferu tells me, referring to the 14 year-old African American boy who was executed after being wrongfully convicted of killing two white girls in South Carolina. “It was really a big deal,” says Seneferu. “They tried to sweep it under the rug. We didn’t allow it to happen.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-scaled.jpeg\" alt=\"A painting of a stoic looking Black young woman.\" class=\"wp-image-13994288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Malik Seneferu, Latasha Harlins, 2022. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In 1955, the murder of \u003ca href=\"https://www.loc.gov/collections/civil-rights-history-project/articles-and-essays/murder-of-emmett-till/\">Emmett Till\u003c/a>, a 14 year-old African American boy who was killed by two white men after he allegedly whistled at a white girl, shocked the nation. “And that kicked off the civil rights movement,” says Seneferu. Eleven years later, in 1966, teenaged \u003ca href=\"https://www.foundsf.org/Hunters_Point_Uprising\">Matthew Johnson, Jr\u003c/a>. was killed by San Francisco Police in Hunters Point, inspiring an uprising.\u003c/p>\n\n\n\n\u003cp>In 1977, hip-hop started growing out of inner-city neighborhoods, and 11 years later the crack cocaine epidemic devastated those same Black communities. The series ends with a piece dedicated to 15 year-old \u003ca href=\"https://www.npr.org/2022/04/29/1095444468/storycorps-remembering-15-year-old-latasha-harlins\">Latasha Harlins\u003c/a>, who was shot and killed by a storeowner in 1991.\u003c/p>\n\n\n\n\u003cp>The series encompasses many Seneferu trademarks; it encapsulates key aspects of 20th century Black history while illustrating instances that’ve informed his worldview.\u003c/p>\n\n\n\n\u003cp>Having grown up with an artistic mother and a stepfather who was a gunnery sergeant in the Marines during the Vietnam War, he’s learned to speak through painting as a second artistic language. His first artistic language was hip-hop.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-scaled.jpeg\" alt=\"A table full of small painted art pieces.\" class=\"wp-image-13994289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">A table full of Malike Seneferu’s work. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“In 1988,” he says, “I was about a couple of blocks away from here, I was rapping at the time.” He started as a beatboxer, and soon learned to use his deep voice to deliver his lyrics. “I really had something I wanted to say, and I wanted it to be heard,” Seneferu tells me. “I found that the best way I could do that is in my painting,” he says, and in a way, “I’m still rapping.”\u003c/p>\n\n\n\n\u003cp>The first piece in the \u003cem>Forever Fourteen \u003c/em>series, an image dedicated to George Stinney, is on permanent display at the \u003ca href=\"https://thehubinsf.org/\">Sunnydale Hub\u003c/a>. Seneferu plans on completing the series with a portrait in the spirit of Matthew Johnson, Jr. next year. In the meantime, he’s juggling multiple projects as usual, ranging from environmental advocacy to economic education, all done through the visual arts and an innovative mindset.\u003c/p>\n\n\n\n\u003cp>“A lot of the things I do are strictly from my imagination, because it’s really defiance,” Seneferu tells me. “To be creative is to defy annihilation. That’s why I’ll always remain creative.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Malik Seneferu will also participate in the Hunters Point Shipyard & Islais Creek Studios open studios event on Oct. 17 and 18 at the Hunters Point Shipyard (451 Galvez Avenue San Francisco, CA 94124).\u003c/em> \u003cem>\u003ca href=\"https://www.eventbrite.com/e/shipyard-open-studios-fall-2026-registration-1992234233221?utm_experiment=test_share_listing&aff=ebdsshios&sg=6ebd4af823122ca2a076762936f3f5be642a0fc6087d942b690ea23370a12f69b0e61ce80cef0a8b67b1b3aba3869b58a11565fb11670033e88d4aa2a62d9df530fbd95445996d453ac082a7\">Check here for tickets and more information\u003c/a>.\u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Inside \u003ca href=\"https://www.instagram.com/maliksart/\">Malik Seneferu’s\u003c/a> arts studio, cultural movements take the form of paintings.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Situated on the hallowed grounds of the Hunters Point Shipyard, the eggshell-colored room holds brightly painted canvases that illustrate the artist’s appreciation of history, connection to the soil and love for the people.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Seneferu paints portraits that pair elements of the African Diaspora with Bay Area culture under one common philosophy: “Remain creative.”\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-scaled.jpeg\" alt=\"A man faces a colorful canvas as he paints in a studio.\" class=\"wp-image-13994120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-1536x2048.jpeg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Malik Seneferu, ‘Juneteenth to Black August,’ 2025.\u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-scaled.jpeg\" alt=\"A man faces a colorful canvas as he paints in a studio.\" class=\"wp-image-13994120\"/>\u003cfigcaption class=\"wp-element-caption\">Malik Seneferu, ‘Juneteenth to Black August,’ 2025.\u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Seneferu’s art has been in galleries and museums, but it’s also been out in the community. He worked with \u003ca href=\"https://www.markdoox.com/\">Mark Dukes\u003c/a> on \u003cem>Dancing Saints\u003c/em>, a piece that adorns the walls of St. Gregory’s Church in San Francisco. In 2020, he partnered with community members to paint the words “\u003ca href=\"https://www.kqed.org/news/11832947/housing-black-tenderloin-mural-spotlights-black-san-franciscos-housing-crisis\">HOUSING BLACK\u003c/a>” on the streets of the Tenderloin to shed light on the housing crisis. A year later, he worked with young artists to create a series of pieces on \u003ca href=\"https://www.sfpuc.gov/about-us/news/malik-seneferus-mural-installation-evans-avenue\">Evans Avenue\u003c/a> in Hunters Point to amplify calls for environmental justice.\u003c/p>\n",
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"\n\u003cp>Seneferu’s art has been in galleries and museums, but it’s also been out in the community. He worked with \u003ca href=\"https://www.markdoox.com/\">Mark Dukes\u003c/a> on \u003cem>Dancing Saints\u003c/em>, a piece that adorns the walls of St. Gregory’s Church in San Francisco. In 2020, he partnered with community members to paint the words “\u003ca href=\"https://www.kqed.org/news/11832947/housing-black-tenderloin-mural-spotlights-black-san-franciscos-housing-crisis\">HOUSING BLACK\u003c/a>” on the streets of the Tenderloin to shed light on the housing crisis. A year later, he worked with young artists to create a series of pieces on \u003ca href=\"https://www.sfpuc.gov/about-us/news/malik-seneferus-mural-installation-evans-avenue\">Evans Avenue\u003c/a> in Hunters Point to amplify calls for environmental justice.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Seneferu is no stranger to working on multiple projects at a time. Currently, that includes a series of paved symbols to be laid as part of the new \u003ca href=\"https://sfrecpark.org/m/newsflash/Home/Detail/3050\">Buchanan Street Mall\u003c/a>’s “memory walk” in the Fillmore District. This week, for \u003ca href=\"https://nexus2026a.sched.com/\">Bay Area Black Arts Week\u003c/a>, he’ll lead \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScoxuNSR-RTUu9BXTciOj1gJWmxt7wNzVsU-_YNDLTA10BLDQ/viewform\">a workshop touring the Third Street area of Bayview-Hunters Point\u003c/a>.\u003c/p>\n",
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"\n\u003cp>Seneferu is no stranger to working on multiple projects at a time. Currently, that includes a series of paved symbols to be laid as part of the new \u003ca href=\"https://sfrecpark.org/m/newsflash/Home/Detail/3050\">Buchanan Street Mall\u003c/a>’s “memory walk” in the Fillmore District. This week, for \u003ca href=\"https://nexus2026a.sched.com/\">Bay Area Black Arts Week\u003c/a>, he’ll lead \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScoxuNSR-RTUu9BXTciOj1gJWmxt7wNzVsU-_YNDLTA10BLDQ/viewform\">a workshop touring the Third Street area of Bayview-Hunters Point\u003c/a>.\u003c/p>\n"
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"innerHTML": "\n\u003cp>But no matter where his work goes, he tells me, it never strays too far from where he started, or why.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I was the youngest [artist], and first artist from Bayview-Hunters Point, to be given the opportunity to have a studio down here in terms of a residency,” Seneferu tells me as we stand at the \u003ca href=\"https://www.thepointart.com/hunters-point-shipyard\">Hunters Point Shipyard studios\u003c/a>. The building is a remnant of the U.S. Navy shipyard and laboratory that was housed at the southeasternmost point of San Francisco for most of the 20th century. The crane off the coast and \u003ca href=\"https://www.kqed.org/news/12088662/toxic-land-protest-targets-sf-housing-plans-at-contaminated-hunters-point-naval-shipyard\">constant reports of toxins in the soil\u003c/a> are lingering ghosts of that history.\u003c/p>\n",
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"\n\u003cp>“I was the youngest [artist], and first artist from Bayview-Hunters Point, to be given the opportunity to have a studio down here in terms of a residency,” Seneferu tells me as we stand at the \u003ca href=\"https://www.thepointart.com/hunters-point-shipyard\">Hunters Point Shipyard studios\u003c/a>. The building is a remnant of the U.S. Navy shipyard and laboratory that was housed at the southeasternmost point of San Francisco for most of the 20th century. The crane off the coast and \u003ca href=\"https://www.kqed.org/news/12088662/toxic-land-protest-targets-sf-housing-plans-at-contaminated-hunters-point-naval-shipyard\">constant reports of toxins in the soil\u003c/a> are lingering ghosts of that history.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Seneferu first worked in this studio 30 years ago. In 1996, he was awarded a fellowship and commissioned to do a piece for the film \u003cem>The Panther\u003c/em>, which he debuted at the film’s premiere. Before that, he was just a kid creating at the crib. “I was still doing my work out of my mother’s house when I lived on Harbor Road,” he recalls.\u003c/p>\n",
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"\n\u003cp>Seneferu first worked in this studio 30 years ago. In 1996, he was awarded a fellowship and commissioned to do a piece for the film \u003cem>The Panther\u003c/em>, which he debuted at the film’s premiere. Before that, he was just a kid creating at the crib. “I was still doing my work out of my mother’s house when I lived on Harbor Road,” he recalls.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-scaled.jpeg\" alt=\"\" class=\"wp-image-13994124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-1536x2048.jpeg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Inside of a studio at Hunters Point Shipyard, Malik Seneferu’s art fills a room with stories of the past and visions of the future. \u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-scaled.jpeg\" alt=\"\" class=\"wp-image-13994124\"/>\u003cfigcaption class=\"wp-element-caption\">Inside of a studio at Hunters Point Shipyard, Malik Seneferu’s art fills a room with stories of the past and visions of the future. \u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Born and raised in Hunters Point, Seneferu grew up with a mother who was a clandestine artist. But the glimmers of her work that he did see stayed with him. “I saw a doodling on a matchbook,” he recalls, “which inspired a lot of my miniature work that I do.” Similarly, her depictions of the local landscape influence his work to this day, particularly his 2014 \u003ca href=\"https://www.artsy.net/artwork/malik-senefreru-from-the-hill-and-beyond\">\u003cem>From the Hill and Beyond\u003c/em> \u003c/a>series.\u003c/p>\n",
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"\n\u003cp>Born and raised in Hunters Point, Seneferu grew up with a mother who was a clandestine artist. But the glimmers of her work that he did see stayed with him. “I saw a doodling on a matchbook,” he recalls, “which inspired a lot of my miniature work that I do.” Similarly, her depictions of the local landscape influence his work to this day, particularly his 2014 \u003ca href=\"https://www.artsy.net/artwork/malik-senefreru-from-the-hill-and-beyond\">\u003cem>From the Hill and Beyond\u003c/em> \u003c/a>series.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Seneferu pushed his mother to pursue her art, but she was clear: Creating was \u003cem>his\u003c/em> thing.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I really started out on a mission to prove to my mom that [art] could be something valuable to get into,” Seneferu tells me. As his work grew, so did his goals. “I wanted to use my art to show that I can defy gravity,” he says — metaphorically referencing economic disparities, food deserts, traumatic experiences and “white supremacy across the board.”\u003c/p>\n",
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"\n\u003cp>“I really started out on a mission to prove to my mom that [art] could be something valuable to get into,” Seneferu tells me. As his work grew, so did his goals. “I wanted to use my art to show that I can defy gravity,” he says — metaphorically referencing economic disparities, food deserts, traumatic experiences and “white supremacy across the board.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Self-taught as an artist, the young Seneferu bounced between a dozen elementary schools and a handful of middle schools before graduating high school from McAteer School of the Arts. As a young adult, Seneferu worked with the organizer Ms. \u003ca href=\"https://www.sfgate.com/bayarea/article/Julia-Middleton-leader-of-youth-in-Hunters-2650605.php\">Julia “Aunt Bea” Middleton\u003c/a> and taught art to kids at tenant association meetings around the city.\u003c/p>\n",
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"\n\u003cp>Self-taught as an artist, the young Seneferu bounced between a dozen elementary schools and a handful of middle schools before graduating high school from McAteer School of the Arts. As a young adult, Seneferu worked with the organizer Ms. \u003ca href=\"https://www.sfgate.com/bayarea/article/Julia-Middleton-leader-of-youth-in-Hunters-2650605.php\">Julia “Aunt Bea” Middleton\u003c/a> and taught art to kids at tenant association meetings around the city.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Around that time, he saw a mural that changed his artistic trajectory.\u003c/p>\n",
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"\n\u003cp>Around that time, he saw a mural that changed his artistic trajectory.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“\u003ca href=\"https://deweycrumpler.com/\">Dewey Crumpler\u003c/a> was working on this mural called \u003ca href=\"http://www.sfmuralarts.com/mural/270.html#\">\u003cem>The Fire Next Time\u003c/em>,\u003c/a>” recalls Seneferu. It was based on James Baldwin’s book of the same name, as well as Baldwin’s San Francisco-based documentary film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=C4sjoomxSa8\">Take This Hammer\u003c/a>\u003c/em>, “When the youngsters were saying ‘Man, you know the issues in San Francisco are even worse than the south,’” says Seneferu.\u003c/p>\n",
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"\n\u003cp>“\u003ca href=\"https://deweycrumpler.com/\">Dewey Crumpler\u003c/a> was working on this mural called \u003ca href=\"http://www.sfmuralarts.com/mural/270.html#\">\u003cem>The Fire Next Time\u003c/em>,\u003c/a>” recalls Seneferu. It was based on James Baldwin’s book of the same name, as well as Baldwin’s San Francisco-based documentary film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=C4sjoomxSa8\">Take This Hammer\u003c/a>\u003c/em>, “When the youngsters were saying ‘Man, you know the issues in San Francisco are even worse than the south,’” says Seneferu.\u003c/p>\n"
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"innerHTML": "\n\u003cp>It opened Seneferu’s eyes to what art could achieve. Crumpler, along with the late painter and community pillar \u003ca href=\"https://www.shipyardartists.com/artist/joesam/\">JoeSam\u003c/a>, became a mentor to Seneferu. (For this year’s \u003ca href=\"https://nexus2026a.sched.com/\">Black Arts Week\u003c/a>, Crumpler will open his first major solo museum exhibition in nearly two decades, \u003ca href=\"https://nexus2026a.sched.com/event/2QyY2/dewey-crumpler-sonic-lineages?iframe=no\">\u003cem>Sonic Lineages\u003c/em>\u003c/a> at the Museum of the African Diaspora.) \u003c/p>\n",
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"\n\u003cp>It opened Seneferu’s eyes to what art could achieve. Crumpler, along with the late painter and community pillar \u003ca href=\"https://www.shipyardartists.com/artist/joesam/\">JoeSam\u003c/a>, became a mentor to Seneferu. (For this year’s \u003ca href=\"https://nexus2026a.sched.com/\">Black Arts Week\u003c/a>, Crumpler will open his first major solo museum exhibition in nearly two decades, \u003ca href=\"https://nexus2026a.sched.com/event/2QyY2/dewey-crumpler-sonic-lineages?iframe=no\">\u003cem>Sonic Lineages\u003c/em>\u003c/a> at the Museum of the African Diaspora.) \u003c/p>\n"
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"innerHTML": "\n\u003cp>In his studio, Seneferu walks around the many supplies, splotches of paint and canvases to show me a series in progress called \u003cem>Forever Fourteen\u003c/em>. In his long locs and brown monotone outfit, he explains that the series traces tragic instances, at 11-year intervals, from African-American history.\u003c/p>\n",
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"\n\u003cp>In his studio, Seneferu walks around the many supplies, splotches of paint and canvases to show me a series in progress called \u003cem>Forever Fourteen\u003c/em>. In his long locs and brown monotone outfit, he explains that the series traces tragic instances, at 11-year intervals, from African-American history.\u003c/p>\n"
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"innerHTML": "\n\u003cp>He starts with 1933, when Marcus Garvey stopped publishing his newspaper, \u003cem>The Negro World\u003c/em>. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“And in 1944, we got \u003ca href=\"https://deathpenaltyinfo.org/remembering-the-execution-of-14-year-old-george-stinney-80-years-later\">George Stinney\u003c/a>,” Seneferu tells me, referring to the 14 year-old African American boy who was executed after being wrongfully convicted of killing two white girls in South Carolina. “It was really a big deal,” says Seneferu. “They tried to sweep it under the rug. We didn’t allow it to happen.”\u003c/p>\n",
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"\n\u003cp>“And in 1944, we got \u003ca href=\"https://deathpenaltyinfo.org/remembering-the-execution-of-14-year-old-george-stinney-80-years-later\">George Stinney\u003c/a>,” Seneferu tells me, referring to the 14 year-old African American boy who was executed after being wrongfully convicted of killing two white girls in South Carolina. “It was really a big deal,” says Seneferu. “They tried to sweep it under the rug. We didn’t allow it to happen.”\u003c/p>\n"
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-scaled.jpeg\" alt=\"A painting of a stoic looking Black young woman.\" class=\"wp-image-13994288\"/>\u003cfigcaption class=\"wp-element-caption\">Malik Seneferu, Latasha Harlins, 2022. \u003ccite class=\"wp-inline-image-credit\"> (Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>In 1955, the murder of \u003ca href=\"https://www.loc.gov/collections/civil-rights-history-project/articles-and-essays/murder-of-emmett-till/\">Emmett Till\u003c/a>, a 14 year-old African American boy who was killed by two white men after he allegedly whistled at a white girl, shocked the nation. “And that kicked off the civil rights movement,” says Seneferu. Eleven years later, in 1966, teenaged \u003ca href=\"https://www.foundsf.org/Hunters_Point_Uprising\">Matthew Johnson, Jr\u003c/a>. was killed by San Francisco Police in Hunters Point, inspiring an uprising.\u003c/p>\n",
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"\n\u003cp>In 1955, the murder of \u003ca href=\"https://www.loc.gov/collections/civil-rights-history-project/articles-and-essays/murder-of-emmett-till/\">Emmett Till\u003c/a>, a 14 year-old African American boy who was killed by two white men after he allegedly whistled at a white girl, shocked the nation. “And that kicked off the civil rights movement,” says Seneferu. Eleven years later, in 1966, teenaged \u003ca href=\"https://www.foundsf.org/Hunters_Point_Uprising\">Matthew Johnson, Jr\u003c/a>. was killed by San Francisco Police in Hunters Point, inspiring an uprising.\u003c/p>\n"
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"innerHTML": "\n\u003cp>In 1977, hip-hop started growing out of inner-city neighborhoods, and 11 years later the crack cocaine epidemic devastated those same Black communities. The series ends with a piece dedicated to 15 year-old \u003ca href=\"https://www.npr.org/2022/04/29/1095444468/storycorps-remembering-15-year-old-latasha-harlins\">Latasha Harlins\u003c/a>, who was shot and killed by a storeowner in 1991.\u003c/p>\n",
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"\n\u003cp>In 1977, hip-hop started growing out of inner-city neighborhoods, and 11 years later the crack cocaine epidemic devastated those same Black communities. The series ends with a piece dedicated to 15 year-old \u003ca href=\"https://www.npr.org/2022/04/29/1095444468/storycorps-remembering-15-year-old-latasha-harlins\">Latasha Harlins\u003c/a>, who was shot and killed by a storeowner in 1991.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The series encompasses many Seneferu trademarks; it encapsulates key aspects of 20th century Black history while illustrating instances that’ve informed his worldview.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Having grown up with an artistic mother and a stepfather who was a gunnery sergeant in the Marines during the Vietnam War, he’s learned to speak through painting as a second artistic language. His first artistic language was hip-hop.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“In 1988,” he says, “I was about a couple of blocks away from here, I was rapping at the time.” He started as a beatboxer, and soon learned to use his deep voice to deliver his lyrics. “I really had something I wanted to say, and I wanted it to be heard,” Seneferu tells me. “I found that the best way I could do that is in my painting,” he says, and in a way, “I’m still rapping.”\u003c/p>\n",
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"\n\u003cp>“In 1988,” he says, “I was about a couple of blocks away from here, I was rapping at the time.” He started as a beatboxer, and soon learned to use his deep voice to deliver his lyrics. “I really had something I wanted to say, and I wanted it to be heard,” Seneferu tells me. “I found that the best way I could do that is in my painting,” he says, and in a way, “I’m still rapping.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>The first piece in the \u003cem>Forever Fourteen \u003c/em>series, an image dedicated to George Stinney, is on permanent display at the \u003ca href=\"https://thehubinsf.org/\">Sunnydale Hub\u003c/a>. Seneferu plans on completing the series with a portrait in the spirit of Matthew Johnson, Jr. next year. In the meantime, he’s juggling multiple projects as usual, ranging from environmental advocacy to economic education, all done through the visual arts and an innovative mindset.\u003c/p>\n",
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"\n\u003cp>The first piece in the \u003cem>Forever Fourteen \u003c/em>series, an image dedicated to George Stinney, is on permanent display at the \u003ca href=\"https://thehubinsf.org/\">Sunnydale Hub\u003c/a>. Seneferu plans on completing the series with a portrait in the spirit of Matthew Johnson, Jr. next year. In the meantime, he’s juggling multiple projects as usual, ranging from environmental advocacy to economic education, all done through the visual arts and an innovative mindset.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“A lot of the things I do are strictly from my imagination, because it’s really defiance,” Seneferu tells me. “To be creative is to defy annihilation. That’s why I’ll always remain creative.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Malik Seneferu will also participate in the Hunters Point Shipyard & Islais Creek Studios open studios event on Oct. 17 and 18 at the Hunters Point Shipyard (451 Galvez Avenue San Francisco, CA 94124).\u003c/em> \u003cem>\u003ca href=\"https://www.eventbrite.com/e/shipyard-open-studios-fall-2026-registration-1992234233221?utm_experiment=test_share_listing&aff=ebdsshios&sg=6ebd4af823122ca2a076762936f3f5be642a0fc6087d942b690ea23370a12f69b0e61ce80cef0a8b67b1b3aba3869b58a11565fb11670033e88d4aa2a62d9df530fbd95445996d453ac082a7\">Check here for tickets and more information\u003c/a>.\u003c/em>\u003c/p>\n",
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"excerpt": "Not far from where he grew up, Seneferu’s studio is a cultural lab guided by one motto: ‘Remain creative.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Inside \u003ca href=\"https://www.instagram.com/maliksart/\">Malik Seneferu’s\u003c/a> arts studio, cultural movements take the form of paintings.\u003c/p>\n\n\n\n\u003cp>Situated on the hallowed grounds of the Hunters Point Shipyard, the eggshell-colored room holds brightly painted canvases that illustrate the artist’s appreciation of history, connection to the soil and love for the people.\u003c/p>\n\n\n\n\u003cp>Seneferu paints portraits that pair elements of the African Diaspora with Bay Area culture under one common philosophy: “Remain creative.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-scaled.jpeg\" alt=\"A man faces a colorful canvas as he paints in a studio.\" class=\"wp-image-13994120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9989-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Malik Seneferu, ‘Juneteenth to Black August,’ 2025. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Seneferu’s art has been in galleries and museums, but it’s also been out in the community. He worked with \u003ca href=\"https://www.markdoox.com/\">Mark Dukes\u003c/a> on \u003cem>Dancing Saints\u003c/em>, a piece that adorns the walls of St. Gregory’s Church in San Francisco. In 2020, he partnered with community members to paint the words “\u003ca href=\"https://www.kqed.org/news/11832947/housing-black-tenderloin-mural-spotlights-black-san-franciscos-housing-crisis\">HOUSING BLACK\u003c/a>” on the streets of the Tenderloin to shed light on the housing crisis. A year later, he worked with young artists to create a series of pieces on \u003ca href=\"https://www.sfpuc.gov/about-us/news/malik-seneferus-mural-installation-evans-avenue\">Evans Avenue\u003c/a> in Hunters Point to amplify calls for environmental justice.\u003c/p>\n\n\n\n\u003cp>Seneferu is no stranger to working on multiple projects at a time. Currently, that includes a series of paved symbols to be laid as part of the new \u003ca href=\"https://sfrecpark.org/m/newsflash/Home/Detail/3050\">Buchanan Street Mall\u003c/a>’s “memory walk” in the Fillmore District. This week, for \u003ca href=\"https://nexus2026a.sched.com/\">Bay Area Black Arts Week\u003c/a>, he’ll lead \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScoxuNSR-RTUu9BXTciOj1gJWmxt7wNzVsU-_YNDLTA10BLDQ/viewform\">a workshop touring the Third Street area of Bayview-Hunters Point\u003c/a>.\u003c/p>\n\n\n\n\u003cp>But no matter where his work goes, he tells me, it never strays too far from where he started, or why.\u003c/p>\n\n\n\n\u003cp>“I was the youngest [artist], and first artist from Bayview-Hunters Point, to be given the opportunity to have a studio down here in terms of a residency,” Seneferu tells me as we stand at the \u003ca href=\"https://www.thepointart.com/hunters-point-shipyard\">Hunters Point Shipyard studios\u003c/a>. The building is a remnant of the U.S. Navy shipyard and laboratory that was housed at the southeasternmost point of San Francisco for most of the 20th century. The crane off the coast and \u003ca href=\"https://www.kqed.org/news/12088662/toxic-land-protest-targets-sf-housing-plans-at-contaminated-hunters-point-naval-shipyard\">constant reports of toxins in the soil\u003c/a> are lingering ghosts of that history.\u003c/p>\n\n\n\n\u003cp>Seneferu first worked in this studio 30 years ago. In 1996, he was awarded a fellowship and commissioned to do a piece for the film \u003cem>The Panther\u003c/em>, which he debuted at the film’s premiere. Before that, he was just a kid creating at the crib. “I was still doing my work out of my mother’s house when I lived on Harbor Road,” he recalls.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-scaled.jpeg\" alt=\"\" class=\"wp-image-13994124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_9977-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Inside of a studio at Hunters Point Shipyard, Malik Seneferu’s art fills a room with stories of the past and visions of the future. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Born and raised in Hunters Point, Seneferu grew up with a mother who was a clandestine artist. But the glimmers of her work that he did see stayed with him. “I saw a doodling on a matchbook,” he recalls, “which inspired a lot of my miniature work that I do.” Similarly, her depictions of the local landscape influence his work to this day, particularly his 2014 \u003ca href=\"https://www.artsy.net/artwork/malik-senefreru-from-the-hill-and-beyond\">\u003cem>From the Hill and Beyond\u003c/em> \u003c/a>series.\u003c/p>\n\n\n\n\u003cp>Seneferu pushed his mother to pursue her art, but she was clear: Creating was \u003cem>his\u003c/em> thing.\u003c/p>\n\n\n\n\u003cp>“I really started out on a mission to prove to my mom that [art] could be something valuable to get into,” Seneferu tells me. As his work grew, so did his goals. “I wanted to use my art to show that I can defy gravity,” he says — metaphorically referencing economic disparities, food deserts, traumatic experiences and “white supremacy across the board.”\u003c/p>\n\n\n\n\u003cp>Self-taught as an artist, the young Seneferu bounced between a dozen elementary schools and a handful of middle schools before graduating high school from McAteer School of the Arts. As a young adult, Seneferu worked with the organizer Ms. \u003ca href=\"https://www.sfgate.com/bayarea/article/Julia-Middleton-leader-of-youth-in-Hunters-2650605.php\">Julia “Aunt Bea” Middleton\u003c/a> and taught art to kids at tenant association meetings around the city.\u003c/p>\n\n\n\n\u003cp>Around that time, he saw a mural that changed his artistic trajectory.\u003c/p>\n\n\n\n\u003cp>“\u003ca href=\"https://deweycrumpler.com/\">Dewey Crumpler\u003c/a> was working on this mural called \u003ca href=\"http://www.sfmuralarts.com/mural/270.html#\">\u003cem>The Fire Next Time\u003c/em>,\u003c/a>” recalls Seneferu. It was based on James Baldwin’s book of the same name, as well as Baldwin’s San Francisco-based documentary film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=C4sjoomxSa8\">Take This Hammer\u003c/a>\u003c/em>, “When the youngsters were saying ‘Man, you know the issues in San Francisco are even worse than the south,’” says Seneferu.\u003c/p>\n\n\n\n\u003cp>It opened Seneferu’s eyes to what art could achieve. Crumpler, along with the late painter and community pillar \u003ca href=\"https://www.shipyardartists.com/artist/joesam/\">JoeSam\u003c/a>, became a mentor to Seneferu. (For this year’s \u003ca href=\"https://nexus2026a.sched.com/\">Black Arts Week\u003c/a>, Crumpler will open his first major solo museum exhibition in nearly two decades, \u003ca href=\"https://nexus2026a.sched.com/event/2QyY2/dewey-crumpler-sonic-lineages?iframe=no\">\u003cem>Sonic Lineages\u003c/em>\u003c/a> at the Museum of the African Diaspora.) \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-scaled.jpeg\" alt=\"An African American man in a brown outfit panting a giant colorful mural.\" class=\"wp-image-13994148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-2000x2667.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6634-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Artist at work: a glimpse inside of Malik Seneferu’s studio. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In his studio, Seneferu walks around the many supplies, splotches of paint and canvases to show me a series in progress called \u003cem>Forever Fourteen\u003c/em>. In his long locs and brown monotone outfit, he explains that the series traces tragic instances, at 11-year intervals, from African-American history.\u003c/p>\n\n\n\n\u003cp>He starts with 1933, when Marcus Garvey stopped publishing his newspaper, \u003cem>The Negro World\u003c/em>. \u003c/p>\n\n\n\n\u003cp>“And in 1944, we got \u003ca href=\"https://deathpenaltyinfo.org/remembering-the-execution-of-14-year-old-george-stinney-80-years-later\">George Stinney\u003c/a>,” Seneferu tells me, referring to the 14 year-old African American boy who was executed after being wrongfully convicted of killing two white girls in South Carolina. “It was really a big deal,” says Seneferu. “They tried to sweep it under the rug. We didn’t allow it to happen.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-scaled.jpeg\" alt=\"A painting of a stoic looking Black young woman.\" class=\"wp-image-13994288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/Latasha-Harlins-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">Malik Seneferu, Latasha Harlins, 2022. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In 1955, the murder of \u003ca href=\"https://www.loc.gov/collections/civil-rights-history-project/articles-and-essays/murder-of-emmett-till/\">Emmett Till\u003c/a>, a 14 year-old African American boy who was killed by two white men after he allegedly whistled at a white girl, shocked the nation. “And that kicked off the civil rights movement,” says Seneferu. Eleven years later, in 1966, teenaged \u003ca href=\"https://www.foundsf.org/Hunters_Point_Uprising\">Matthew Johnson, Jr\u003c/a>. was killed by San Francisco Police in Hunters Point, inspiring an uprising.\u003c/p>\n\n\n\n\u003cp>In 1977, hip-hop started growing out of inner-city neighborhoods, and 11 years later the crack cocaine epidemic devastated those same Black communities. The series ends with a piece dedicated to 15 year-old \u003ca href=\"https://www.npr.org/2022/04/29/1095444468/storycorps-remembering-15-year-old-latasha-harlins\">Latasha Harlins\u003c/a>, who was shot and killed by a storeowner in 1991.\u003c/p>\n\n\n\n\u003cp>The series encompasses many Seneferu trademarks; it encapsulates key aspects of 20th century Black history while illustrating instances that’ve informed his worldview.\u003c/p>\n\n\n\n\u003cp>Having grown up with an artistic mother and a stepfather who was a gunnery sergeant in the Marines during the Vietnam War, he’s learned to speak through painting as a second artistic language. His first artistic language was hip-hop.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"2560\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-scaled.jpeg\" alt=\"A table full of small painted art pieces.\" class=\"wp-image-13994289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/IMG_6621-1536x2048.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-element-caption\">A table full of Malike Seneferu’s work. (Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“In 1988,” he says, “I was about a couple of blocks away from here, I was rapping at the time.” He started as a beatboxer, and soon learned to use his deep voice to deliver his lyrics. “I really had something I wanted to say, and I wanted it to be heard,” Seneferu tells me. “I found that the best way I could do that is in my painting,” he says, and in a way, “I’m still rapping.”\u003c/p>\n\n\n\n\u003cp>The first piece in the \u003cem>Forever Fourteen \u003c/em>series, an image dedicated to George Stinney, is on permanent display at the \u003ca href=\"https://thehubinsf.org/\">Sunnydale Hub\u003c/a>. Seneferu plans on completing the series with a portrait in the spirit of Matthew Johnson, Jr. next year. In the meantime, he’s juggling multiple projects as usual, ranging from environmental advocacy to economic education, all done through the visual arts and an innovative mindset.\u003c/p>\n\n\n\n\u003cp>“A lot of the things I do are strictly from my imagination, because it’s really defiance,” Seneferu tells me. “To be creative is to defy annihilation. That’s why I’ll always remain creative.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>Malik Seneferu will also participate in the Hunters Point Shipyard & Islais Creek Studios open studios event on Oct. 17 and 18 at the Hunters Point Shipyard (451 Galvez Avenue San Francisco, CA 94124).\u003c/em> \u003cem>\u003ca href=\"https://www.eventbrite.com/e/shipyard-open-studios-fall-2026-registration-1992234233221?utm_experiment=test_share_listing&aff=ebdsshios&sg=6ebd4af823122ca2a076762936f3f5be642a0fc6087d942b690ea23370a12f69b0e61ce80cef0a8b67b1b3aba3869b58a11565fb11670033e88d4aa2a62d9df530fbd95445996d453ac082a7\">Check here for tickets and more information\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "future-of-us-festival-4th-july-free-events-san-francisco",
"title": "A Huge, Free ‘Future of Us’ Fest Wants to Spark San Francisco’s Imagination",
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"headTitle": "A Huge, Free ‘Future of Us’ Fest Wants to Spark San Francisco’s Imagination | KQED",
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"content": "\u003cp>July 4 will mark 250 years since the United States declared independence from the British crown. But for many Americans facing \u003ca href=\"https://www.kqed.org/news/12078615/how-skyrocketing-housing-costs-and-policy-choices-reshaped-the-bay-area\">widening inequality\u003c/a>, intensified \u003ca href=\"https://www.kqed.org/immigration\">immigration crackdowns\u003c/a> and \u003ca href=\"https://www.theguardian.com/us-news/2026/jun/26/texas-protesters-anti-ice-convictions\">persecution of protesters\u003c/a>, the country’s milestone birthday doesn’t feel like a time for celebration. \u003c/p>\n\n\n\n\u003cp>In San Francisco, a group of artists, scientists and culture workers are launching a festival they hope will inspire everyday people to imagine a better future. On July 4–12, the \u003ca href=\"https://www.future-of-us.com/events\">Future of Us Festival\u003c/a> will bring over 50 interactive, free events — block parties, scavenger hunts, art-making sessions and environmental discussions — to neighborhoods from Bayview to the Richmond District. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>“\u003c/strong>A lot of people in the U.S. aren’t really happy with what’s going on … yet there’s so many incredible people that are here,” says \u003ca href=\"https://www.instagram.com/therealbpatt/\">B Patt\u003c/a>, a musician and founder of the creative agency Nothin But Hits. “What would the future of us look like if the artists, the creative entrepreneurs, the scientists, the people building community — all those who should really be leading the way — were the ones driving?\u003cem>”\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Copy-of-2026_0303_FutureOfUs_Team_1358.jpg\" alt=\"\" class=\"wp-image-13991249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Copy-of-2026_0303_FutureOfUs_Team_1358.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Copy-of-2026_0303_FutureOfUs_Team_1358-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Copy-of-2026_0303_FutureOfUs_Team_1358-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Copy-of-2026_0303_FutureOfUs_Team_1358-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">B Patt, Alisa Ahmadian, Louise Wo, Jasmine Hiroko McAdams and Stephanie Fine Sasse (left to right) are some of the organizers of Future of Us Festival. (Courtesy of Future of Us Festival)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Neuroscientist and experience designer \u003ca href=\"https://stephaniefinesasse.info/about\">Stephanie Fine Sasse\u003c/a>, whose civic engagement nonprofit \u003ca href=\"https://theplenary.co/\">The Plenary, Co.\u003c/a> is the driving force behind Future of Us, teamed up with B Patt and a crew of interdisciplinary collaborators to produce the festival. The organizers also assembled an inaugural cohort of \u003ca href=\"https://www.future-of-us.com/collective\">Future Culture\u003c/a> fellows who’ve spent the past six months strategizing for social change through a variety of fields, including housing, tech and the arts. \u003c/p>\n\n\n\n\u003cp>“We don’t have a lot of opportunities to come together and explore ideas together,” Fine Sasse says. “And we certainly don’t have a lot of opportunities to do that creatively and in community and in multi-sensory ways.”\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival kicks off \u003ca href=\"https://luma.com/future-of-us-250\">July 4 with an all-day block party\u003c/a> at the Pearl, a waterfront venue in the Dogpatch, which includes rooftop concerts from Tiny Desk-winning rapper \u003ca href=\"https://www.kqed.org/arts/tag/ruby-ibarra\">Ruby Ibarra\u003c/a>, hip-hop artist Ian Kelly and violinist Alexandra Santon. The \u003ca href=\"https://luma.com/future-sex-1\">Future of Sex\u003c/a> on July 7 and 8 at the Tenderloin Museum invites attendees to imagine they’re at a meeting of a San Francisco Sex Commission in the 22nd century.\u003c/p>\n\n\n\n\u003cp>On July 7, \u003ca href=\"https://luma.com/dateline\">Dateline 2046\u003c/a> offers interactive activities for youth to imagine their ideal third spaces where they can hang out and build community outside of school. And on July 8, \u003ca href=\"https://luma.com/bay-2051\">Bay City 2051\u003c/a> invites residents of \u003ca href=\"https://www.kqed.org/news/12088662/toxic-land-protest-targets-sf-housing-plans-at-contaminated-hunters-point-naval-shipyard\">Bayview-Hunters Point\u003c/a>, a neighborhood historically plagued by radioactive pollution and racist policies, to imagine what environmental justice would look like 25 years from now. \u003c/p>\n\n\n\n\n\n\u003cp>For her July 9 event \u003ca href=\"https://luma.com/futuretables-sf\">Future Tables\u003c/a>, Future Culture fellow and visual artist Dzigbodi Djugba has designed a ticketed dinner at the San Francisco Museum of Modern Art where 10 artists and culture workers will mingle with 10 people from the tech sector. The idea, through interactive activities and prompts, is to inspire greater understanding of one another. \u003c/p>\n\n\n\n\u003cp>“Let’s go ahead and sit down and talk, all right? Give your perspective, and it’s not meant to be anything argumentative,” says Djugba. “It really is meant to be very imaginative, which is why we put the element of food. I’m Ghanaian, so in my culture, food is a gathering place. It’s where you sit at the table, you just commune and you have sort of a family vibe.”\u003c/p>\n\n\n\n\u003cp>That collaborative spirit — of coming together, engaging in dialogue and envisioning new ways of doing things — runs through the festival’s omnivorous programming. David Dawkins, a visual designer and illustrator who worked on a \u003cem>Hall of Anythings\u003c/em> art exhibit for the July 4 event, hopes the reverberations will last for years to come. For all the talk of San Francisco as a city of innovation and disruption, one that always chases the next Gold Rush, he wants Future of Us to inspire more emphasis on togetherness, mutual respect and care. \u003c/p>\n\n\n\n\u003cp>“The 250 — like, let’s reclaim it,” Dawkins says. “We built this country. Let us rediscover what it means to care for our neighbors and our people and just show up for one another.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Future of Us Festival takes place in San Francisco from July 4–12. \u003ca href=\"https://www.future-of-us.com/events\">Full schedule here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>July 4 will mark 250 years since the United States declared independence from the British crown. But for many Americans facing \u003ca href=\"https://www.kqed.org/news/12078615/how-skyrocketing-housing-costs-and-policy-choices-reshaped-the-bay-area\">widening inequality\u003c/a>, intensified \u003ca href=\"https://www.kqed.org/immigration\">immigration crackdowns\u003c/a> and \u003ca href=\"https://www.theguardian.com/us-news/2026/jun/26/texas-protesters-anti-ice-convictions\">persecution of protesters\u003c/a>, the country’s milestone birthday doesn’t feel like a time for celebration. \u003c/p>\n",
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"\n\u003cp>July 4 will mark 250 years since the United States declared independence from the British crown. But for many Americans facing \u003ca href=\"https://www.kqed.org/news/12078615/how-skyrocketing-housing-costs-and-policy-choices-reshaped-the-bay-area\">widening inequality\u003c/a>, intensified \u003ca href=\"https://www.kqed.org/immigration\">immigration crackdowns\u003c/a> and \u003ca href=\"https://www.theguardian.com/us-news/2026/jun/26/texas-protesters-anti-ice-convictions\">persecution of protesters\u003c/a>, the country’s milestone birthday doesn’t feel like a time for celebration. \u003c/p>\n"
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"innerHTML": "\n\u003cp>In San Francisco, a group of artists, scientists and culture workers are launching a festival they hope will inspire everyday people to imagine a better future. On July 4–12, the \u003ca href=\"https://www.future-of-us.com/events\">Future of Us Festival\u003c/a> will bring over 50 interactive, free events — block parties, scavenger hunts, art-making sessions and environmental discussions — to neighborhoods from Bayview to the Richmond District. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Neuroscientist and experience designer \u003ca href=\"https://stephaniefinesasse.info/about\">Stephanie Fine Sasse\u003c/a>, whose civic engagement nonprofit \u003ca href=\"https://theplenary.co/\">The Plenary, Co.\u003c/a> is the driving force behind Future of Us, teamed up with B Patt and a crew of interdisciplinary collaborators to produce the festival. The organizers also assembled an inaugural cohort of \u003ca href=\"https://www.future-of-us.com/collective\">Future Culture\u003c/a> fellows who’ve spent the past six months strategizing for social change through a variety of fields, including housing, tech and the arts. \u003c/p>\n",
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"innerHTML": "\n\u003cp>The festival kicks off \u003ca href=\"https://luma.com/future-of-us-250\">July 4 with an all-day block party\u003c/a> at the Pearl, a waterfront venue in the Dogpatch, which includes rooftop concerts from Tiny Desk-winning rapper \u003ca href=\"https://www.kqed.org/arts/tag/ruby-ibarra\">Ruby Ibarra\u003c/a>, hip-hop artist Ian Kelly and violinist Alexandra Santon. The \u003ca href=\"https://luma.com/future-sex-1\">Future of Sex\u003c/a> on July 7 and 8 at the Tenderloin Museum invites attendees to imagine they’re at a meeting of a San Francisco Sex Commission in the 22nd century.\u003c/p>\n",
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"innerHTML": "\n\u003cp>On July 7, \u003ca href=\"https://luma.com/dateline\">Dateline 2046\u003c/a> offers interactive activities for youth to imagine their ideal third spaces where they can hang out and build community outside of school. And on July 8, \u003ca href=\"https://luma.com/bay-2051\">Bay City 2051\u003c/a> invites residents of \u003ca href=\"https://www.kqed.org/news/12088662/toxic-land-protest-targets-sf-housing-plans-at-contaminated-hunters-point-naval-shipyard\">Bayview-Hunters Point\u003c/a>, a neighborhood historically plagued by radioactive pollution and racist policies, to imagine what environmental justice would look like 25 years from now. \u003c/p>\n",
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"innerHTML": "\n\u003cp>For her July 9 event \u003ca href=\"https://luma.com/futuretables-sf\">Future Tables\u003c/a>, Future Culture fellow and visual artist Dzigbodi Djugba has designed a ticketed dinner at the San Francisco Museum of Modern Art where 10 artists and culture workers will mingle with 10 people from the tech sector. The idea, through interactive activities and prompts, is to inspire greater understanding of one another. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“Let’s go ahead and sit down and talk, all right? Give your perspective, and it’s not meant to be anything argumentative,” says Djugba. “It really is meant to be very imaginative, which is why we put the element of food. I’m Ghanaian, so in my culture, food is a gathering place. It’s where you sit at the table, you just commune and you have sort of a family vibe.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>That collaborative spirit — of coming together, engaging in dialogue and envisioning new ways of doing things — runs through the festival’s omnivorous programming. David Dawkins, a visual designer and illustrator who worked on a \u003cem>Hall of Anythings\u003c/em> art exhibit for the July 4 event, hopes the reverberations will last for years to come. For all the talk of San Francisco as a city of innovation and disruption, one that always chases the next Gold Rush, he wants Future of Us to inspire more emphasis on togetherness, mutual respect and care. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“The 250 — like, let’s reclaim it,” Dawkins says. “We built this country. Let us rediscover what it means to care for our neighbors and our people and just show up for one another.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>The Future of Us Festival takes place in San Francisco from July 4–12. \u003ca href=\"https://www.future-of-us.com/events\">Full schedule here\u003c/a>.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>July 4 will mark 250 years since the United States declared independence from the British crown. But for many Americans facing \u003ca href=\"https://www.kqed.org/news/12078615/how-skyrocketing-housing-costs-and-policy-choices-reshaped-the-bay-area\">widening inequality\u003c/a>, intensified \u003ca href=\"https://www.kqed.org/immigration\">immigration crackdowns\u003c/a> and \u003ca href=\"https://www.theguardian.com/us-news/2026/jun/26/texas-protesters-anti-ice-convictions\">persecution of protesters\u003c/a>, the country’s milestone birthday doesn’t feel like a time for celebration. \u003c/p>\n\n\n\n\u003cp>In San Francisco, a group of artists, scientists and culture workers are launching a festival they hope will inspire everyday people to imagine a better future. On July 4–12, the \u003ca href=\"https://www.future-of-us.com/events\">Future of Us Festival\u003c/a> will bring over 50 interactive, free events — block parties, scavenger hunts, art-making sessions and environmental discussions — to neighborhoods from Bayview to the Richmond District. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>“\u003c/strong>A lot of people in the U.S. aren’t really happy with what’s going on … yet there’s so many incredible people that are here,” says \u003ca href=\"https://www.instagram.com/therealbpatt/\">B Patt\u003c/a>, a musician and founder of the creative agency Nothin But Hits. “What would the future of us look like if the artists, the creative entrepreneurs, the scientists, the people building community — all those who should really be leading the way — were the ones driving?\u003cem>”\u003c/em>\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Copy-of-2026_0303_FutureOfUs_Team_1358.jpg\" alt=\"\" class=\"wp-image-13991249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Copy-of-2026_0303_FutureOfUs_Team_1358.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Copy-of-2026_0303_FutureOfUs_Team_1358-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Copy-of-2026_0303_FutureOfUs_Team_1358-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/Copy-of-2026_0303_FutureOfUs_Team_1358-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">B Patt, Alisa Ahmadian, Louise Wo, Jasmine Hiroko McAdams and Stephanie Fine Sasse (left to right) are some of the organizers of Future of Us Festival. (Courtesy of Future of Us Festival)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Neuroscientist and experience designer \u003ca href=\"https://stephaniefinesasse.info/about\">Stephanie Fine Sasse\u003c/a>, whose civic engagement nonprofit \u003ca href=\"https://theplenary.co/\">The Plenary, Co.\u003c/a> is the driving force behind Future of Us, teamed up with B Patt and a crew of interdisciplinary collaborators to produce the festival. The organizers also assembled an inaugural cohort of \u003ca href=\"https://www.future-of-us.com/collective\">Future Culture\u003c/a> fellows who’ve spent the past six months strategizing for social change through a variety of fields, including housing, tech and the arts. \u003c/p>\n\n\n\n\u003cp>“We don’t have a lot of opportunities to come together and explore ideas together,” Fine Sasse says. “And we certainly don’t have a lot of opportunities to do that creatively and in community and in multi-sensory ways.”\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival kicks off \u003ca href=\"https://luma.com/future-of-us-250\">July 4 with an all-day block party\u003c/a> at the Pearl, a waterfront venue in the Dogpatch, which includes rooftop concerts from Tiny Desk-winning rapper \u003ca href=\"https://www.kqed.org/arts/tag/ruby-ibarra\">Ruby Ibarra\u003c/a>, hip-hop artist Ian Kelly and violinist Alexandra Santon. The \u003ca href=\"https://luma.com/future-sex-1\">Future of Sex\u003c/a> on July 7 and 8 at the Tenderloin Museum invites attendees to imagine they’re at a meeting of a San Francisco Sex Commission in the 22nd century.\u003c/p>\n\n\n\n\u003cp>On July 7, \u003ca href=\"https://luma.com/dateline\">Dateline 2046\u003c/a> offers interactive activities for youth to imagine their ideal third spaces where they can hang out and build community outside of school. And on July 8, \u003ca href=\"https://luma.com/bay-2051\">Bay City 2051\u003c/a> invites residents of \u003ca href=\"https://www.kqed.org/news/12088662/toxic-land-protest-targets-sf-housing-plans-at-contaminated-hunters-point-naval-shipyard\">Bayview-Hunters Point\u003c/a>, a neighborhood historically plagued by radioactive pollution and racist policies, to imagine what environmental justice would look like 25 years from now. \u003c/p>\n\n\n\n\n\n\u003cp>For her July 9 event \u003ca href=\"https://luma.com/futuretables-sf\">Future Tables\u003c/a>, Future Culture fellow and visual artist Dzigbodi Djugba has designed a ticketed dinner at the San Francisco Museum of Modern Art where 10 artists and culture workers will mingle with 10 people from the tech sector. The idea, through interactive activities and prompts, is to inspire greater understanding of one another. \u003c/p>\n\n\n\n\u003cp>“Let’s go ahead and sit down and talk, all right? Give your perspective, and it’s not meant to be anything argumentative,” says Djugba. “It really is meant to be very imaginative, which is why we put the element of food. I’m Ghanaian, so in my culture, food is a gathering place. It’s where you sit at the table, you just commune and you have sort of a family vibe.”\u003c/p>\n\n\n\n\u003cp>That collaborative spirit — of coming together, engaging in dialogue and envisioning new ways of doing things — runs through the festival’s omnivorous programming. David Dawkins, a visual designer and illustrator who worked on a \u003cem>Hall of Anythings\u003c/em> art exhibit for the July 4 event, hopes the reverberations will last for years to come. For all the talk of San Francisco as a city of innovation and disruption, one that always chases the next Gold Rush, he wants Future of Us to inspire more emphasis on togetherness, mutual respect and care. \u003c/p>\n\n\n\n\u003cp>“The 250 — like, let’s reclaim it,” Dawkins says. “We built this country. Let us rediscover what it means to care for our neighbors and our people and just show up for one another.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Future of Us Festival takes place in San Francisco from July 4–12. \u003ca href=\"https://www.future-of-us.com/events\">Full schedule here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For the first time in its 50-year history, the creative reuse center \u003ca href=\"https://www.scrap-sf.org/home\">SCRAP\u003c/a> will have a permanent home. The arts nonprofit, which operates out of a \u003ca href=\"https://www.kqed.org/news/tag/sfusd\">San Francisco Unified School District\u003c/a> warehouse in the Bayview neighborhood, has purchased a two-story building just a few blocks away, at 141 Industrial St.\u003c/p>\n\n\n\n\u003cp>The move and reopening, scheduled for August, will cap a period of uncertainty for the organization. SCRAP — the Scroungers’ Center for Reusable Art Parts — has long known its days at its current location were numbered.\u003c/p>\n\n\n\n\u003cp>“Anybody that’s been to SCRAP for the last few years, it’s just so obvious that we were busting out of our seams,” said Terry Kochanski, the nonprofit’s executive director since 2019. \u003c/p>\n\n\n\n\u003cp>A larger space might have remained a far-off dream. But in November 2024, a move was all but forced by voters, who approved a $790 million bond measure to fund improvements at SFUSD sites, including creating a central kitchen for student lunches. The site of that planned kitchen is the warehouse where SCRAP currently pays just $1,240 a month for its 7,000 square feet of space. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg\" alt=\"people inside a warehouse surrounded by banners and shelves of art supplies\" class=\"wp-image-13990574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Customers shop at SCRAP, a creative reuse depot, on June 5, 2026. The nonprofit will soon move to a new building. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>So many arts nonprofits in San Francisco have faced similar challenges in recent years: a ticking clock, a tech-inflated real estate market, a strained funding landscape. The details are different, the outcomes familiar — \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">closure\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13987725/contemporary-jewish-museum-to-sell-its-downtown-sf-building\">downsizing\u003c/a>, “\u003ca href=\"https://www.kqed.org/arts/13983013/ica-san-francisco-nomadic-museum-cube-sf-art-week\">going nomadic\u003c/a>.” \u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not SCRAP. Living up to its name, the nonprofit has now achieved the seemingly impossible: purchasing a building and moving on its own terms. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Scrapper’s delight\u003c/h2>\n\n\n\n\u003cp>Founded in 1976 by Anne Marie Theilen and \u003ca href=\"https://www.kqed.org/arts/tag/ruth-asawa\">Ruth Asawa\u003c/a>, SCRAP was created to support San Francisco’s Neighborhood Arts Program. While grant funding paid for professional artists to teach in public schools, there was no budget for their art supplies. Theilen and Asawa gathered donations and redistributed excess materials (like fabric offcuts and product overruns) across the teachers’ classrooms.\u003c/p>\n\n\n\n\u003cp>Susan Green, 76, relied on SCRAP over two decades ago as a teacher. On a recent visit from Denver for her grandchildren’s high school graduations, she made sure to check in on the depot. “I just love this place. It’s a touchstone place in my life,” she said. “Wherever I go, I have to see what that city is doing. Are they doing anything like this?”\u003c/p>\n\n\n\n\u003cp>These days, SCRAP remains a crucial resource for the region’s art classrooms, hosting \u003ca href=\"https://www.scrap-sf.org/programs/educator-support\">two teacher giveaways\u003c/a> a year. It’s a place where people can take workshops and \u003ca href=\"https://www.scrap-sf.org/workshops\">learn new art skills\u003c/a>. And it’s the most affordable art supply store most artists have ever seen. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg\" alt=\"two people handle jewelry and bags in workshop space\" class=\"wp-image-13990577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">From left, Margarita Lopez, creative reuse specialist, and Dalia Gonzalez, assistant depot manager, process donated items for sale at SCRAP. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>SCRAP processes about 1,000 pounds of material a day. Donations pour in by the carload: empty frames, mannequins, buckets of photographs and years’ worth of \u003cem>National Geographics\u003c/em>. Inside, “scrappers” roam the aisles, sifting through piles of ready-to-be-transformed stuff. \u003c/p>\n\n\n\n\u003cp>The nonprofit has grown dramatically in recent years, from an operating budget of $335,789 in 2019 to just over $1 million in 2024, according to tax filings. In 2020 they began sending materials and lesson plans directly to classrooms with the “\u003ca href=\"https://www.scrap-sf.org/programs/scrap-in-a-box\">SCRAP in a Box\u003c/a>” program. SCRAP’s \u003ca href=\"https://www.scrap-sf.org/programs/sustainable-fashion-design\">sustainable fashion design\u003c/a> curriculum, an after-school program for middle and high school students, currently has about 200 participants, and takes place across 10 sites.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Room to grow\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>“We could have looked for five more years and I honestly don’t think we could’ve found a better forever home for SCRAP,” Kochanski said.\u003c/p>\n\n\n\n\u003cp>Located on a triangular lot at the corner of Industrial Street and Quesada Avenue, the site boasts a fenced-in parking lot, a 26,000-square-foot two-story building, and a bit of dirt that Managing Director Danielle Grant is already excited to landscape with drought-resistant plants. \u003c/p>\n\n\n\n\u003cp>On Industrial Street, SCRAP will double its indoor square footage. More space means being able to accept a larger volume and variety of donations — an additional 100 tons per year, they estimate — and more turnover for regulars.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg\" alt=\"person on ladder faces signs over door\" class=\"wp-image-13990567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Lance Bullock, facilities coordinator at SCRAP, hangs a ‘donation intake’ sign at the nonprofit’s new location on June 5, 2026. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The staff (SCRAP has 20 employees and 150 volunteers a month) hopes the easy parking and more visible location will increase visitor numbers, not just for shopping, but for events and workshops. Already, they’ve been trying to couch fears that a move means fundamental change. Interior signage will remain hand-drawn in blue Sharpie. Containers labeled one thing will still charmingly contain another thing entirely.\u003c/p>\n\n\n\n\u003cp>At the new site, SCRAP will also have space to grow behind the scenes. Instead of just one room for both sorting and workshops — with major reshuffling in between — the new building is a warren of rooms.\u003c/p>\n\n\n\n\u003cp>SCRAP’s current facilities, its home for the past 25 years, are tight, to say the least; office staff work nearly shoulder-to-shoulder. When Kochanski is on site, she’s relegated to the “conference room,” a slightly gussied-up shipping container outside. The current break room is a fridge, a sink and a tiny bit of counter. SCRAP shares one bathroom with the entire SFUSD warehouse.\u003c/p>\n\n\n\n\u003cp>“I mean, in raising money for this capital campaign, it helps when donors are like, ‘Okay let me come talk to you,’” Grant said, gesturing at the conference room, “and they’re like, ‘These people need it.’” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg\" alt=\"South Asian woman stands in office filled with boxes and posters\" class=\"wp-image-13990578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Deeya Laki Rajan, communications and development manager, speaks to a coworker in SCRAP’s offices on June 5, 2026. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘For everyone’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>SCRAP purchased the new building from the bank for $5.3 million, after the previous owners, Calvary Hill Community Church, went into foreclosure. The church now occupies the building’s second floor as SCRAP’s tenants.\u003c/p>\n\n\n\n\u003cp>SCRAP has entered into a partnership with \u003ca href=\"https://oliverandco.net/\">Oliver & Company\u003c/a>, a local construction and development firm that has helped other nonprofits gradually purchase their buildings. So far, SCRAP has raised over $1.8 million towards a $7.5 million capital campaign. \u003c/p>\n\n\n\n\u003cp>“[The partnership] gives us a huge security blanket,” Kochanski explained. “They are willing to be there for us for five years, for 10 years, for whatever it takes for us to feel comfortable, to pay them off and then to move forward with 100% ownership of the building.”\u003c/p>\n\n\n\n\u003cp>Much work remains to be done at Industrial Street, and SCRAP must be fully out of the old building by the end of July. At a certain point, it will make more sense to give certain things away rather than transport them.\u003c/p>\n\n\n\n\u003cp>“I think we’re gonna have to be aggressive in our generosity,” Depot Manager William Barros said of the move. After all, even free giveaways help spread the practice of creative reuse. \u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We say SCRAP is for artists and designers, but really SCRAP is for everyone,” said Deeya Laki Rajan, the nonprofit’s communications and development manager. “If you can imagine that a binder clip can be five other things, that a button can be used in 20 different ways, SCRAP is the place you didn’t know you needed.”\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>The move and reopening, scheduled for August, will cap a period of uncertainty for the organization. SCRAP — the Scroungers’ Center for Reusable Art Parts — has long known its days at its current location were numbered.\u003c/p>\n",
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"\n\u003cp>The move and reopening, scheduled for August, will cap a period of uncertainty for the organization. SCRAP — the Scroungers’ Center for Reusable Art Parts — has long known its days at its current location were numbered.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“Anybody that’s been to SCRAP for the last few years, it’s just so obvious that we were busting out of our seams,” said Terry Kochanski, the nonprofit’s executive director since 2019. \u003c/p>\n",
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"\n\u003cp>“Anybody that’s been to SCRAP for the last few years, it’s just so obvious that we were busting out of our seams,” said Terry Kochanski, the nonprofit’s executive director since 2019. \u003c/p>\n"
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"innerHTML": "\n\u003cp>A larger space might have remained a far-off dream. But in November 2024, a move was all but forced by voters, who approved a $790 million bond measure to fund improvements at SFUSD sites, including creating a central kitchen for student lunches. The site of that planned kitchen is the warehouse where SCRAP currently pays just $1,240 a month for its 7,000 square feet of space. \u003c/p>\n",
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"\n\u003cp>A larger space might have remained a far-off dream. But in November 2024, a move was all but forced by voters, who approved a $790 million bond measure to fund improvements at SFUSD sites, including creating a central kitchen for student lunches. The site of that planned kitchen is the warehouse where SCRAP currently pays just $1,240 a month for its 7,000 square feet of space. \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg\" alt=\"people inside a warehouse surrounded by banners and shelves of art supplies\" class=\"wp-image-13990574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Customers shop at SCRAP, a creative reuse depot, on June 5, 2026. The nonprofit will soon move to a new building.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>So many arts nonprofits in San Francisco have faced similar challenges in recent years: a ticking clock, a tech-inflated real estate market, a strained funding landscape. The details are different, the outcomes familiar — \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">closure\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13987725/contemporary-jewish-museum-to-sell-its-downtown-sf-building\">downsizing\u003c/a>, “\u003ca href=\"https://www.kqed.org/arts/13983013/ica-san-francisco-nomadic-museum-cube-sf-art-week\">going nomadic\u003c/a>.” \u003c/p>\n",
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"\n\u003cp>So many arts nonprofits in San Francisco have faced similar challenges in recent years: a ticking clock, a tech-inflated real estate market, a strained funding landscape. The details are different, the outcomes familiar — \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">closure\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13987725/contemporary-jewish-museum-to-sell-its-downtown-sf-building\">downsizing\u003c/a>, “\u003ca href=\"https://www.kqed.org/arts/13983013/ica-san-francisco-nomadic-museum-cube-sf-art-week\">going nomadic\u003c/a>.” \u003c/p>\n"
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"innerHTML": "\n\u003cp>Not SCRAP. Living up to its name, the nonprofit has now achieved the seemingly impossible: purchasing a building and moving on its own terms. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Founded in 1976 by Anne Marie Theilen and \u003ca href=\"https://www.kqed.org/arts/tag/ruth-asawa\">Ruth Asawa\u003c/a>, SCRAP was created to support San Francisco’s Neighborhood Arts Program. While grant funding paid for professional artists to teach in public schools, there was no budget for their art supplies. Theilen and Asawa gathered donations and redistributed excess materials (like fabric offcuts and product overruns) across the teachers’ classrooms.\u003c/p>\n",
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"\n\u003cp>Founded in 1976 by Anne Marie Theilen and \u003ca href=\"https://www.kqed.org/arts/tag/ruth-asawa\">Ruth Asawa\u003c/a>, SCRAP was created to support San Francisco’s Neighborhood Arts Program. While grant funding paid for professional artists to teach in public schools, there was no budget for their art supplies. Theilen and Asawa gathered donations and redistributed excess materials (like fabric offcuts and product overruns) across the teachers’ classrooms.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Susan Green, 76, relied on SCRAP over two decades ago as a teacher. On a recent visit from Denver for her grandchildren’s high school graduations, she made sure to check in on the depot. “I just love this place. It’s a touchstone place in my life,” she said. “Wherever I go, I have to see what that city is doing. Are they doing anything like this?”\u003c/p>\n",
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"\n\u003cp>Susan Green, 76, relied on SCRAP over two decades ago as a teacher. On a recent visit from Denver for her grandchildren’s high school graduations, she made sure to check in on the depot. “I just love this place. It’s a touchstone place in my life,” she said. “Wherever I go, I have to see what that city is doing. Are they doing anything like this?”\u003c/p>\n"
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"innerHTML": "\n\u003cp>These days, SCRAP remains a crucial resource for the region’s art classrooms, hosting \u003ca href=\"https://www.scrap-sf.org/programs/educator-support\">two teacher giveaways\u003c/a> a year. It’s a place where people can take workshops and \u003ca href=\"https://www.scrap-sf.org/workshops\">learn new art skills\u003c/a>. And it’s the most affordable art supply store most artists have ever seen. \u003c/p>\n",
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"\n\u003cp>These days, SCRAP remains a crucial resource for the region’s art classrooms, hosting \u003ca href=\"https://www.scrap-sf.org/programs/educator-support\">two teacher giveaways\u003c/a> a year. It’s a place where people can take workshops and \u003ca href=\"https://www.scrap-sf.org/workshops\">learn new art skills\u003c/a>. And it’s the most affordable art supply store most artists have ever seen. \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg\" alt=\"two people handle jewelry and bags in workshop space\" class=\"wp-image-13990577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">From left, Margarita Lopez, creative reuse specialist, and Dalia Gonzalez, assistant depot manager, process donated items for sale at SCRAP.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg\" alt=\"two people handle jewelry and bags in workshop space\" class=\"wp-image-13990577\"/>\u003cfigcaption class=\"wp-element-caption\">From left, Margarita Lopez, creative reuse specialist, and Dalia Gonzalez, assistant depot manager, process donated items for sale at SCRAP.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>SCRAP processes about 1,000 pounds of material a day. Donations pour in by the carload: empty frames, mannequins, buckets of photographs and years’ worth of \u003cem>National Geographics\u003c/em>. Inside, “scrappers” roam the aisles, sifting through piles of ready-to-be-transformed stuff. \u003c/p>\n",
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"\n\u003cp>SCRAP processes about 1,000 pounds of material a day. Donations pour in by the carload: empty frames, mannequins, buckets of photographs and years’ worth of \u003cem>National Geographics\u003c/em>. Inside, “scrappers” roam the aisles, sifting through piles of ready-to-be-transformed stuff. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The nonprofit has grown dramatically in recent years, from an operating budget of $335,789 in 2019 to just over $1 million in 2024, according to tax filings. In 2020 they began sending materials and lesson plans directly to classrooms with the “\u003ca href=\"https://www.scrap-sf.org/programs/scrap-in-a-box\">SCRAP in a Box\u003c/a>” program. SCRAP’s \u003ca href=\"https://www.scrap-sf.org/programs/sustainable-fashion-design\">sustainable fashion design\u003c/a> curriculum, an after-school program for middle and high school students, currently has about 200 participants, and takes place across 10 sites.\u003c/p>\n",
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"\n\u003cp>The nonprofit has grown dramatically in recent years, from an operating budget of $335,789 in 2019 to just over $1 million in 2024, according to tax filings. In 2020 they began sending materials and lesson plans directly to classrooms with the “\u003ca href=\"https://www.scrap-sf.org/programs/scrap-in-a-box\">SCRAP in a Box\u003c/a>” program. SCRAP’s \u003ca href=\"https://www.scrap-sf.org/programs/sustainable-fashion-design\">sustainable fashion design\u003c/a> curriculum, an after-school program for middle and high school students, currently has about 200 participants, and takes place across 10 sites.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“We could have looked for five more years and I honestly don’t think we could’ve found a better forever home for SCRAP,” Kochanski said.\u003c/p>\n",
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"\n\u003cp>“We could have looked for five more years and I honestly don’t think we could’ve found a better forever home for SCRAP,” Kochanski said.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Located on a triangular lot at the corner of Industrial Street and Quesada Avenue, the site boasts a fenced-in parking lot, a 26,000-square-foot two-story building, and a bit of dirt that Managing Director Danielle Grant is already excited to landscape with drought-resistant plants. \u003c/p>\n",
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"\n\u003cp>Located on a triangular lot at the corner of Industrial Street and Quesada Avenue, the site boasts a fenced-in parking lot, a 26,000-square-foot two-story building, and a bit of dirt that Managing Director Danielle Grant is already excited to landscape with drought-resistant plants. \u003c/p>\n"
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"innerHTML": "\n\u003cp>On Industrial Street, SCRAP will double its indoor square footage. More space means being able to accept a larger volume and variety of donations — an additional 100 tons per year, they estimate — and more turnover for regulars.\u003c/p>\n",
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"\n\u003cp>On Industrial Street, SCRAP will double its indoor square footage. More space means being able to accept a larger volume and variety of donations — an additional 100 tons per year, they estimate — and more turnover for regulars.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg\" alt=\"person on ladder faces signs over door\" class=\"wp-image-13990567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Lance Bullock, facilities coordinator at SCRAP, hangs a ‘donation intake’ sign at the nonprofit’s new location on June 5, 2026.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg\" alt=\"person on ladder faces signs over door\" class=\"wp-image-13990567\"/>\u003cfigcaption class=\"wp-element-caption\">Lance Bullock, facilities coordinator at SCRAP, hangs a ‘donation intake’ sign at the nonprofit’s new location on June 5, 2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>The staff (SCRAP has 20 employees and 150 volunteers a month) hopes the easy parking and more visible location will increase visitor numbers, not just for shopping, but for events and workshops. Already, they’ve been trying to couch fears that a move means fundamental change. Interior signage will remain hand-drawn in blue Sharpie. Containers labeled one thing will still charmingly contain another thing entirely.\u003c/p>\n",
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"\n\u003cp>The staff (SCRAP has 20 employees and 150 volunteers a month) hopes the easy parking and more visible location will increase visitor numbers, not just for shopping, but for events and workshops. Already, they’ve been trying to couch fears that a move means fundamental change. Interior signage will remain hand-drawn in blue Sharpie. Containers labeled one thing will still charmingly contain another thing entirely.\u003c/p>\n"
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"innerHTML": "\n\u003cp>At the new site, SCRAP will also have space to grow behind the scenes. Instead of just one room for both sorting and workshops — with major reshuffling in between — the new building is a warren of rooms.\u003c/p>\n",
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"innerHTML": "\n\u003cp>SCRAP’s current facilities, its home for the past 25 years, are tight, to say the least; office staff work nearly shoulder-to-shoulder. When Kochanski is on site, she’s relegated to the “conference room,” a slightly gussied-up shipping container outside. The current break room is a fridge, a sink and a tiny bit of counter. SCRAP shares one bathroom with the entire SFUSD warehouse.\u003c/p>\n",
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"\n\u003cp>SCRAP’s current facilities, its home for the past 25 years, are tight, to say the least; office staff work nearly shoulder-to-shoulder. When Kochanski is on site, she’s relegated to the “conference room,” a slightly gussied-up shipping container outside. The current break room is a fridge, a sink and a tiny bit of counter. SCRAP shares one bathroom with the entire SFUSD warehouse.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“I mean, in raising money for this capital campaign, it helps when donors are like, ‘Okay let me come talk to you,’” Grant said, gesturing at the conference room, “and they’re like, ‘These people need it.’” \u003c/p>\n",
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"\n\u003cp>“I mean, in raising money for this capital campaign, it helps when donors are like, ‘Okay let me come talk to you,’” Grant said, gesturing at the conference room, “and they’re like, ‘These people need it.’” \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg\" alt=\"South Asian woman stands in office filled with boxes and posters\" class=\"wp-image-13990578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Deeya Laki Rajan, communications and development manager, speaks to a coworker in SCRAP’s offices on June 5, 2026.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>SCRAP purchased the new building from the bank for $5.3 million, after the previous owners, Calvary Hill Community Church, went into foreclosure. The church now occupies the building’s second floor as SCRAP’s tenants.\u003c/p>\n",
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"\n\u003cp>SCRAP purchased the new building from the bank for $5.3 million, after the previous owners, Calvary Hill Community Church, went into foreclosure. The church now occupies the building’s second floor as SCRAP’s tenants.\u003c/p>\n"
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"innerHTML": "\n\u003cp>SCRAP has entered into a partnership with \u003ca href=\"https://oliverandco.net/\">Oliver & Company\u003c/a>, a local construction and development firm that has helped other nonprofits gradually purchase their buildings. So far, SCRAP has raised over $1.8 million towards a $7.5 million capital campaign. \u003c/p>\n",
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"\n\u003cp>SCRAP has entered into a partnership with \u003ca href=\"https://oliverandco.net/\">Oliver & Company\u003c/a>, a local construction and development firm that has helped other nonprofits gradually purchase their buildings. So far, SCRAP has raised over $1.8 million towards a $7.5 million capital campaign. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“[The partnership] gives us a huge security blanket,” Kochanski explained. “They are willing to be there for us for five years, for 10 years, for whatever it takes for us to feel comfortable, to pay them off and then to move forward with 100% ownership of the building.”\u003c/p>\n",
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"\n\u003cp>“[The partnership] gives us a huge security blanket,” Kochanski explained. “They are willing to be there for us for five years, for 10 years, for whatever it takes for us to feel comfortable, to pay them off and then to move forward with 100% ownership of the building.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Much work remains to be done at Industrial Street, and SCRAP must be fully out of the old building by the end of July. At a certain point, it will make more sense to give certain things away rather than transport them.\u003c/p>\n",
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"\n\u003cp>Much work remains to be done at Industrial Street, and SCRAP must be fully out of the old building by the end of July. At a certain point, it will make more sense to give certain things away rather than transport them.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“I think we’re gonna have to be aggressive in our generosity,” Depot Manager William Barros said of the move. After all, even free giveaways help spread the practice of creative reuse. \u003c/p>\n",
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"\n\u003cp>“I think we’re gonna have to be aggressive in our generosity,” Depot Manager William Barros said of the move. After all, even free giveaways help spread the practice of creative reuse. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“We say SCRAP is for artists and designers, but really SCRAP is for everyone,” said Deeya Laki Rajan, the nonprofit’s communications and development manager. “If you can imagine that a binder clip can be five other things, that a button can be used in 20 different ways, SCRAP is the place you didn’t know you needed.”\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the first time in its 50-year history, the creative reuse center \u003ca href=\"https://www.scrap-sf.org/home\">SCRAP\u003c/a> will have a permanent home. The arts nonprofit, which operates out of a \u003ca href=\"https://www.kqed.org/news/tag/sfusd\">San Francisco Unified School District\u003c/a> warehouse in the Bayview neighborhood, has purchased a two-story building just a few blocks away, at 141 Industrial St.\u003c/p>\n\n\n\n\u003cp>The move and reopening, scheduled for August, will cap a period of uncertainty for the organization. SCRAP — the Scroungers’ Center for Reusable Art Parts — has long known its days at its current location were numbered.\u003c/p>\n\n\n\n\u003cp>“Anybody that’s been to SCRAP for the last few years, it’s just so obvious that we were busting out of our seams,” said Terry Kochanski, the nonprofit’s executive director since 2019. \u003c/p>\n\n\n\n\u003cp>A larger space might have remained a far-off dream. But in November 2024, a move was all but forced by voters, who approved a $790 million bond measure to fund improvements at SFUSD sites, including creating a central kitchen for student lunches. The site of that planned kitchen is the warehouse where SCRAP currently pays just $1,240 a month for its 7,000 square feet of space. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg\" alt=\"people inside a warehouse surrounded by banners and shelves of art supplies\" class=\"wp-image-13990574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Customers shop at SCRAP, a creative reuse depot, on June 5, 2026. The nonprofit will soon move to a new building. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>So many arts nonprofits in San Francisco have faced similar challenges in recent years: a ticking clock, a tech-inflated real estate market, a strained funding landscape. The details are different, the outcomes familiar — \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">closure\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13987725/contemporary-jewish-museum-to-sell-its-downtown-sf-building\">downsizing\u003c/a>, “\u003ca href=\"https://www.kqed.org/arts/13983013/ica-san-francisco-nomadic-museum-cube-sf-art-week\">going nomadic\u003c/a>.” \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not SCRAP. Living up to its name, the nonprofit has now achieved the seemingly impossible: purchasing a building and moving on its own terms. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Scrapper’s delight\u003c/h2>\n\n\n\n\u003cp>Founded in 1976 by Anne Marie Theilen and \u003ca href=\"https://www.kqed.org/arts/tag/ruth-asawa\">Ruth Asawa\u003c/a>, SCRAP was created to support San Francisco’s Neighborhood Arts Program. While grant funding paid for professional artists to teach in public schools, there was no budget for their art supplies. Theilen and Asawa gathered donations and redistributed excess materials (like fabric offcuts and product overruns) across the teachers’ classrooms.\u003c/p>\n\n\n\n\u003cp>Susan Green, 76, relied on SCRAP over two decades ago as a teacher. On a recent visit from Denver for her grandchildren’s high school graduations, she made sure to check in on the depot. “I just love this place. It’s a touchstone place in my life,” she said. “Wherever I go, I have to see what that city is doing. Are they doing anything like this?”\u003c/p>\n\n\n\n\u003cp>These days, SCRAP remains a crucial resource for the region’s art classrooms, hosting \u003ca href=\"https://www.scrap-sf.org/programs/educator-support\">two teacher giveaways\u003c/a> a year. It’s a place where people can take workshops and \u003ca href=\"https://www.scrap-sf.org/workshops\">learn new art skills\u003c/a>. And it’s the most affordable art supply store most artists have ever seen. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg\" alt=\"two people handle jewelry and bags in workshop space\" class=\"wp-image-13990577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">From left, Margarita Lopez, creative reuse specialist, and Dalia Gonzalez, assistant depot manager, process donated items for sale at SCRAP. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>SCRAP processes about 1,000 pounds of material a day. Donations pour in by the carload: empty frames, mannequins, buckets of photographs and years’ worth of \u003cem>National Geographics\u003c/em>. Inside, “scrappers” roam the aisles, sifting through piles of ready-to-be-transformed stuff. \u003c/p>\n\n\n\n\u003cp>The nonprofit has grown dramatically in recent years, from an operating budget of $335,789 in 2019 to just over $1 million in 2024, according to tax filings. In 2020 they began sending materials and lesson plans directly to classrooms with the “\u003ca href=\"https://www.scrap-sf.org/programs/scrap-in-a-box\">SCRAP in a Box\u003c/a>” program. SCRAP’s \u003ca href=\"https://www.scrap-sf.org/programs/sustainable-fashion-design\">sustainable fashion design\u003c/a> curriculum, an after-school program for middle and high school students, currently has about 200 participants, and takes place across 10 sites.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Room to grow\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>“We could have looked for five more years and I honestly don’t think we could’ve found a better forever home for SCRAP,” Kochanski said.\u003c/p>\n\n\n\n\u003cp>Located on a triangular lot at the corner of Industrial Street and Quesada Avenue, the site boasts a fenced-in parking lot, a 26,000-square-foot two-story building, and a bit of dirt that Managing Director Danielle Grant is already excited to landscape with drought-resistant plants. \u003c/p>\n\n\n\n\u003cp>On Industrial Street, SCRAP will double its indoor square footage. More space means being able to accept a larger volume and variety of donations — an additional 100 tons per year, they estimate — and more turnover for regulars.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg\" alt=\"person on ladder faces signs over door\" class=\"wp-image-13990567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Lance Bullock, facilities coordinator at SCRAP, hangs a ‘donation intake’ sign at the nonprofit’s new location on June 5, 2026. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The staff (SCRAP has 20 employees and 150 volunteers a month) hopes the easy parking and more visible location will increase visitor numbers, not just for shopping, but for events and workshops. Already, they’ve been trying to couch fears that a move means fundamental change. Interior signage will remain hand-drawn in blue Sharpie. Containers labeled one thing will still charmingly contain another thing entirely.\u003c/p>\n\n\n\n\u003cp>At the new site, SCRAP will also have space to grow behind the scenes. Instead of just one room for both sorting and workshops — with major reshuffling in between — the new building is a warren of rooms.\u003c/p>\n\n\n\n\u003cp>SCRAP’s current facilities, its home for the past 25 years, are tight, to say the least; office staff work nearly shoulder-to-shoulder. When Kochanski is on site, she’s relegated to the “conference room,” a slightly gussied-up shipping container outside. The current break room is a fridge, a sink and a tiny bit of counter. SCRAP shares one bathroom with the entire SFUSD warehouse.\u003c/p>\n\n\n\n\u003cp>“I mean, in raising money for this capital campaign, it helps when donors are like, ‘Okay let me come talk to you,’” Grant said, gesturing at the conference room, “and they’re like, ‘These people need it.’” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg\" alt=\"South Asian woman stands in office filled with boxes and posters\" class=\"wp-image-13990578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Deeya Laki Rajan, communications and development manager, speaks to a coworker in SCRAP’s offices on June 5, 2026. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘For everyone’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>SCRAP purchased the new building from the bank for $5.3 million, after the previous owners, Calvary Hill Community Church, went into foreclosure. The church now occupies the building’s second floor as SCRAP’s tenants.\u003c/p>\n\n\n\n\u003cp>SCRAP has entered into a partnership with \u003ca href=\"https://oliverandco.net/\">Oliver & Company\u003c/a>, a local construction and development firm that has helped other nonprofits gradually purchase their buildings. So far, SCRAP has raised over $1.8 million towards a $7.5 million capital campaign. \u003c/p>\n\n\n\n\u003cp>“[The partnership] gives us a huge security blanket,” Kochanski explained. “They are willing to be there for us for five years, for 10 years, for whatever it takes for us to feel comfortable, to pay them off and then to move forward with 100% ownership of the building.”\u003c/p>\n\n\n\n\u003cp>Much work remains to be done at Industrial Street, and SCRAP must be fully out of the old building by the end of July. At a certain point, it will make more sense to give certain things away rather than transport them.\u003c/p>\n\n\n\n\u003cp>“I think we’re gonna have to be aggressive in our generosity,” Depot Manager William Barros said of the move. After all, even free giveaways help spread the practice of creative reuse. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We say SCRAP is for artists and designers, but really SCRAP is for everyone,” said Deeya Laki Rajan, the nonprofit’s communications and development manager. “If you can imagine that a binder clip can be five other things, that a button can be used in 20 different ways, SCRAP is the place you didn’t know you needed.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Deep Roots of Puerto Rican Culture Come to the Bayview Opera House",
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"content": "\u003cp>This weekend in San Francisco, the vibrant \u003ca href=\"https://events.humanitix.com/enraizar\">\u003cem>Enraizando\u003c/em>\u003c/a> dance production will give audiences a window into Puerto Rican history and culture.\u003c/p>\n\u003cp>During the performance, the rhythm of uptempo percussions will be intertwined with the footwork, fashion and flair of bomba dance. There’ll be singing and storytelling, as well as scenes from the island shown on a large screen while performers dance on stage, paying homage to their heritage and honoring their own maturation.\u003c/p>\n\u003cp>“Enraizando” translates to “rooting within.” This show, says producer and performer \u003ca href=\"https://www.instagram.com/bombaaguacero/\">Shefali Shah\u003c/a>, represents the journey of self-exploration.\u003c/p>\n\u003cp>For Shah, this process of using bomba to better understand her own roots started over 25 years ago. And now, through working with a group of young women, her endeavor has come full circle.\u003c/p>\n\u003cp>Shah grew up in Puerto Rico, the child of immigrants from India. While pursing higher education at UC Berkeley, she met \u003ca href=\"https://www.instagram.com/fantauzzi_brothers/\">Kahlil Jacobs-Fantauzzi\u003c/a>, who was then leading the student organization \u003ca href=\"https://www.apuertorriquena.org/\">Acción Boricua y Caribeña\u003c/a> (Puerto Rican and Caribbean Action).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Through that collective, Shah developed a deeper relationship to Puerto Rico.\u003c/p>\n\u003cfigure id=\"attachment_13988551\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f.jpg\" alt=\"A woman in a bright top and colorful skirt dances as she takes a photo.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Multitalented artist Shefali Shah is the co-founder of the Aguacero ensemble. \u003ccite>(Areito Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We learned about these political prisoners,” she says, telling the story of the Fuerzas Armadas de Liberación Nacional (\u003ca href=\"https://sk.sagepub.com/ency/edvol/ethnicity/chpt/puerto-rican-armed-forces-national-liberation-faln#_\">Armed Forces of National Liberation\u003c/a>), a Puerto Rican independence group known as FALN who had members incarcerated in the Federal Correctional Institute in Dublin on charges of weapons violations, theft, conspiracy and more.\u003c/p>\n\u003cp>The student group paid them visits, and simultaneously learned more about the social and political situation in the U.S. territory. “Through that process we also became more culturally aware and connected,” Shah reflects. “And my work here, to this day, has been rooted in this connection that I made with those women.”\u003c/p>\n\u003cp>[aside postID='arts_13881446' hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Mar-Maria-800x450.jpg']The incarcerated FALN members were released after President Clinton granted them clemency in 1999.\u003c/p>\n\u003cp>One year prior to that, in 1998, Shah took her first \u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\">bomba\u003c/a> class. She was familiar with the dance from her childhood, but it was through that class that she became immersed the oldest Puerto Rican musical tradition — one that began as a way to combat enslavement and colonial oppression, and has grown to represent Puerto Rico’s ongoing culture of resilience.\u003c/p>\n\u003cp>Not long after taking that class, Shah began working with percussionist \u003ca href=\"https://www.missionculturalcenter.org/hector-lugo\">Héctor Lugo\u003c/a>, another UC Berkeley connection. In 2002 Shah began teaching a class at Berkeley’s \u003ca href=\"https://lapena.org/\">La Peña Cultural Center\u003c/a> with Lugo, called the “\u003ca href=\"https://www.youtube.com/watch?v=dn2bC572S-E\">Bay Area Bomba y Plena Workshop\u003c/a>.”\u003c/p>\n\u003cp>In 2007 they tailored a class for children called \u003ca href=\"https://www.aguacerobomba.org/quenepas\">Quenepas\u003c/a>; some of those former students are now part of the \u003ci>Enraizando\u003c/i> production. With the aim of creating a safe space for young women to discuss social issues and freely express themselves, Shah uses bomba as a teaching tool.\u003c/p>\n\u003cfigure id=\"attachment_13988556\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/tPat4-WP.jpg\" alt=\"A trio of young women dance on stage, while a handful of children watch from the front row. \" width=\"1280\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/tPat4-WP.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/tPat4-WP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/tPat4-WP-768x512.jpg 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">During the ‘Enraizando’ performance, drums will be played and dancers will twirl, as seven young women tell the story of finding themselves. \u003ccite>(Areito Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not only does the dance — and its inherent storytelling — aid in the process of passing along cultural traditions, she says, it shows the young performers a way to grow from within. “They’re finding themselves through cultural and ancestral connections,” Shah explains.\u003c/p>\n\u003cp>“These young women have found a friendship that I’m hoping will last a lifetime,” Shah says, reflecting on all of the Saturdays the group has spent together over the past two years. “And now they’re going to share their part of what it means to transition into womanhood.”\u003c/p>\n\u003cp>The show, part of the larger 20th annual \u003ca href=\"https://www.cubacaribe.org/\">CubaCaribe festival\u003c/a>, runs April 17 and 18 at the Bayview Opera House, and concludes on April 19 with a unique performance at Shah’s second home for the past 26 years, La Peña.\u003c/p>\n\u003cp>There, attendees will enjoy what Shah has coined as \u003ca href=\"https://events.humanitix.com/bombatey\">\u003cem>Bombatey\u003c/em>\u003c/a>, an event that showcases bomba dance and an Indigenous Taíno ceremonial circle, or a “Boricua batey,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13988555\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy.jpg\" alt=\"Members of a bamba ensemble pose for a photo while wearing coordinated yellow shirts. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Aguacero ensemble pose for a photo at the Oakland Museum of California. \u003ccite>(Areito Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday and Saturday’s shows at the Bayview Opera House will also feature the Aguacero ensemble, directed by Shah and led by \u003ca href=\"https://www.bululusf.com/ayla-davila-bio\">Ayla Dávila\u003c/a> and Héctor Lugo. They’ll be joined by multidisciplinary artist \u003ca href=\"https://www.instagram.com/maritxellcarrero/\">Maritxell Carrero\u003c/a> and \u003ca href=\"https://theatre.ucsd.edu/people/faculty/performance-studies/jade-power-sotomayor.html\">Dr. Jade Power-Sotomayor\u003c/a>, director of the Chicanx Latinx Studies Program at UC San Diego. Bay Area-based percussionist and mentor Roman “Ito” Carrillo will perform, as will Puerto Rico-based MC and poet \u003ca href=\"https://www.yairamaren.com/\">Yairamaren Roman Maldonado\u003c/a> and Mari Luna, who is currently based in Boston, but started as a young musician working with Shah and Lugo as a part of the Quenepas group.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/reels/DV_GvmolMxQ/\">Videos and photos from Puerto Rico\u003c/a> made by Berkeley filmmaker \u003ca href=\"https://www.kqed.org/arts/13919309/puerto-rico-we-still-here-hurricane-documentary\">Eli Jacobs-Fantauzzi\u003c/a> will be displayed on the walls of the Opera House, and Shah herself will also take to the stage. (“I’m going to sing,” she says. “I’m also going to dance and play minor percussion.”)\u003c/p>\n\u003cp>But the focus of the show is the young women.\u003c/p>\n\u003cp>During one of their dance pieces, the younger women will show that they’re “reflections of the older women that love them,” says Shah. She notes that there are multiple families who will be performing during the event. And that kinship, Shah adds, is shown through dance moves that illustrate how they are “sisters that walk with them in life.”\u003c/p>\n\u003cp>The performance also explores the difficulties that young women face in learning to leave and become independent. But by relying on “rooting” and the lessons learned from bomba, Shah says people grow to understand the profound interconnectivity of community and history.\u003c/p>\n\u003cp>“Even when we leave,” she says, quoting a poem from the young performers of the \u003cem>\u003ca href=\"https://events.humanitix.com/enraizar\">Enraizando\u003c/a> \u003c/em>production, “we’re never really alone.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://events.humanitix.com/enraizar\">Enraizando\u003c/a>’ takes place Friday, April 17 at 7 p.m. and Saturday, April 18 at 7 p.m. at the Bayview Opera House (4705 3rd St., San Francisco).\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://events.humanitix.com/bombatey\">Bombatey\u003c/a>’ takes place at Sunday, April 19 at 2:30 p.m. at La Peña Cultural Center (3105 Shattuck Ave., Berkeley).\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend in San Francisco, the vibrant \u003ca href=\"https://events.humanitix.com/enraizar\">\u003cem>Enraizando\u003c/em>\u003c/a> dance production will give audiences a window into Puerto Rican history and culture.\u003c/p>\n\u003cp>During the performance, the rhythm of uptempo percussions will be intertwined with the footwork, fashion and flair of bomba dance. There’ll be singing and storytelling, as well as scenes from the island shown on a large screen while performers dance on stage, paying homage to their heritage and honoring their own maturation.\u003c/p>\n\u003cp>“Enraizando” translates to “rooting within.” This show, says producer and performer \u003ca href=\"https://www.instagram.com/bombaaguacero/\">Shefali Shah\u003c/a>, represents the journey of self-exploration.\u003c/p>\n\u003cp>For Shah, this process of using bomba to better understand her own roots started over 25 years ago. And now, through working with a group of young women, her endeavor has come full circle.\u003c/p>\n\u003cp>Shah grew up in Puerto Rico, the child of immigrants from India. While pursing higher education at UC Berkeley, she met \u003ca href=\"https://www.instagram.com/fantauzzi_brothers/\">Kahlil Jacobs-Fantauzzi\u003c/a>, who was then leading the student organization \u003ca href=\"https://www.apuertorriquena.org/\">Acción Boricua y Caribeña\u003c/a> (Puerto Rican and Caribbean Action).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Through that collective, Shah developed a deeper relationship to Puerto Rico.\u003c/p>\n\u003cfigure id=\"attachment_13988551\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f.jpg\" alt=\"A woman in a bright top and colorful skirt dances as she takes a photo.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/duAU0o9f-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Multitalented artist Shefali Shah is the co-founder of the Aguacero ensemble. \u003ccite>(Areito Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We learned about these political prisoners,” she says, telling the story of the Fuerzas Armadas de Liberación Nacional (\u003ca href=\"https://sk.sagepub.com/ency/edvol/ethnicity/chpt/puerto-rican-armed-forces-national-liberation-faln#_\">Armed Forces of National Liberation\u003c/a>), a Puerto Rican independence group known as FALN who had members incarcerated in the Federal Correctional Institute in Dublin on charges of weapons violations, theft, conspiracy and more.\u003c/p>\n\u003cp>The student group paid them visits, and simultaneously learned more about the social and political situation in the U.S. territory. “Through that process we also became more culturally aware and connected,” Shah reflects. “And my work here, to this day, has been rooted in this connection that I made with those women.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The incarcerated FALN members were released after President Clinton granted them clemency in 1999.\u003c/p>\n\u003cp>One year prior to that, in 1998, Shah took her first \u003ca href=\"https://www.kqed.org/arts/13881446/if-cities-could-dance-bomba\">bomba\u003c/a> class. She was familiar with the dance from her childhood, but it was through that class that she became immersed the oldest Puerto Rican musical tradition — one that began as a way to combat enslavement and colonial oppression, and has grown to represent Puerto Rico’s ongoing culture of resilience.\u003c/p>\n\u003cp>Not long after taking that class, Shah began working with percussionist \u003ca href=\"https://www.missionculturalcenter.org/hector-lugo\">Héctor Lugo\u003c/a>, another UC Berkeley connection. In 2002 Shah began teaching a class at Berkeley’s \u003ca href=\"https://lapena.org/\">La Peña Cultural Center\u003c/a> with Lugo, called the “\u003ca href=\"https://www.youtube.com/watch?v=dn2bC572S-E\">Bay Area Bomba y Plena Workshop\u003c/a>.”\u003c/p>\n\u003cp>In 2007 they tailored a class for children called \u003ca href=\"https://www.aguacerobomba.org/quenepas\">Quenepas\u003c/a>; some of those former students are now part of the \u003ci>Enraizando\u003c/i> production. With the aim of creating a safe space for young women to discuss social issues and freely express themselves, Shah uses bomba as a teaching tool.\u003c/p>\n\u003cfigure id=\"attachment_13988556\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/tPat4-WP.jpg\" alt=\"A trio of young women dance on stage, while a handful of children watch from the front row. \" width=\"1280\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/tPat4-WP.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/tPat4-WP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/tPat4-WP-768x512.jpg 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">During the ‘Enraizando’ performance, drums will be played and dancers will twirl, as seven young women tell the story of finding themselves. \u003ccite>(Areito Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not only does the dance — and its inherent storytelling — aid in the process of passing along cultural traditions, she says, it shows the young performers a way to grow from within. “They’re finding themselves through cultural and ancestral connections,” Shah explains.\u003c/p>\n\u003cp>“These young women have found a friendship that I’m hoping will last a lifetime,” Shah says, reflecting on all of the Saturdays the group has spent together over the past two years. “And now they’re going to share their part of what it means to transition into womanhood.”\u003c/p>\n\u003cp>The show, part of the larger 20th annual \u003ca href=\"https://www.cubacaribe.org/\">CubaCaribe festival\u003c/a>, runs April 17 and 18 at the Bayview Opera House, and concludes on April 19 with a unique performance at Shah’s second home for the past 26 years, La Peña.\u003c/p>\n\u003cp>There, attendees will enjoy what Shah has coined as \u003ca href=\"https://events.humanitix.com/bombatey\">\u003cem>Bombatey\u003c/em>\u003c/a>, an event that showcases bomba dance and an Indigenous Taíno ceremonial circle, or a “Boricua batey,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13988555\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy.jpg\" alt=\"Members of a bamba ensemble pose for a photo while wearing coordinated yellow shirts. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6InJXJhy-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Aguacero ensemble pose for a photo at the Oakland Museum of California. \u003ccite>(Areito Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday and Saturday’s shows at the Bayview Opera House will also feature the Aguacero ensemble, directed by Shah and led by \u003ca href=\"https://www.bululusf.com/ayla-davila-bio\">Ayla Dávila\u003c/a> and Héctor Lugo. They’ll be joined by multidisciplinary artist \u003ca href=\"https://www.instagram.com/maritxellcarrero/\">Maritxell Carrero\u003c/a> and \u003ca href=\"https://theatre.ucsd.edu/people/faculty/performance-studies/jade-power-sotomayor.html\">Dr. Jade Power-Sotomayor\u003c/a>, director of the Chicanx Latinx Studies Program at UC San Diego. Bay Area-based percussionist and mentor Roman “Ito” Carrillo will perform, as will Puerto Rico-based MC and poet \u003ca href=\"https://www.yairamaren.com/\">Yairamaren Roman Maldonado\u003c/a> and Mari Luna, who is currently based in Boston, but started as a young musician working with Shah and Lugo as a part of the Quenepas group.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/reels/DV_GvmolMxQ/\">Videos and photos from Puerto Rico\u003c/a> made by Berkeley filmmaker \u003ca href=\"https://www.kqed.org/arts/13919309/puerto-rico-we-still-here-hurricane-documentary\">Eli Jacobs-Fantauzzi\u003c/a> will be displayed on the walls of the Opera House, and Shah herself will also take to the stage. (“I’m going to sing,” she says. “I’m also going to dance and play minor percussion.”)\u003c/p>\n\u003cp>But the focus of the show is the young women.\u003c/p>\n\u003cp>During one of their dance pieces, the younger women will show that they’re “reflections of the older women that love them,” says Shah. She notes that there are multiple families who will be performing during the event. And that kinship, Shah adds, is shown through dance moves that illustrate how they are “sisters that walk with them in life.”\u003c/p>\n\u003cp>The performance also explores the difficulties that young women face in learning to leave and become independent. But by relying on “rooting” and the lessons learned from bomba, Shah says people grow to understand the profound interconnectivity of community and history.\u003c/p>\n\u003cp>“Even when we leave,” she says, quoting a poem from the young performers of the \u003cem>\u003ca href=\"https://events.humanitix.com/enraizar\">Enraizando\u003c/a> \u003c/em>production, “we’re never really alone.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://events.humanitix.com/enraizar\">Enraizando\u003c/a>’ takes place Friday, April 17 at 7 p.m. and Saturday, April 18 at 7 p.m. at the Bayview Opera House (4705 3rd St., San Francisco).\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://events.humanitix.com/bombatey\">Bombatey\u003c/a>’ takes place at Sunday, April 19 at 2:30 p.m. at La Peña Cultural Center (3105 Shattuck Ave., Berkeley).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Rising Star Chef Trains San Francisco’s Next Generation of Bakers",
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"content": "\u003cp>On an unseasonably warm Sunday afternoon in March, Azikiwee “Z” Anderson stands in a small kitchen, talking about gluten production.\u003c/p>\n\u003cp>Here in the back of the Smoke Soul Kitchen soul food restaurant in San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/bayview\">Bayview\u003c/a> neighborhood, seven teens and almost-teens are huddled in front of a big commercial mixer, listening as their teacher for the day elucidates the finer points of making a kick-ass batch of pizza dough.\u003c/p>\n\u003cp>Then, one by one, the students pour the ingredients with which they’ve been entrusted into the mixer — water, yeast, “poolish” (or pre-ferment), flour and salt. And as the machine folds the mixture onto itself again and again, slowly but surely, a dough begins to form.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The key, Anderson says, is to allow the “little rubber bands” of gluten to form more and more connections, strengthening the dough and making it more elastic. “Then you can stretch it out and make a pizza,” he says.\u003c/p>\n\u003cp>By the end of this two-hour session, every kid in the class will have done exactly that. They’ll have flattened and stretched out their dough, spun it in the air like a real Italian pizzaiolo, slathered it with toppings and slid the whole thing into a 550-degree triple-decker oven. They’ll have eaten their fill \u003cem>and \u003c/em>brought home another ball of the dough that they made together from scratch, ready to do it all again the next day.\u003c/p>\n\u003cfigure id=\"attachment_13988476\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988476\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_099_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_099_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_099_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_099_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_099_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Bailey Gee, right, pours yeast into a mixer as Marina Sanchez prepares dough during a youth baking workshop at Bayview Makers Kitchen. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pizza-making session is part of a series of monthly community baking classes called “\u003ca href=\"https://www.eventbrite.com/e/rize-make-baking-classes-tickets-1983557674400?aff=erelexpmlt\">Rize + Make\u003c/a>” hosted by the Bayview Makers Kitchen, a food incubator run by the nonprofit \u003ca href=\"https://www.edotbayview.org/\">Economic Development on Third\u003c/a> (EDoT). The classes, which started in February, are pegged for youth ages 16-20, with a bit of wiggle room. (Students for this particular session range in age from an 11-year-old attending with her mom to a young man in his early 20s.) Most of them are Bayview residents themselves — a mix of Black, Asian and Latino kids.\u003c/p>\n\u003cp>The best part? The classes are completely free.\u003c/p>\n\u003cp>For young foodies who sign up for his class, Anderson is something of a local celebrity — a rising star in the world of artisanal baking. His sourdough bakery, Rize Up Bakery, is one of the breakout hits from the pandemic pop-up era, known for loaves with \u003ca href=\"https://www.kqed.org/news/11963721/how-sfs-rize-up-sourdough-puts-black-bakers-on-the-map\">boundary-pushing flavors\u003c/a> like Korean gochujang and Indian masala.\u003c/p>\n\u003cfigure id=\"attachment_13988472\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988472\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_089_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_089_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_089_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_089_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_089_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Youth participants shape pizza dough during the March 2026 edition of the free baking workshop. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anderson’s bread is now a staple at Bay Area farmers markets and high-end grocery stores, and he’s about to launch \u003ca href=\"https://sfstandard.com/2026/03/10/rize-up-sourdough-bakery-cafe-soma/\">his first cafe\u003c/a>, in a space adjacent to his production facility in SoMa.\u003c/p>\n\u003cp>He’s also highly aware of the space he occupies as one of the only Black bakers in the artisanal sourdough scene in the Bay Area and beyond. It’s a big part of why he thinks it’s so important for him to give back — to give Black and Brown kids in the Bayview a chance to imagine a future they’d never before considered.\u003c/p>\n\u003cp>“Obviously, you’re here for a reason,” Anderson says at the start of the class. “The next step is how do we build enough skills and how do we have fun, so that you want to be in the kitchen more? And you think, ‘I could be a baker. I could do this.’”\u003c/p>\n\u003ch2>Baking to feel seen\u003c/h2>\n\u003cp>Anderson’s own childhood was, by all accounts, a difficult one. Born and raised in New Orleans, he was the eldest of three children in a biracial family. His father, a traveling musician, was a heroin addict who “spent all his money on drugs and wound up beating my mom close to death,” Anderson recalls.\u003c/p>\n\u003cp>When his mother got out of the hospital, protective services told her she was going to wind up dead if she didn’t move away; they put her and her kids on a bus to San Francisco. Anderson was 5 years old at the time.\u003c/p>\n\u003cp>The family lived in the bus station for the first few weeks after they arrived, until a women’s shelter finally set them up with a place to stay. Eventually, they moved into a small apartment amid the housing projects in the Western Addition.\u003c/p>\n\u003cfigure id=\"attachment_13988463\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988463\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260413-A-RISING-STAR-BAKER-GIVES-BACK-02-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260413-A-RISING-STAR-BAKER-GIVES-BACK-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260413-A-RISING-STAR-BAKER-GIVES-BACK-02-KQED-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260413-A-RISING-STAR-BAKER-GIVES-BACK-02-KQED-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260413-A-RISING-STAR-BAKER-GIVES-BACK-02-KQED-1536x1147.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anderson (far right), age 14 or 15, poses with his mother and two siblings for a family portrait taken in the late ’80s. \u003ccite>(Courtesy of Azikiwee Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The only places that we could afford to live were pretty bad,” Anderson says. Still, he fell in love with early-’80s San Francisco from the very start — he loved the diversity of thought and the way all different kinds of people were able to feel included. “At its core, it’s a place where people come to be part of community,” he says.\u003c/p>\n\u003cp>It was a different story when Anderson moved to Chico in middle school. There, he was often one of the only Black kids in any given room, and his adolescent years were riddled with run-ins with teachers and police.\u003c/p>\n\u003cp>He felt perpetually pigeonholed and stereotyped. Later, as an adult, Anderson was one of a tiny handful of Black inline skaters successful enough to make a living at it, first as a competitor and then as a judge, event organizer and \u003ca href=\"https://www.youtube.com/watch?v=45IgxIlffn0\">skatepark designer\u003c/a>. And when he finally got involved in the Bay Area’s artisanal sourdough scene, he didn’t know any other Black bakers who were part of that world.\u003c/p>\n\u003cp>“I never saw anyone who looked like me do that,” he says, explaining his initial skepticism.\u003c/p>\n\u003cfigure id=\"attachment_13988464\" class=\"wp-caption alignleft\" style=\"max-width: 558px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260413-A-RISING-STAR-BAKER-GIVES-BACK-03-KQED.jpg\" alt=\"\" width=\"558\" height=\"837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260413-A-RISING-STAR-BAKER-GIVES-BACK-03-KQED.jpg 558w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260413-A-RISING-STAR-BAKER-GIVES-BACK-03-KQED-160x240.jpg 160w\" sizes=\"auto, (max-width: 558px) 100vw, 558px\">\u003cfigcaption class=\"wp-caption-text\">Anderson performs a skate trick during the Team Rollerblade tour, circa 2000. Before he became a baker, Anderson had a long career as a professional inline skater. \u003ccite>(Courtesy of Azikiwee Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this helps explain why the idea of teaching a free baking class for young people was so appealing to Anderson. For Black and Brown kids in Bayview, he wants to be that adult role model he never had when he was growing up — the one who opens up the possibility of a career path a kid might have never considered for someone who looks like them.\u003c/p>\n\u003cp>After all, he says, “I don’t think people were like, ‘Oh, Black people shouldn’t be a part of this.’ I just think maybe we didn’t have the means or the involvement. And so we didn’t see it as something that was viable for us.”\u003c/p>\n\u003cp>Like hundreds of thousands of other Americans, Anderson’s own sourdough journey started during the pandemic. By the 2010s, he’d stepped away from rollerblading to spend more time with his children. He’d always loved cooking, so he figured he might make a career out of it. After going to culinary school, he built up a successful career as a private chef.\u003c/p>\n\u003cp>Of course, that business evaporated once COVID lockdowns hit. Anderson suddenly found himself with a lot more time on his hands, and he joined a group text with friends and neighbors who would share recipes for quarantine meals. It was only a matter of time before a few of them started tinkering with sourdough.\u003c/p>\n\u003cp>Anderson, for his part, had never baked seriously before, and he recalls his first few loaves being completely mediocre. “I sucked at it,” he says. “And I don’t like sucking at things.”\u003c/p>\n\u003cp>So he kept baking, expanding his output from one loaf to two loaves to eight loaves a week, documenting his progress on Instagram and masking up to drop the bread off on his neighbors’ doorsteps. Eventually, he got good enough that people as far away as Brooklyn started asking if they could buy a loaf. He built a website, and the rest was history.\u003c/p>\n\u003cp>That’s one part of the origin story of Rize Up Bakery, anyway. The other part is that Anderson cried every day in the summer of 2020 after George Floyd was murdered by a white policeman in Minneapolis. “I never thought of myself as a depressed person, but something about him begging and talking to his dead mama just broke my heart. I couldn’t deal with how it made me feel.”\u003c/p>\n\u003cp>Baking sourdough was the one way he could tune out that pain for a few hours — the one thing that made him feel genuinely happy. “It was very Zen-esque,” he says. “Everything else would disappear.” And when he shared his bread with other people, it would make them happy too.\u003c/p>\n\u003cfigure id=\"attachment_13988482\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_020_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_020_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_020_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_020_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_020_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Azikiwee Anderson shapes rounds of dough at a worktable inside Rize Up Bakery’s main production facility in SoMa on April 3, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was the coolest feedback loop,” he says, describing the “dopamine hit” he’d get every time someone praised one of his creations.\u003c/p>\n\u003cp>It was deeply intentional, then, that Anderson made Rize Up’s logo a raised Black fist. And the fact that Anderson comes from such a different background than other people in the artisanal sourdough world has turned out to be his greatest strength.\u003c/p>\n\u003cp>“I have never been accepted in my life; I know the way it feels to be othered and disrespected,” Anderson says. “How can I use my platform to make other people feel seen?”\u003c/p>\n\u003cp>That thought process leads him to different flavors than the ones commonly sold at other bakeries — because he isn’t offering, say, a cranberry-walnut loaf just because he knows it will sell. Anderson points to one of his most popular breads, the ube pan loaf, as a point of contrast.\u003c/p>\n\u003cfigure id=\"attachment_13988481\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988481 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_014_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_014_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_014_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_014_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_014_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">At Rize Up Bakery, rows of sesame seed–coated loaves sit on a rack lined with cloth couche as they proof. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anyone could have made that bread, he says. The reason Anderson was the one who did was because he’d had Filipino friends who’d invited him into their homes and made him feel like he belonged.\u003c/p>\n\u003cp>“I’m inspired by people who always made me feel seen. Most people would say, ‘Why would I make this crazy loaf that makes it 10 times harder to make the bread, and I don’t even know if people will buy it?’” he says.\u003c/p>\n\u003cp>Some of Rize Up’s early experiments drew on his New Orleans roots, incorporating spicy Louisiana sausages, for instance. These days, many of the bakery’s most popular loaves draw from seemingly unlikely global inspirations, like his “K-Pop” bread, which features roasted garlic cloves and a hit of gochujang heat.\u003c/p>\n\u003cp>“I do everything ass-backwards,” he says. “I make [the bread] to make people feel seen.”\u003c/p>\n\u003ch2>A Bayview revival\u003c/h2>\n\u003cp>In the end, that’s what Anderson hopes his baking class will be too — a way of helping his students feel seen.\u003c/p>\n\u003cp>Earl Shaddix, executive director of EDoT, explains that the idea of offering a free baking class came out of the organization’s kitchen incubator program, \u003ca href=\"https://www.bayviewmakers.com/kitchen\">Bayview Makers Kitchen\u003c/a>.\u003c/p>\n\u003cp>As part of the group’s effort to revive Bayview’s Third Street corridor, they came up with the idea of refurbishing shuttered restaurants and turning them into shared kitchen spaces for up-and-coming food entrepreneurs. The first one, at 5698 3rd St., was so successful that the program quickly outgrew the space; two of the incubator’s alumni now run their Mexican restaurant, Frank Grizzly’s, there.\u003c/p>\n\u003cfigure id=\"attachment_13988480\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988480 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_005_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_005_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_005_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_005_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_005_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Keyan Depillo, dough team lead, and owner Azikiwee Anderson greet each other with a fist bump inside Rize Up Bakery on April 3, 2026, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The current iteration of the Bayview Makers Kitchen runs out of the space formerly occupied by Auntie April’s, a classic SF soul food spot that closed during the pandemic.\u003c/p>\n\u003cp>In front, \u003ca href=\"https://www.instagram.com/smokesoulsf/?hl=en\">Smoke Soul Kitchen\u003c/a>, another of the incubator’s graduates, is a full-blown soul food restaurant. In the back, the incubator now hosts a handful of bakers — a donut maker, a Palestinian baker, a Filipina pastry chef and more. On Sundays, though, the kitchen was free, and so Shaddix struck on the idea of hosting classes there for neighborhood youth.\u003c/p>\n\u003cp>“We wanted the instructors to look like the community,” Shaddix says. “Youth in our community are not going to a fancy baking school downtown. That’s not happening. So rather than send our kids down there, let’s bring the big guns out here.”\u003c/p>\n\u003cp>[aside postID=arts_13981914 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02223_TV-KQEd.jpg']Anderson was the first person who came to mind.\u003c/p>\n\u003cp>While the classes aren’t limited to Bayview residents, Shaddix says kids from the neighborhood are given priority, especially since each class tops out at 10 students. So far, he says, the response has been phenomenal, and he’s already making plans for other classes — one on jam-making, perhaps, or maybe one focused on pies and biscuits.\u003c/p>\n\u003cp>For some of the kids, the series will serve as a direct pipeline into their first summer jobs, bussing tables or working in the prep kitchen at one of Bayview Makers Kitchen’s affiliated restaurants.\u003c/p>\n\u003ch2>‘Become the adult you needed’\u003c/h2>\n\u003cp>Maybe the most surprising thing about this kids’ baking class is how much math and science there is, as Anderson spends a good chunk of the time talking about dough hydration percentages and ideal fermentation temperatures, and teaching how to tare a scale and ever-so-gingerly measure out exactly 40 grams of flour. (One student, 16-year-old Bailey, says the whole thing reminds her of chemistry class.)\u003c/p>\n\u003cp>Beyond the \u003cem>pizza party\u003c/em> of it all — the joy with which each student slides their custom-topped pies off the pizza peel with a quick \u003cem>shoop\u003c/em>, and then tears into their pizzas while the crust is still blistering hot — the biggest thing that comes across is how much the class feels like a real job training.\u003c/p>\n\u003cfigure id=\"attachment_13988473\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_093_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_093_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_093_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_093_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_093_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anderson explains the dough-making process during his hands-on baking workshop. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as Anderson talks about specific techniques for kneading or shaping the dough, he spends just as much time emphasizing the importance of staying organized in the kitchen, moving efficiently and cleaning up after yourself as you go. By the end of the session, it really does feel like everyone is ready to work a shift at the bakery.\u003c/p>\n\u003cp>The students, by and large, aren’t sure yet if they would really consider a career as professional bakers, though the class seems to open their eyes up to the possibility.\u003c/p>\n\u003cp>Eleven-year-old Marina Sanchez, a Bayview resident who’s taking the class along with her mom, says the baking series initially caught their eye because they’d seen Anderson and his bakery featured on TV. Jaylen Banks, who, in his 20s, is the oldest student in the class, has always liked cooking, but says he’s come away from the first two sessions with a greater sense of confidence in his abilities — enough so that he’s now “maybe” interested in exploring it as a career.\u003c/p>\n\u003cfigure id=\"attachment_13988478\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988478\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_115_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_115_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_115_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_115_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_115_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marina Sanchez stretches a round of pizza dough. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Santino Jolibette, 16, is taking the class as part of an internship at Smoke Soul Kitchen he is doing through EDoT, so he’s already well on his way to exploring cooking and baking as a potential career — “it’s definitely possible,” he says, though for now it’s just a hobby. At home, his parents mostly cook Mexican food, so artisanal sourdough pizza is a whole new world.\u003c/p>\n\u003cp>Jeanne McCoy, an EDoT board member and the mother of one of Anderson’s baking students, says the class is a clear-cut example of why representation is important.\u003c/p>\n\u003cp>“If you don’t see a Black astronaut in space, you might think that’s not something for you,” she says. “But if you see somebody that’s from your community who is doing the thing, it helps lay a roadmap. It’s not such a gap between this thing that I might be dreaming about and the person who’s doing it way over there.”\u003c/p>\n\u003cfigure id=\"attachment_13988469\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988469\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_066_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_066_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_066_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_066_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_066_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A freshly baked pizza: the end product of the Bayview Makers Kitchen’s March 2026 baking workshop. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, Anderson says what really spurred him to pursue teaching seriously was when one of his employees told him, “When you grow up, you become the adult you needed as a kid.”\u003c/p>\n\u003cp>“That shook me up,” Anderson says. He recalls that when he was a teenager, he never thought that any of the adults in his life, apart from his mother, cared about cultivating his dreams.\u003c/p>\n\u003cp>“A lot of the softness that I had got crushed out of me when I was a kid,” he says. “How cool would it be if I could [have kept] the beautiful, soft part of me just because someone believed in me?”\u003c/p>\n\u003cfigure id=\"attachment_13988479\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988479\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_121_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_121_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_121_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_121_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_121_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amerika Sanchez, left, and her daughter Marina enjoy the pizza they made. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Young people, when they’re 16 or 20 years old, just need someone to help them to imagine a future for themselves, he says — someone who cares enough about them to say, “You’ve got this.”\u003c/p>\n\u003cp>On his own unlikely journey to becoming a baker, Anderson says, “How was it that I spent my entire life and no one ever told me I could do this — how cool it would be to do this? I want these kids to see it in themselves, too.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The “\u003c/em>\u003ca href=\"https://www.eventbrite.com/e/rize-make-baking-classes-tickets-1983557674400?aff=erelexpmlt\">\u003cem>Rise + Make\u003c/em>\u003c/a>\u003cem>” baking classes take place on the fourth Sunday of every month — at least through October for this first year, Anderson says. The next session is on April 26, noon to 2 p.m., at 4618 3rd St., in San Francisco. Pre-registration is required, and space is extremely limited. The classes are free and are recommended for youth ages 16-20, with priority given to Bayview residents.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On an unseasonably warm Sunday afternoon in March, Azikiwee “Z” Anderson stands in a small kitchen, talking about gluten production.\u003c/p>\n\u003cp>Here in the back of the Smoke Soul Kitchen soul food restaurant in San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/bayview\">Bayview\u003c/a> neighborhood, seven teens and almost-teens are huddled in front of a big commercial mixer, listening as their teacher for the day elucidates the finer points of making a kick-ass batch of pizza dough.\u003c/p>\n\u003cp>Then, one by one, the students pour the ingredients with which they’ve been entrusted into the mixer — water, yeast, “poolish” (or pre-ferment), flour and salt. And as the machine folds the mixture onto itself again and again, slowly but surely, a dough begins to form.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The key, Anderson says, is to allow the “little rubber bands” of gluten to form more and more connections, strengthening the dough and making it more elastic. “Then you can stretch it out and make a pizza,” he says.\u003c/p>\n\u003cp>By the end of this two-hour session, every kid in the class will have done exactly that. They’ll have flattened and stretched out their dough, spun it in the air like a real Italian pizzaiolo, slathered it with toppings and slid the whole thing into a 550-degree triple-decker oven. They’ll have eaten their fill \u003cem>and \u003c/em>brought home another ball of the dough that they made together from scratch, ready to do it all again the next day.\u003c/p>\n\u003cfigure id=\"attachment_13988476\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988476\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_099_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_099_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_099_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_099_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_099_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Bailey Gee, right, pours yeast into a mixer as Marina Sanchez prepares dough during a youth baking workshop at Bayview Makers Kitchen. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pizza-making session is part of a series of monthly community baking classes called “\u003ca href=\"https://www.eventbrite.com/e/rize-make-baking-classes-tickets-1983557674400?aff=erelexpmlt\">Rize + Make\u003c/a>” hosted by the Bayview Makers Kitchen, a food incubator run by the nonprofit \u003ca href=\"https://www.edotbayview.org/\">Economic Development on Third\u003c/a> (EDoT). The classes, which started in February, are pegged for youth ages 16-20, with a bit of wiggle room. (Students for this particular session range in age from an 11-year-old attending with her mom to a young man in his early 20s.) Most of them are Bayview residents themselves — a mix of Black, Asian and Latino kids.\u003c/p>\n\u003cp>The best part? The classes are completely free.\u003c/p>\n\u003cp>For young foodies who sign up for his class, Anderson is something of a local celebrity — a rising star in the world of artisanal baking. His sourdough bakery, Rize Up Bakery, is one of the breakout hits from the pandemic pop-up era, known for loaves with \u003ca href=\"https://www.kqed.org/news/11963721/how-sfs-rize-up-sourdough-puts-black-bakers-on-the-map\">boundary-pushing flavors\u003c/a> like Korean gochujang and Indian masala.\u003c/p>\n\u003cfigure id=\"attachment_13988472\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988472\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_089_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_089_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_089_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_089_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_089_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Youth participants shape pizza dough during the March 2026 edition of the free baking workshop. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anderson’s bread is now a staple at Bay Area farmers markets and high-end grocery stores, and he’s about to launch \u003ca href=\"https://sfstandard.com/2026/03/10/rize-up-sourdough-bakery-cafe-soma/\">his first cafe\u003c/a>, in a space adjacent to his production facility in SoMa.\u003c/p>\n\u003cp>He’s also highly aware of the space he occupies as one of the only Black bakers in the artisanal sourdough scene in the Bay Area and beyond. It’s a big part of why he thinks it’s so important for him to give back — to give Black and Brown kids in the Bayview a chance to imagine a future they’d never before considered.\u003c/p>\n\u003cp>“Obviously, you’re here for a reason,” Anderson says at the start of the class. “The next step is how do we build enough skills and how do we have fun, so that you want to be in the kitchen more? And you think, ‘I could be a baker. I could do this.’”\u003c/p>\n\u003ch2>Baking to feel seen\u003c/h2>\n\u003cp>Anderson’s own childhood was, by all accounts, a difficult one. Born and raised in New Orleans, he was the eldest of three children in a biracial family. His father, a traveling musician, was a heroin addict who “spent all his money on drugs and wound up beating my mom close to death,” Anderson recalls.\u003c/p>\n\u003cp>When his mother got out of the hospital, protective services told her she was going to wind up dead if she didn’t move away; they put her and her kids on a bus to San Francisco. Anderson was 5 years old at the time.\u003c/p>\n\u003cp>The family lived in the bus station for the first few weeks after they arrived, until a women’s shelter finally set them up with a place to stay. Eventually, they moved into a small apartment amid the housing projects in the Western Addition.\u003c/p>\n\u003cfigure id=\"attachment_13988463\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988463\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260413-A-RISING-STAR-BAKER-GIVES-BACK-02-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260413-A-RISING-STAR-BAKER-GIVES-BACK-02-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260413-A-RISING-STAR-BAKER-GIVES-BACK-02-KQED-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260413-A-RISING-STAR-BAKER-GIVES-BACK-02-KQED-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260413-A-RISING-STAR-BAKER-GIVES-BACK-02-KQED-1536x1147.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anderson (far right), age 14 or 15, poses with his mother and two siblings for a family portrait taken in the late ’80s. \u003ccite>(Courtesy of Azikiwee Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The only places that we could afford to live were pretty bad,” Anderson says. Still, he fell in love with early-’80s San Francisco from the very start — he loved the diversity of thought and the way all different kinds of people were able to feel included. “At its core, it’s a place where people come to be part of community,” he says.\u003c/p>\n\u003cp>It was a different story when Anderson moved to Chico in middle school. There, he was often one of the only Black kids in any given room, and his adolescent years were riddled with run-ins with teachers and police.\u003c/p>\n\u003cp>He felt perpetually pigeonholed and stereotyped. Later, as an adult, Anderson was one of a tiny handful of Black inline skaters successful enough to make a living at it, first as a competitor and then as a judge, event organizer and \u003ca href=\"https://www.youtube.com/watch?v=45IgxIlffn0\">skatepark designer\u003c/a>. And when he finally got involved in the Bay Area’s artisanal sourdough scene, he didn’t know any other Black bakers who were part of that world.\u003c/p>\n\u003cp>“I never saw anyone who looked like me do that,” he says, explaining his initial skepticism.\u003c/p>\n\u003cfigure id=\"attachment_13988464\" class=\"wp-caption alignleft\" style=\"max-width: 558px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260413-A-RISING-STAR-BAKER-GIVES-BACK-03-KQED.jpg\" alt=\"\" width=\"558\" height=\"837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260413-A-RISING-STAR-BAKER-GIVES-BACK-03-KQED.jpg 558w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/260413-A-RISING-STAR-BAKER-GIVES-BACK-03-KQED-160x240.jpg 160w\" sizes=\"auto, (max-width: 558px) 100vw, 558px\">\u003cfigcaption class=\"wp-caption-text\">Anderson performs a skate trick during the Team Rollerblade tour, circa 2000. Before he became a baker, Anderson had a long career as a professional inline skater. \u003ccite>(Courtesy of Azikiwee Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this helps explain why the idea of teaching a free baking class for young people was so appealing to Anderson. For Black and Brown kids in Bayview, he wants to be that adult role model he never had when he was growing up — the one who opens up the possibility of a career path a kid might have never considered for someone who looks like them.\u003c/p>\n\u003cp>After all, he says, “I don’t think people were like, ‘Oh, Black people shouldn’t be a part of this.’ I just think maybe we didn’t have the means or the involvement. And so we didn’t see it as something that was viable for us.”\u003c/p>\n\u003cp>Like hundreds of thousands of other Americans, Anderson’s own sourdough journey started during the pandemic. By the 2010s, he’d stepped away from rollerblading to spend more time with his children. He’d always loved cooking, so he figured he might make a career out of it. After going to culinary school, he built up a successful career as a private chef.\u003c/p>\n\u003cp>Of course, that business evaporated once COVID lockdowns hit. Anderson suddenly found himself with a lot more time on his hands, and he joined a group text with friends and neighbors who would share recipes for quarantine meals. It was only a matter of time before a few of them started tinkering with sourdough.\u003c/p>\n\u003cp>Anderson, for his part, had never baked seriously before, and he recalls his first few loaves being completely mediocre. “I sucked at it,” he says. “And I don’t like sucking at things.”\u003c/p>\n\u003cp>So he kept baking, expanding his output from one loaf to two loaves to eight loaves a week, documenting his progress on Instagram and masking up to drop the bread off on his neighbors’ doorsteps. Eventually, he got good enough that people as far away as Brooklyn started asking if they could buy a loaf. He built a website, and the rest was history.\u003c/p>\n\u003cp>That’s one part of the origin story of Rize Up Bakery, anyway. The other part is that Anderson cried every day in the summer of 2020 after George Floyd was murdered by a white policeman in Minneapolis. “I never thought of myself as a depressed person, but something about him begging and talking to his dead mama just broke my heart. I couldn’t deal with how it made me feel.”\u003c/p>\n\u003cp>Baking sourdough was the one way he could tune out that pain for a few hours — the one thing that made him feel genuinely happy. “It was very Zen-esque,” he says. “Everything else would disappear.” And when he shared his bread with other people, it would make them happy too.\u003c/p>\n\u003cfigure id=\"attachment_13988482\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_020_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_020_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_020_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_020_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_020_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Azikiwee Anderson shapes rounds of dough at a worktable inside Rize Up Bakery’s main production facility in SoMa on April 3, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was the coolest feedback loop,” he says, describing the “dopamine hit” he’d get every time someone praised one of his creations.\u003c/p>\n\u003cp>It was deeply intentional, then, that Anderson made Rize Up’s logo a raised Black fist. And the fact that Anderson comes from such a different background than other people in the artisanal sourdough world has turned out to be his greatest strength.\u003c/p>\n\u003cp>“I have never been accepted in my life; I know the way it feels to be othered and disrespected,” Anderson says. “How can I use my platform to make other people feel seen?”\u003c/p>\n\u003cp>That thought process leads him to different flavors than the ones commonly sold at other bakeries — because he isn’t offering, say, a cranberry-walnut loaf just because he knows it will sell. Anderson points to one of his most popular breads, the ube pan loaf, as a point of contrast.\u003c/p>\n\u003cfigure id=\"attachment_13988481\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988481 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_014_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_014_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_014_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_014_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_014_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">At Rize Up Bakery, rows of sesame seed–coated loaves sit on a rack lined with cloth couche as they proof. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anyone could have made that bread, he says. The reason Anderson was the one who did was because he’d had Filipino friends who’d invited him into their homes and made him feel like he belonged.\u003c/p>\n\u003cp>“I’m inspired by people who always made me feel seen. Most people would say, ‘Why would I make this crazy loaf that makes it 10 times harder to make the bread, and I don’t even know if people will buy it?’” he says.\u003c/p>\n\u003cp>Some of Rize Up’s early experiments drew on his New Orleans roots, incorporating spicy Louisiana sausages, for instance. These days, many of the bakery’s most popular loaves draw from seemingly unlikely global inspirations, like his “K-Pop” bread, which features roasted garlic cloves and a hit of gochujang heat.\u003c/p>\n\u003cp>“I do everything ass-backwards,” he says. “I make [the bread] to make people feel seen.”\u003c/p>\n\u003ch2>A Bayview revival\u003c/h2>\n\u003cp>In the end, that’s what Anderson hopes his baking class will be too — a way of helping his students feel seen.\u003c/p>\n\u003cp>Earl Shaddix, executive director of EDoT, explains that the idea of offering a free baking class came out of the organization’s kitchen incubator program, \u003ca href=\"https://www.bayviewmakers.com/kitchen\">Bayview Makers Kitchen\u003c/a>.\u003c/p>\n\u003cp>As part of the group’s effort to revive Bayview’s Third Street corridor, they came up with the idea of refurbishing shuttered restaurants and turning them into shared kitchen spaces for up-and-coming food entrepreneurs. The first one, at 5698 3rd St., was so successful that the program quickly outgrew the space; two of the incubator’s alumni now run their Mexican restaurant, Frank Grizzly’s, there.\u003c/p>\n\u003cfigure id=\"attachment_13988480\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13988480 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_005_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_005_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_005_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_005_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/040326ArisingStarBaker_GH_005_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Keyan Depillo, dough team lead, and owner Azikiwee Anderson greet each other with a fist bump inside Rize Up Bakery on April 3, 2026, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The current iteration of the Bayview Makers Kitchen runs out of the space formerly occupied by Auntie April’s, a classic SF soul food spot that closed during the pandemic.\u003c/p>\n\u003cp>In front, \u003ca href=\"https://www.instagram.com/smokesoulsf/?hl=en\">Smoke Soul Kitchen\u003c/a>, another of the incubator’s graduates, is a full-blown soul food restaurant. In the back, the incubator now hosts a handful of bakers — a donut maker, a Palestinian baker, a Filipina pastry chef and more. On Sundays, though, the kitchen was free, and so Shaddix struck on the idea of hosting classes there for neighborhood youth.\u003c/p>\n\u003cp>“We wanted the instructors to look like the community,” Shaddix says. “Youth in our community are not going to a fancy baking school downtown. That’s not happening. So rather than send our kids down there, let’s bring the big guns out here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Anderson was the first person who came to mind.\u003c/p>\n\u003cp>While the classes aren’t limited to Bayview residents, Shaddix says kids from the neighborhood are given priority, especially since each class tops out at 10 students. So far, he says, the response has been phenomenal, and he’s already making plans for other classes — one on jam-making, perhaps, or maybe one focused on pies and biscuits.\u003c/p>\n\u003cp>For some of the kids, the series will serve as a direct pipeline into their first summer jobs, bussing tables or working in the prep kitchen at one of Bayview Makers Kitchen’s affiliated restaurants.\u003c/p>\n\u003ch2>‘Become the adult you needed’\u003c/h2>\n\u003cp>Maybe the most surprising thing about this kids’ baking class is how much math and science there is, as Anderson spends a good chunk of the time talking about dough hydration percentages and ideal fermentation temperatures, and teaching how to tare a scale and ever-so-gingerly measure out exactly 40 grams of flour. (One student, 16-year-old Bailey, says the whole thing reminds her of chemistry class.)\u003c/p>\n\u003cp>Beyond the \u003cem>pizza party\u003c/em> of it all — the joy with which each student slides their custom-topped pies off the pizza peel with a quick \u003cem>shoop\u003c/em>, and then tears into their pizzas while the crust is still blistering hot — the biggest thing that comes across is how much the class feels like a real job training.\u003c/p>\n\u003cfigure id=\"attachment_13988473\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_093_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_093_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_093_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_093_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_093_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Anderson explains the dough-making process during his hands-on baking workshop. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as Anderson talks about specific techniques for kneading or shaping the dough, he spends just as much time emphasizing the importance of staying organized in the kitchen, moving efficiently and cleaning up after yourself as you go. By the end of the session, it really does feel like everyone is ready to work a shift at the bakery.\u003c/p>\n\u003cp>The students, by and large, aren’t sure yet if they would really consider a career as professional bakers, though the class seems to open their eyes up to the possibility.\u003c/p>\n\u003cp>Eleven-year-old Marina Sanchez, a Bayview resident who’s taking the class along with her mom, says the baking series initially caught their eye because they’d seen Anderson and his bakery featured on TV. Jaylen Banks, who, in his 20s, is the oldest student in the class, has always liked cooking, but says he’s come away from the first two sessions with a greater sense of confidence in his abilities — enough so that he’s now “maybe” interested in exploring it as a career.\u003c/p>\n\u003cfigure id=\"attachment_13988478\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988478\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_115_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_115_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_115_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_115_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_115_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marina Sanchez stretches a round of pizza dough. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Santino Jolibette, 16, is taking the class as part of an internship at Smoke Soul Kitchen he is doing through EDoT, so he’s already well on his way to exploring cooking and baking as a potential career — “it’s definitely possible,” he says, though for now it’s just a hobby. At home, his parents mostly cook Mexican food, so artisanal sourdough pizza is a whole new world.\u003c/p>\n\u003cp>Jeanne McCoy, an EDoT board member and the mother of one of Anderson’s baking students, says the class is a clear-cut example of why representation is important.\u003c/p>\n\u003cp>“If you don’t see a Black astronaut in space, you might think that’s not something for you,” she says. “But if you see somebody that’s from your community who is doing the thing, it helps lay a roadmap. It’s not such a gap between this thing that I might be dreaming about and the person who’s doing it way over there.”\u003c/p>\n\u003cfigure id=\"attachment_13988469\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988469\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_066_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_066_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_066_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_066_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_066_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A freshly baked pizza: the end product of the Bayview Makers Kitchen’s March 2026 baking workshop. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, Anderson says what really spurred him to pursue teaching seriously was when one of his employees told him, “When you grow up, you become the adult you needed as a kid.”\u003c/p>\n\u003cp>“That shook me up,” Anderson says. He recalls that when he was a teenager, he never thought that any of the adults in his life, apart from his mother, cared about cultivating his dreams.\u003c/p>\n\u003cp>“A lot of the softness that I had got crushed out of me when I was a kid,” he says. “How cool would it be if I could [have kept] the beautiful, soft part of me just because someone believed in me?”\u003c/p>\n\u003cfigure id=\"attachment_13988479\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988479\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_121_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_121_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_121_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_121_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/032226_aRisingstarBakerGivesBack-_GH_121_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amerika Sanchez, left, and her daughter Marina enjoy the pizza they made. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Young people, when they’re 16 or 20 years old, just need someone to help them to imagine a future for themselves, he says — someone who cares enough about them to say, “You’ve got this.”\u003c/p>\n\u003cp>On his own unlikely journey to becoming a baker, Anderson says, “How was it that I spent my entire life and no one ever told me I could do this — how cool it would be to do this? I want these kids to see it in themselves, too.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The “\u003c/em>\u003ca href=\"https://www.eventbrite.com/e/rize-make-baking-classes-tickets-1983557674400?aff=erelexpmlt\">\u003cem>Rise + Make\u003c/em>\u003c/a>\u003cem>” baking classes take place on the fourth Sunday of every month — at least through October for this first year, Anderson says. The next session is on April 26, noon to 2 p.m., at 4618 3rd St., in San Francisco. Pre-registration is required, and space is extremely limited. The classes are free and are recommended for youth ages 16-20, with priority given to Bayview residents.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 2020, as the COVID-19 pandemic hit, Geoffrea Morris pitched a bold idea: a free grocery store where low-income families would have the agency to plan meals of their choice.\u003c/p>\n\u003cp>“It was all about dignity and respect to the people that came in,” said Morris, who was, at the time, a legislative aide for former San Francisco Supervisor Ahsha Safaí. “Not a handout, but a hand-up.”\u003c/p>\n\u003cp>The D10 Market opened in San Francisco’s Bayview neighborhood in 2024. Funded by the city through the San Francisco Human Services Agency, the store is considered the first of its kind in the nation.\u003c/p>\n\u003cp>Inside the 4,000-square-foot grocery store, a dedicated team of staff and volunteers stocks wares and carefully curates produce displays, just like at any other supermarket. Shoppers must first apply for a membership card, which Morris compared to the “Costco model” — eligibility requirements include living in nearby zip codes and proof of public assistance. Unlike many food banks and pantries, where choices may be limited or people are just handed boxes of standards, the D10 Market aims to source goods that serve the communities’ needs, according to Morris.\u003c/p>\n\u003cfigure id=\"attachment_13984011\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984011\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-01-KQED.jpg\" alt=\"A Black woman poses for a portrait while standing outside the doorway of a storefront.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-01-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Geoffrea Morris outside the D10 Community Market. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We weigh how many pounds of food you are leaving with, and then we document what is being taken out, so that we know how to scale up,” she said. “We have great partnerships with Grocery Outlet and several other boutique markets throughout. So we have just an abundance of resources, and the level of choice is ridiculous.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The community effort, run by Bayview Senior Services, was born out of food insecurity concerns that have continued to make headlines, especially during the recent government shutdown, which delayed federal food assistance benefits for millions of Californians. Discounted, government-run grocery stores have also become a key part of the affordability agenda proposed by New York City Mayor-elect Zohran Mamdani.\u003c/p>\n\u003cp>The D10 Market is now featured in a new PBS special, hosted by James Beard Award-winning chef Lidia Bastianich, called \u003ca href=\"https://www.pbs.org/food/stories/lidia-celebrates-america-a-nation-of-neighbors\">\u003ci>Lidia Celebrates America: A Nation of Neighbors\u003c/i>\u003c/a>, which makes its broadcast television debut on Tuesday, Nov. 25. In the show, Bastianich profiles a handful of community-oriented food efforts, including a pay-what-you-can kitchen in Denver, Colorado; a hub for Japanese Americans in Portland, Oregon; and a daily meal drive for survivors displaced by the Los Angeles wildfires earlier this year.\u003c/p>\n\u003cp>\u003cem>KQED’s Brian Watt spoke with Bastianich and Morris. The interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13984015\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984015\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-11-KQED.jpg\" alt=\"A hand picking up a piece of passion fruit from a produce display.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-11-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A shopper inspects the passion fruit in one of the market’s produce displays. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Brian Watt: How did you get the idea for this special?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Lidia Bastianich:\u003c/strong> I came [to the United States] as a young immigrant, and I was helped by neighbors. And of all times, this is the time where neighbors really need to be neighbors. There’s nobody like a neighbor. Family might be distant, but your neighbor is right there. And if you have a neighbor in need, you should be there for them.\u003c/p>\n\u003cp>\u003cb>One of the places you profile is the D10 Market in San Francisco. When you went, what was it like? What stood out to you?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Bastianich:\u003c/strong> As a chef, what I look at is the product. Certainly seeing it so beautiful and having it available for people who don’t have the actual logistics of encountering that kind of food. The whole thing felt so proper and so good and so respectful of food and of people.\u003c/p>\n\u003cp>\u003cstrong>Geoffrea Morris:\u003c/strong> One of the things that we, at the market, decided is that when you come in, it will look fresh. [We] try to do organic, partnering with farms. The whole idea was to come in with dignity [and that] nothing about the place look subpar.\u003c/p>\n\u003cfigure id=\"attachment_13984012\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984012\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-06-KQED.jpg\" alt=\"A display of eggplants in a produce market.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-06-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eggplants on display. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>But what have been some of the challenges?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Morris:\u003c/strong> Sometimes you get too much food, and then sometimes, grocery stores may try to send you bad stuff. So we developed a whole criteria, what food we would take because we want the highest quality. People come in and can’t believe that everything is free because the quality is just above standard. \u003cspan style=\"font-weight: 400\">[aside postID='arts_13982957,arts_13980694,news_12061440']\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Bastianich:\u003c/strong> What was also amazing [was] the control element. There was a note in three languages: “one basket per customer” or “four lemons per customer.” So then it was a respect that there’s enough for everybody, that it’s not abused.\u003c/p>\n\u003cp>\u003cb>What really strikes me about taking a close look at this theme of neighbors helping neighbors is in light of the most recent government shutdown and people not being able to afford food.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Morris:\u003c/strong> We ramped up our volunteers [and] storage. Luckily, Mayor [Daniel Lurie] was able to secure \u003ca href=\"https://www.kqed.org/news/12062034/san-francisco-will-cover-full-snap-benefits-for-november-amid-federal-shutdown\">gift cards\u003c/a> for people whose benefits were delayed because of the shutdown, but our capacity still increased. At the time, we were meeting around 3,000 people [a month]. That number increased maybe like a third. But our doors continue to be open.\u003c/p>\n\u003cp>\u003cstrong>Bastianich:\u003c/strong> [Like] “microclimate,” “microindustries,” this is [about] microliving and connecting with each other on a basic level. We all need to be nourished to survive. And when that is done, then we can move on to next things.\u003c/p>\n\u003cfigure id=\"attachment_13984014\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-10-KQED.jpg\" alt=\"A handwritten sign enumerates how many pieces of produce shoppers are allowed to take.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-10-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Signs spell out how many of which pieces of produce shoppers can take. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>I’m curious if you have any insight to share about one of New York City Mayor-elect Zoran Mamdani’s big affordability proposals: city-owned and operated \u003c/b>\u003ca href=\"https://www.marketplace.org/story/2025/11/18/nycs-mamdani-wants-cityowned-grocery-stores-how-do-they-work\">\u003cb>grocery stores.\u003c/b>\u003c/a>\u003cb> It’s not free, like the D10 Market, but the idea is to make food more accessible and affordable.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Morris:\u003c/strong> I would initially ask him to start off with a food-empowerment market like the one we have, where you build up all the infrastructure to take in the food donations and see if that is helping the people. Baltimore with the Salvation Army tried to do a \u003ca href=\"https://www.wypr.org/wypr-news/2018-03-07/salvation-army-opens-first-non-profit-grocery-store\">low-cost supermarket.\u003c/a> It came out with great fanfare but actually closed. In Oakland, [they] \u003ca href=\"https://www.berkeleyside.org/2023/03/23/community-foods-west-oakland-closure\">tried\u003c/a> something similar, as well. The freeness [of our model] makes it more viable for one huge location with extended hours. America has enough food. It’s just the refrigeration and the cost of infrastructure.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Lidia Celebrates America: A Nation of Neighbors\u003ci> makes its broadcast television debut on Tuesday, Nov. 25. The entire hourlong special can be viewed online on \u003c/i>\u003ca href=\"https://www.youtube.com/watch?v=Z4201o9ZI-U\">\u003ci>YouTube\u003c/i>\u003c/a>\u003ci> and the \u003c/i>\u003ca href=\"https://www.pbs.org/food/stories/lidia-celebrates-america-a-nation-of-neighbors\">\u003ci>PBS website\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2020, as the COVID-19 pandemic hit, Geoffrea Morris pitched a bold idea: a free grocery store where low-income families would have the agency to plan meals of their choice.\u003c/p>\n\u003cp>“It was all about dignity and respect to the people that came in,” said Morris, who was, at the time, a legislative aide for former San Francisco Supervisor Ahsha Safaí. “Not a handout, but a hand-up.”\u003c/p>\n\u003cp>The D10 Market opened in San Francisco’s Bayview neighborhood in 2024. Funded by the city through the San Francisco Human Services Agency, the store is considered the first of its kind in the nation.\u003c/p>\n\u003cp>Inside the 4,000-square-foot grocery store, a dedicated team of staff and volunteers stocks wares and carefully curates produce displays, just like at any other supermarket. Shoppers must first apply for a membership card, which Morris compared to the “Costco model” — eligibility requirements include living in nearby zip codes and proof of public assistance. Unlike many food banks and pantries, where choices may be limited or people are just handed boxes of standards, the D10 Market aims to source goods that serve the communities’ needs, according to Morris.\u003c/p>\n\u003cfigure id=\"attachment_13984011\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984011\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-01-KQED.jpg\" alt=\"A Black woman poses for a portrait while standing outside the doorway of a storefront.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-01-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Geoffrea Morris outside the D10 Community Market. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We weigh how many pounds of food you are leaving with, and then we document what is being taken out, so that we know how to scale up,” she said. “We have great partnerships with Grocery Outlet and several other boutique markets throughout. So we have just an abundance of resources, and the level of choice is ridiculous.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The community effort, run by Bayview Senior Services, was born out of food insecurity concerns that have continued to make headlines, especially during the recent government shutdown, which delayed federal food assistance benefits for millions of Californians. Discounted, government-run grocery stores have also become a key part of the affordability agenda proposed by New York City Mayor-elect Zohran Mamdani.\u003c/p>\n\u003cp>The D10 Market is now featured in a new PBS special, hosted by James Beard Award-winning chef Lidia Bastianich, called \u003ca href=\"https://www.pbs.org/food/stories/lidia-celebrates-america-a-nation-of-neighbors\">\u003ci>Lidia Celebrates America: A Nation of Neighbors\u003c/i>\u003c/a>, which makes its broadcast television debut on Tuesday, Nov. 25. In the show, Bastianich profiles a handful of community-oriented food efforts, including a pay-what-you-can kitchen in Denver, Colorado; a hub for Japanese Americans in Portland, Oregon; and a daily meal drive for survivors displaced by the Los Angeles wildfires earlier this year.\u003c/p>\n\u003cp>\u003cem>KQED’s Brian Watt spoke with Bastianich and Morris. The interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13984015\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984015\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-11-KQED.jpg\" alt=\"A hand picking up a piece of passion fruit from a produce display.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-11-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A shopper inspects the passion fruit in one of the market’s produce displays. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Brian Watt: How did you get the idea for this special?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Lidia Bastianich:\u003c/strong> I came [to the United States] as a young immigrant, and I was helped by neighbors. And of all times, this is the time where neighbors really need to be neighbors. There’s nobody like a neighbor. Family might be distant, but your neighbor is right there. And if you have a neighbor in need, you should be there for them.\u003c/p>\n\u003cp>\u003cb>One of the places you profile is the D10 Market in San Francisco. When you went, what was it like? What stood out to you?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Bastianich:\u003c/strong> As a chef, what I look at is the product. Certainly seeing it so beautiful and having it available for people who don’t have the actual logistics of encountering that kind of food. The whole thing felt so proper and so good and so respectful of food and of people.\u003c/p>\n\u003cp>\u003cstrong>Geoffrea Morris:\u003c/strong> One of the things that we, at the market, decided is that when you come in, it will look fresh. [We] try to do organic, partnering with farms. The whole idea was to come in with dignity [and that] nothing about the place look subpar.\u003c/p>\n\u003cfigure id=\"attachment_13984012\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984012\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-06-KQED.jpg\" alt=\"A display of eggplants in a produce market.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-06-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eggplants on display. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>But what have been some of the challenges?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Morris:\u003c/strong> Sometimes you get too much food, and then sometimes, grocery stores may try to send you bad stuff. So we developed a whole criteria, what food we would take because we want the highest quality. People come in and can’t believe that everything is free because the quality is just above standard. \u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Bastianich:\u003c/strong> What was also amazing [was] the control element. There was a note in three languages: “one basket per customer” or “four lemons per customer.” So then it was a respect that there’s enough for everybody, that it’s not abused.\u003c/p>\n\u003cp>\u003cb>What really strikes me about taking a close look at this theme of neighbors helping neighbors is in light of the most recent government shutdown and people not being able to afford food.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Morris:\u003c/strong> We ramped up our volunteers [and] storage. Luckily, Mayor [Daniel Lurie] was able to secure \u003ca href=\"https://www.kqed.org/news/12062034/san-francisco-will-cover-full-snap-benefits-for-november-amid-federal-shutdown\">gift cards\u003c/a> for people whose benefits were delayed because of the shutdown, but our capacity still increased. At the time, we were meeting around 3,000 people [a month]. That number increased maybe like a third. But our doors continue to be open.\u003c/p>\n\u003cp>\u003cstrong>Bastianich:\u003c/strong> [Like] “microclimate,” “microindustries,” this is [about] microliving and connecting with each other on a basic level. We all need to be nourished to survive. And when that is done, then we can move on to next things.\u003c/p>\n\u003cfigure id=\"attachment_13984014\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-10-KQED.jpg\" alt=\"A handwritten sign enumerates how many pieces of produce shoppers are allowed to take.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251120-D10-COMMUNITY-MARKETY-MD-10-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Signs spell out how many of which pieces of produce shoppers can take. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>I’m curious if you have any insight to share about one of New York City Mayor-elect Zoran Mamdani’s big affordability proposals: city-owned and operated \u003c/b>\u003ca href=\"https://www.marketplace.org/story/2025/11/18/nycs-mamdani-wants-cityowned-grocery-stores-how-do-they-work\">\u003cb>grocery stores.\u003c/b>\u003c/a>\u003cb> It’s not free, like the D10 Market, but the idea is to make food more accessible and affordable.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Morris:\u003c/strong> I would initially ask him to start off with a food-empowerment market like the one we have, where you build up all the infrastructure to take in the food donations and see if that is helping the people. Baltimore with the Salvation Army tried to do a \u003ca href=\"https://www.wypr.org/wypr-news/2018-03-07/salvation-army-opens-first-non-profit-grocery-store\">low-cost supermarket.\u003c/a> It came out with great fanfare but actually closed. In Oakland, [they] \u003ca href=\"https://www.berkeleyside.org/2023/03/23/community-foods-west-oakland-closure\">tried\u003c/a> something similar, as well. The freeness [of our model] makes it more viable for one huge location with extended hours. America has enough food. It’s just the refrigeration and the cost of infrastructure.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lidia Celebrates America: A Nation of Neighbors\u003ci> makes its broadcast television debut on Tuesday, Nov. 25. The entire hourlong special can be viewed online on \u003c/i>\u003ca href=\"https://www.youtube.com/watch?v=Z4201o9ZI-U\">\u003ci>YouTube\u003c/i>\u003c/a>\u003ci> and the \u003c/i>\u003ca href=\"https://www.pbs.org/food/stories/lidia-celebrates-america-a-nation-of-neighbors\">\u003ci>PBS website\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "zaccho-dance-theatre-joanna-haigood-45-year-anniversary",
"title": "Zaccho Dance Theatre To Celebrate 45 Years of Daring Performances",
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"content": "\u003cp>When award-winning dancer and choreographer \u003ca href=\"https://www.zaccho.org/?bios_staff-zdt\">Joanna Haigood\u003c/a> co-founded Zaccho Dance Theatre 45 years ago, she leaned into site-specific work using unique locations and creative choreography to move people, literally and figuratively.\u003c/p>\n\u003cp>By suspending dancers in air, dressing artists in eye-catching costumes and utilizing storytelling to illustrate the human spirit, she wanted to push audiences to reimagine our collective environment and reconsider how we interact with the world around us.\u003c/p>\n\u003cp>[aside postID='arts_13978071']Now, nearly a half-century later, she has choreographed performances at government buildings, defunct grain silos and public parks. She’s created pieces criticizing the death penalty, and others celebrating San Francisco’s diversity.\u003c/p>\n\u003cp>Most importantly, she says, she’s helped pave the way for the next generation by helping young folks believe in their own voices. Some of Haigood’s former students have become dancers and choreographers. Others are community leaders and city employees.\u003c/p>\n\u003cfigure id=\"attachment_13983552\" class=\"wp-caption aligncenter\" style=\"max-width: 1792px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-scaled.jpg\" alt=\"A woman with short hair poses for a photo with her left palm on her chin. \" width=\"1792\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-scaled.jpg 1792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-768x1097.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1075x1536.jpg 1075w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1434x2048.jpg 1434w\" sizes=\"auto, (max-width: 1792px) 100vw, 1792px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Haigood, co-founder and executive artistic director of Zaccho Dance Theatre. \u003ccite>(Bethanie Hines )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During those full-circle moments, when she crosses paths with former students, their children or grandchildren, Haigood says, “That’s kind of a testament to the good work. And the fact that we’re really aging.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Tuesday, Nov. 11, former students, teachers, dancers of Zaccho Dance Theatre will help celebrate the company’s \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">45th anniversary with a benefit concert\u003c/a>.\u003c/p>\n\u003cp>The show’s lineup includes renowned Bay Area musicians \u003ca href=\"https://marcusshelby.com/\">Marcus Shelby,\u003c/a> \u003ca href=\"https://www.tiffanyaustin.com/\">Tiffany Austin\u003c/a>, and \u003ca href=\"https://www.instagram.com/martinluthermccoy/?hl=en\">Martin Luther McCoy\u003c/a>. They’ll be joined by circus artists \u003ca href=\"https://www.instagram.com/acrocannon/?hl=en\">Toni Cannon\u003c/a> and \u003ca href=\"https://www.ya-nc.org/index.php/artists/coventry-and-kaluza\">Natasha Kaluza\u003c/a>, as well as storyteller \u003ca href=\"http://www.dianeferlatte.com/dianestory.html\">Diane Ferlatte\u003c/a>, \u003ca href=\"https://www.joeythetiger.com/about\">aerialist \u003cspan class=\"color_45 wixui-rich-text__text\">Joey The Tiger, \u003c/span>\u003c/a>Grammy-award winning beatboxer and music educator \u003ca href=\"https://www.instagram.com/emceesoulati/?hl=en\">Tommy “Soulati” Shepherd\u003c/a> and more.\u003c/p>\n\u003cfigure id=\"attachment_13983550\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38%E2%80%AFPM.png\" alt=\"A handful of dancers perform on stage in front of a projected image of two African-American people on a wall. \" width=\"2000\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-1536x1015.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Picture Bayview Hunters Point’ (2018), part of a trilogy of performances along with ‘Picture Red Hook’ (2002) and ‘Picture Powderhorn’ (2000) that highlights the dreams and ambitions of inner-city communities amid transition. \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://www.zacchoevents.org/directors-note\">a director’s note\u003c/a> ahead of the event, Haigood writes, “Forty-five years is a long time to commit to anything, especially in the arts, where survival is a constant challenge.”\u003c/p>\n\u003cp>Despite this year’s widespread cuts to nonprofit funding and arts programs, which she says isn’t anything new (“we are always fighting for our survival”), Haigood believes artists will always figure out a way.\u003c/p>\n\u003cp>“Our urge to create is something that you can’t suppress,” Haigood attests. “There’ll always be artists.”\u003c/p>\n\u003cfigure id=\"attachment_13983565\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48%E2%80%AFAM.png\" alt=\"Dancers use harnesses to suspend themselves atop the clocktower at San Francisco's Ferry Building. \" width=\"2000\" height=\"2998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-768x1151.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-1025x1536.png 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-1366x2048.png 1366w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zaccho Dance Theatre artists use harnesses to suspend themselves atop the clock tower at San Francisco’s Ferry Building as a part of the performance piece ‘NOON.’ \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From Hunters Point to State Parks\u003c/h2>\n\u003cp>Raised in New York, Haigood attended \u003ca href=\"https://www.bard.edu/news/bard-alumna-joanna-haigood-79-honored-with-2024-dance-magazine-award-2024-10-22\">Bard College\u003c/a>, where as a senior she was inspired by the Puccini opera \u003cem>Gianni Schicchi\u003c/em>. Working with a group of friends, she created a dance piece for her final project that, after graduating, they took on tour in Europe.\u003c/p>\n\u003cp>“Which,” she says, “was a remarkable feat for young people.” The collective included a small chamber orchestra, a group of dancers and a big production team. That experience gave her a glimpse into her career path. “My future in dance,” says Haigood, “was to be a choreographer.”\u003c/p>\n\u003cp>As the calendar flipped from 1979 to 1980, Haigood moved to the Bay Area and co-founded Zaccho Dance Theatre with Lynda Riemann, who left the company a few years later.\u003c/p>\n\u003cp>One of Zaccho’s earliest performances was \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_trees-from-the-backyard\">Trees From the Backyard\u003c/a>\u003c/em>, part of the 1983 San Francisco International Theater Festival held at Buena Vista Park in San Francisco and Samuel P. Taylor State Park in Marin County.\u003c/p>\n\u003cfigure id=\"attachment_13983554\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46%E2%80%AFPM.png\" alt=\"A person suspended in air by a harness connected to a tree, wearing a bird mask. \" width=\"2000\" height=\"1339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-1536x1028.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Trees from the Backyard,’ a 1983 environmental performance at the San Francisco International Theater Festival. \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was living in a forest,” says Haigood matter-of-factly, explaining that she’d become fascinated by trees and their larger ecosystems; she even took up a gig working in a state park.\u003c/p>\n\u003cp>While working in nature, she thought: “Well, if I’m spending all this time here, maybe I can find some way to enter from my creative side.” The result was a performance where humans dressed as birds perched in trees and audience members followed the flute of a pied piper through a park.\u003c/p>\n\u003cp>Six years later, Zaccho Dance Theatre moved into a former Serta mattress warehouse-factory in Bayview-Hunters Point. Aware of the neighborhood’s issues with over-policing and the influence of crack cocaine, as well as community members’ longstanding ability to organize and advocate for themselves, Haigood wanted to be involved.\u003c/p>\n\u003cp>“That’s part of the motivation for starting our youth program,” she says, crediting team members who helped establish the program, including \u003ca href=\"https://www.youtube.com/watch?v=N_LzBNES0nM\">Jo Kreiter\u003c/a>, who would go on to found Flyaway Productions, and the late \u003ca href=\"https://www.instagram.com/p/DMbOgUpTjuU/?img_index=2\">Shakiri\u003c/a>.\u003c/p>\n\u003cp>Zaccho Dance Theatre has since added an Artist in Residency program and the San Francisco Aerial Arts Festival into their fold, as well as a Hip-Hop Artist Residency & Training Program and a Black Futures Fellowship.\u003c/p>\n\u003cfigure id=\"attachment_13983586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13983586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Matthew Wickett, Rashad Pridgen and Antoine Hunter in Joanna Haigood’s ‘Dying While Black and Brown’ (2011). \u003ccite>(Kegan Marlingo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reflecting San Francisco’s ‘True Diversity’\u003c/h2>\n\u003cp>While constantly expanding the organization and sinking deeper into community, Haigood maintained her own practice.\u003c/p>\n\u003cp>At the turn of the millennium, she debuted the first piece in her \u003cem>Pictured Trilogy\u003c/em>, with \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_picture-powderhorn\">Picture Powderhorn\u003c/a>\u003c/em>. The performance, based in the Minneapolis neighborhood where George Floyd was later murdered, included large images projected on a grain silo while dancers, suspended in air, performed above the audience below. The aim of the work was to bring attention to the hopes and dreams of working-class people in underfunded communities.\u003c/p>\n\u003cp>A decade later, Haigood \u003ca href=\"https://youtu.be/BbU-Dn82VaU\">debuted\u003c/a> her piece \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_dying-while-black-and-brown\">Dying While Black and Brown\u003c/a>\u003c/em>, co-created with Marcus Shelby, and featuring Steven Anthony Jones. Haigood traces the origins of the piece back to her partnership with civil rights attorney Eva Patterson, co-founder of the \u003ca href=\"https://equaljusticesociety.org/\">Equal Justice Society\u003c/a>.\u003c/p>\n\u003cp>“She had this extraordinary vision,” says Haigood, explaining that Patterson’s organization was using art to bring people deeper into legal issues, like abolishing the death penalty.\u003c/p>\n\u003cfigure id=\"attachment_13983587\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13983587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Ciarra D’Onofrio and Veronica Blair in Joanna Haigood’s ‘The People’s Palace’ (2024) at San Francisco City Hall. \u003ccite>(Walter Kitundu / Courtesy Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2024, Haigood debuted another piece that mixed politics and dance on the steps of San Francisco’s City Hall. Backed by a \u003ca href=\"https://www.youtube.com/watch?v=rXO826xnjqQ\">2023 Ranin Fellowship\u003c/a>, she created \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_the-peoples-palace\">The People’s Palace\u003c/a>\u003c/em>, with pristine lighting, elegant costumes and dancers levitating through the decadent halls just outside of the mayor’s office.\u003c/p>\n\u003cp>She created the piece, she says, to reflect the true diversity of San Francisco. In doing so, Haigood did some “deep learning about the impact of architecture on the way we see ourselves and interact with each other on a civic level.” (She quips that “it was time for some type of intervention with the architecture.”) \u003c/p>\n\u003cfigure id=\"attachment_13983553\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983553\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1.jpg\" alt=\"A woman in a jean jacket walking through a garden.\" width=\"2000\" height=\"1340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-1536x1029.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aside from dance, Joanna Haigood loves nature, periodically incorporating it into her artwork. \u003ccite>(Bethanie Hines )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haigood, \u003ca href=\"https://www.gf.org/fellows/joanna-haigood\">a 1997 Guggenheim Fellow\u003c/a> and winner of the 2014 Doris Duke Performing Artist Award, hopes for the day when artists are seen as essential workers, and the understanding that “without them we will not survive.”\u003c/p>\n\u003cp>A purveyor of art as a means of building community, stimulating the economy and encouraging political discourse, Haigood realizes that her dedication to creativity comes with struggle.\u003c/p>\n\u003cp>But, she says, “I would not change my life in any way. It’s been a pretty remarkable and meaningful journey.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Zaccho Dance Theatre’s \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">45th anniversary benefit concert\u003c/a> starts at 6 p.m on Tuesday, Nov. 11, at Club Fugazi (678 Green St, San Francisco, CA 94133). \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">Check here for tickets and information\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "With creative choreography in unique spaces, Zaccho Dance Theatre has built an unparalleled legacy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When award-winning dancer and choreographer \u003ca href=\"https://www.zaccho.org/?bios_staff-zdt\">Joanna Haigood\u003c/a> co-founded Zaccho Dance Theatre 45 years ago, she leaned into site-specific work using unique locations and creative choreography to move people, literally and figuratively.\u003c/p>\n\u003cp>By suspending dancers in air, dressing artists in eye-catching costumes and utilizing storytelling to illustrate the human spirit, she wanted to push audiences to reimagine our collective environment and reconsider how we interact with the world around us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, nearly a half-century later, she has choreographed performances at government buildings, defunct grain silos and public parks. She’s created pieces criticizing the death penalty, and others celebrating San Francisco’s diversity.\u003c/p>\n\u003cp>Most importantly, she says, she’s helped pave the way for the next generation by helping young folks believe in their own voices. Some of Haigood’s former students have become dancers and choreographers. Others are community leaders and city employees.\u003c/p>\n\u003cfigure id=\"attachment_13983552\" class=\"wp-caption aligncenter\" style=\"max-width: 1792px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-scaled.jpg\" alt=\"A woman with short hair poses for a photo with her left palm on her chin. \" width=\"1792\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-scaled.jpg 1792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-768x1097.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1075x1536.jpg 1075w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1434x2048.jpg 1434w\" sizes=\"auto, (max-width: 1792px) 100vw, 1792px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Haigood, co-founder and executive artistic director of Zaccho Dance Theatre. \u003ccite>(Bethanie Hines )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During those full-circle moments, when she crosses paths with former students, their children or grandchildren, Haigood says, “That’s kind of a testament to the good work. And the fact that we’re really aging.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Tuesday, Nov. 11, former students, teachers, dancers of Zaccho Dance Theatre will help celebrate the company’s \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">45th anniversary with a benefit concert\u003c/a>.\u003c/p>\n\u003cp>The show’s lineup includes renowned Bay Area musicians \u003ca href=\"https://marcusshelby.com/\">Marcus Shelby,\u003c/a> \u003ca href=\"https://www.tiffanyaustin.com/\">Tiffany Austin\u003c/a>, and \u003ca href=\"https://www.instagram.com/martinluthermccoy/?hl=en\">Martin Luther McCoy\u003c/a>. They’ll be joined by circus artists \u003ca href=\"https://www.instagram.com/acrocannon/?hl=en\">Toni Cannon\u003c/a> and \u003ca href=\"https://www.ya-nc.org/index.php/artists/coventry-and-kaluza\">Natasha Kaluza\u003c/a>, as well as storyteller \u003ca href=\"http://www.dianeferlatte.com/dianestory.html\">Diane Ferlatte\u003c/a>, \u003ca href=\"https://www.joeythetiger.com/about\">aerialist \u003cspan class=\"color_45 wixui-rich-text__text\">Joey The Tiger, \u003c/span>\u003c/a>Grammy-award winning beatboxer and music educator \u003ca href=\"https://www.instagram.com/emceesoulati/?hl=en\">Tommy “Soulati” Shepherd\u003c/a> and more.\u003c/p>\n\u003cfigure id=\"attachment_13983550\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38%E2%80%AFPM.png\" alt=\"A handful of dancers perform on stage in front of a projected image of two African-American people on a wall. \" width=\"2000\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-5.17.38 PM-1536x1015.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Picture Bayview Hunters Point’ (2018), part of a trilogy of performances along with ‘Picture Red Hook’ (2002) and ‘Picture Powderhorn’ (2000) that highlights the dreams and ambitions of inner-city communities amid transition. \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://www.zacchoevents.org/directors-note\">a director’s note\u003c/a> ahead of the event, Haigood writes, “Forty-five years is a long time to commit to anything, especially in the arts, where survival is a constant challenge.”\u003c/p>\n\u003cp>Despite this year’s widespread cuts to nonprofit funding and arts programs, which she says isn’t anything new (“we are always fighting for our survival”), Haigood believes artists will always figure out a way.\u003c/p>\n\u003cp>“Our urge to create is something that you can’t suppress,” Haigood attests. “There’ll always be artists.”\u003c/p>\n\u003cfigure id=\"attachment_13983565\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48%E2%80%AFAM.png\" alt=\"Dancers use harnesses to suspend themselves atop the clocktower at San Francisco's Ferry Building. \" width=\"2000\" height=\"2998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-768x1151.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-1025x1536.png 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-07-at-6.46.48 AM-1366x2048.png 1366w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zaccho Dance Theatre artists use harnesses to suspend themselves atop the clock tower at San Francisco’s Ferry Building as a part of the performance piece ‘NOON.’ \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From Hunters Point to State Parks\u003c/h2>\n\u003cp>Raised in New York, Haigood attended \u003ca href=\"https://www.bard.edu/news/bard-alumna-joanna-haigood-79-honored-with-2024-dance-magazine-award-2024-10-22\">Bard College\u003c/a>, where as a senior she was inspired by the Puccini opera \u003cem>Gianni Schicchi\u003c/em>. Working with a group of friends, she created a dance piece for her final project that, after graduating, they took on tour in Europe.\u003c/p>\n\u003cp>“Which,” she says, “was a remarkable feat for young people.” The collective included a small chamber orchestra, a group of dancers and a big production team. That experience gave her a glimpse into her career path. “My future in dance,” says Haigood, “was to be a choreographer.”\u003c/p>\n\u003cp>As the calendar flipped from 1979 to 1980, Haigood moved to the Bay Area and co-founded Zaccho Dance Theatre with Lynda Riemann, who left the company a few years later.\u003c/p>\n\u003cp>One of Zaccho’s earliest performances was \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_trees-from-the-backyard\">Trees From the Backyard\u003c/a>\u003c/em>, part of the 1983 San Francisco International Theater Festival held at Buena Vista Park in San Francisco and Samuel P. Taylor State Park in Marin County.\u003c/p>\n\u003cfigure id=\"attachment_13983554\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46%E2%80%AFPM.png\" alt=\"A person suspended in air by a harness connected to a tree, wearing a bird mask. \" width=\"2000\" height=\"1339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Screenshot-2025-11-06-at-6.19.46 PM-1536x1028.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Trees from the Backyard,’ a 1983 environmental performance at the San Francisco International Theater Festival. \u003ccite>(Courtesy of Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was living in a forest,” says Haigood matter-of-factly, explaining that she’d become fascinated by trees and their larger ecosystems; she even took up a gig working in a state park.\u003c/p>\n\u003cp>While working in nature, she thought: “Well, if I’m spending all this time here, maybe I can find some way to enter from my creative side.” The result was a performance where humans dressed as birds perched in trees and audience members followed the flute of a pied piper through a park.\u003c/p>\n\u003cp>Six years later, Zaccho Dance Theatre moved into a former Serta mattress warehouse-factory in Bayview-Hunters Point. Aware of the neighborhood’s issues with over-policing and the influence of crack cocaine, as well as community members’ longstanding ability to organize and advocate for themselves, Haigood wanted to be involved.\u003c/p>\n\u003cp>“That’s part of the motivation for starting our youth program,” she says, crediting team members who helped establish the program, including \u003ca href=\"https://www.youtube.com/watch?v=N_LzBNES0nM\">Jo Kreiter\u003c/a>, who would go on to found Flyaway Productions, and the late \u003ca href=\"https://www.instagram.com/p/DMbOgUpTjuU/?img_index=2\">Shakiri\u003c/a>.\u003c/p>\n\u003cp>Zaccho Dance Theatre has since added an Artist in Residency program and the San Francisco Aerial Arts Festival into their fold, as well as a Hip-Hop Artist Residency & Training Program and a Black Futures Fellowship.\u003c/p>\n\u003cfigure id=\"attachment_13983586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13983586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Dying-while-black-and-brown-pictured_-Matthew-Wickett-Rashad-Pridgen-Antoine-Hunter-photo_-Kegan-Marlingo-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Matthew Wickett, Rashad Pridgen and Antoine Hunter in Joanna Haigood’s ‘Dying While Black and Brown’ (2011). \u003ccite>(Kegan Marlingo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reflecting San Francisco’s ‘True Diversity’\u003c/h2>\n\u003cp>While constantly expanding the organization and sinking deeper into community, Haigood maintained her own practice.\u003c/p>\n\u003cp>At the turn of the millennium, she debuted the first piece in her \u003cem>Pictured Trilogy\u003c/em>, with \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_picture-powderhorn\">Picture Powderhorn\u003c/a>\u003c/em>. The performance, based in the Minneapolis neighborhood where George Floyd was later murdered, included large images projected on a grain silo while dancers, suspended in air, performed above the audience below. The aim of the work was to bring attention to the hopes and dreams of working-class people in underfunded communities.\u003c/p>\n\u003cp>A decade later, Haigood \u003ca href=\"https://youtu.be/BbU-Dn82VaU\">debuted\u003c/a> her piece \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_dying-while-black-and-brown\">Dying While Black and Brown\u003c/a>\u003c/em>, co-created with Marcus Shelby, and featuring Steven Anthony Jones. Haigood traces the origins of the piece back to her partnership with civil rights attorney Eva Patterson, co-founder of the \u003ca href=\"https://equaljusticesociety.org/\">Equal Justice Society\u003c/a>.\u003c/p>\n\u003cp>“She had this extraordinary vision,” says Haigood, explaining that Patterson’s organization was using art to bring people deeper into legal issues, like abolishing the death penalty.\u003c/p>\n\u003cfigure id=\"attachment_13983587\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13983587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/The-Peoples-Palace-pictured-Ciarra-DOnofrio-Veronica-Blair-photo_-Walter-Kitundu-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Ciarra D’Onofrio and Veronica Blair in Joanna Haigood’s ‘The People’s Palace’ (2024) at San Francisco City Hall. \u003ccite>(Walter Kitundu / Courtesy Zaccho Dance Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2024, Haigood debuted another piece that mixed politics and dance on the steps of San Francisco’s City Hall. Backed by a \u003ca href=\"https://www.youtube.com/watch?v=rXO826xnjqQ\">2023 Ranin Fellowship\u003c/a>, she created \u003cem>\u003ca href=\"https://www.zaccho.org/?archive_the-peoples-palace\">The People’s Palace\u003c/a>\u003c/em>, with pristine lighting, elegant costumes and dancers levitating through the decadent halls just outside of the mayor’s office.\u003c/p>\n\u003cp>She created the piece, she says, to reflect the true diversity of San Francisco. In doing so, Haigood did some “deep learning about the impact of architecture on the way we see ourselves and interact with each other on a civic level.” (She quips that “it was time for some type of intervention with the architecture.”) \u003c/p>\n\u003cfigure id=\"attachment_13983553\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983553\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1.jpg\" alt=\"A woman in a jean jacket walking through a garden.\" width=\"2000\" height=\"1340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/download-1-1536x1029.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aside from dance, Joanna Haigood loves nature, periodically incorporating it into her artwork. \u003ccite>(Bethanie Hines )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haigood, \u003ca href=\"https://www.gf.org/fellows/joanna-haigood\">a 1997 Guggenheim Fellow\u003c/a> and winner of the 2014 Doris Duke Performing Artist Award, hopes for the day when artists are seen as essential workers, and the understanding that “without them we will not survive.”\u003c/p>\n\u003cp>A purveyor of art as a means of building community, stimulating the economy and encouraging political discourse, Haigood realizes that her dedication to creativity comes with struggle.\u003c/p>\n\u003cp>But, she says, “I would not change my life in any way. It’s been a pretty remarkable and meaningful journey.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Zaccho Dance Theatre’s \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">45th anniversary benefit concert\u003c/a> starts at 6 p.m on Tuesday, Nov. 11, at Club Fugazi (678 Green St, San Francisco, CA 94133). \u003ca href=\"https://givebutter.com/c/zacchos-45th-anniversary\">Check here for tickets and information\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "voguing-ballroom-bayview-opera-house-san-francisco-oakland-to-all",
"title": "Voguing in the Bayview: Ballroom Culture Comes Alive With Joy at the Opera House",
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"content": "\u003cfigure id=\"attachment_13978075\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978075\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A contestant executes a dramatic dip on the runway at the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An hour before doors opened, the bass was already pounding through the walls of the \u003ca href=\"https://www.kqed.org/news/tag/bayview-opera-house\">Ruth Williams Bayview Opera House\u003c/a>, pulsing in my chest as I reached for the doorknob. Inside was organized chaos: Opera House staff adjusting stage lights and fine-tuning sound checks while ballroom contestants zipped up outfits, dabbed on lipstick, and darted between dressing rooms. In one corner, a group practiced their runway moves; in another, competitors caught up, laughing and chatting.\u003c/p>\n\u003cp>“Excuse me, sis, can you help me put this necklace on?” one participant asked, holding up a chunky chain. “I got you,” I said, snapping the clasp into place. “Thank you so much!” they beamed, revealing a pendant that read “Cunty.”\u003c/p>\n\u003cp>Then the music shifted, a crowd formed, and suddenly the Power of Love Kiki Ball was on.\u003c/p>\n\u003cfigure id=\"attachment_13978078\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978078\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The audience cheers on a participant’s energy and style during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event marked the fourth time District 10 Pride has partnered with \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">Oakland to All\u003c/a>, the Bay Area-based ballroom collective centering Black and Brown queer joy, to bring ballroom to the Opera House. Wednesday night’s ball was their biggest San Francisco event yet, drawing approximately 300 people.\u003c/p>\n\u003ch2>What is Ballroom Culture?\u003c/h2>\n\u003cp>For those unfamiliar with the ballroom scene, Mojo Carter offered a vivid explanation: “I would say ballroom is kind of like gay fantasy football. It’s like you have your houses, which are like your home teams, you have your home balls… It’s very similar to sorority culture, but it’s very queer.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These “houses” function as chosen families, offering support both on and off the runway. On Wednesday, participants competed in categories like Executive Realness and Legendary Dip, with judges scoring performances from 1 to 10 — or “chopping” contestants entirely.\u003c/p>\n\u003cfigure id=\"attachment_13978080\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978080\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Judges score performances during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One highlight was Couples Realness, in which two people walk the runway as a unit, and are judged on their chemistry, synchronized energy, and coordinated style. It’s not about being an actual romantic pair, but selling the fantasy with attitude, presence, and connection. When the winning couple took home $300, one spectator turned to his girlfriend in amazement: “Three hundred dollars? Next time, we need to enter!”\u003c/p>\n\u003cp>They laughed, but the surprise in his voice summed up a lesson newcomers were learning: ballroom is serious competition wrapped in joyful rebellion.\u003c/p>\n\u003cp>While contestants came more than prepared, even more exciting to witness were attendees who showed up with no real plans to participate, just to cheer on the competitors — and ended up jumping in at the last minute. “I didn’t plan to walk at all, but family pushed me!” said Clover Bodega, who surprised everyone by taking home a grand prize for voguing.\u003c/p>\n\u003cfigure id=\"attachment_13978077\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Youth performers from Feline Finesse bring energy to the stage during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>More Than Entertainment\u003c/h2>\n\u003cp>Rooted in the drag ball traditions of early 20th century Harlem and carried forward by Black and Latinx LGBTQ+ communities through the 1970s and ’80s, ballroom culture has long been a vehicle for self-expression and resistance. It provided safe spaces long before mainstream recognition arrived through documentaries like \u003cem>Paris is Burning\u003c/em> or shows like \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>“Ballroom is a community. The ball is the competition,” said Shireen Rahimi, founder of Oakland to All. “This was birthed out of a marginalized community within a marginalized community. Ultimately, it’s about survival.”\u003c/p>\n\u003cp>The culture provides a space for those who often struggle to find acceptance elsewhere.\u003c/p>\n\u003cp>“I can’t do this in the real world. I can’t be the executive. I can’t walk the runway, because people are always trying to tear me down. But I can come here and be myself,” Rahimi said. “When I think of ballroom, I think of a community that made survival look very glamorous.”\u003c/p>\n\u003cfigure id=\"attachment_13978076\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Mojo Carter performs on the runway during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For participants like Dhalimo Moschino, who traveled from Harlem to join the Bay Area scene, voguing defies easy definition.\u003c/p>\n\u003cp>“The best explanation is there’s no actual explanation for vogue. It’s a feeling. It literally is revolution… All of that is rebellion. So vogue, if I had to define it at all, it is rebellion — and it’s entertaining as fuck.”\u003c/p>\n\u003cp>Though ballroom culture traces its roots to 1930s Harlem, the Bay Area scene has found a powerful ally in the Bayview.\u003c/p>\n\u003cp>“Bayview Opera House and D10 were the first ones to ever book Oakland to All and actually bring us here,” Rahimi said, adding, “this space is one of our favorite places.”\u003c/p>\n\u003cfigure id=\"attachment_13978082\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978082\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Confidence and control were paramount during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Theo Ellington, Executive Director of the Ruth Williams Bayview Opera House, sees the partnership as essential to the venue’s mission.\u003c/p>\n\u003cp>“This event is a reflection of what we believe in — everyone deserves a space to be fully seen, celebrated, and free,” Ellington said. “We were proud to provide a grant to help bring this ballroom event to life because it signals that there is a growing LGBTQ+ presence on the southeast side of San Francisco.”\u003c/p>\n\u003cp>Barbara Gratta, president of District 10 Pride and a 30-year resident of the neighborhood, echoed the sentiment.\u003c/p>\n\u003cp>“It reminds me of what the Mission was in the ’90s as far as the diversity in this neighborhood… It’s got that inclusiveness for various types of ethnicities and cultural people,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13978079\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978079\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Expressive movements captivated the audience during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Strengthening Community Through Competition\u003c/h2>\n\u003cp>Wednesday’s event included a tribute to Rashad Pridgen, a ballroom legend and mentor to many in the Bay Area who died in 2024. Pushdance, a BIPOC dance collective, performed a moving tribute titled “House of Rashad” in his honor.\u003c/p>\n\u003cp>“He was called Baba Rashad by the young folks,” said artist Raissa Simpson, who has worked in the Bayview since 2007. “He’s one of our ancestors now. He’s a guiding star, I think, for a lot of folks.”\u003c/p>\n\u003cp>For Simpson, voguing holds profound cultural weight. “Voguing for me is Black culture. It’s queer culture… It’s not pop culture. It’s really about queer culture. So for me, it’s deep. It’s not Madonna.”\u003c/p>\n\u003cfigure id=\"attachment_13978081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Awards line a table before the start of the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than dividing participants, competition often brings those in the ballroom scene closer together.\u003c/p>\n\u003cp>“Ballroom pushes us to be our best,” Rahimi said. “This is a family. We are here to build each other up because, you know, some people don’t have mothers and fathers. Some people don’t have community in their schools or their neighborhoods. This is our community.”\u003c/p>\n\u003cp>Moschino summed up why these community events matter — especially now.\u003c/p>\n\u003cp>“It’s visibility, it’s freedom, and it’s encouragement for somebody that is stuck — be it a child at a home that’s not being loved with tender care, an adult who’s lost their way and too afraid to be themselves, or a senior who’s had to live through all the challenges and never got a chance to just throw their hands in the air and say, ‘fuck you, everybody.’”\u003c/p>\n\u003cp>As houses competed Wednesday night, that freedom and encouragement were on full display.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.linkedin.com/in/meaghanmitchellsf/\">Meaghan Mitchell\u003c/a> is a San Francisco native and narrative journalist whose first-person reporting is deeply rooted in the communities she covers. She was an early team member at the San Francisco Standard and previously served as an editor at Hoodline. Her work has appeared in SFGATE, San Francisco Bay View and SFist, among other outlets. She covers arts, culture and community life in underrepresented neighborhoods — centering stories on engagement, cultural identity, and social equity, while highlighting the resilience of San Francisco’s Black and Brown communities.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13978075\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978075\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02885-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A contestant executes a dramatic dip on the runway at the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An hour before doors opened, the bass was already pounding through the walls of the \u003ca href=\"https://www.kqed.org/news/tag/bayview-opera-house\">Ruth Williams Bayview Opera House\u003c/a>, pulsing in my chest as I reached for the doorknob. Inside was organized chaos: Opera House staff adjusting stage lights and fine-tuning sound checks while ballroom contestants zipped up outfits, dabbed on lipstick, and darted between dressing rooms. In one corner, a group practiced their runway moves; in another, competitors caught up, laughing and chatting.\u003c/p>\n\u003cp>“Excuse me, sis, can you help me put this necklace on?” one participant asked, holding up a chunky chain. “I got you,” I said, snapping the clasp into place. “Thank you so much!” they beamed, revealing a pendant that read “Cunty.”\u003c/p>\n\u003cp>Then the music shifted, a crowd formed, and suddenly the Power of Love Kiki Ball was on.\u003c/p>\n\u003cfigure id=\"attachment_13978078\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978078\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02419-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The audience cheers on a participant’s energy and style during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event marked the fourth time District 10 Pride has partnered with \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">Oakland to All\u003c/a>, the Bay Area-based ballroom collective centering Black and Brown queer joy, to bring ballroom to the Opera House. Wednesday night’s ball was their biggest San Francisco event yet, drawing approximately 300 people.\u003c/p>\n\u003ch2>What is Ballroom Culture?\u003c/h2>\n\u003cp>For those unfamiliar with the ballroom scene, Mojo Carter offered a vivid explanation: “I would say ballroom is kind of like gay fantasy football. It’s like you have your houses, which are like your home teams, you have your home balls… It’s very similar to sorority culture, but it’s very queer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These “houses” function as chosen families, offering support both on and off the runway. On Wednesday, participants competed in categories like Executive Realness and Legendary Dip, with judges scoring performances from 1 to 10 — or “chopping” contestants entirely.\u003c/p>\n\u003cfigure id=\"attachment_13978080\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978080\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02503-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Judges score performances during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One highlight was Couples Realness, in which two people walk the runway as a unit, and are judged on their chemistry, synchronized energy, and coordinated style. It’s not about being an actual romantic pair, but selling the fantasy with attitude, presence, and connection. When the winning couple took home $300, one spectator turned to his girlfriend in amazement: “Three hundred dollars? Next time, we need to enter!”\u003c/p>\n\u003cp>They laughed, but the surprise in his voice summed up a lesson newcomers were learning: ballroom is serious competition wrapped in joyful rebellion.\u003c/p>\n\u003cp>While contestants came more than prepared, even more exciting to witness were attendees who showed up with no real plans to participate, just to cheer on the competitors — and ended up jumping in at the last minute. “I didn’t plan to walk at all, but family pushed me!” said Clover Bodega, who surprised everyone by taking home a grand prize for voguing.\u003c/p>\n\u003cfigure id=\"attachment_13978077\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R01436-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Youth performers from Feline Finesse bring energy to the stage during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>More Than Entertainment\u003c/h2>\n\u003cp>Rooted in the drag ball traditions of early 20th century Harlem and carried forward by Black and Latinx LGBTQ+ communities through the 1970s and ’80s, ballroom culture has long been a vehicle for self-expression and resistance. It provided safe spaces long before mainstream recognition arrived through documentaries like \u003cem>Paris is Burning\u003c/em> or shows like \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>“Ballroom is a community. The ball is the competition,” said Shireen Rahimi, founder of Oakland to All. “This was birthed out of a marginalized community within a marginalized community. Ultimately, it’s about survival.”\u003c/p>\n\u003cp>The culture provides a space for those who often struggle to find acceptance elsewhere.\u003c/p>\n\u003cp>“I can’t do this in the real world. I can’t be the executive. I can’t walk the runway, because people are always trying to tear me down. But I can come here and be myself,” Rahimi said. “When I think of ballroom, I think of a community that made survival look very glamorous.”\u003c/p>\n\u003cfigure id=\"attachment_13978076\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00895-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Mojo Carter performs on the runway during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For participants like Dhalimo Moschino, who traveled from Harlem to join the Bay Area scene, voguing defies easy definition.\u003c/p>\n\u003cp>“The best explanation is there’s no actual explanation for vogue. It’s a feeling. It literally is revolution… All of that is rebellion. So vogue, if I had to define it at all, it is rebellion — and it’s entertaining as fuck.”\u003c/p>\n\u003cp>Though ballroom culture traces its roots to 1930s Harlem, the Bay Area scene has found a powerful ally in the Bayview.\u003c/p>\n\u003cp>“Bayview Opera House and D10 were the first ones to ever book Oakland to All and actually bring us here,” Rahimi said, adding, “this space is one of our favorite places.”\u003c/p>\n\u003cfigure id=\"attachment_13978082\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978082\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02558-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Confidence and control were paramount during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Theo Ellington, Executive Director of the Ruth Williams Bayview Opera House, sees the partnership as essential to the venue’s mission.\u003c/p>\n\u003cp>“This event is a reflection of what we believe in — everyone deserves a space to be fully seen, celebrated, and free,” Ellington said. “We were proud to provide a grant to help bring this ballroom event to life because it signals that there is a growing LGBTQ+ presence on the southeast side of San Francisco.”\u003c/p>\n\u003cp>Barbara Gratta, president of District 10 Pride and a 30-year resident of the neighborhood, echoed the sentiment.\u003c/p>\n\u003cp>“It reminds me of what the Mission was in the ’90s as far as the diversity in this neighborhood… It’s got that inclusiveness for various types of ethnicities and cultural people,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13978079\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978079\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R02733-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Expressive movements captivated the audience during the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Strengthening Community Through Competition\u003c/h2>\n\u003cp>Wednesday’s event included a tribute to Rashad Pridgen, a ballroom legend and mentor to many in the Bay Area who died in 2024. Pushdance, a BIPOC dance collective, performed a moving tribute titled “House of Rashad” in his honor.\u003c/p>\n\u003cp>“He was called Baba Rashad by the young folks,” said artist Raissa Simpson, who has worked in the Bayview since 2007. “He’s one of our ancestors now. He’s a guiding star, I think, for a lot of folks.”\u003c/p>\n\u003cp>For Simpson, voguing holds profound cultural weight. “Voguing for me is Black culture. It’s queer culture… It’s not pop culture. It’s really about queer culture. So for me, it’s deep. It’s not Madonna.”\u003c/p>\n\u003cfigure id=\"attachment_13978081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/A7R00679-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Awards line a table before the start of the Power of Love Kiki Ball at the Bayview Opera House on Wednesday, June 26, 2025. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than dividing participants, competition often brings those in the ballroom scene closer together.\u003c/p>\n\u003cp>“Ballroom pushes us to be our best,” Rahimi said. “This is a family. We are here to build each other up because, you know, some people don’t have mothers and fathers. Some people don’t have community in their schools or their neighborhoods. This is our community.”\u003c/p>\n\u003cp>Moschino summed up why these community events matter — especially now.\u003c/p>\n\u003cp>“It’s visibility, it’s freedom, and it’s encouragement for somebody that is stuck — be it a child at a home that’s not being loved with tender care, an adult who’s lost their way and too afraid to be themselves, or a senior who’s had to live through all the challenges and never got a chance to just throw their hands in the air and say, ‘fuck you, everybody.’”\u003c/p>\n\u003cp>As houses competed Wednesday night, that freedom and encouragement were on full display.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.linkedin.com/in/meaghanmitchellsf/\">Meaghan Mitchell\u003c/a> is a San Francisco native and narrative journalist whose first-person reporting is deeply rooted in the communities she covers. She was an early team member at the San Francisco Standard and previously served as an editor at Hoodline. Her work has appeared in SFGATE, San Francisco Bay View and SFist, among other outlets. She covers arts, culture and community life in underrepresented neighborhoods — centering stories on engagement, cultural identity, and social equity, while highlighting the resilience of San Francisco’s Black and Brown communities.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "josue-rojas-recology-artwork-trash-san-francisco-story",
"title": "Josué Rojas Reuses the City’s Trash to Tell a Distinctly San Francisco Story",
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"headTitle": "Josué Rojas Reuses the City’s Trash to Tell a Distinctly San Francisco Story | KQED",
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"content": "\u003cfigure id=\"attachment_13975767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975767\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-scaled.jpg\" alt=\"A man with a San Francisco Giants hat and a paint-covered an apron pose for a photo in front of some artwork he's created.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Josué Rojas and his ‘Pupusa Face’ characters at Recology in San Francisco. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the southernmost edge of San Francisco, between the Cow Palace and what was once Candlestick Park, I pull up to Recology’s compost, recycling and waste transfer station.\u003c/p>\n\u003cp>Here, at a 47-acre facility, is where San Francisco’s waste is divided into piles for reuse or rubbish. Hazardous household waste, like paint, goes in one area. Small electronics, like batteries, in another. A small puddle of murky water accumulates in a corner of the airplane-hanger–sized building, as big tractor-like trucks move materials around.\u003c/p>\n\u003cp>On the other side of a huge wall, next to Recology’s offices, it’s calm. There are no trucks trucking or trash heaps heaping.\u003c/p>\n\u003cp>For here is a large art studio space, where \u003ca href=\"https://www.instagram.com/josue.rojas.art/\">Josué Rojas\u003c/a>, a longtime muralist and \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\">one of four current artists-in-residency at Recology\u003c/a>, stands amid items he’s pulled from the trash.\u003c/p>\n\u003cfigure id=\"attachment_13975765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-scaled.jpg\" alt=\"An overhead view of a man standing in a studio populated by arts supplies.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Muralist and painter Josué Rojas prepares for his latest exhibition, “PUPUSA FACE: A Fever Dream Codex.” \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Repurposed paints, gently used canvases and old records that he’s set aside for listening populate the studio space. Rojas is working on his upcoming exhibition, \u003ca href=\"https://www.recology.com/recology_news/recology-artist-in-residence-exhibitions-work-by-laurel-roth-hope-josue-rojas-and-sfsu-mfa-candidates-eleanor-scholz-and-daniela-tinoco/\">\u003cem>Pupusa Face: A Fever Dream Codex\u003c/em>\u003c/a>, which will be on view at Recology on May 16, 17 and 20.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rojas’ work is made of brightly colored pieces and cleverly written messages inspired by his adventures in academia, his family roots in El Salvador and his upbringing in San Francisco. His art simultaneously pokes fun at 1950s Americana while subtly critiquing mass consumption and mass production in the United States.\u003c/p>\n\u003cp>And, here at the dump, Rojas’ work raises the broad question: If one artist can reuse all of this “trash” in a creative manner, what are we doing as a society?\u003c/p>\n\u003cp>“I’ve had to go through a bunch of training to be able to scavenge safely,” Rojas says, standing in his studio with a San Francisco Giants cap covering his head and paint splotch on his apron.\u003c/p>\n\u003cp>He learned about protective gear: steel toe boots, N-95 masks, puncture-resistant gloves, goggles. “At first,” he says, “I was like, ‘Man, why would I need all that?’” After one trip to the dump, where he encountered sharp and unsanitary objects, he understood. A naturally resourceful person and no stranger to dumpster-diving in the name of creative reuse, Rojas says doing so safely is paramount.\u003c/p>\n\u003cfigure id=\"attachment_13975766\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-scaled.jpg\" alt=\"An opened page of a sketchbook reveals a colorful illustration; the book is surrounded by a long list of formerly discarded items in a studio.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Josué Rojas says his latest work is another iteration of his previous work, so he keeps his old sketchbooks close in order to guide him. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also key? Having a partner to work with.\u003c/p>\n\u003cp>\u003ca href=\"https://www.recology.com/recology_artist/laurel-roth-hope/\">Laurel Roth Hope\u003c/a>, Rojas’ studiomate and another Recology artist-in-residence, is working on an exhibition for the mid-May opening focused on “the choices we must make every day between our individual desires and the well-being of the world at large.”\u003c/p>\n\u003cp>Rojas credits Hope with finding pieces of discarded wood that he’ll use in the latest iteration of what he calls “pupusa face.”\u003c/p>\n\u003cp>Although he often uses the term in jokes with his nephews, Rojas explains that “pupusa face” is a derogatory expression, used to describe Central Americans. “I’m just owning it,” he says, adding that it basically means someone with a round face. But it has a deeper cultural connotation when depicted in art, by pushing his Salvadoran roots into mainstream conversation — and filling a gap in the visual art lexicon.\u003c/p>\n\u003cp>“I don’t really think we’ve got a lot of Central American heroes,” Rojas says. There’s no Jean-Michel Basquiat, Diego Rivera or Frida Kahlo of Central America, he surmises. “I know we \u003ci>do\u003c/i> have those artists, but as far as them getting prime time, we don’t.” He believes his work is a part of a larger effort to “get some eyes on Central American stories,” which he notes is easily distinguishable from Mexican culture.\u003c/p>\n\u003cfigure id=\"attachment_13975764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975764\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-scaled.jpg\" alt=\"A man with a hat and a paint-covered apron on stands and poses while looking at the camera.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Muralist and painter Josué Rojas stands atop at set of stairs inside of a studio at Recology’s headquarters in San Francisco. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve got a presence in the Bay Area and in San Francisco that’s distinct,” says Rojas.\u003c/p>\n\u003cp>Known to \u003ca href=\"https://www.kqed.org/arts/13912879/rightnowish-sf-mission-muralist-mothers-day\">sometimes paint with his mother\u003c/a>, Esther, Rojas’ love for the City runs deep. He’s been an educator and a journalist, formerly serving as the executive director of Acción Latina, which publishes the long-running bilingual periodical \u003ci>El Tecolote\u003c/i>. After painting his first mural in 1995, he now has art all around town, including a piece just completed last month at the new Sunset Dunes Park.\u003c/p>\n\u003cp>Despite being so deeply intertwined with the City, he’s never before seen it this way: by looking at its trash.\u003c/p>\n\u003cp>“Seeing the way San Francisco digests a lot of its stuff,” he says, “I love it in a different way now.”\u003c/p>\n\u003cp>Recology’s art program was founded 35 years ago. Deborah Munk, manager of the residency, has been here for 25 of those years. She tells me that the program’s founder, \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\">Jo Hanson\u003c/a>, once rented a bus and invited politicians and socialites to a gallery viewing. Instead, she took them on a tour of illegal dumping sites around the city.\u003c/p>\n\u003cp>With his work, Rojas isn’t looking to be as in-your-face, but his use of postwar imagery — a Dubble-Bubble gum wrapper design, the bright colors in advertising for 1950s toys — evokes an era when one-time use materials \u003ca href=\"https://oneplanetlife.com/people-and-planet-first/opl-insight-plastic-production-and-recycling-from-1950-to-today/\">like plastics\u003c/a> were seen as progress instead of environmental liabilities.\u003c/p>\n\u003cfigure id=\"attachment_13975768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13975768\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-800x1067.jpg\" alt=\"An artist rolls out a scroll full of paint and words. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josué Rojas often works on long scrolls, which he calls books. This one has depictions of the 1989 World Series, It’s-It Ice Cream and other local staples. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same concept of production and consumption, the way we use and disregard our natural resources, can be seen as a metaphor for how certain people are treated in a city like San Francisco, where many working-class folks have been pushed out.\u003c/p>\n\u003cp>“Staying in San Francisco is for sure a challenge,” says Rojas, who notes he was once evicted from his residence in the Mission. As the City changes, metaphorically disposing the people who made it what it is, Rojas finds a silver lining: he’s still around to contribute to his hometown.\u003c/p>\n\u003cp>“I feel like I need to renew the contract with the City every day,” he says. “If I want to be a part of the future of San Francisco, I can’t be a captive to nostalgia.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Josué Rojas’ ‘\u003ca href=\"https://www.recology.com/recology_news/recology-artist-in-residence-exhibitions-work-by-laurel-roth-hope-josue-rojas-and-sfsu-mfa-candidates-eleanor-scholz-and-daniela-tinoco/\">Pupupsa Face: A Fever Dream Codex\u003c/a>’ is on view alongside exhibitions by Laurel Roth Hope, Eleanor Scholz and Daniela Tinoco on May 16, 17 and 20 at Recology Art Studios in San Francisco. Artist talk on May 20.\u003c/em>\u003c/p>\n\n",
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"title": "Josué Rojas Reuses the City’s Trash to Tell a Distinctly San Francisco Story | KQED",
"description": "As the artist-in-residency at Recology, Josué Rojas repurposes discarded materials for his new exhibition.",
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"headline": "Josué Rojas Reuses the City’s Trash to Tell a Distinctly San Francisco Story",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13975767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975767\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-scaled.jpg\" alt=\"A man with a San Francisco Giants hat and a paint-covered an apron pose for a photo in front of some artwork he's created.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2645-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Josué Rojas and his ‘Pupusa Face’ characters at Recology in San Francisco. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the southernmost edge of San Francisco, between the Cow Palace and what was once Candlestick Park, I pull up to Recology’s compost, recycling and waste transfer station.\u003c/p>\n\u003cp>Here, at a 47-acre facility, is where San Francisco’s waste is divided into piles for reuse or rubbish. Hazardous household waste, like paint, goes in one area. Small electronics, like batteries, in another. A small puddle of murky water accumulates in a corner of the airplane-hanger–sized building, as big tractor-like trucks move materials around.\u003c/p>\n\u003cp>On the other side of a huge wall, next to Recology’s offices, it’s calm. There are no trucks trucking or trash heaps heaping.\u003c/p>\n\u003cp>For here is a large art studio space, where \u003ca href=\"https://www.instagram.com/josue.rojas.art/\">Josué Rojas\u003c/a>, a longtime muralist and \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\">one of four current artists-in-residency at Recology\u003c/a>, stands amid items he’s pulled from the trash.\u003c/p>\n\u003cfigure id=\"attachment_13975765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-scaled.jpg\" alt=\"An overhead view of a man standing in a studio populated by arts supplies.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2665-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Muralist and painter Josué Rojas prepares for his latest exhibition, “PUPUSA FACE: A Fever Dream Codex.” \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Repurposed paints, gently used canvases and old records that he’s set aside for listening populate the studio space. Rojas is working on his upcoming exhibition, \u003ca href=\"https://www.recology.com/recology_news/recology-artist-in-residence-exhibitions-work-by-laurel-roth-hope-josue-rojas-and-sfsu-mfa-candidates-eleanor-scholz-and-daniela-tinoco/\">\u003cem>Pupusa Face: A Fever Dream Codex\u003c/em>\u003c/a>, which will be on view at Recology on May 16, 17 and 20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rojas’ work is made of brightly colored pieces and cleverly written messages inspired by his adventures in academia, his family roots in El Salvador and his upbringing in San Francisco. His art simultaneously pokes fun at 1950s Americana while subtly critiquing mass consumption and mass production in the United States.\u003c/p>\n\u003cp>And, here at the dump, Rojas’ work raises the broad question: If one artist can reuse all of this “trash” in a creative manner, what are we doing as a society?\u003c/p>\n\u003cp>“I’ve had to go through a bunch of training to be able to scavenge safely,” Rojas says, standing in his studio with a San Francisco Giants cap covering his head and paint splotch on his apron.\u003c/p>\n\u003cp>He learned about protective gear: steel toe boots, N-95 masks, puncture-resistant gloves, goggles. “At first,” he says, “I was like, ‘Man, why would I need all that?’” After one trip to the dump, where he encountered sharp and unsanitary objects, he understood. A naturally resourceful person and no stranger to dumpster-diving in the name of creative reuse, Rojas says doing so safely is paramount.\u003c/p>\n\u003cfigure id=\"attachment_13975766\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-scaled.jpg\" alt=\"An opened page of a sketchbook reveals a colorful illustration; the book is surrounded by a long list of formerly discarded items in a studio.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2634-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Josué Rojas says his latest work is another iteration of his previous work, so he keeps his old sketchbooks close in order to guide him. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also key? Having a partner to work with.\u003c/p>\n\u003cp>\u003ca href=\"https://www.recology.com/recology_artist/laurel-roth-hope/\">Laurel Roth Hope\u003c/a>, Rojas’ studiomate and another Recology artist-in-residence, is working on an exhibition for the mid-May opening focused on “the choices we must make every day between our individual desires and the well-being of the world at large.”\u003c/p>\n\u003cp>Rojas credits Hope with finding pieces of discarded wood that he’ll use in the latest iteration of what he calls “pupusa face.”\u003c/p>\n\u003cp>Although he often uses the term in jokes with his nephews, Rojas explains that “pupusa face” is a derogatory expression, used to describe Central Americans. “I’m just owning it,” he says, adding that it basically means someone with a round face. But it has a deeper cultural connotation when depicted in art, by pushing his Salvadoran roots into mainstream conversation — and filling a gap in the visual art lexicon.\u003c/p>\n\u003cp>“I don’t really think we’ve got a lot of Central American heroes,” Rojas says. There’s no Jean-Michel Basquiat, Diego Rivera or Frida Kahlo of Central America, he surmises. “I know we \u003ci>do\u003c/i> have those artists, but as far as them getting prime time, we don’t.” He believes his work is a part of a larger effort to “get some eyes on Central American stories,” which he notes is easily distinguishable from Mexican culture.\u003c/p>\n\u003cfigure id=\"attachment_13975764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975764\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-scaled.jpg\" alt=\"A man with a hat and a paint-covered apron on stands and poses while looking at the camera.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/IMG_2661-1-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Muralist and painter Josué Rojas stands atop at set of stairs inside of a studio at Recology’s headquarters in San Francisco. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve got a presence in the Bay Area and in San Francisco that’s distinct,” says Rojas.\u003c/p>\n\u003cp>Known to \u003ca href=\"https://www.kqed.org/arts/13912879/rightnowish-sf-mission-muralist-mothers-day\">sometimes paint with his mother\u003c/a>, Esther, Rojas’ love for the City runs deep. He’s been an educator and a journalist, formerly serving as the executive director of Acción Latina, which publishes the long-running bilingual periodical \u003ci>El Tecolote\u003c/i>. After painting his first mural in 1995, he now has art all around town, including a piece just completed last month at the new Sunset Dunes Park.\u003c/p>\n\u003cp>Despite being so deeply intertwined with the City, he’s never before seen it this way: by looking at its trash.\u003c/p>\n\u003cp>“Seeing the way San Francisco digests a lot of its stuff,” he says, “I love it in a different way now.”\u003c/p>\n\u003cp>Recology’s art program was founded 35 years ago. Deborah Munk, manager of the residency, has been here for 25 of those years. She tells me that the program’s founder, \u003ca href=\"https://www.recology.com/recology-san-francisco/artist-in-residence-program/\">Jo Hanson\u003c/a>, once rented a bus and invited politicians and socialites to a gallery viewing. Instead, she took them on a tour of illegal dumping sites around the city.\u003c/p>\n\u003cp>With his work, Rojas isn’t looking to be as in-your-face, but his use of postwar imagery — a Dubble-Bubble gum wrapper design, the bright colors in advertising for 1950s toys — evokes an era when one-time use materials \u003ca href=\"https://oneplanetlife.com/people-and-planet-first/opl-insight-plastic-production-and-recycling-from-1950-to-today/\">like plastics\u003c/a> were seen as progress instead of environmental liabilities.\u003c/p>\n\u003cfigure id=\"attachment_13975768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13975768\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-800x1067.jpg\" alt=\"An artist rolls out a scroll full of paint and words. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/img_2640-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josué Rojas often works on long scrolls, which he calls books. This one has depictions of the 1989 World Series, It’s-It Ice Cream and other local staples. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same concept of production and consumption, the way we use and disregard our natural resources, can be seen as a metaphor for how certain people are treated in a city like San Francisco, where many working-class folks have been pushed out.\u003c/p>\n\u003cp>“Staying in San Francisco is for sure a challenge,” says Rojas, who notes he was once evicted from his residence in the Mission. As the City changes, metaphorically disposing the people who made it what it is, Rojas finds a silver lining: he’s still around to contribute to his hometown.\u003c/p>\n\u003cp>“I feel like I need to renew the contract with the City every day,” he says. “If I want to be a part of the future of San Francisco, I can’t be a captive to nostalgia.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Josué Rojas’ ‘\u003ca href=\"https://www.recology.com/recology_news/recology-artist-in-residence-exhibitions-work-by-laurel-roth-hope-josue-rojas-and-sfsu-mfa-candidates-eleanor-scholz-and-daniela-tinoco/\">Pupupsa Face: A Fever Dream Codex\u003c/a>’ is on view alongside exhibitions by Laurel Roth Hope, Eleanor Scholz and Daniela Tinoco on May 16, 17 and 20 at Recology Art Studios in San Francisco. Artist talk on May 20.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-rap-so-vicious-loretta-wilcher-bayview",
"title": "San Francisco Rapper So Vicious Carries on Her Mother’s Legacy",
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"headTitle": "San Francisco Rapper So Vicious Carries on Her Mother’s Legacy | KQED",
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"content": "\u003cfigure id=\"attachment_13972927\" class=\"wp-caption aligncenter\" style=\"max-width: 1167px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939.jpg\" alt=\"Two women at a formal gathering pose for a photo.\" width=\"1167\" height=\"1078\" class=\"size-full wp-image-13972927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939.jpg 1167w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939-800x739.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939-1020x942.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939-768x709.jpg 768w\" sizes=\"auto, (max-width: 1167px) 100vw, 1167px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s So Vicious and her mother, the late Loretta S. Wilcher, pose for a photo. \u003ccite>(Courtesy of So Vicious)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In early February, as Bayview-Hunters Point rapper \u003ca href=\"https://www.instagram.com/soviciousofficial/\" target=\"_blank\" rel=\"noopener\">So Vicious\u003c/a> was busy recording a follow-up to her 2024 album \u003ca href=\"https://open.spotify.com/album/2RimAPKIydm4Jcx9Sy0wrd\" target=\"_blank\" rel=\"noopener\">\u003cem>Verbal Gymnastics\u003c/em>\u003c/a>, she left the studio, called her mom and decided to pay her a visit.\u003c/p>\n\u003cp>It would be the last time the two would see each other.\u003c/p>\n\u003cp>Her mother, \u003ca href=\"https://www.gofundme.com/f/honor-loretta-s-wilcher-support-her-memorial\" target=\"_blank\" rel=\"noopener\">Loretta S. Wilcher\u003c/a>, who’d suffered from heart complications, unexpectedly passed in her sleep on Feb. 9. With her mother’s passing, So Vicious is postponing her next release and taking some time off before taking over her mother’s business and furthering her legacy.\u003c/p>\n\u003cp>[aside postID='arts_13928057']So Vicious also plans to use her art to honor the legacy of women like her mother, starting with the upcoming \u003ca href=\"https://www.eventbrite.com/e/women-of-legacy-a-day-to-honor-herstory-tickets-1250248530009\" target=\"_blank\" rel=\"noopener\">Women of Legacy | A Day To Honor Herstory\u003c/a> event in Oakland, where she’ll perform alongside \u003ca href=\"https://www.instagram.com/alienmackitty/\" target=\"_blank\" rel=\"noopener\">Alien Mac Kitty\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\" target=\"_blank\" rel=\"noopener\">Conscious Daughters\u003c/a> and more.\u003c/p>\n\u003ch2>Inheriting a work ethic\u003c/h2>\n\u003cp>A proud representative for her city, So Vicious is a versatile lyrical artist who can recite gangsta bars, make party songs and drop introspective rhymes. She came on the scene a decade ago with the back-to-back releases \u003ca href=\"https://open.spotify.com/album/0YVe2oi4XuPqi0mghBonah\" target=\"_blank\" rel=\"noopener\">\u003cem>Vicious Lessons\u003c/em>\u003c/a> and \u003ca href=\"https://open.spotify.com/album/1XlqrDOGBW8WYLlskNkcrI\" target=\"_blank\" rel=\"noopener\">\u003cem>Couples Therapy\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the course of her career, she’s worked with hometown artists like \u003ca href=\"https://www.youtube.com/watch?v=JUTcqkCo75w\" target=\"_blank\" rel=\"noopener\">RBL Posse’s Black C\u003c/a> and\u003ca href=\"https://open.spotify.com/track/3gIyHABjDFaYvqPfWHrhUi?si=7903a28396594905\" target=\"_blank\" rel=\"noopener\"> Lil Kayla\u003c/a>. Last year, So Vicious dropped \u003ca href=\"https://open.spotify.com/track/4rSrBkMRDz2rfF2OX74QDo\" target=\"_blank\" rel=\"noopener\">a standout verse\u003c/a> on \u003ca href=\"https://www.instagram.com/yunglott_flood/\">Yung Lott\u003c/a>’s innovative album \u003cem>F.l.o.o.d Project\u003c/em>, which revises classic songs with uplifting messages from Frisco artists.\u003c/p>\n\u003cfigure id=\"attachment_13972930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972930\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-800x903.jpg\" alt=\"A woman wearing a white shirt and posing for a photo. \" width=\"800\" height=\"903\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-800x903.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-1020x1152.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-160x181.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-768x867.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887.jpg 1170w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco lyricist So Vicious says she owes her work ethic to her mother. \u003ccite>(Courtesy of So Vicious)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Constantly working, over the past few months So Vicious has performed in Santa Cruz with Kamaiyah, in Modesto with ALLBLACK and in San Francisco during NBA All-Star Weekend.\u003c/p>\n\u003cp>“I learned my work ethic from my mom,” says the rapper, who started working with her mother at the age of 12.\u003c/p>\n\u003cp>One of two children, So Vicious saw her mother work for the Department of Justice up until retirement, and later as a \u003ca href=\"https://missionlocal.org/2022/06/nba-finals-people-we-meet-loretta-wilcher/\" target=\"_blank\" rel=\"noopener\">Chase Center security guard\u003c/a>. Her mother was also an entrepreneur, a certified notary and the owner of \u003ca href=\"https://www.instagram.com/love_shoe_boutique/?hl=en\" target=\"_blank\" rel=\"noopener\">Love Shoe Boutique\u003c/a>.\u003c/p>\n\u003cp>“Seeing her get up every day, going to work and coming back with the fly clothes, it motivated me,” says So Vicious. “I wanted to be like that.”\u003c/p>\n\u003cp>[aside postID='arts_13923766']\u003c/p>\n\u003ch2>‘I’ve got to make her proud’\u003c/h2>\n\u003cp>A pillar of the community, “Ms. Wilcher” or “Momma Vicious” (as she was known by some) was born and raised in San Francisco. Living between Bayview-Hunters Point, Double Rock and Potrero Hill, Wilcher would often attend Board of Supervisors meetings to speak on behalf of the community.\u003c/p>\n\u003cp>Initially a piano player and poet, So Vicious says her mother would listen as she put her lyrics to beats. As the artist grew, so did her mother’s support.\u003c/p>\n\u003cp>During one of her recent shows, her mother, standing stageside, was pushed by a fan who was excited to see So Vicious perform. “It made her feel good that somebody was that excited to see her daughter,” she reflects.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z5lAC9n3kEE\u003c/p>\n\u003cp>As humans we learn from everybody, but women bring life into the world, says So Vicious. “We say this is a man’s world,” she tells me, considering what it means to carry on her mother’s legacy, “but literally, I think it’s a woman’s world.”\u003c/p>\n\u003cp>The event in Oakland later this month will be an example of what it looks like when women to come together in a world — specifically, an entertainment industry — which often pits women against one another. “I feel like it’s strength in numbers,” says So Vicious of the lineup for the upcoming show. “You could do more and accomplish so much more when everybody comes together.”\u003c/p>\n\u003cp>And she’s personally committed to holding down her end of the bargain, especially for her mother.\u003c/p>\n\u003cp>“God must be showing me something,” So Vicious says, adding that she was also in a car accident at the start of this year. “Where I’m at emotionally and just in my grieving process, I just plan to even go even harder now. You know what I’m saying? I’ve got to make her proud.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>So Vicious appears at ‘Women of Legacy | A Day to Honor Herstory’ on Sunday, March 30, from 3 p.m.–8 p.m. at Lux Oakland (1100 Franklin St., Oakland). \u003ca href=\"https://www.eventbrite.com/e/women-of-legacy-a-day-to-honor-herstory-tickets-1250248530009\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "After losing her mom, ‘I just plan to even go even harder now,’ the Bayview-Hunters Point artist says.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13972927\" class=\"wp-caption aligncenter\" style=\"max-width: 1167px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939.jpg\" alt=\"Two women at a formal gathering pose for a photo.\" width=\"1167\" height=\"1078\" class=\"size-full wp-image-13972927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939.jpg 1167w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939-800x739.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939-1020x942.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2886-e1741724727939-768x709.jpg 768w\" sizes=\"auto, (max-width: 1167px) 100vw, 1167px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s So Vicious and her mother, the late Loretta S. Wilcher, pose for a photo. \u003ccite>(Courtesy of So Vicious)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In early February, as Bayview-Hunters Point rapper \u003ca href=\"https://www.instagram.com/soviciousofficial/\" target=\"_blank\" rel=\"noopener\">So Vicious\u003c/a> was busy recording a follow-up to her 2024 album \u003ca href=\"https://open.spotify.com/album/2RimAPKIydm4Jcx9Sy0wrd\" target=\"_blank\" rel=\"noopener\">\u003cem>Verbal Gymnastics\u003c/em>\u003c/a>, she left the studio, called her mom and decided to pay her a visit.\u003c/p>\n\u003cp>It would be the last time the two would see each other.\u003c/p>\n\u003cp>Her mother, \u003ca href=\"https://www.gofundme.com/f/honor-loretta-s-wilcher-support-her-memorial\" target=\"_blank\" rel=\"noopener\">Loretta S. Wilcher\u003c/a>, who’d suffered from heart complications, unexpectedly passed in her sleep on Feb. 9. With her mother’s passing, So Vicious is postponing her next release and taking some time off before taking over her mother’s business and furthering her legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So Vicious also plans to use her art to honor the legacy of women like her mother, starting with the upcoming \u003ca href=\"https://www.eventbrite.com/e/women-of-legacy-a-day-to-honor-herstory-tickets-1250248530009\" target=\"_blank\" rel=\"noopener\">Women of Legacy | A Day To Honor Herstory\u003c/a> event in Oakland, where she’ll perform alongside \u003ca href=\"https://www.instagram.com/alienmackitty/\" target=\"_blank\" rel=\"noopener\">Alien Mac Kitty\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\" target=\"_blank\" rel=\"noopener\">Conscious Daughters\u003c/a> and more.\u003c/p>\n\u003ch2>Inheriting a work ethic\u003c/h2>\n\u003cp>A proud representative for her city, So Vicious is a versatile lyrical artist who can recite gangsta bars, make party songs and drop introspective rhymes. She came on the scene a decade ago with the back-to-back releases \u003ca href=\"https://open.spotify.com/album/0YVe2oi4XuPqi0mghBonah\" target=\"_blank\" rel=\"noopener\">\u003cem>Vicious Lessons\u003c/em>\u003c/a> and \u003ca href=\"https://open.spotify.com/album/1XlqrDOGBW8WYLlskNkcrI\" target=\"_blank\" rel=\"noopener\">\u003cem>Couples Therapy\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the course of her career, she’s worked with hometown artists like \u003ca href=\"https://www.youtube.com/watch?v=JUTcqkCo75w\" target=\"_blank\" rel=\"noopener\">RBL Posse’s Black C\u003c/a> and\u003ca href=\"https://open.spotify.com/track/3gIyHABjDFaYvqPfWHrhUi?si=7903a28396594905\" target=\"_blank\" rel=\"noopener\"> Lil Kayla\u003c/a>. Last year, So Vicious dropped \u003ca href=\"https://open.spotify.com/track/4rSrBkMRDz2rfF2OX74QDo\" target=\"_blank\" rel=\"noopener\">a standout verse\u003c/a> on \u003ca href=\"https://www.instagram.com/yunglott_flood/\">Yung Lott\u003c/a>’s innovative album \u003cem>F.l.o.o.d Project\u003c/em>, which revises classic songs with uplifting messages from Frisco artists.\u003c/p>\n\u003cfigure id=\"attachment_13972930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972930\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-800x903.jpg\" alt=\"A woman wearing a white shirt and posing for a photo. \" width=\"800\" height=\"903\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-800x903.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-1020x1152.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-160x181.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887-768x867.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_2887.jpg 1170w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco lyricist So Vicious says she owes her work ethic to her mother. \u003ccite>(Courtesy of So Vicious)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Constantly working, over the past few months So Vicious has performed in Santa Cruz with Kamaiyah, in Modesto with ALLBLACK and in San Francisco during NBA All-Star Weekend.\u003c/p>\n\u003cp>“I learned my work ethic from my mom,” says the rapper, who started working with her mother at the age of 12.\u003c/p>\n\u003cp>One of two children, So Vicious saw her mother work for the Department of Justice up until retirement, and later as a \u003ca href=\"https://missionlocal.org/2022/06/nba-finals-people-we-meet-loretta-wilcher/\" target=\"_blank\" rel=\"noopener\">Chase Center security guard\u003c/a>. Her mother was also an entrepreneur, a certified notary and the owner of \u003ca href=\"https://www.instagram.com/love_shoe_boutique/?hl=en\" target=\"_blank\" rel=\"noopener\">Love Shoe Boutique\u003c/a>.\u003c/p>\n\u003cp>“Seeing her get up every day, going to work and coming back with the fly clothes, it motivated me,” says So Vicious. “I wanted to be like that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>‘I’ve got to make her proud’\u003c/h2>\n\u003cp>A pillar of the community, “Ms. Wilcher” or “Momma Vicious” (as she was known by some) was born and raised in San Francisco. Living between Bayview-Hunters Point, Double Rock and Potrero Hill, Wilcher would often attend Board of Supervisors meetings to speak on behalf of the community.\u003c/p>\n\u003cp>Initially a piano player and poet, So Vicious says her mother would listen as she put her lyrics to beats. As the artist grew, so did her mother’s support.\u003c/p>\n\u003cp>During one of her recent shows, her mother, standing stageside, was pushed by a fan who was excited to see So Vicious perform. “It made her feel good that somebody was that excited to see her daughter,” she reflects.\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/Z5lAC9n3kEE'\n title='//www.youtube.com/embed/Z5lAC9n3kEE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As humans we learn from everybody, but women bring life into the world, says So Vicious. “We say this is a man’s world,” she tells me, considering what it means to carry on her mother’s legacy, “but literally, I think it’s a woman’s world.”\u003c/p>\n\u003cp>The event in Oakland later this month will be an example of what it looks like when women to come together in a world — specifically, an entertainment industry — which often pits women against one another. “I feel like it’s strength in numbers,” says So Vicious of the lineup for the upcoming show. “You could do more and accomplish so much more when everybody comes together.”\u003c/p>\n\u003cp>And she’s personally committed to holding down her end of the bargain, especially for her mother.\u003c/p>\n\u003cp>“God must be showing me something,” So Vicious says, adding that she was also in a car accident at the start of this year. “Where I’m at emotionally and just in my grieving process, I just plan to even go even harder now. You know what I’m saying? I’ve got to make her proud.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>So Vicious appears at ‘Women of Legacy | A Day to Honor Herstory’ on Sunday, March 30, from 3 p.m.–8 p.m. at Lux Oakland (1100 Franklin St., Oakland). \u003ca href=\"https://www.eventbrite.com/e/women-of-legacy-a-day-to-honor-herstory-tickets-1250248530009\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-black-neighborhood-hosts-a-hike-and-film-screening-in-the-bayview",
"title": "The Black Neighborhood Hosts a Hike and Film Screening in the Bayview",
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"content": "\u003cp>With their hikes, gatherings and community service initiatives all around the Bay Area (as well as Los Angeles and New York), the East Bay nonprofit \u003ca href=\"https://www.theblackneighborhood.org/\" target=\"_blank\" rel=\"noopener\">The Black Neighborhood\u003c/a> brings people together simply by encouraging them to get outside.\u003c/p>\n\u003cp>On Sunday, Nov. 17, the group will be in southeast San Francisco leading a three-mile “mental health” hike from the Bayview Opera House to India Basin and back. Ahead of the hike attendees will watch a 30-minute documentary film all about the very neighborhood they’ll be walking through, \u003ca href=\"https://www.youtube.com/watch?v=u1-Jqnnt7gk\" target=\"_blank\" rel=\"noopener\">\u003cem>What Bayview Was, Is, & Can Be\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13968071\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-800x600.jpg\" alt=\"President and co-founder of The Black Neighborhood, Cory Elliott, interviewing Barbara Given-Cohen at the Bayview Linda Brooks-Burton Branch Library. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">President and co-founder of The Black Neighborhood, Cory Elliott, interviewing Barbara Given-Cohen at the Bayview Linda Brooks-Burton Branch Library. \u003ccite>(Andrew Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Directed by the president and co-founder of The Black Neighborhood, \u003ca href=\"https://www.instagram.com/cory_e/\" target=\"_blank\" rel=\"noopener\">Cory Elliott\u003c/a>, the film focuses on four key interviews to explain significant aspects of the Black community in the Bayview.\u003c/p>\n\u003cp>Longtime community members Barbara Givens-Cohen, Janice Smith, Marilyn Odom and Damien “Uncle Damien” Posey share stories of the Great Migration, the impact of the crack cocaine epidemic and the effects of gentrification.\u003c/p>\n\u003cp>In the film, Marilyn Odom, who was born in San Francisco in 1956, recalls when the area was home to an ice cream shop and a bakery. “We don’t have that anymore,” Odom says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The community was a fun place until people started believing that “this corner belonged to them, this part of town belonged to them,” says Odom, referring to the division that came along with turf wars.\u003c/p>\n\u003cp>In discussing the future of the Bayview neighborhood, Odom gets choked up professing the importance of parents being present. With a tissue in her hand and tears in her eyes, she says community change is about parents sacrificing. “Give your child enough to say, ‘I love you,’ enough to say, ‘I want better for my child, I want you to get a good education,'” says Odom.\u003c/p>\n\u003cp>“Take your last dollar and buy your kids some books and help them,” Odom adds, removing her glasses to wipe her tears. “Don’t let your kids suffer.”\u003c/p>\n\u003cp>The film leaves audiences with an understanding of the Bayview’s rich history, and the urgency of the current situation many community members face. During the hike after the screening, there’ll be an opportunity to get into some substantive dialogue about the neighborhood’s future.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Black Neighborhood’s hike and screening of the film \u003ca href=\"https://www.youtube.com/watch?v=u1-Jqnnt7gk\" target=\"_blank\" rel=\"noopener\">‘What Bayview Was, Is, & Can Be’\u003c/a> is Sunday, Nov. 17. The free event begins at The Bayview Opera House at 10 a.m., and is open to all ages. \u003ca href=\"https://www.eventbrite.com/e/tbn-mental-health-hike-39-easy-tickets-1076398369499?utm_experiment=test_share_listing&aff=ebdsshios&_gl=1*le3aun*_up*MQ..*_ga*NDg0NzczNDk5LjE3MzE0MzQ0MDE.*_ga_TQVES5V6SH*MTczMTQzNDQwMC4xLjAuMTczMTQzNDQwMC4wLjAuMA..\" target=\"_blank\" rel=\"noopener\">Free RSVP and details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The free event is bound to spark conversation about the San Francisco neighborhood's history and challenges.",
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"headline": "The Black Neighborhood Hosts a Hike and Film Screening in the Bayview",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With their hikes, gatherings and community service initiatives all around the Bay Area (as well as Los Angeles and New York), the East Bay nonprofit \u003ca href=\"https://www.theblackneighborhood.org/\" target=\"_blank\" rel=\"noopener\">The Black Neighborhood\u003c/a> brings people together simply by encouraging them to get outside.\u003c/p>\n\u003cp>On Sunday, Nov. 17, the group will be in southeast San Francisco leading a three-mile “mental health” hike from the Bayview Opera House to India Basin and back. Ahead of the hike attendees will watch a 30-minute documentary film all about the very neighborhood they’ll be walking through, \u003ca href=\"https://www.youtube.com/watch?v=u1-Jqnnt7gk\" target=\"_blank\" rel=\"noopener\">\u003cem>What Bayview Was, Is, & Can Be\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13968071\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-800x600.jpg\" alt=\"President and co-founder of The Black Neighborhood, Cory Elliott, interviewing Barbara Given-Cohen at the Bayview Linda Brooks-Burton Branch Library. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_3162-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">President and co-founder of The Black Neighborhood, Cory Elliott, interviewing Barbara Given-Cohen at the Bayview Linda Brooks-Burton Branch Library. \u003ccite>(Andrew Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Directed by the president and co-founder of The Black Neighborhood, \u003ca href=\"https://www.instagram.com/cory_e/\" target=\"_blank\" rel=\"noopener\">Cory Elliott\u003c/a>, the film focuses on four key interviews to explain significant aspects of the Black community in the Bayview.\u003c/p>\n\u003cp>Longtime community members Barbara Givens-Cohen, Janice Smith, Marilyn Odom and Damien “Uncle Damien” Posey share stories of the Great Migration, the impact of the crack cocaine epidemic and the effects of gentrification.\u003c/p>\n\u003cp>In the film, Marilyn Odom, who was born in San Francisco in 1956, recalls when the area was home to an ice cream shop and a bakery. “We don’t have that anymore,” Odom says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The community was a fun place until people started believing that “this corner belonged to them, this part of town belonged to them,” says Odom, referring to the division that came along with turf wars.\u003c/p>\n\u003cp>In discussing the future of the Bayview neighborhood, Odom gets choked up professing the importance of parents being present. With a tissue in her hand and tears in her eyes, she says community change is about parents sacrificing. “Give your child enough to say, ‘I love you,’ enough to say, ‘I want better for my child, I want you to get a good education,'” says Odom.\u003c/p>\n\u003cp>“Take your last dollar and buy your kids some books and help them,” Odom adds, removing her glasses to wipe her tears. “Don’t let your kids suffer.”\u003c/p>\n\u003cp>The film leaves audiences with an understanding of the Bayview’s rich history, and the urgency of the current situation many community members face. During the hike after the screening, there’ll be an opportunity to get into some substantive dialogue about the neighborhood’s future.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Black Neighborhood’s hike and screening of the film \u003ca href=\"https://www.youtube.com/watch?v=u1-Jqnnt7gk\" target=\"_blank\" rel=\"noopener\">‘What Bayview Was, Is, & Can Be’\u003c/a> is Sunday, Nov. 17. The free event begins at The Bayview Opera House at 10 a.m., and is open to all ages. \u003ca href=\"https://www.eventbrite.com/e/tbn-mental-health-hike-39-easy-tickets-1076398369499?utm_experiment=test_share_listing&aff=ebdsshios&_gl=1*le3aun*_up*MQ..*_ga*NDg0NzczNDk5LjE3MzE0MzQ0MDE.*_ga_TQVES5V6SH*MTczMTQzNDQwMC4xLjAuMTczMTQzNDQwMC4wLjAuMA..\" target=\"_blank\" rel=\"noopener\">Free RSVP and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nearly two dozen artists showed up at the San Francisco Board of Supervisors meeting Tuesday in matching shirts and sailor hats, determined to make a splash to save their creative home at Hunters Point Naval Shipyard. Crying SOS — Save Our Studios — the artists from what was once \u003ca href=\"https://www.shipyardartists.com/\">the largest creative community in the country\u003c/a> have a simple request: to fix the roofs over their heads. \u003c/p>\n\u003cp>[aside postID='science_1993505']Even though the \u003ca href=\"https://cumulis.epa.gov/supercpad/SiteProfiles/index.cfm?fuseaction=second.Cleanup&id=0902722#bkground\">Superfund\u003c/a> site has been grappling with \u003ca href=\"https://www.kqed.org/science/1993505/cleanup-of-san-francisco-superfund-site-has-been-badly-mishandled-lawsuit-alleges\">the downstream effects of radioactive contamination\u003c/a> for decades, the artist collective recently celebrated their \u003ca href=\"https://sfstandard.com/2024/04/27/san-francisco-hunters-point-shipyard-artists/\">40-year anniversary\u003c/a> at the shipyard. More than 200 working artists maintain studios at the nearly 500-acre site, and thousands of visitors pour through the area during the \u003ca href=\"https://www.shipyardartists.com/shipyard-open-studios-participating-artists/\">shipyard’s open studios\u003c/a>, taking in the fresh air, glittering views and a gantry crane taller than the Statue of Liberty. \u003c/p>\n\u003cp>Up for vote was an amendment to push out the construction and financing timeline of the Bayview-Hunters Point Redevelopment Plan by 30 years. Also proposed was the transfer of more than 2 million square feet of office and research space from the Hunters Point Naval Shipyard to Candlestick Point, given the ongoing delays associated with the toxic cleanup of the shipyard. \u003c/p>\n\u003cp>While there are separate plans for the shipyard and Candlestick Point, the two are considered one project under the purview of the developer FivePoint — even as the areas of land, and the communities invested in them, face very different realities. \u003c/p>\n\u003cfigure id=\"attachment_13967112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL.jpg\" alt=\"projected image of southeast SF with text on screen\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Bayview-Hunters Point Redevelopment Project is described during a Board of Supervisors meeting at City Hall in San Francisco on Oct. 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An extremely complicated situation’\u003c/h2>\n\u003cp>Key to the maintenance conundrum for the artists is the complex tangle of associations tied to the shipyard: the U.S. Navy owns the land but leases it to the City of San Francisco, which in turn subleases it to FivePoint (tasked with rehabilitating the property) — who rents the buildings to a group of artist master tenants. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Commission on Community Investment and Infrastructure (OCII), a successor agency to the city’s controversial Redevelopment Agency, also has \u003ca href=\"https://sfocii.org/projects/hunters-point-shipyard-candlestick-point-2/overview\">oversight over the area’s development\u003c/a>. \u003c/p>\n\u003cp>“It’s an extremely complicated situation,” said Barbara Ockel, the president of the nonprofit \u003ca href=\"https://shipyardtrust.org/\">Shipyard Trust for the Arts\u003c/a> (STAR) that represents the artist collective. “And it leads to a lot of finger pointing.” \u003c/p>\n\u003cp>The contract with FivePoint contains language stating the master tenants are responsible for maintenance of their buildings, but with rents still at their 1980s rates, there’s not enough funds for major repairs. \u003c/p>\n\u003cfigure id=\"attachment_13967115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL.jpg\" alt=\"people in matching shirts and sailor hats sit in wooden benches in city building\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hunters Point Shipyard artists listen during a Board of Supervisors meeting at City Hall in San Francisco on Oct. 22, 2024, about a planned board vote on amendments to the redevelopment plan for the Bayview-Hunters Point Redevelopment Project. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And so the debate starts, where does maintenance end and where does capital improvement begin?” Ockel said. “Everybody would agree that if you have to pay a million dollars for a new roof, that’s not maintenance — that’s an investment.” \u003c/p>\n\u003cp>Master tenant \u003ca href=\"https://caprichoframing.com/\">Julian Billotte\u003c/a> could be found on a recent Thursday re-gilding pre-1906 mirrors from the Flood Mansion for their new home at the San Mateo Historical Society. Without the space and low rents of the Hunters Point Naval Shipyard, his and many other artists’ work could not continue. He oversees the maintenance of Building 116 on Parcel B but said the rents have only allowed him to make small patches to the roofs when much more substantial repairs are required. \u003c/p>\n\u003cp>“Nobody’s ever had the rent raised no matter how long they’ve been here,” Billotte said. “Over 25 years, we’ve got people paying what they paid when they got here and we’re committed to maintaining that.” For now, he uses plastic bins along the roofs’ seams to catch water and encourages artists to use tarps to protect their work. \u003c/p>\n\u003cp>While Billotte said Tuesday during public comment that OCII has made a verbal promise to repair the roof, the artists want an assurance in writing. OCII did not respond to requests for comment in time for publication. \u003c/p>\n\u003cp>The artists are seeking more than a weathertight workspace — they want the guarantee they can remain on Parcel B in perpetuity. “We need stability,” Lorna Kollmeyer said. “And the assurance we can stay out here.” Kollmeyer and other artists are \u003ca href=\"https://www.change.org/p/save-parcel-b\">lobbying for an update\u003c/a> to the 25-year-old development plan to include a provision ensuring the parcel remains an ongoing campus for the arts.\u003c/p>\n\u003cfigure id=\"attachment_13967114\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL.jpg\" alt=\"older person in white sailor hat speaks into mic\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lorna Kollmeyer, a member of the Hunters Point Shipyard Artists, speaks during public comment at a Board of Supervisors meeting. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Frustrating delays for Bayview residents\u003c/h2>\n\u003cp>Additional changes to the redevelopment plan could derail much-needed and community-supported construction on Candlestick Point (also under FivePoint’s jurisdiction and connected to the future of the shipyard). A written protest of the current plan sent to the Board of Supervisors — not by the shipyard artists — delayed a vote on Tuesday. A final decision on amending the timeline and allocation was pushed to the next full Board of Supervisors meeting on Oct. 29. \u003c/p>\n\u003cp>While the artists want to preserve the buildings on Parcel B of the shipyard, Bayview residents surrounding Candlestick Park are aching for development after decades of delays. “When it comes to the African American community, it never happens,” said Rev. Arelious Walker during public comment. Another speaker, urging forward progress, invoked the words of Martin Luther King Jr.: “Out of a mountain of despair, a stone of hope.” \u003c/p>\n\u003cp>[aside postID='news_10583120']Pastors, parents, laborers and small-business owners from the Bayview community mostly spoke out in support of the Candlestick Point development, which will employ local contractors, create thousands of jobs and build over 7,200 new homes.\u003c/p>\n\u003cp>“I’m excited and sad at the same time,” said one speaker, her voice thick with tears. “There’s only 2 or 3% of us left in the city,” she continued, referring to the Black community that has historically been \u003ca href=\"https://sfstandard.com/2024/02/29/san-francisco-fillmore-destruction-documented/\">on the losing end of redevelopment\u003c/a>. “And we’ve accepted broken promises again and again.” \u003c/p>\n\u003cp>The artists have also been issued promises, only to watch their creative home stymied by the discovery of radioactive contamination, \u003ca href=\"https://www.justice.gov/opa/pr/united-states-joins-lawsuits-against-tetra-tech-ec-inc-alleging-false-claims-connection\">alleged criminal fraud by engineering firm Tetra Tech\u003c/a> and a failed effort to construct a new building of studios on Parcel A. The artists remain on month-to-month rental agreements with the constant fear their spaces may be demolished or repurposed. \u003c/p>\n\u003cp>“They are talking about erasing us,” said artist Leila Mansur. “Stop breaking our hearts, San Francisco.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It will be hard to use this land for other things, so why not protect the artists?” Kollmeyer said. “It could be such a win-win for everyone.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even though the \u003ca href=\"https://cumulis.epa.gov/supercpad/SiteProfiles/index.cfm?fuseaction=second.Cleanup&id=0902722#bkground\">Superfund\u003c/a> site has been grappling with \u003ca href=\"https://www.kqed.org/science/1993505/cleanup-of-san-francisco-superfund-site-has-been-badly-mishandled-lawsuit-alleges\">the downstream effects of radioactive contamination\u003c/a> for decades, the artist collective recently celebrated their \u003ca href=\"https://sfstandard.com/2024/04/27/san-francisco-hunters-point-shipyard-artists/\">40-year anniversary\u003c/a> at the shipyard. More than 200 working artists maintain studios at the nearly 500-acre site, and thousands of visitors pour through the area during the \u003ca href=\"https://www.shipyardartists.com/shipyard-open-studios-participating-artists/\">shipyard’s open studios\u003c/a>, taking in the fresh air, glittering views and a gantry crane taller than the Statue of Liberty. \u003c/p>\n\u003cp>Up for vote was an amendment to push out the construction and financing timeline of the Bayview-Hunters Point Redevelopment Plan by 30 years. Also proposed was the transfer of more than 2 million square feet of office and research space from the Hunters Point Naval Shipyard to Candlestick Point, given the ongoing delays associated with the toxic cleanup of the shipyard. \u003c/p>\n\u003cp>While there are separate plans for the shipyard and Candlestick Point, the two are considered one project under the purview of the developer FivePoint — even as the areas of land, and the communities invested in them, face very different realities. \u003c/p>\n\u003cfigure id=\"attachment_13967112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL.jpg\" alt=\"projected image of southeast SF with text on screen\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Bayview-Hunters Point Redevelopment Project is described during a Board of Supervisors meeting at City Hall in San Francisco on Oct. 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An extremely complicated situation’\u003c/h2>\n\u003cp>Key to the maintenance conundrum for the artists is the complex tangle of associations tied to the shipyard: the U.S. Navy owns the land but leases it to the City of San Francisco, which in turn subleases it to FivePoint (tasked with rehabilitating the property) — who rents the buildings to a group of artist master tenants. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Commission on Community Investment and Infrastructure (OCII), a successor agency to the city’s controversial Redevelopment Agency, also has \u003ca href=\"https://sfocii.org/projects/hunters-point-shipyard-candlestick-point-2/overview\">oversight over the area’s development\u003c/a>. \u003c/p>\n\u003cp>“It’s an extremely complicated situation,” said Barbara Ockel, the president of the nonprofit \u003ca href=\"https://shipyardtrust.org/\">Shipyard Trust for the Arts\u003c/a> (STAR) that represents the artist collective. “And it leads to a lot of finger pointing.” \u003c/p>\n\u003cp>The contract with FivePoint contains language stating the master tenants are responsible for maintenance of their buildings, but with rents still at their 1980s rates, there’s not enough funds for major repairs. \u003c/p>\n\u003cfigure id=\"attachment_13967115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL.jpg\" alt=\"people in matching shirts and sailor hats sit in wooden benches in city building\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hunters Point Shipyard artists listen during a Board of Supervisors meeting at City Hall in San Francisco on Oct. 22, 2024, about a planned board vote on amendments to the redevelopment plan for the Bayview-Hunters Point Redevelopment Project. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And so the debate starts, where does maintenance end and where does capital improvement begin?” Ockel said. “Everybody would agree that if you have to pay a million dollars for a new roof, that’s not maintenance — that’s an investment.” \u003c/p>\n\u003cp>Master tenant \u003ca href=\"https://caprichoframing.com/\">Julian Billotte\u003c/a> could be found on a recent Thursday re-gilding pre-1906 mirrors from the Flood Mansion for their new home at the San Mateo Historical Society. Without the space and low rents of the Hunters Point Naval Shipyard, his and many other artists’ work could not continue. He oversees the maintenance of Building 116 on Parcel B but said the rents have only allowed him to make small patches to the roofs when much more substantial repairs are required. \u003c/p>\n\u003cp>“Nobody’s ever had the rent raised no matter how long they’ve been here,” Billotte said. “Over 25 years, we’ve got people paying what they paid when they got here and we’re committed to maintaining that.” For now, he uses plastic bins along the roofs’ seams to catch water and encourages artists to use tarps to protect their work. \u003c/p>\n\u003cp>While Billotte said Tuesday during public comment that OCII has made a verbal promise to repair the roof, the artists want an assurance in writing. OCII did not respond to requests for comment in time for publication. \u003c/p>\n\u003cp>The artists are seeking more than a weathertight workspace — they want the guarantee they can remain on Parcel B in perpetuity. “We need stability,” Lorna Kollmeyer said. “And the assurance we can stay out here.” Kollmeyer and other artists are \u003ca href=\"https://www.change.org/p/save-parcel-b\">lobbying for an update\u003c/a> to the 25-year-old development plan to include a provision ensuring the parcel remains an ongoing campus for the arts.\u003c/p>\n\u003cfigure id=\"attachment_13967114\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL.jpg\" alt=\"older person in white sailor hat speaks into mic\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lorna Kollmeyer, a member of the Hunters Point Shipyard Artists, speaks during public comment at a Board of Supervisors meeting. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Frustrating delays for Bayview residents\u003c/h2>\n\u003cp>Additional changes to the redevelopment plan could derail much-needed and community-supported construction on Candlestick Point (also under FivePoint’s jurisdiction and connected to the future of the shipyard). A written protest of the current plan sent to the Board of Supervisors — not by the shipyard artists — delayed a vote on Tuesday. A final decision on amending the timeline and allocation was pushed to the next full Board of Supervisors meeting on Oct. 29. \u003c/p>\n\u003cp>While the artists want to preserve the buildings on Parcel B of the shipyard, Bayview residents surrounding Candlestick Park are aching for development after decades of delays. “When it comes to the African American community, it never happens,” said Rev. Arelious Walker during public comment. Another speaker, urging forward progress, invoked the words of Martin Luther King Jr.: “Out of a mountain of despair, a stone of hope.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Pastors, parents, laborers and small-business owners from the Bayview community mostly spoke out in support of the Candlestick Point development, which will employ local contractors, create thousands of jobs and build over 7,200 new homes.\u003c/p>\n\u003cp>“I’m excited and sad at the same time,” said one speaker, her voice thick with tears. “There’s only 2 or 3% of us left in the city,” she continued, referring to the Black community that has historically been \u003ca href=\"https://sfstandard.com/2024/02/29/san-francisco-fillmore-destruction-documented/\">on the losing end of redevelopment\u003c/a>. “And we’ve accepted broken promises again and again.” \u003c/p>\n\u003cp>The artists have also been issued promises, only to watch their creative home stymied by the discovery of radioactive contamination, \u003ca href=\"https://www.justice.gov/opa/pr/united-states-joins-lawsuits-against-tetra-tech-ec-inc-alleging-false-claims-connection\">alleged criminal fraud by engineering firm Tetra Tech\u003c/a> and a failed effort to construct a new building of studios on Parcel A. The artists remain on month-to-month rental agreements with the constant fear their spaces may be demolished or repurposed. \u003c/p>\n\u003cp>“They are talking about erasing us,” said artist Leila Mansur. “Stop breaking our hearts, San Francisco.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It will be hard to use this land for other things, so why not protect the artists?” Kollmeyer said. “It could be such a win-win for everyone.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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