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"content": "\n\u003cp>In \u003cem>Every Saturday Night\u003c/em>, a world-premiere musical that opened Thursday in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>, a single mother living in the \u003ca href=\"https://www.kqed.org/arts/tag/fillmore\">Fillmore District\u003c/a> opens her old Victorian home to the Black community each week to keep the party going well after the clubs close. It’s the story of a time when the Fillmore was filled with jazz music, prosperous businesses and community.\u003c/p>\n\n\n\n\u003cp>Today, after so-called urban renewal in the 1970s decimated the cultural fabric of the neighborhood, and various attempts to recapture its “\u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">Harlem of the West\u003c/a>” vibrancy, that same area tells a very different story. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2500\" height=\"1667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec.jpg\" alt=\"\" class=\"wp-image-13994799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\" />\u003cfigcaption class=\"wp-element-caption\">Donte (Darryl V. Jones), left, tells Adarè (Trevor Miller) about growing up in the Fillmore in SFBATCO’s ‘Every Saturday Night.’ (Alexa LexMex Treviño)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Cowritten by Michael Gene Sullivan and Danny Duncan and produced by SFBATCO, \u003cem>Every Saturday Night\u003c/em> casts the Fillmore itself as the show’s main character. Donte Coleman (Darryl V. Jones), tells stories of his childhood in the Fillmore to the teenage son of a new family looking to buy his home and move in. Having learned the history of the neighborhood, the family is shocked to see that it’s not what they expected. Samuel (Jon-David Randle), the new homebuyer, puts it plainly: “There aren’t as many Black people as I thought there would be.” \u003c/p>\n\n\n\n\u003cp>Across its 70-year timeline, from the 1950s to present day, the script is constant in its message, if a little hard to follow at times. The production comes alive when it reenacts the different parties hosted by Donte’s mother Ardella (Cathleen Riddley), providing a “nice place where colored folks can rest” at the end of a busy work week. Between these lively parties with loud jazz and busy dance numbers (with music by Othello Jefferson and choreography by the director, AeJay Antonis Marquis), there’s also a fight to save the district from encroaching redevelopment, and to protect Black residents from the removal that its Japanese residents had faced a few years earlier. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2500\" height=\"1667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932.jpg\" alt=\"\" class=\"wp-image-13994800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\" />\u003cfigcaption class=\"wp-element-caption\">Doris (Imri Tate) speaks out against urban renewal and the displacement of the Fillmore’s Black community in SFBATCO’s ‘Every Saturday Night.’ (Alexa LexMex Treviño)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Doris (Imri M. Tate) is crusader for this cause, and convinces Ardella to join her. (“I don’t want to be moved out of my home because somebody wants to bleach the Fillmoe like a damn shirt,” Doris says.) In the original song “For the Greater Good of the Neighborhood,” Doris pleads for Ardella to keep her home, and the audience gets immersed into an anti-redevelopment protest. \u003c/p>\n\n\n\n\u003cp>Back to the present day, as Donte bonds with the new family’s teenage son, Adarè (Trevor Miller), similar efforts are underway. A “Western Addition Heritage Association” knocks on the door trying to purchase and flip the house, under the guise of keeping it in the community. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2500\" height=\"1667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-51-44c859bd.jpg\" alt=\"\" class=\"wp-image-13994801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-51-44c859bd.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-51-44c859bd-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-51-44c859bd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-51-44c859bd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-51-44c859bd-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-51-44c859bd-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\" />\u003cfigcaption class=\"wp-element-caption\">Young Donte (Jacob Henrie-Naffaa), center, and others dance the night away at Ardella’s after-hours joint in SFBATCO’s ‘Every Saturday Night.’ (Alexa LexMex Treviño)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>San Francisco is an ever-changing city, for better or for worse. In \u003cem>Every Saturday Night\u003c/em>, emotional and comedic performances bring the city’s history into the present day. “There’s still efforts to disappear and erase the Fillmoe,” Marquis said during a pre-show discussion on opening night. “We are trying to keep it alive.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>‘Every Saturday Night’ runs through Nov. 1 at The Strand (1127 Market St., San Francisco). \u003c/em>\u003ca href=\"https://www.act-sf.org/whats-on/activate/every-saturday-night\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n",
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"innerHTML": "\n\u003cp>In \u003cem>Every Saturday Night\u003c/em>, a world-premiere musical that opened Thursday in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>, a single mother living in the \u003ca href=\"https://www.kqed.org/arts/tag/fillmore\">Fillmore District\u003c/a> opens her old Victorian home to the Black community each week to keep the party going well after the clubs close. It’s the story of a time when the Fillmore was filled with jazz music, prosperous businesses and community.\u003c/p>\n",
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"\n\u003cp>In \u003cem>Every Saturday Night\u003c/em>, a world-premiere musical that opened Thursday in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>, a single mother living in the \u003ca href=\"https://www.kqed.org/arts/tag/fillmore\">Fillmore District\u003c/a> opens her old Victorian home to the Black community each week to keep the party going well after the clubs close. It’s the story of a time when the Fillmore was filled with jazz music, prosperous businesses and community.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Today, after so-called urban renewal in the 1970s decimated the cultural fabric of the neighborhood, and various attempts to recapture its “\u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">Harlem of the West\u003c/a>” vibrancy, that same area tells a very different story. \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/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec.jpg\" alt=\"\" class=\"wp-image-13994799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec-2048x1366.jpg 2048w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Donte (Darryl V. Jones), left, tells Adarè (Trevor Miller) about growing up in the Fillmore in SFBATCO’s ‘Every Saturday Night.’\u003ccite class=\"wp-inline-image-credit\"> (Alexa LexMex Treviño)\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/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec.jpg\" alt=\"\" class=\"wp-image-13994799\"/>\u003cfigcaption class=\"wp-element-caption\">Donte (Darryl V. Jones), left, tells Adarè (Trevor Miller) about growing up in the Fillmore in SFBATCO’s ‘Every Saturday Night.’\u003ccite class=\"wp-inline-image-credit\"> (Alexa LexMex Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Cowritten by Michael Gene Sullivan and Danny Duncan and produced by SFBATCO, \u003cem>Every Saturday Night\u003c/em> casts the Fillmore itself as the show’s main character. Donte Coleman (Darryl V. Jones), tells stories of his childhood in the Fillmore to the teenage son of a new family looking to buy his home and move in. Having learned the history of the neighborhood, the family is shocked to see that it’s not what they expected. Samuel (Jon-David Randle), the new homebuyer, puts it plainly: “There aren’t as many Black people as I thought there would be.” \u003c/p>\n",
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"\n\u003cp>Cowritten by Michael Gene Sullivan and Danny Duncan and produced by SFBATCO, \u003cem>Every Saturday Night\u003c/em> casts the Fillmore itself as the show’s main character. Donte Coleman (Darryl V. Jones), tells stories of his childhood in the Fillmore to the teenage son of a new family looking to buy his home and move in. Having learned the history of the neighborhood, the family is shocked to see that it’s not what they expected. Samuel (Jon-David Randle), the new homebuyer, puts it plainly: “There aren’t as many Black people as I thought there would be.” \u003c/p>\n"
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"innerHTML": "\n\u003cp>Across its 70-year timeline, from the 1950s to present day, the script is constant in its message, if a little hard to follow at times. The production comes alive when it reenacts the different parties hosted by Donte’s mother Ardella (Cathleen Riddley), providing a “nice place where colored folks can rest” at the end of a busy work week. Between these lively parties with loud jazz and busy dance numbers (with music by Othello Jefferson and choreography by the director, AeJay Antonis Marquis), there’s also a fight to save the district from encroaching redevelopment, and to protect Black residents from the removal that its Japanese residents had faced a few years earlier. \u003c/p>\n",
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"\n\u003cp>Across its 70-year timeline, from the 1950s to present day, the script is constant in its message, if a little hard to follow at times. The production comes alive when it reenacts the different parties hosted by Donte’s mother Ardella (Cathleen Riddley), providing a “nice place where colored folks can rest” at the end of a busy work week. Between these lively parties with loud jazz and busy dance numbers (with music by Othello Jefferson and choreography by the director, AeJay Antonis Marquis), there’s also a fight to save the district from encroaching redevelopment, and to protect Black residents from the removal that its Japanese residents had faced a few years earlier. \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/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932.jpg\" alt=\"\" class=\"wp-image-13994800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932-2048x1366.jpg 2048w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Doris (Imri Tate) speaks out against urban renewal and the displacement of the Fillmore’s Black community in SFBATCO’s ‘Every Saturday Night.’\u003ccite class=\"wp-inline-image-credit\"> (Alexa LexMex Treviño)\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/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932.jpg\" alt=\"\" class=\"wp-image-13994800\"/>\u003cfigcaption class=\"wp-element-caption\">Doris (Imri Tate) speaks out against urban renewal and the displacement of the Fillmore’s Black community in SFBATCO’s ‘Every Saturday Night.’\u003ccite class=\"wp-inline-image-credit\"> (Alexa LexMex Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Doris (Imri M. Tate) is crusader for this cause, and convinces Ardella to join her. (“I don’t want to be moved out of my home because somebody wants to bleach the Fillmoe like a damn shirt,” Doris says.) In the original song “For the Greater Good of the Neighborhood,” Doris pleads for Ardella to keep her home, and the audience gets immersed into an anti-redevelopment protest. \u003c/p>\n",
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"\n\u003cp>Doris (Imri M. Tate) is crusader for this cause, and convinces Ardella to join her. (“I don’t want to be moved out of my home because somebody wants to bleach the Fillmoe like a damn shirt,” Doris says.) In the original song “For the Greater Good of the Neighborhood,” Doris pleads for Ardella to keep her home, and the audience gets immersed into an anti-redevelopment protest. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Back to the present day, as Donte bonds with the new family’s teenage son, Adarè (Trevor Miller), similar efforts are underway. A “Western Addition Heritage Association” knocks on the door trying to purchase and flip the house, under the guise of keeping it in the community. \u003c/p>\n",
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"\n\u003cp>Back to the present day, as Donte bonds with the new family’s teenage son, Adarè (Trevor Miller), similar efforts are underway. A “Western Addition Heritage Association” knocks on the door trying to purchase and flip the house, under the guise of keeping it in the community. \u003c/p>\n"
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"innerHTML": "\n\u003cp>San Francisco is an ever-changing city, for better or for worse. In \u003cem>Every Saturday Night\u003c/em>, emotional and comedic performances bring the city’s history into the present day. “There’s still efforts to disappear and erase the Fillmoe,” Marquis said during a pre-show discussion on opening night. “We are trying to keep it alive.”\u003c/p>\n",
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"\n\u003cp>San Francisco is an ever-changing city, for better or for worse. In \u003cem>Every Saturday Night\u003c/em>, emotional and comedic performances bring the city’s history into the present day. “There’s still efforts to disappear and erase the Fillmoe,” Marquis said during a pre-show discussion on opening night. “We are trying to keep it alive.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>‘Every Saturday Night’ runs through Nov. 1 at The Strand (1127 Market St., San Francisco). \u003c/em>\u003ca href=\"https://www.act-sf.org/whats-on/activate/every-saturday-night\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>‘Every Saturday Night’ runs through Nov. 1 at The Strand (1127 Market St., San Francisco). \u003c/em>\u003ca href=\"https://www.act-sf.org/whats-on/activate/every-saturday-night\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n"
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"excerpt": "Full of vibrant jazz and activist camaraderie, this new musical brings the neighborhood’s history to life.",
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"title": "Review: ‘Every Saturday Night’ Captures a Fight for the Fillmore’s Soul | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In \u003cem>Every Saturday Night\u003c/em>, a world-premiere musical that opened Thursday in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>, a single mother living in the \u003ca href=\"https://www.kqed.org/arts/tag/fillmore\">Fillmore District\u003c/a> opens her old Victorian home to the Black community each week to keep the party going well after the clubs close. It’s the story of a time when the Fillmore was filled with jazz music, prosperous businesses and community.\u003c/p>\n\n\n\n\u003cp>Today, after so-called urban renewal in the 1970s decimated the cultural fabric of the neighborhood, and various attempts to recapture its “\u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">Harlem of the West\u003c/a>” vibrancy, that same area tells a very different story. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2500\" height=\"1667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec.jpg\" alt=\"\" class=\"wp-image-13994799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-29-1e9387ec-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\" />\u003cfigcaption class=\"wp-element-caption\">Donte (Darryl V. Jones), left, tells Adarè (Trevor Miller) about growing up in the Fillmore in SFBATCO’s ‘Every Saturday Night.’ (Alexa LexMex Treviño)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Cowritten by Michael Gene Sullivan and Danny Duncan and produced by SFBATCO, \u003cem>Every Saturday Night\u003c/em> casts the Fillmore itself as the show’s main character. Donte Coleman (Darryl V. Jones), tells stories of his childhood in the Fillmore to the teenage son of a new family looking to buy his home and move in. Having learned the history of the neighborhood, the family is shocked to see that it’s not what they expected. Samuel (Jon-David Randle), the new homebuyer, puts it plainly: “There aren’t as many Black people as I thought there would be.” \u003c/p>\n\n\n\n\u003cp>Across its 70-year timeline, from the 1950s to present day, the script is constant in its message, if a little hard to follow at times. The production comes alive when it reenacts the different parties hosted by Donte’s mother Ardella (Cathleen Riddley), providing a “nice place where colored folks can rest” at the end of a busy work week. Between these lively parties with loud jazz and busy dance numbers (with music by Othello Jefferson and choreography by the director, AeJay Antonis Marquis), there’s also a fight to save the district from encroaching redevelopment, and to protect Black residents from the removal that its Japanese residents had faced a few years earlier. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2500\" height=\"1667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932.jpg\" alt=\"\" class=\"wp-image-13994800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-82-d59f5932-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\" />\u003cfigcaption class=\"wp-element-caption\">Doris (Imri Tate) speaks out against urban renewal and the displacement of the Fillmore’s Black community in SFBATCO’s ‘Every Saturday Night.’ (Alexa LexMex Treviño)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Doris (Imri M. Tate) is crusader for this cause, and convinces Ardella to join her. (“I don’t want to be moved out of my home because somebody wants to bleach the Fillmoe like a damn shirt,” Doris says.) In the original song “For the Greater Good of the Neighborhood,” Doris pleads for Ardella to keep her home, and the audience gets immersed into an anti-redevelopment protest. \u003c/p>\n\n\n\n\u003cp>Back to the present day, as Donte bonds with the new family’s teenage son, Adarè (Trevor Miller), similar efforts are underway. A “Western Addition Heritage Association” knocks on the door trying to purchase and flip the house, under the guise of keeping it in the community. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2500\" height=\"1667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-51-44c859bd.jpg\" alt=\"\" class=\"wp-image-13994801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-51-44c859bd.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-51-44c859bd-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-51-44c859bd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-51-44c859bd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-51-44c859bd-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/10/EverySaturdayNightcAlexaLexMexTreviño-51-44c859bd-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\" />\u003cfigcaption class=\"wp-element-caption\">Young Donte (Jacob Henrie-Naffaa), center, and others dance the night away at Ardella’s after-hours joint in SFBATCO’s ‘Every Saturday Night.’ (Alexa LexMex Treviño)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>San Francisco is an ever-changing city, for better or for worse. In \u003cem>Every Saturday Night\u003c/em>, emotional and comedic performances bring the city’s history into the present day. “There’s still efforts to disappear and erase the Fillmoe,” Marquis said during a pre-show discussion on opening night. “We are trying to keep it alive.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>‘Every Saturday Night’ runs through Nov. 1 at The Strand (1127 Market St., San Francisco). \u003c/em>\u003ca href=\"https://www.act-sf.org/whats-on/activate/every-saturday-night\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "splash-city-movie-galaxy-brooks-berner-bipping-san-francisco",
"title": "In ‘Splash City,’ Actor Galaxy Brooks Brings Firsthand Knowledge of the Streets",
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"headTitle": "In ‘Splash City,’ Actor Galaxy Brooks Brings Firsthand Knowledge of the Streets | KQED",
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"content": "\u003cp>The crime drama \u003ca href=\"https://www.imdb.com/title/tt27666105/\">\u003cem>Splash City\u003c/em>\u003c/a> is a feature film with local star power, glossy cinematography and a dark storyline about an issue that has long plagued the Bay Area: \u003ca href=\"https://pitchfork.com/thepitch/let-me-show-you-how-to-bip-tracing-the-origins-of-hip-hop-favorite-new-word/\">bippin\u003c/a>‘.\u003c/p>\n\n\n\n\u003cp>Car windows are shattered. Backpacks are snatched. Underbuckets bend corners through busy San Francisco streets. There’s guns, sex, big money and high stakes. \u003cem>Splash City\u003c/em>, written and directed by \u003ca href=\"https://www.instagram.com/berner415/?hl=en\">Berner\u003c/a>, \u003ca href=\"https://www.imdb.com/name/nm6484571/?ref_=tt_ov_1_2\">Alex Ferrufino\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm7229790/?ref_=tt_ov_2_2\">David Mansanalez\u003c/a> (and distributed by Lionsgate), also features an affecting performance by Oakland lyricist \u003ca href=\"https://www.instagram.com/babygas/\">Baby Gas\u003c/a>, a cameo from Pinole-raised producer \u003ca href=\"https://www.kqed.org/arts/13971354/p-lo-for-the-soil-warriors-golden-state-entertainment-nba-all-star-weekend\">P-Lo\u003c/a> and a brief appearance by Fillmore rapper \u003ca href=\"https://www.instagram.com/mobetta__mochedda/?hl=en\">Ronski Mayfield\u003c/a>.\u003c/p>\n\n\n\n\u003cp>But it’s the film’s antagonist who embodies an archetype often seen in hood films. Through him, \u003cem>Splash City\u003c/em> brings into focus real-life issues caused by wealth inequality in the Bay Area.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01166R.jpg\" alt=\"\" class=\"wp-image-13991926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01166R.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01166R-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01166R-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01166R-1536x641.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Reed Shannon as Julian ‘Juju’ Johnson and Quincy ‘Galaxy’ Brooks as Darnell ‘Dolo’ Ferguson in ‘Splash City.’ (Courtesy of Lionsgate)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“It was a time in my life where I was waking up and bippin’ all day,” says \u003ca href=\"https://www.instagram.com/p/DbBmf7ovBO6/\">Quincy “Galaxy” Brooks\u003c/a> today. “That’s how I was getting my money to eat.”\u003c/p>\n\n\n\n\u003cp>Brooks, a 27 year-old rapper and son of San Francisco hip-hop legend \u003ca href=\"https://www.kqed.org/arts/tag/san-quinn\">San Quinn\u003c/a>, plays the menacing role of Darnell “Dolo” Ferguson in the film. As the ultimate bad guy, his character is a wolf in high-end clothing, tattoos and shiny jewels.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To prepare for the role, Brooks relied on his own lived experiences, and his mother’s mentality from a time when she, too, was forced to navigate all the streets entail. Lastly, Brooks says, he was heavily influenced by the iconic role Tupac played in 1992 film \u003cem>Juice\u003c/em>.\u003c/p>\n\n\n\n\u003cp>“I was like ‘I want make that new millennium 2026 Bishop,’” says Brooks, adding that he watched \u003cem>Juice\u003c/em> over a dozen times before taking the role of Dolo. In doing so, he saw beyond the ruthless character on the screen and identified with Tupac the person, a young rapper and actor influenced by the Bay’s culture. Tupac brought a certain “ummph” with him to the set of the film, says Brooks, and “that’s the same thing I wanted to do for Dolo.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00886R.jpg\" alt=\"\" class=\"wp-image-13991933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00886R.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00886R-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00886R-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00886R-1536x641.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Reed Shannon as Julian ‘Juju’ Johnson in ‘Splash City. ’ (Lionsgate)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In \u003cem>Splash City\u003c/em>, Dolo is a headstrong character who holds a boss-like influence in the community. He pays for a couple younger homies’ jewelry when their stolen credit card is declined. He also does scandalous stuff to the younger ring of thieves, cutting them short on loads of cash because he runs the operation.\u003c/p>\n\n\n\n\u003cp>As the film’s story unfolds, a chain of events pits Dolo against a childhood friend and rising hoop star, Elijah “Slim” Johnson (\u003ca href=\"https://www.imdb.com/name/nm7094722/?ref_=tt_cst_t_8\">Zach Sowers\u003c/a>). Eventually, Slim’s brother and the main protagonist of the film, Julian “Juju” Johnson (\u003ca href=\"https://www.imdb.com/name/nm5476739/?ref_=tt_cst_t_2\">Reed Shannon\u003c/a>), steps up to bring Dolo to justice — but not before Dolo and his hot temper wreak havoc on the community.\u003c/p>\n\n\n\n\u003cp>As the outspoken live wire of the crew, Dolo is an archetype that we’ve seen before. Similar to Bishop in \u003cem>Juice\u003c/em>, O-Dog in \u003cem>Menace II Society\u003c/em> or Bundy in \u003cem>Belly\u003c/em>, he’s a Black man who’s both charismatic and a crashout. Full of ego and rage, he overly flexes his power to get revenge on those who once made him feel powerless.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01655R.jpg\" alt=\"A young Black man in a beanie has a terrified look as a pistol is aimed at his face in a darkly-lit room\" class=\"wp-image-13991927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01655R.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01655R-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01655R-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01655R-1536x641.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Quincy ‘Galaxy’ Brooks as Darnell ‘Dolo’ Ferguson in ‘Splash City.’ Brooks, the son of San Francisco rapper San Quinn, drew on real-life experiences for the role. (Lionsgate)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Thanks to Brooks’ performance, even as Dolo goes off the deep end, his character retains a relatable humanity.\u003c/p>\n\n\n\n\u003cp>“\u003cem>I know that dude\u003c/em>,” Brooks says, explaining his familiarity with the role, which he landed in a circuitous way. Initially in contact with \u003ca href=\"https://www.instagram.com/berner415/?hl=en\">Berner\u003c/a> (founder of the Cookies cannabis brand and San Francisco hip-hop artist) to play the role of Preach in the film, he heard Dolo described as “a young street dude from the city — the wild one.” Brooks said to himself: “I feel like I do that real good.”\u003c/p>\n\n\n\n\u003cp>He and his younger brother Zakee “\u003ca href=\"https://www.instagram.com/h2othawave/\">H20\u003c/a>” Brooks, who raps with Brooks in a group called \u003ca href=\"https://www.youtube.com/watch?v=9JnWE3QX96U\">THA SOULJAS\u003c/a>, each auditioned multiple times before being awarded roles in the film. “I wasn’t \u003cem>that\u003c/em> deeply involved in the streets,” the older Brooks says, contrasting his life with Dolo’s.\u003c/p>\n\n\n\n\u003cp>In order to really tap into that cutthroat mentality, he looked to his mother, Cheryl-T.\u003c/p>\n\n\n\n\u003cp>“My mom was ruthless out here on the streets,” says Brooks, adding that she’s done it all, from robberies to theft, all as a means of survival.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://youtu.be/Vrze2vx3avI?si=O3TLrzX2trGkEztl\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>As a child, Brooks’ mom moved from New Orleans to the West Point housing projects in Bayview-Hunters Point. She later lived in the notorious Harbor Road projects before being kicked out of the house at age 13. She became a parent while still young, mothering two children before Brooks, plus his younger brother soon after.\u003c/p>\n\n\n\n\u003cp>As a mom, Brooks says, Cheryl-T stole school clothes to ensure the kids had fresh fits in the classroom. She took football pads from the store to make sure Brooks had the gear he needed when he stepped on the gridiron.\u003c/p>\n\n\n\n\n\n\u003cp>“My mom made everything happen, by any means necessary,” says Brooks. Even as she settled down and found legal employment, Brooks saw her adapt that same hard-won “I’m gonna do what I have to do to make sure my kids get by” mentality in the corporate world.\u003c/p>\n\n\n\n\u003cp>“And Dolo was that same type of dude,” Brooks says.\u003c/p>\n\n\n\n\u003cp>“He’s a dude of logic,” explains Brooks, adding that he’s also “a little bit of a dictator.” Despite Dolo’s immoral actions throughout the film, Brooks says, there’s a certain rationale to his logic, based upon the circumstances from which he comes.\u003c/p>\n\n\n\n\u003cp>Ultimately, Brooks says, Dolo’s downfall is that he wants it all. “He didn’t know how to be a team player,” Brooks tells me. “There \u003cem>was\u003c/em> an ‘I’ in ‘team’ for Dolo.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00165R.jpg\" alt=\"\" class=\"wp-image-13991932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00165R.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00165R-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00165R-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00165R-1536x641.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Reed Shannon as Julian ‘Juju’ Johnson and Zach Sowers as Elijah ‘Slim’ Johnson in ‘Splash City.’ (Lionsgate)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Even with Dolo’s snake-like mentality, many viewers may find themselves siding with him at times, much like Bundy in \u003cem>Belly\u003c/em> or Bishop in \u003cem>Juice\u003c/em>. \u003c/p>\n\n\n\n\u003cp>“I think we all have a little Bishop or O-Dog or Dolo in us,” says Brooks. A lot of folks have experienced the feeling of being pushed to the limit. “Especially as Black people, just because all the scrutiny and hardships. Dolo is just a young dude who’s been through hardships and isn’t turning down no more.”\u003c/p>\n\n\n\n\u003cp>What’s more human than navigating an oppressive system by taking vengeance out on those in close proximity? In the Bay Area, where the chasm between the haves and have nots is wider than the Salesforce Tower laying on its side, it’s no wonder that people wielding a spark plug are preying on the parked vehicles of others.\u003c/p>\n\n\n\n\n\n\u003cp>Bippin’ has been around for years. At this point, if you haven’t had your car window busted, it means you ride a bike to get around. People readily live in worry that they might be the next victim. It’s nearly impossible to get audiences to feel empathy for the head of a crime syndicate focused on burglarizing vehicles.\u003c/p>\n\n\n\n\u003cp>Dolo is a foul snake. But somehow, in \u003cem>Splash City\u003c/em>, you can \u003cem>lightweight\u003c/em> understand where he’s coming from.\u003c/p>\n\n\n\n\u003cp>“I think the reason he’s got that likability,” Brooks says, reflecting on his role, “is because I was able to add a little bit of myself in there.” Brooks credits the directors for allowing him to bring his full self to his first acting role, and for pushing him to “humanize” Dolo.\u003c/p>\n\n\n\n\u003cp>“I didn’t want him to be a ruthless murderer,” says Brooks. “He has a conscience too.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>‘\u003cem>Splash City’ is currently showing at select theaters nationwide, with upcoming screenings on \u003ca href=\"https://www.amctheatres.com/showtimes/145059063/seats\">Friday, July 31\u003c/a> in San José and \u003ca href=\"https://www.amctheatres.com/showtimes/145059056/seats\">Saturday, Aug. 1\u003c/a> in San Francisco. \u003ca href=\"https://www.instagram.com/splashcitythemovie/\">Screening times and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Car windows are shattered. Backpacks are snatched. Underbuckets bend corners through busy San Francisco streets. There’s guns, sex, big money and high stakes. \u003cem>Splash City\u003c/em>, written and directed by \u003ca href=\"https://www.instagram.com/berner415/?hl=en\">Berner\u003c/a>, \u003ca href=\"https://www.imdb.com/name/nm6484571/?ref_=tt_ov_1_2\">Alex Ferrufino\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm7229790/?ref_=tt_ov_2_2\">David Mansanalez\u003c/a> (and distributed by Lionsgate), also features an affecting performance by Oakland lyricist \u003ca href=\"https://www.instagram.com/babygas/\">Baby Gas\u003c/a>, a cameo from Pinole-raised producer \u003ca href=\"https://www.kqed.org/arts/13971354/p-lo-for-the-soil-warriors-golden-state-entertainment-nba-all-star-weekend\">P-Lo\u003c/a> and a brief appearance by Fillmore rapper \u003ca href=\"https://www.instagram.com/mobetta__mochedda/?hl=en\">Ronski Mayfield\u003c/a>.\u003c/p>\n",
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"\n\u003cp>Car windows are shattered. Backpacks are snatched. Underbuckets bend corners through busy San Francisco streets. There’s guns, sex, big money and high stakes. \u003cem>Splash City\u003c/em>, written and directed by \u003ca href=\"https://www.instagram.com/berner415/?hl=en\">Berner\u003c/a>, \u003ca href=\"https://www.imdb.com/name/nm6484571/?ref_=tt_ov_1_2\">Alex Ferrufino\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm7229790/?ref_=tt_ov_2_2\">David Mansanalez\u003c/a> (and distributed by Lionsgate), also features an affecting performance by Oakland lyricist \u003ca href=\"https://www.instagram.com/babygas/\">Baby Gas\u003c/a>, a cameo from Pinole-raised producer \u003ca href=\"https://www.kqed.org/arts/13971354/p-lo-for-the-soil-warriors-golden-state-entertainment-nba-all-star-weekend\">P-Lo\u003c/a> and a brief appearance by Fillmore rapper \u003ca href=\"https://www.instagram.com/mobetta__mochedda/?hl=en\">Ronski Mayfield\u003c/a>.\u003c/p>\n"
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"innerHTML": "\n\u003cp>But it’s the film’s antagonist who embodies an archetype often seen in hood films. Through him, \u003cem>Splash City\u003c/em> brings into focus real-life issues caused by wealth inequality in the Bay Area.\u003c/p>\n",
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"\n\u003cp>But it’s the film’s antagonist who embodies an archetype often seen in hood films. Through him, \u003cem>Splash City\u003c/em> brings into focus real-life issues caused by wealth inequality in the Bay Area.\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/2/2026/07/SPLASHCITY_SG_01166R.jpg\" alt=\"\" class=\"wp-image-13991926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01166R.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01166R-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01166R-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01166R-1536x641.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Reed Shannon as Julian ‘Juju’ Johnson and Quincy ‘Galaxy’ Brooks as Darnell ‘Dolo’ Ferguson in ‘Splash City.’\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/2/2026/07/SPLASHCITY_SG_01166R.jpg\" alt=\"\" class=\"wp-image-13991926\"/>\u003cfigcaption class=\"wp-element-caption\">Reed Shannon as Julian ‘Juju’ Johnson and Quincy ‘Galaxy’ Brooks as Darnell ‘Dolo’ Ferguson in ‘Splash City.’\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>“It was a time in my life where I was waking up and bippin’ all day,” says \u003ca href=\"https://www.instagram.com/p/DbBmf7ovBO6/\">Quincy “Galaxy” Brooks\u003c/a> today. “That’s how I was getting my money to eat.”\u003c/p>\n",
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"\n\u003cp>“It was a time in my life where I was waking up and bippin’ all day,” says \u003ca href=\"https://www.instagram.com/p/DbBmf7ovBO6/\">Quincy “Galaxy” Brooks\u003c/a> today. “That’s how I was getting my money to eat.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Brooks, a 27 year-old rapper and son of San Francisco hip-hop legend \u003ca href=\"https://www.kqed.org/arts/tag/san-quinn\">San Quinn\u003c/a>, plays the menacing role of Darnell “Dolo” Ferguson in the film. As the ultimate bad guy, his character is a wolf in high-end clothing, tattoos and shiny jewels.\u003c/p>\n",
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"\n\u003cp>Brooks, a 27 year-old rapper and son of San Francisco hip-hop legend \u003ca href=\"https://www.kqed.org/arts/tag/san-quinn\">San Quinn\u003c/a>, plays the menacing role of Darnell “Dolo” Ferguson in the film. As the ultimate bad guy, his character is a wolf in high-end clothing, tattoos and shiny jewels.\u003c/p>\n"
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"innerHTML": "\n\u003cp>To prepare for the role, Brooks relied on his own lived experiences, and his mother’s mentality from a time when she, too, was forced to navigate all the streets entail. Lastly, Brooks says, he was heavily influenced by the iconic role Tupac played in 1992 film \u003cem>Juice\u003c/em>.\u003c/p>\n",
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"\n\u003cp>To prepare for the role, Brooks relied on his own lived experiences, and his mother’s mentality from a time when she, too, was forced to navigate all the streets entail. Lastly, Brooks says, he was heavily influenced by the iconic role Tupac played in 1992 film \u003cem>Juice\u003c/em>.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“I was like ‘I want make that new millennium 2026 Bishop,’” says Brooks, adding that he watched \u003cem>Juice\u003c/em> over a dozen times before taking the role of Dolo. In doing so, he saw beyond the ruthless character on the screen and identified with Tupac the person, a young rapper and actor influenced by the Bay’s culture. Tupac brought a certain “ummph” with him to the set of the film, says Brooks, and “that’s the same thing I wanted to do for Dolo.”\u003c/p>\n",
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"\n\u003cp>“I was like ‘I want make that new millennium 2026 Bishop,’” says Brooks, adding that he watched \u003cem>Juice\u003c/em> over a dozen times before taking the role of Dolo. In doing so, he saw beyond the ruthless character on the screen and identified with Tupac the person, a young rapper and actor influenced by the Bay’s culture. Tupac brought a certain “ummph” with him to the set of the film, says Brooks, and “that’s the same thing I wanted to do for Dolo.”\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/2/2026/07/SPLASHCITY_SG_00886R.jpg\" alt=\"\" class=\"wp-image-13991933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00886R.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00886R-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00886R-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00886R-1536x641.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Reed Shannon as Julian ‘Juju’ Johnson in ‘Splash City. ’\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/2/2026/07/SPLASHCITY_SG_00886R.jpg\" alt=\"\" class=\"wp-image-13991933\"/>\u003cfigcaption class=\"wp-element-caption\">Reed Shannon as Julian ‘Juju’ Johnson in ‘Splash City. ’\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>In \u003cem>Splash City\u003c/em>, Dolo is a headstrong character who holds a boss-like influence in the community. He pays for a couple younger homies’ jewelry when their stolen credit card is declined. He also does scandalous stuff to the younger ring of thieves, cutting them short on loads of cash because he runs the operation.\u003c/p>\n",
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"\n\u003cp>In \u003cem>Splash City\u003c/em>, Dolo is a headstrong character who holds a boss-like influence in the community. He pays for a couple younger homies’ jewelry when their stolen credit card is declined. He also does scandalous stuff to the younger ring of thieves, cutting them short on loads of cash because he runs the operation.\u003c/p>\n"
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"innerHTML": "\n\u003cp>As the film’s story unfolds, a chain of events pits Dolo against a childhood friend and rising hoop star, Elijah “Slim” Johnson (\u003ca href=\"https://www.imdb.com/name/nm7094722/?ref_=tt_cst_t_8\">Zach Sowers\u003c/a>). Eventually, Slim’s brother and the main protagonist of the film, Julian “Juju” Johnson (\u003ca href=\"https://www.imdb.com/name/nm5476739/?ref_=tt_cst_t_2\">Reed Shannon\u003c/a>), steps up to bring Dolo to justice — but not before Dolo and his hot temper wreak havoc on the community.\u003c/p>\n",
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"\n\u003cp>As the film’s story unfolds, a chain of events pits Dolo against a childhood friend and rising hoop star, Elijah “Slim” Johnson (\u003ca href=\"https://www.imdb.com/name/nm7094722/?ref_=tt_cst_t_8\">Zach Sowers\u003c/a>). Eventually, Slim’s brother and the main protagonist of the film, Julian “Juju” Johnson (\u003ca href=\"https://www.imdb.com/name/nm5476739/?ref_=tt_cst_t_2\">Reed Shannon\u003c/a>), steps up to bring Dolo to justice — but not before Dolo and his hot temper wreak havoc on the community.\u003c/p>\n"
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"innerHTML": "\n\u003cp>As the outspoken live wire of the crew, Dolo is an archetype that we’ve seen before. Similar to Bishop in \u003cem>Juice\u003c/em>, O-Dog in \u003cem>Menace II Society\u003c/em> or Bundy in \u003cem>Belly\u003c/em>, he’s a Black man who’s both charismatic and a crashout. Full of ego and rage, he overly flexes his power to get revenge on those who once made him feel powerless.\u003c/p>\n",
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"\n\u003cp>As the outspoken live wire of the crew, Dolo is an archetype that we’ve seen before. Similar to Bishop in \u003cem>Juice\u003c/em>, O-Dog in \u003cem>Menace II Society\u003c/em> or Bundy in \u003cem>Belly\u003c/em>, he’s a Black man who’s both charismatic and a crashout. Full of ego and rage, he overly flexes his power to get revenge on those who once made him feel powerless.\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/2/2026/07/SPLASHCITY_SG_01655R.jpg\" alt=\"A young Black man in a beanie has a terrified look as a pistol is aimed at his face in a darkly-lit room\" class=\"wp-image-13991927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01655R.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01655R-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01655R-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01655R-1536x641.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Quincy ‘Galaxy’ Brooks as Darnell ‘Dolo’ Ferguson in ‘Splash City.’ Brooks, the son of San Francisco rapper San Quinn, drew on real-life experiences for the role.\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/2/2026/07/SPLASHCITY_SG_01655R.jpg\" alt=\"A young Black man in a beanie has a terrified look as a pistol is aimed at his face in a darkly-lit room\" class=\"wp-image-13991927\"/>\u003cfigcaption class=\"wp-element-caption\">Quincy ‘Galaxy’ Brooks as Darnell ‘Dolo’ Ferguson in ‘Splash City.’ Brooks, the son of San Francisco rapper San Quinn, drew on real-life experiences for the role.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Thanks to Brooks’ performance, even as Dolo goes off the deep end, his character retains a relatable humanity.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“\u003cem>I know that dude\u003c/em>,” Brooks says, explaining his familiarity with the role, which he landed in a circuitous way. Initially in contact with \u003ca href=\"https://www.instagram.com/berner415/?hl=en\">Berner\u003c/a> (founder of the Cookies cannabis brand and San Francisco hip-hop artist) to play the role of Preach in the film, he heard Dolo described as “a young street dude from the city — the wild one.” Brooks said to himself: “I feel like I do that real good.”\u003c/p>\n",
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"\n\u003cp>“\u003cem>I know that dude\u003c/em>,” Brooks says, explaining his familiarity with the role, which he landed in a circuitous way. Initially in contact with \u003ca href=\"https://www.instagram.com/berner415/?hl=en\">Berner\u003c/a> (founder of the Cookies cannabis brand and San Francisco hip-hop artist) to play the role of Preach in the film, he heard Dolo described as “a young street dude from the city — the wild one.” Brooks said to himself: “I feel like I do that real good.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>He and his younger brother Zakee “\u003ca href=\"https://www.instagram.com/h2othawave/\">H20\u003c/a>” Brooks, who raps with Brooks in a group called \u003ca href=\"https://www.youtube.com/watch?v=9JnWE3QX96U\">THA SOULJAS\u003c/a>, each auditioned multiple times before being awarded roles in the film. “I wasn’t \u003cem>that\u003c/em> deeply involved in the streets,” the older Brooks says, contrasting his life with Dolo’s.\u003c/p>\n",
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"\n\u003cp>He and his younger brother Zakee “\u003ca href=\"https://www.instagram.com/h2othawave/\">H20\u003c/a>” Brooks, who raps with Brooks in a group called \u003ca href=\"https://www.youtube.com/watch?v=9JnWE3QX96U\">THA SOULJAS\u003c/a>, each auditioned multiple times before being awarded roles in the film. “I wasn’t \u003cem>that\u003c/em> deeply involved in the streets,” the older Brooks says, contrasting his life with Dolo’s.\u003c/p>\n"
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"innerHTML": "\n\u003cp>In order to really tap into that cutthroat mentality, he looked to his mother, Cheryl-T.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“My mom was ruthless out here on the streets,” says Brooks, adding that she’s done it all, from robberies to theft, all as a means of survival.\u003c/p>\n",
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"innerHTML": "\n\u003cp>As a child, Brooks’ mom moved from New Orleans to the West Point housing projects in Bayview-Hunters Point. She later lived in the notorious Harbor Road projects before being kicked out of the house at age 13. She became a parent while still young, mothering two children before Brooks, plus his younger brother soon after.\u003c/p>\n",
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"innerHTML": "\n\u003cp>As a mom, Brooks says, Cheryl-T stole school clothes to ensure the kids had fresh fits in the classroom. She took football pads from the store to make sure Brooks had the gear he needed when he stepped on the gridiron.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“My mom made everything happen, by any means necessary,” says Brooks. Even as she settled down and found legal employment, Brooks saw her adapt that same hard-won “I’m gonna do what I have to do to make sure my kids get by” mentality in the corporate world.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“And Dolo was that same type of dude,” Brooks says.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“He’s a dude of logic,” explains Brooks, adding that he’s also “a little bit of a dictator.” Despite Dolo’s immoral actions throughout the film, Brooks says, there’s a certain rationale to his logic, based upon the circumstances from which he comes.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Ultimately, Brooks says, Dolo’s downfall is that he wants it all. “He didn’t know how to be a team player,” Brooks tells me. “There \u003cem>was\u003c/em> an ‘I’ in ‘team’ for Dolo.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Even with Dolo’s snake-like mentality, many viewers may find themselves siding with him at times, much like Bundy in \u003cem>Belly\u003c/em> or Bishop in \u003cem>Juice\u003c/em>. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“I think we all have a little Bishop or O-Dog or Dolo in us,” says Brooks. A lot of folks have experienced the feeling of being pushed to the limit. “Especially as Black people, just because all the scrutiny and hardships. Dolo is just a young dude who’s been through hardships and isn’t turning down no more.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>What’s more human than navigating an oppressive system by taking vengeance out on those in close proximity? In the Bay Area, where the chasm between the haves and have nots is wider than the Salesforce Tower laying on its side, it’s no wonder that people wielding a spark plug are preying on the parked vehicles of others.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Bippin’ has been around for years. At this point, if you haven’t had your car window busted, it means you ride a bike to get around. People readily live in worry that they might be the next victim. It’s nearly impossible to get audiences to feel empathy for the head of a crime syndicate focused on burglarizing vehicles.\u003c/p>\n",
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"\n\u003cp>Bippin’ has been around for years. At this point, if you haven’t had your car window busted, it means you ride a bike to get around. People readily live in worry that they might be the next victim. It’s nearly impossible to get audiences to feel empathy for the head of a crime syndicate focused on burglarizing vehicles.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Dolo is a foul snake. But somehow, in \u003cem>Splash City\u003c/em>, you can \u003cem>lightweight\u003c/em> understand where he’s coming from.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I think the reason he’s got that likability,” Brooks says, reflecting on his role, “is because I was able to add a little bit of myself in there.” Brooks credits the directors for allowing him to bring his full self to his first acting role, and for pushing him to “humanize” Dolo.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I didn’t want him to be a ruthless murderer,” says Brooks. “He has a conscience too.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>‘\u003cem>Splash City’ is currently showing at select theaters nationwide, with upcoming screenings on \u003ca href=\"https://www.amctheatres.com/showtimes/145059063/seats\">Friday, July 31\u003c/a> in San José and \u003ca href=\"https://www.amctheatres.com/showtimes/145059056/seats\">Saturday, Aug. 1\u003c/a> in San Francisco. \u003ca href=\"https://www.instagram.com/splashcitythemovie/\">Screening times and more information here\u003c/a>.\u003c/em>\u003c/p>\n",
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"\n\u003cp>‘\u003cem>Splash City’ is currently showing at select theaters nationwide, with upcoming screenings on \u003ca href=\"https://www.amctheatres.com/showtimes/145059063/seats\">Friday, July 31\u003c/a> in San José and \u003ca href=\"https://www.amctheatres.com/showtimes/145059056/seats\">Saturday, Aug. 1\u003c/a> in San Francisco. \u003ca href=\"https://www.instagram.com/splashcitythemovie/\">Screening times and more information here\u003c/a>.\u003c/em>\u003c/p>\n"
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"excerpt": "The rapper’s empathetic performance helps drive a new crime drama about the life of bippers in SF.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The crime drama \u003ca href=\"https://www.imdb.com/title/tt27666105/\">\u003cem>Splash City\u003c/em>\u003c/a> is a feature film with local star power, glossy cinematography and a dark storyline about an issue that has long plagued the Bay Area: \u003ca href=\"https://pitchfork.com/thepitch/let-me-show-you-how-to-bip-tracing-the-origins-of-hip-hop-favorite-new-word/\">bippin\u003c/a>‘.\u003c/p>\n\n\n\n\u003cp>Car windows are shattered. Backpacks are snatched. Underbuckets bend corners through busy San Francisco streets. There’s guns, sex, big money and high stakes. \u003cem>Splash City\u003c/em>, written and directed by \u003ca href=\"https://www.instagram.com/berner415/?hl=en\">Berner\u003c/a>, \u003ca href=\"https://www.imdb.com/name/nm6484571/?ref_=tt_ov_1_2\">Alex Ferrufino\u003c/a> and \u003ca href=\"https://www.imdb.com/name/nm7229790/?ref_=tt_ov_2_2\">David Mansanalez\u003c/a> (and distributed by Lionsgate), also features an affecting performance by Oakland lyricist \u003ca href=\"https://www.instagram.com/babygas/\">Baby Gas\u003c/a>, a cameo from Pinole-raised producer \u003ca href=\"https://www.kqed.org/arts/13971354/p-lo-for-the-soil-warriors-golden-state-entertainment-nba-all-star-weekend\">P-Lo\u003c/a> and a brief appearance by Fillmore rapper \u003ca href=\"https://www.instagram.com/mobetta__mochedda/?hl=en\">Ronski Mayfield\u003c/a>.\u003c/p>\n\n\n\n\u003cp>But it’s the film’s antagonist who embodies an archetype often seen in hood films. Through him, \u003cem>Splash City\u003c/em> brings into focus real-life issues caused by wealth inequality in the Bay Area.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01166R.jpg\" alt=\"\" class=\"wp-image-13991926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01166R.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01166R-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01166R-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01166R-1536x641.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Reed Shannon as Julian ‘Juju’ Johnson and Quincy ‘Galaxy’ Brooks as Darnell ‘Dolo’ Ferguson in ‘Splash City.’ (Courtesy of Lionsgate)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“It was a time in my life where I was waking up and bippin’ all day,” says \u003ca href=\"https://www.instagram.com/p/DbBmf7ovBO6/\">Quincy “Galaxy” Brooks\u003c/a> today. “That’s how I was getting my money to eat.”\u003c/p>\n\n\n\n\u003cp>Brooks, a 27 year-old rapper and son of San Francisco hip-hop legend \u003ca href=\"https://www.kqed.org/arts/tag/san-quinn\">San Quinn\u003c/a>, plays the menacing role of Darnell “Dolo” Ferguson in the film. As the ultimate bad guy, his character is a wolf in high-end clothing, tattoos and shiny jewels.\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>To prepare for the role, Brooks relied on his own lived experiences, and his mother’s mentality from a time when she, too, was forced to navigate all the streets entail. Lastly, Brooks says, he was heavily influenced by the iconic role Tupac played in 1992 film \u003cem>Juice\u003c/em>.\u003c/p>\n\n\n\n\u003cp>“I was like ‘I want make that new millennium 2026 Bishop,’” says Brooks, adding that he watched \u003cem>Juice\u003c/em> over a dozen times before taking the role of Dolo. In doing so, he saw beyond the ruthless character on the screen and identified with Tupac the person, a young rapper and actor influenced by the Bay’s culture. Tupac brought a certain “ummph” with him to the set of the film, says Brooks, and “that’s the same thing I wanted to do for Dolo.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00886R.jpg\" alt=\"\" class=\"wp-image-13991933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00886R.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00886R-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00886R-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00886R-1536x641.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Reed Shannon as Julian ‘Juju’ Johnson in ‘Splash City. ’ (Lionsgate)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In \u003cem>Splash City\u003c/em>, Dolo is a headstrong character who holds a boss-like influence in the community. He pays for a couple younger homies’ jewelry when their stolen credit card is declined. He also does scandalous stuff to the younger ring of thieves, cutting them short on loads of cash because he runs the operation.\u003c/p>\n\n\n\n\u003cp>As the film’s story unfolds, a chain of events pits Dolo against a childhood friend and rising hoop star, Elijah “Slim” Johnson (\u003ca href=\"https://www.imdb.com/name/nm7094722/?ref_=tt_cst_t_8\">Zach Sowers\u003c/a>). Eventually, Slim’s brother and the main protagonist of the film, Julian “Juju” Johnson (\u003ca href=\"https://www.imdb.com/name/nm5476739/?ref_=tt_cst_t_2\">Reed Shannon\u003c/a>), steps up to bring Dolo to justice — but not before Dolo and his hot temper wreak havoc on the community.\u003c/p>\n\n\n\n\u003cp>As the outspoken live wire of the crew, Dolo is an archetype that we’ve seen before. Similar to Bishop in \u003cem>Juice\u003c/em>, O-Dog in \u003cem>Menace II Society\u003c/em> or Bundy in \u003cem>Belly\u003c/em>, he’s a Black man who’s both charismatic and a crashout. Full of ego and rage, he overly flexes his power to get revenge on those who once made him feel powerless.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01655R.jpg\" alt=\"A young Black man in a beanie has a terrified look as a pistol is aimed at his face in a darkly-lit room\" class=\"wp-image-13991927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01655R.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01655R-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01655R-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_01655R-1536x641.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Quincy ‘Galaxy’ Brooks as Darnell ‘Dolo’ Ferguson in ‘Splash City.’ Brooks, the son of San Francisco rapper San Quinn, drew on real-life experiences for the role. (Lionsgate)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Thanks to Brooks’ performance, even as Dolo goes off the deep end, his character retains a relatable humanity.\u003c/p>\n\n\n\n\u003cp>“\u003cem>I know that dude\u003c/em>,” Brooks says, explaining his familiarity with the role, which he landed in a circuitous way. Initially in contact with \u003ca href=\"https://www.instagram.com/berner415/?hl=en\">Berner\u003c/a> (founder of the Cookies cannabis brand and San Francisco hip-hop artist) to play the role of Preach in the film, he heard Dolo described as “a young street dude from the city — the wild one.” Brooks said to himself: “I feel like I do that real good.”\u003c/p>\n\n\n\n\u003cp>He and his younger brother Zakee “\u003ca href=\"https://www.instagram.com/h2othawave/\">H20\u003c/a>” Brooks, who raps with Brooks in a group called \u003ca href=\"https://www.youtube.com/watch?v=9JnWE3QX96U\">THA SOULJAS\u003c/a>, each auditioned multiple times before being awarded roles in the film. “I wasn’t \u003cem>that\u003c/em> deeply involved in the streets,” the older Brooks says, contrasting his life with Dolo’s.\u003c/p>\n\n\n\n\u003cp>In order to really tap into that cutthroat mentality, he looked to his mother, Cheryl-T.\u003c/p>\n\n\n\n\u003cp>“My mom was ruthless out here on the streets,” says Brooks, adding that she’s done it all, from robberies to theft, all as a means of survival.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\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/Vrze2vx3avI'\n title='//www.youtube.com/embed/Vrze2vx3avI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>As a child, Brooks’ mom moved from New Orleans to the West Point housing projects in Bayview-Hunters Point. She later lived in the notorious Harbor Road projects before being kicked out of the house at age 13. She became a parent while still young, mothering two children before Brooks, plus his younger brother soon after.\u003c/p>\n\n\n\n\u003cp>As a mom, Brooks says, Cheryl-T stole school clothes to ensure the kids had fresh fits in the classroom. She took football pads from the store to make sure Brooks had the gear he needed when he stepped on the gridiron.\u003c/p>\n\n\n\n\n\n\u003cp>“My mom made everything happen, by any means necessary,” says Brooks. Even as she settled down and found legal employment, Brooks saw her adapt that same hard-won “I’m gonna do what I have to do to make sure my kids get by” mentality in the corporate world.\u003c/p>\n\n\n\n\u003cp>“And Dolo was that same type of dude,” Brooks says.\u003c/p>\n\n\n\n\u003cp>“He’s a dude of logic,” explains Brooks, adding that he’s also “a little bit of a dictator.” Despite Dolo’s immoral actions throughout the film, Brooks says, there’s a certain rationale to his logic, based upon the circumstances from which he comes.\u003c/p>\n\n\n\n\u003cp>Ultimately, Brooks says, Dolo’s downfall is that he wants it all. “He didn’t know how to be a team player,” Brooks tells me. “There \u003cem>was\u003c/em> an ‘I’ in ‘team’ for Dolo.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"834\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00165R.jpg\" alt=\"\" class=\"wp-image-13991932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00165R.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00165R-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00165R-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/SPLASHCITY_SG_00165R-1536x641.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Reed Shannon as Julian ‘Juju’ Johnson and Zach Sowers as Elijah ‘Slim’ Johnson in ‘Splash City.’ (Lionsgate)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Even with Dolo’s snake-like mentality, many viewers may find themselves siding with him at times, much like Bundy in \u003cem>Belly\u003c/em> or Bishop in \u003cem>Juice\u003c/em>. \u003c/p>\n\n\n\n\u003cp>“I think we all have a little Bishop or O-Dog or Dolo in us,” says Brooks. A lot of folks have experienced the feeling of being pushed to the limit. “Especially as Black people, just because all the scrutiny and hardships. Dolo is just a young dude who’s been through hardships and isn’t turning down no more.”\u003c/p>\n\n\n\n\u003cp>What’s more human than navigating an oppressive system by taking vengeance out on those in close proximity? In the Bay Area, where the chasm between the haves and have nots is wider than the Salesforce Tower laying on its side, it’s no wonder that people wielding a spark plug are preying on the parked vehicles of others.\u003c/p>\n\n\n\n\n\n\u003cp>Bippin’ has been around for years. At this point, if you haven’t had your car window busted, it means you ride a bike to get around. People readily live in worry that they might be the next victim. It’s nearly impossible to get audiences to feel empathy for the head of a crime syndicate focused on burglarizing vehicles.\u003c/p>\n\n\n\n\u003cp>Dolo is a foul snake. But somehow, in \u003cem>Splash City\u003c/em>, you can \u003cem>lightweight\u003c/em> understand where he’s coming from.\u003c/p>\n\n\n\n\u003cp>“I think the reason he’s got that likability,” Brooks says, reflecting on his role, “is because I was able to add a little bit of myself in there.” Brooks credits the directors for allowing him to bring his full self to his first acting role, and for pushing him to “humanize” Dolo.\u003c/p>\n\n\n\n\u003cp>“I didn’t want him to be a ruthless murderer,” says Brooks. “He has a conscience too.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>‘\u003cem>Splash City’ is currently showing at select theaters nationwide, with upcoming screenings on \u003ca href=\"https://www.amctheatres.com/showtimes/145059063/seats\">Friday, July 31\u003c/a> in San José and \u003ca href=\"https://www.amctheatres.com/showtimes/145059056/seats\">Saturday, Aug. 1\u003c/a> in San Francisco. \u003ca href=\"https://www.instagram.com/splashcitythemovie/\">Screening times and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-fillmore-district-heritage-center-reopening",
"title": "San Francisco’s Fillmore District Looks Toward Its Next Heyday",
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"headTitle": "San Francisco’s Fillmore District Looks Toward Its Next Heyday | KQED",
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"content": "\u003cp>The sun was out in San Francisco on the Fourth of July, and the corner of Fillmore and Eddy was alive. People danced in the street as DJs spun; the Church of St. John Coltrane Band filled the air with spiritual jazz; and vendors lined the block.\u003c/p>\n\n\n\n\u003cp>Inside the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Heritage Center\u003c/a>, a sound healing session, film screening and a fireside chat about building bridges across race unfolded simultaneously. Volunteers kept everything moving. Ace Washington, the Fillmore’s longtime corridor ambassador, worked the crowd, moving between the street and the building. Entrepreneur and community organizer Linda Parker Pennington greeted guests as they arrived. It felt less like a reopening and more like a family reunion.\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/2/2026/07/20260704_FillmoreHC_EG_49_qed.jpg\" alt=\"\" class=\"wp-image-13991352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Austyn Johnson, 20, right, and brother Ashton Johnson, 15, do the Cupid Shuffle during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. The pair flew in from Tennessee with their family for the festival. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Some people brought lawn chairs, and you don’t bring a lawn chair to a ribbon-cutting. You bring one to a place you intend to stay a while. For the first time in years, the Fillmore Heritage Center wasn’t simply open. It seemed to belong to the neighborhood again, if only for an afternoon. On a corridor where so much has been lost, the Fillmore’s Black community was unmistakably still present.\u003c/p>\n\n\n\n\u003cp>The weekend marked a new phase in the Heritage Center’s reactivation. The July 4 programming was not a one-off, nor was it a permanent reopening. It was part of a temporary activation period: Through December, community organizations and artists will be invited to propose public-facing events as the city assesses the building and develops options for its long-term future. What remains unsettled is who will shape what comes next.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">The Fillmore’s deep cultural legacy\u003c/h2>\n\n\n\n\u003cp>The Fillmore has had an outsized impact on San Francisco’s culture, but the neighborhood has also faced major challenges. \u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ask anyone who has loved the Fillmore long enough, and they’ll name a different heyday: the \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">Harlem of the West years\u003c/a>, when Billie Holiday and John Coltrane performed in its jazz clubs; the 1990s, when \u003ca href=\"https://www.sfgate.com/crime/article/for-s-f-rappers-another-dream-deferred-2560404.php\">“Fillmoe” artists\u003c/a> like San Quinn, JT the Bigga Figga and Rappin’ 4-Tay \u003ca href=\"https://www.kqed.org/arts/13895586/a-salute-to-san-francisco-rap\">built a hip-hop legacy\u003c/a>; or the 2000s, when Yoshi’s and 1300 on Fillmore made the corridor buzz with concert- and restaurant-goers.\u003c/p>\n\n\n\n\u003cp>The danger is letting those memories become a ceiling, turning a neighborhood into a museum instead of a community. The advocates working to bring the Heritage Center back aren’t trying to recreate 1958, 1998 or 2008. They’re trying to build a version of the Fillmore that they hope will one day become someone else’s favorite era.\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/2/2026/07/20260704_FillmoreHC_EG_13_qed.jpg\" alt=\"\" class=\"wp-image-13991372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Fernay McPherson, chef and owner of Minnie Bell’s Soul Movement, said she wants to see the city implement community input for the Fillmore Heritage Center “so that residents … don’t feel let down.”\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Chef and business owner Fernay McPherson, who runs Minnie Bell’s Soul Movement and serves on the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Community Action Plan committee\u003c/a>, sees that future already taking shape. “We are definitely working on the new heyday, and it will happen,” she said. “I’m not going to say what was here, because we’re still here. We’re just fighting to make our presence known.”\u003c/p>\n\n\n\n\u003cp>The Fillmore Heritage Center opened in 2007 as an attempt at restitution in concrete and steel. The complex, which cost more than $80 million, was built on land shaped by urban renewal, which displaced thousands of Black residents and hundreds of businesses beginning in the 1960s.\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/2/2026/07/20260704_FillmoreHC_EG_04_qed.jpg\" alt=\"\" class=\"wp-image-13991343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">People walk past the Fillmore Heritage Center on Fillmore Street in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For a moment, it was the cultural and economic anchor the neighborhood had been promised. Then the unraveling came in stages: Yoshi’s San Francisco filed for bankruptcy reorganization in 2012 and closed in 2014. Its replacement, The Addition, closed within months of opening — and the city took over the building’s commercial spaces in 2015, after developer \u003ca href=\"https://www.kqed.org/arts/13973221/fillmore-heritage-center-michael-johnson-settlement\">Michael Johnson\u003c/a> defaulted on a $5.5 million city loan. By 2017, 1300 on Fillmore, the last holdout, was gone too — tenants worn down by the building’s high operating costs and the weight of a neighborhood’s expectations.\u003c/p>\n\n\n\n\u003cp>For years afterward, the building sat at the center of a long, unresolved dispute. A 2017 attempt to sell it collapsed when \u003ca href=\"https://www.sfgate.com/bayarea/article/Panel-unimpressed-by-visions-rejects-bidders-12328294.php\">no bidder met the community standards\u003c/a> attached to the sale. Proposals came and went, and COVID consumed what remained of the momentum.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Bringing life back to the Fillmore Heritage Center\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>This June, the Heritage Center’s doors began to crack open during Juneteenth celebrations, offering festival support space and a venue for the Wesley Johnson White Horse Awards honoring Black community leaders. Then, over the Fourth of July weekend, came the Dream Center — the first full weekend of public-facing programming in the building’s current activation period.\u003c/p>\n\n\n\n\u003cp>Organized by Linda Parker Pennington, an early investor in Yoshi’s and former board chair of the Jazz Heritage Center nonprofit, the weekend brought together wellness workshops, art, youth media, a reparations panel, a genealogy workshop and a screening of filmmaker Jalila Bell’s documentary \u003cem>Culture Connects Us\u003c/em>. “I want people to walk in and feel like they’ve arrived at an oasis,” she said. “Regardless of their background. Regardless of their age.”\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/2/2026/07/20260704_FillmoreHC_EG_27_qed.jpg\" alt=\"\" class=\"wp-image-13991374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Linda Parker Pennington speaks during the Power of Interracial Sisterhood workshop at the Fillmore Heritage Center in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Among the community stakeholders who have consistently stepped up to steward the building’s future is Fillmore Rising, a collective co-led by Majeid Crawford, executive director of the New Community Leadership Foundation, and Ericka Scott, the founder of Honey Art Studio who grew up in the community. \u003c/p>\n\n\n\n\u003cp>The group’s vision wasn’t drafted in a city office. It grew out of weekly community mapping sessions at Third Baptist Church, where local leaders dreamt up ideas for the space: a curated gallery, an African diaspora restaurant, a 39-seat screening room for independent film and youth programming and a sliding-scale rental model designed to give local event organizers a real path into the building for the first time.\u003c/p>\n\n\n\n\u003cp>“This is an opportunity for us to see this space again, filled with life,” Scott said.\u003c/p>\n\n\n\n\u003cp>Crawford has spent years working to bring vibrancy back to the building. After watching proposal after proposal fall apart, he said he has been explicit with the city about what community stewardship requires: a transparent, open application process, not one where proximity to power determines who gets through the door first.\u003c/p>\n\n\n\n\u003cp>“If a fair, open process cannot be established for all,” Crawford said, “then no one should have access to avoid the appearance of favoritism.”\u003c/p>\n\n\n\n\u003cp>City leaders have said they are listening. On May 28, Mayor Daniel Lurie joined Supervisor Bilal Mahmood and community leaders at the Heritage Center to announce a package of new investments in the Fillmore, including $230,000 in SF Thrives grants for 23 small businesses in the area. The ribbon-cutting came days after the launch of \u003ca href=\"https://www.eventbrite.com/e/fillmore-after-dark-night-market-sf-bites-blues-bingo-rsvp-for-free-tickets-1988574870970\">Fillmore After Dark\u003c/a>, a new yearlong night market series. And over Fourth of July weekend, the new \u003ca href=\"https://sfist.com/2025/11/18/now-the-fillmore-has-its-own-boozy-entertainment-zone-where-to-go-cocktails-are-good-to-go/\">Lower Fillmore Entertainment Zone\u003c/a> allowed participating businesses to sell alcoholic beverages to-go during the Fillmore Jazz Festival.\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/2/2026/07/20260704_FillmoreHC_EG_37_qed.jpg\" alt=\"\" class=\"wp-image-13991349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Niecey Livingsingle performs on the John Coltrane Stage located next to the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Diana Ponce de León, acting director of workforce development at the Office of Economic and Workforce Development (OEWD), acknowledged in an interview that many residents remain skeptical after decades of stalled promises.\u003c/p>\n\n\n\n\u003cp>“The desire has always been there,” she said. “We are just restarting that process again.”\u003c/p>\n\n\n\n\u003cp>She was equally clear about where the current momentum originated.\u003c/p>\n\n\n\n\u003cp>“We didn’t come up with these at all,” she said of the first activations. “The community did, and they’re leveraging their partnerships.”\u003c/p>\n\n\n\n\u003cp>OEWD is preparing a formal application process for public-facing, one-day events, with availability for up to eight activations a month through December. For now, programming is limited to the lobby, screening room and gallery while the city assesses the building’s condition, needed repairs and possible future uses. By the end of the calendar year, staff will use that work and ongoing community input to develop options for the Fillmore Heritage Center’s next steps.\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/2/2026/07/20260704_FillmoreHC_EG_48_qed.jpg\" alt=\"\" class=\"wp-image-13991375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Thousands of people line the streets during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>A community that refuses to give up\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>The question of who shapes what comes next surfaced in nearly every conversation on the corridor. Not everyone is ready to call this a resurgence, including some of the people doing the work.\u003c/p>\n\n\n\n\u003cp>Ashley Smiley, senior programs coordinator at the African American Art & Culture Complex, sees the Fillmore Heritage Center’s reopening with both optimism and caution. As one Black cultural institution begins a new chapter, another is preparing to pause its own. The African American Art & Culture Complex is expected to suspend programming this fall while its building undergoes a seismic retrofit, and Smiley still doesn’t know where the organization will land in the meantime.\u003c/p>\n\n\n\n\u003cp>“Black spaces are very fractured right now,” she said. “I’m 100% optimistic that it can be done. But in that optimism, I also want to acknowledge the things that can be adjusted, because we want sustainability.”\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/2/2026/07/20260704_FillmoreHC_EG_20_qed.jpg\" alt=\"\" class=\"wp-image-13991373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Ashley Smiley poses for a portrait outside of the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For Smiley, the Heritage Center’s reopening matters because it represents more than a single building. San Francisco’s future, she argues, depends on investing in the neighborhoods where culture is created, not simply where it is presented.\u003c/p>\n\n\n\n\u003cp>“The art and culture of the city that makes it important isn’t just downtown,” she said. “It grows here. It grows in the Fillmore, it grows in the Bayview, it grows in the Mission.”\u003c/p>\n\n\n\n\u003cp>The stakes beneath her warning are demographic as much as cultural. San Francisco’s Black population has declined from 13.5% in 1970 to roughly 5% today, according to census data. Yet in interviews, many residents reached instinctively for an even smaller number: “3%.” It wasn’t a statistic so much as a feeling, shorthand for what many believe the neighborhood has lost.\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/2/2026/07/20260704_FillmoreHC_EG_22_qed.jpg\" alt=\"\" class=\"wp-image-13991344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Cherronda G performs on the John Coltrane Stage located next to the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Paulette Brown has spent years advocating for families affected by violence, work shaped by the loss of her son, Aubrey Abrakasa Jr., in 2006. On Saturday, she was back at 1330 Fillmore, still showing up for the community.\u003c/p>\n\n\n\n\u003cp>“Look at the Heritage Center,” she said. “It’s open. People are having hope again. We’re coming together and sticking together.”\u003c/p>\n\n\n\n\u003cp>Asked why she keeps showing up, she answered simply.\u003c/p>\n\n\n\n\u003cp>“I believe hope will prevail,” she said. “And we will all come together as one, and help each other and love on each other.”\u003c/p>\n\n\n\n\u003cp>The people who filled this building in its first life built a neighborhood.\u003c/p>\n\n\n\n\u003cp>The people filling it now are building one too.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003cem>For updates on the Fillmore Heritage Center, visit the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Community Action Plan website\u003c/a>.\u003c/em> \u003cem>The next \u003ca href=\"https://www.eventbrite.com/e/hot-august-nights-fillmore-carshow-blues-bingo-casino-rsvp-for-free-tickets-1988574870970\">Fillmore After Dark \u003c/a>night market takes place Aug. 14.\u003c/em>\u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>The sun was out in San Francisco on the Fourth of July, and the corner of Fillmore and Eddy was alive. People danced in the street as DJs spun; the Church of St. John Coltrane Band filled the air with spiritual jazz; and vendors lined the block.\u003c/p>\n",
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"\n\u003cp>The sun was out in San Francisco on the Fourth of July, and the corner of Fillmore and Eddy was alive. People danced in the street as DJs spun; the Church of St. John Coltrane Band filled the air with spiritual jazz; and vendors lined the block.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Inside the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Heritage Center\u003c/a>, a sound healing session, film screening and a fireside chat about building bridges across race unfolded simultaneously. Volunteers kept everything moving. Ace Washington, the Fillmore’s longtime corridor ambassador, worked the crowd, moving between the street and the building. Entrepreneur and community organizer Linda Parker Pennington greeted guests as they arrived. It felt less like a reopening and more like a family reunion.\u003c/p>\n",
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"\n\u003cp>Inside the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Heritage Center\u003c/a>, a sound healing session, film screening and a fireside chat about building bridges across race unfolded simultaneously. Volunteers kept everything moving. Ace Washington, the Fillmore’s longtime corridor ambassador, worked the crowd, moving between the street and the building. Entrepreneur and community organizer Linda Parker Pennington greeted guests as they arrived. It felt less like a reopening and more like a family reunion.\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-1536x1024.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed.jpg\" alt=\"\" class=\"wp-image-13991352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_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\">Austyn Johnson, 20, right, and brother Ashton Johnson, 15, do the Cupid Shuffle during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. The pair flew in from Tennessee with their family for the festival.\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/2/2026/07/20260704_FillmoreHC_EG_49_qed.jpg\" alt=\"\" class=\"wp-image-13991352\" />\u003cfigcaption class=\"wp-element-caption\">Austyn Johnson, 20, right, and brother Ashton Johnson, 15, do the Cupid Shuffle during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. The pair flew in from Tennessee with their family for the festival.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Some people brought lawn chairs, and you don’t bring a lawn chair to a ribbon-cutting. You bring one to a place you intend to stay a while. For the first time in years, the Fillmore Heritage Center wasn’t simply open. It seemed to belong to the neighborhood again, if only for an afternoon. On a corridor where so much has been lost, the Fillmore’s Black community was unmistakably still present.\u003c/p>\n",
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"\n\u003cp>Some people brought lawn chairs, and you don’t bring a lawn chair to a ribbon-cutting. You bring one to a place you intend to stay a while. For the first time in years, the Fillmore Heritage Center wasn’t simply open. It seemed to belong to the neighborhood again, if only for an afternoon. On a corridor where so much has been lost, the Fillmore’s Black community was unmistakably still present.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The weekend marked a new phase in the Heritage Center’s reactivation. The July 4 programming was not a one-off, nor was it a permanent reopening. It was part of a temporary activation period: Through December, community organizations and artists will be invited to propose public-facing events as the city assesses the building and develops options for its long-term future. What remains unsettled is who will shape what comes next.\u003c/p>\n",
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"\n\u003cp>The weekend marked a new phase in the Heritage Center’s reactivation. The July 4 programming was not a one-off, nor was it a permanent reopening. It was part of a temporary activation period: Through December, community organizations and artists will be invited to propose public-facing events as the city assesses the building and develops options for its long-term future. What remains unsettled is who will shape what comes next.\u003c/p>\n"
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"text": "The Fillmore’s deep cultural legacy",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">The Fillmore’s deep cultural legacy\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">The Fillmore’s deep cultural legacy\u003c/h2>\n"
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"innerHTML": "\n\u003cp>The Fillmore has had an outsized impact on San Francisco’s culture, but the neighborhood has also faced major challenges. \u003c/p>\n",
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"\n\u003cp>The Fillmore has had an outsized impact on San Francisco’s culture, but the neighborhood has also faced major challenges. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Ask anyone who has loved the Fillmore long enough, and they’ll name a different heyday: the \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">Harlem of the West years\u003c/a>, when Billie Holiday and John Coltrane performed in its jazz clubs; the 1990s, when \u003ca href=\"https://www.sfgate.com/crime/article/for-s-f-rappers-another-dream-deferred-2560404.php\">“Fillmoe” artists\u003c/a> like San Quinn, JT the Bigga Figga and Rappin’ 4-Tay \u003ca href=\"https://www.kqed.org/arts/13895586/a-salute-to-san-francisco-rap\">built a hip-hop legacy\u003c/a>; or the 2000s, when Yoshi’s and 1300 on Fillmore made the corridor buzz with concert- and restaurant-goers.\u003c/p>\n",
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"\n\u003cp>Ask anyone who has loved the Fillmore long enough, and they’ll name a different heyday: the \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">Harlem of the West years\u003c/a>, when Billie Holiday and John Coltrane performed in its jazz clubs; the 1990s, when \u003ca href=\"https://www.sfgate.com/crime/article/for-s-f-rappers-another-dream-deferred-2560404.php\">“Fillmoe” artists\u003c/a> like San Quinn, JT the Bigga Figga and Rappin’ 4-Tay \u003ca href=\"https://www.kqed.org/arts/13895586/a-salute-to-san-francisco-rap\">built a hip-hop legacy\u003c/a>; or the 2000s, when Yoshi’s and 1300 on Fillmore made the corridor buzz with concert- and restaurant-goers.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The danger is letting those memories become a ceiling, turning a neighborhood into a museum instead of a community. The advocates working to bring the Heritage Center back aren’t trying to recreate 1958, 1998 or 2008. They’re trying to build a version of the Fillmore that they hope will one day become someone else’s favorite era.\u003c/p>\n",
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"\n\u003cp>The danger is letting those memories become a ceiling, turning a neighborhood into a museum instead of a community. The advocates working to bring the Heritage Center back aren’t trying to recreate 1958, 1998 or 2008. They’re trying to build a version of the Fillmore that they hope will one day become someone else’s favorite era.\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-1536x1024.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed.jpg\" alt=\"\" class=\"wp-image-13991372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_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\">Fernay McPherson, chef and owner of Minnie Bell’s Soul Movement, said she wants to see the city implement community input for the Fillmore Heritage Center “so that residents … don’t feel let down.”\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed.jpg\" alt=\"\" class=\"wp-image-13991372\" />\u003cfigcaption class=\"wp-element-caption\">Fernay McPherson, chef and owner of Minnie Bell’s Soul Movement, said she wants to see the city implement community input for the Fillmore Heritage Center “so that residents … don’t feel let down.”\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Chef and business owner Fernay McPherson, who runs Minnie Bell’s Soul Movement and serves on the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Community Action Plan committee\u003c/a>, sees that future already taking shape. “We are definitely working on the new heyday, and it will happen,” she said. “I’m not going to say what was here, because we’re still here. We’re just fighting to make our presence known.”\u003c/p>\n",
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"\n\u003cp>Chef and business owner Fernay McPherson, who runs Minnie Bell’s Soul Movement and serves on the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Community Action Plan committee\u003c/a>, sees that future already taking shape. “We are definitely working on the new heyday, and it will happen,” she said. “I’m not going to say what was here, because we’re still here. We’re just fighting to make our presence known.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>The Fillmore Heritage Center opened in 2007 as an attempt at restitution in concrete and steel. The complex, which cost more than $80 million, was built on land shaped by urban renewal, which displaced thousands of Black residents and hundreds of businesses beginning in the 1960s.\u003c/p>\n",
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"\n\u003cp>The Fillmore Heritage Center opened in 2007 as an attempt at restitution in concrete and steel. The complex, which cost more than $80 million, was built on land shaped by urban renewal, which displaced thousands of Black residents and hundreds of businesses beginning in the 1960s.\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-1536x1024.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed.jpg\" alt=\"\" class=\"wp-image-13991343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_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\">People walk past the Fillmore Heritage Center on Fillmore Street in San Francisco on Saturday, July 4, 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/2/2026/07/20260704_FillmoreHC_EG_04_qed.jpg\" alt=\"\" class=\"wp-image-13991343\" />\u003cfigcaption class=\"wp-element-caption\">People walk past the Fillmore Heritage Center on Fillmore Street in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>For a moment, it was the cultural and economic anchor the neighborhood had been promised. Then the unraveling came in stages: Yoshi’s San Francisco filed for bankruptcy reorganization in 2012 and closed in 2014. Its replacement, The Addition, closed within months of opening — and the city took over the building’s commercial spaces in 2015, after developer \u003ca href=\"https://www.kqed.org/arts/13973221/fillmore-heritage-center-michael-johnson-settlement\">Michael Johnson\u003c/a> defaulted on a $5.5 million city loan. By 2017, 1300 on Fillmore, the last holdout, was gone too — tenants worn down by the building’s high operating costs and the weight of a neighborhood’s expectations.\u003c/p>\n",
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"\n\u003cp>For a moment, it was the cultural and economic anchor the neighborhood had been promised. Then the unraveling came in stages: Yoshi’s San Francisco filed for bankruptcy reorganization in 2012 and closed in 2014. Its replacement, The Addition, closed within months of opening — and the city took over the building’s commercial spaces in 2015, after developer \u003ca href=\"https://www.kqed.org/arts/13973221/fillmore-heritage-center-michael-johnson-settlement\">Michael Johnson\u003c/a> defaulted on a $5.5 million city loan. By 2017, 1300 on Fillmore, the last holdout, was gone too — tenants worn down by the building’s high operating costs and the weight of a neighborhood’s expectations.\u003c/p>\n"
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"innerHTML": "\n\u003cp>For years afterward, the building sat at the center of a long, unresolved dispute. A 2017 attempt to sell it collapsed when \u003ca href=\"https://www.sfgate.com/bayarea/article/Panel-unimpressed-by-visions-rejects-bidders-12328294.php\">no bidder met the community standards\u003c/a> attached to the sale. Proposals came and went, and COVID consumed what remained of the momentum.\u003c/p>\n",
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"\n\u003cp>For years afterward, the building sat at the center of a long, unresolved dispute. A 2017 attempt to sell it collapsed when \u003ca href=\"https://www.sfgate.com/bayarea/article/Panel-unimpressed-by-visions-rejects-bidders-12328294.php\">no bidder met the community standards\u003c/a> attached to the sale. Proposals came and went, and COVID consumed what remained of the momentum.\u003c/p>\n"
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"text": "Bringing life back to the Fillmore Heritage Center",
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"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Bringing life back to the Fillmore Heritage Center\u003c/strong>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>This June, the Heritage Center’s doors began to crack open during Juneteenth celebrations, offering festival support space and a venue for the Wesley Johnson White Horse Awards honoring Black community leaders. Then, over the Fourth of July weekend, came the Dream Center — the first full weekend of public-facing programming in the building’s current activation period.\u003c/p>\n",
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"\n\u003cp>This June, the Heritage Center’s doors began to crack open during Juneteenth celebrations, offering festival support space and a venue for the Wesley Johnson White Horse Awards honoring Black community leaders. Then, over the Fourth of July weekend, came the Dream Center — the first full weekend of public-facing programming in the building’s current activation period.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Organized by Linda Parker Pennington, an early investor in Yoshi’s and former board chair of the Jazz Heritage Center nonprofit, the weekend brought together wellness workshops, art, youth media, a reparations panel, a genealogy workshop and a screening of filmmaker Jalila Bell’s documentary \u003cem>Culture Connects Us\u003c/em>. “I want people to walk in and feel like they’ve arrived at an oasis,” she said. “Regardless of their background. Regardless of their age.”\u003c/p>\n",
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"\n\u003cp>Organized by Linda Parker Pennington, an early investor in Yoshi’s and former board chair of the Jazz Heritage Center nonprofit, the weekend brought together wellness workshops, art, youth media, a reparations panel, a genealogy workshop and a screening of filmmaker Jalila Bell’s documentary \u003cem>Culture Connects Us\u003c/em>. “I want people to walk in and feel like they’ve arrived at an oasis,” she said. “Regardless of their background. Regardless of their age.”\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/2/2026/07/20260704_FillmoreHC_EG_27_qed.jpg\" alt=\"\" class=\"wp-image-13991374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_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\">Linda Parker Pennington speaks during the Power of Interracial Sisterhood workshop at the Fillmore Heritage Center in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed.jpg\" alt=\"\" class=\"wp-image-13991374\" />\u003cfigcaption class=\"wp-element-caption\">Linda Parker Pennington speaks during the Power of Interracial Sisterhood workshop at the Fillmore Heritage Center in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Among the community stakeholders who have consistently stepped up to steward the building’s future is Fillmore Rising, a collective co-led by Majeid Crawford, executive director of the New Community Leadership Foundation, and Ericka Scott, the founder of Honey Art Studio who grew up in the community. \u003c/p>\n",
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"\n\u003cp>Among the community stakeholders who have consistently stepped up to steward the building’s future is Fillmore Rising, a collective co-led by Majeid Crawford, executive director of the New Community Leadership Foundation, and Ericka Scott, the founder of Honey Art Studio who grew up in the community. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The group’s vision wasn’t drafted in a city office. It grew out of weekly community mapping sessions at Third Baptist Church, where local leaders dreamt up ideas for the space: a curated gallery, an African diaspora restaurant, a 39-seat screening room for independent film and youth programming and a sliding-scale rental model designed to give local event organizers a real path into the building for the first time.\u003c/p>\n",
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"\n\u003cp>The group’s vision wasn’t drafted in a city office. It grew out of weekly community mapping sessions at Third Baptist Church, where local leaders dreamt up ideas for the space: a curated gallery, an African diaspora restaurant, a 39-seat screening room for independent film and youth programming and a sliding-scale rental model designed to give local event organizers a real path into the building for the first time.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“This is an opportunity for us to see this space again, filled with life,” Scott said.\u003c/p>\n",
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"\n\u003cp>“This is an opportunity for us to see this space again, filled with life,” Scott said.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Crawford has spent years working to bring vibrancy back to the building. After watching proposal after proposal fall apart, he said he has been explicit with the city about what community stewardship requires: a transparent, open application process, not one where proximity to power determines who gets through the door first.\u003c/p>\n",
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"\n\u003cp>Crawford has spent years working to bring vibrancy back to the building. After watching proposal after proposal fall apart, he said he has been explicit with the city about what community stewardship requires: a transparent, open application process, not one where proximity to power determines who gets through the door first.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“If a fair, open process cannot be established for all,” Crawford said, “then no one should have access to avoid the appearance of favoritism.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>“If a fair, open process cannot be established for all,” Crawford said, “then no one should have access to avoid the appearance of favoritism.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>City leaders have said they are listening. On May 28, Mayor Daniel Lurie joined Supervisor Bilal Mahmood and community leaders at the Heritage Center to announce a package of new investments in the Fillmore, including $230,000 in SF Thrives grants for 23 small businesses in the area. The ribbon-cutting came days after the launch of \u003ca href=\"https://www.eventbrite.com/e/fillmore-after-dark-night-market-sf-bites-blues-bingo-rsvp-for-free-tickets-1988574870970\">Fillmore After Dark\u003c/a>, a new yearlong night market series. And over Fourth of July weekend, the new \u003ca href=\"https://sfist.com/2025/11/18/now-the-fillmore-has-its-own-boozy-entertainment-zone-where-to-go-cocktails-are-good-to-go/\">Lower Fillmore Entertainment Zone\u003c/a> allowed participating businesses to sell alcoholic beverages to-go during the Fillmore Jazz Festival.\u003c/p>\n",
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"\n\u003cp>City leaders have said they are listening. On May 28, Mayor Daniel Lurie joined Supervisor Bilal Mahmood and community leaders at the Heritage Center to announce a package of new investments in the Fillmore, including $230,000 in SF Thrives grants for 23 small businesses in the area. The ribbon-cutting came days after the launch of \u003ca href=\"https://www.eventbrite.com/e/fillmore-after-dark-night-market-sf-bites-blues-bingo-rsvp-for-free-tickets-1988574870970\">Fillmore After Dark\u003c/a>, a new yearlong night market series. And over Fourth of July weekend, the new \u003ca href=\"https://sfist.com/2025/11/18/now-the-fillmore-has-its-own-boozy-entertainment-zone-where-to-go-cocktails-are-good-to-go/\">Lower Fillmore Entertainment Zone\u003c/a> allowed participating businesses to sell alcoholic beverages to-go during the Fillmore Jazz Festival.\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/2/2026/07/20260704_FillmoreHC_EG_37_qed.jpg\" alt=\"\" class=\"wp-image-13991349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_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\">Niecey Livingsingle performs on the John Coltrane Stage located next to the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 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/2/2026/07/20260704_FillmoreHC_EG_37_qed.jpg\" alt=\"\" class=\"wp-image-13991349\" />\u003cfigcaption class=\"wp-element-caption\">Niecey Livingsingle performs on the John Coltrane Stage located next to the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Diana Ponce de León, acting director of workforce development at the Office of Economic and Workforce Development (OEWD), acknowledged in an interview that many residents remain skeptical after decades of stalled promises.\u003c/p>\n",
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"\n\u003cp>Diana Ponce de León, acting director of workforce development at the Office of Economic and Workforce Development (OEWD), acknowledged in an interview that many residents remain skeptical after decades of stalled promises.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“The desire has always been there,” she said. “We are just restarting that process again.”\u003c/p>\n",
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"\n\u003cp>“The desire has always been there,” she said. “We are just restarting that process again.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>She was equally clear about where the current momentum originated.\u003c/p>\n",
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"\n\u003cp>She was equally clear about where the current momentum originated.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“We didn’t come up with these at all,” she said of the first activations. “The community did, and they’re leveraging their partnerships.”\u003c/p>\n",
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"\n\u003cp>“We didn’t come up with these at all,” she said of the first activations. “The community did, and they’re leveraging their partnerships.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>OEWD is preparing a formal application process for public-facing, one-day events, with availability for up to eight activations a month through December. For now, programming is limited to the lobby, screening room and gallery while the city assesses the building’s condition, needed repairs and possible future uses. By the end of the calendar year, staff will use that work and ongoing community input to develop options for the Fillmore Heritage Center’s next steps.\u003c/p>\n",
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"\n\u003cp>OEWD is preparing a formal application process for public-facing, one-day events, with availability for up to eight activations a month through December. For now, programming is limited to the lobby, screening room and gallery while the city assesses the building’s condition, needed repairs and possible future uses. By the end of the calendar year, staff will use that work and ongoing community input to develop options for the Fillmore Heritage Center’s next steps.\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/2/2026/07/20260704_FillmoreHC_EG_48_qed.jpg\" alt=\"\" class=\"wp-image-13991375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_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\">Thousands of people line the streets during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed.jpg\" alt=\"\" class=\"wp-image-13991375\" />\u003cfigcaption class=\"wp-element-caption\">Thousands of people line the streets during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n"
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{
"blockName": "core/heading",
"attrs": {
"text": "A community that refuses to give up",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>A community that refuses to give up\u003c/strong>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>A community that refuses to give up\u003c/strong>\u003c/h2>\n"
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"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The question of who shapes what comes next surfaced in nearly every conversation on the corridor. Not everyone is ready to call this a resurgence, including some of the people doing the work.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The question of who shapes what comes next surfaced in nearly every conversation on the corridor. Not everyone is ready to call this a resurgence, including some of the people doing the work.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Ashley Smiley, senior programs coordinator at the African American Art & Culture Complex, sees the Fillmore Heritage Center’s reopening with both optimism and caution. As one Black cultural institution begins a new chapter, another is preparing to pause its own. The African American Art & Culture Complex is expected to suspend programming this fall while its building undergoes a seismic retrofit, and Smiley still doesn’t know where the organization will land in the meantime.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Ashley Smiley, senior programs coordinator at the African American Art & Culture Complex, sees the Fillmore Heritage Center’s reopening with both optimism and caution. As one Black cultural institution begins a new chapter, another is preparing to pause its own. The African American Art & Culture Complex is expected to suspend programming this fall while its building undergoes a seismic retrofit, and Smiley still doesn’t know where the organization will land in the meantime.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“Black spaces are very fractured right now,” she said. “I’m 100% optimistic that it can be done. But in that optimism, I also want to acknowledge the things that can be adjusted, because we want sustainability.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>“Black spaces are very fractured right now,” she said. “I’m 100% optimistic that it can be done. But in that optimism, I also want to acknowledge the things that can be adjusted, because we want sustainability.”\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/2/2026/07/20260704_FillmoreHC_EG_20_qed.jpg\" alt=\"\" class=\"wp-image-13991373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_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\">Ashley Smiley poses for a portrait outside of the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed.jpg\" alt=\"\" class=\"wp-image-13991373\" />\u003cfigcaption class=\"wp-element-caption\">Ashley Smiley poses for a portrait outside of the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>For Smiley, the Heritage Center’s reopening matters because it represents more than a single building. San Francisco’s future, she argues, depends on investing in the neighborhoods where culture is created, not simply where it is presented.\u003c/p>\n",
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"\n\u003cp>For Smiley, the Heritage Center’s reopening matters because it represents more than a single building. San Francisco’s future, she argues, depends on investing in the neighborhoods where culture is created, not simply where it is presented.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“The art and culture of the city that makes it important isn’t just downtown,” she said. “It grows here. It grows in the Fillmore, it grows in the Bayview, it grows in the Mission.”\u003c/p>\n",
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"\n\u003cp>“The art and culture of the city that makes it important isn’t just downtown,” she said. “It grows here. It grows in the Fillmore, it grows in the Bayview, it grows in the Mission.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>The stakes beneath her warning are demographic as much as cultural. San Francisco’s Black population has declined from 13.5% in 1970 to roughly 5% today, according to census data. Yet in interviews, many residents reached instinctively for an even smaller number: “3%.” It wasn’t a statistic so much as a feeling, shorthand for what many believe the neighborhood has lost.\u003c/p>\n",
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"\n\u003cp>The stakes beneath her warning are demographic as much as cultural. San Francisco’s Black population has declined from 13.5% in 1970 to roughly 5% today, according to census data. Yet in interviews, many residents reached instinctively for an even smaller number: “3%.” It wasn’t a statistic so much as a feeling, shorthand for what many believe the neighborhood has lost.\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/2/2026/07/20260704_FillmoreHC_EG_22_qed.jpg\" alt=\"\" class=\"wp-image-13991344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_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\">Cherronda G performs on the John Coltrane Stage located next to the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 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/2/2026/07/20260704_FillmoreHC_EG_22_qed.jpg\" alt=\"\" class=\"wp-image-13991344\" />\u003cfigcaption class=\"wp-element-caption\">Cherronda G performs on the John Coltrane Stage located next to the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Paulette Brown has spent years advocating for families affected by violence, work shaped by the loss of her son, Aubrey Abrakasa Jr., in 2006. On Saturday, she was back at 1330 Fillmore, still showing up for the community.\u003c/p>\n",
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"\n\u003cp>Paulette Brown has spent years advocating for families affected by violence, work shaped by the loss of her son, Aubrey Abrakasa Jr., in 2006. On Saturday, she was back at 1330 Fillmore, still showing up for the community.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“Look at the Heritage Center,” she said. “It’s open. People are having hope again. We’re coming together and sticking together.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Asked why she keeps showing up, she answered simply.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I believe hope will prevail,” she said. “And we will all come together as one, and help each other and love on each other.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>The people who filled this building in its first life built a neighborhood.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The people filling it now are building one too.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>For updates on the Fillmore Heritage Center, visit the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Community Action Plan website\u003c/a>.\u003c/em> \u003cem>The next \u003ca href=\"https://www.eventbrite.com/e/hot-august-nights-fillmore-carshow-blues-bingo-casino-rsvp-for-free-tickets-1988574870970\">Fillmore After Dark \u003c/a>night market takes place Aug. 14.\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>For updates on the Fillmore Heritage Center, visit the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Community Action Plan website\u003c/a>.\u003c/em> \u003cem>The next \u003ca href=\"https://www.eventbrite.com/e/hot-august-nights-fillmore-carshow-blues-bingo-casino-rsvp-for-free-tickets-1988574870970\">Fillmore After Dark \u003c/a>night market takes place Aug. 14.\u003c/em>\u003c/p>\n"
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"excerpt": "The Fillmore Heritage Center sat mostly dark for years. Its return to public use belongs to a community that refused to walk away.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sun was out in San Francisco on the Fourth of July, and the corner of Fillmore and Eddy was alive. People danced in the street as DJs spun; the Church of St. John Coltrane Band filled the air with spiritual jazz; and vendors lined the block.\u003c/p>\n\n\n\n\u003cp>Inside the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Heritage Center\u003c/a>, a sound healing session, film screening and a fireside chat about building bridges across race unfolded simultaneously. Volunteers kept everything moving. Ace Washington, the Fillmore’s longtime corridor ambassador, worked the crowd, moving between the street and the building. Entrepreneur and community organizer Linda Parker Pennington greeted guests as they arrived. It felt less like a reopening and more like a family reunion.\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/2/2026/07/20260704_FillmoreHC_EG_49_qed.jpg\" alt=\"\" class=\"wp-image-13991352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_49_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Austyn Johnson, 20, right, and brother Ashton Johnson, 15, do the Cupid Shuffle during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. The pair flew in from Tennessee with their family for the festival. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Some people brought lawn chairs, and you don’t bring a lawn chair to a ribbon-cutting. You bring one to a place you intend to stay a while. For the first time in years, the Fillmore Heritage Center wasn’t simply open. It seemed to belong to the neighborhood again, if only for an afternoon. On a corridor where so much has been lost, the Fillmore’s Black community was unmistakably still present.\u003c/p>\n\n\n\n\u003cp>The weekend marked a new phase in the Heritage Center’s reactivation. The July 4 programming was not a one-off, nor was it a permanent reopening. It was part of a temporary activation period: Through December, community organizations and artists will be invited to propose public-facing events as the city assesses the building and develops options for its long-term future. What remains unsettled is who will shape what comes next.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">The Fillmore’s deep cultural legacy\u003c/h2>\n\n\n\n\u003cp>The Fillmore has had an outsized impact on San Francisco’s culture, but the neighborhood has also faced major challenges. \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>Ask anyone who has loved the Fillmore long enough, and they’ll name a different heyday: the \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">Harlem of the West years\u003c/a>, when Billie Holiday and John Coltrane performed in its jazz clubs; the 1990s, when \u003ca href=\"https://www.sfgate.com/crime/article/for-s-f-rappers-another-dream-deferred-2560404.php\">“Fillmoe” artists\u003c/a> like San Quinn, JT the Bigga Figga and Rappin’ 4-Tay \u003ca href=\"https://www.kqed.org/arts/13895586/a-salute-to-san-francisco-rap\">built a hip-hop legacy\u003c/a>; or the 2000s, when Yoshi’s and 1300 on Fillmore made the corridor buzz with concert- and restaurant-goers.\u003c/p>\n\n\n\n\u003cp>The danger is letting those memories become a ceiling, turning a neighborhood into a museum instead of a community. The advocates working to bring the Heritage Center back aren’t trying to recreate 1958, 1998 or 2008. They’re trying to build a version of the Fillmore that they hope will one day become someone else’s favorite era.\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/2/2026/07/20260704_FillmoreHC_EG_13_qed.jpg\" alt=\"\" class=\"wp-image-13991372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_13_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Fernay McPherson, chef and owner of Minnie Bell’s Soul Movement, said she wants to see the city implement community input for the Fillmore Heritage Center “so that residents … don’t feel let down.”\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Chef and business owner Fernay McPherson, who runs Minnie Bell’s Soul Movement and serves on the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Community Action Plan committee\u003c/a>, sees that future already taking shape. “We are definitely working on the new heyday, and it will happen,” she said. “I’m not going to say what was here, because we’re still here. We’re just fighting to make our presence known.”\u003c/p>\n\n\n\n\u003cp>The Fillmore Heritage Center opened in 2007 as an attempt at restitution in concrete and steel. The complex, which cost more than $80 million, was built on land shaped by urban renewal, which displaced thousands of Black residents and hundreds of businesses beginning in the 1960s.\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/2/2026/07/20260704_FillmoreHC_EG_04_qed.jpg\" alt=\"\" class=\"wp-image-13991343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_04_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">People walk past the Fillmore Heritage Center on Fillmore Street in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For a moment, it was the cultural and economic anchor the neighborhood had been promised. Then the unraveling came in stages: Yoshi’s San Francisco filed for bankruptcy reorganization in 2012 and closed in 2014. Its replacement, The Addition, closed within months of opening — and the city took over the building’s commercial spaces in 2015, after developer \u003ca href=\"https://www.kqed.org/arts/13973221/fillmore-heritage-center-michael-johnson-settlement\">Michael Johnson\u003c/a> defaulted on a $5.5 million city loan. By 2017, 1300 on Fillmore, the last holdout, was gone too — tenants worn down by the building’s high operating costs and the weight of a neighborhood’s expectations.\u003c/p>\n\n\n\n\u003cp>For years afterward, the building sat at the center of a long, unresolved dispute. A 2017 attempt to sell it collapsed when \u003ca href=\"https://www.sfgate.com/bayarea/article/Panel-unimpressed-by-visions-rejects-bidders-12328294.php\">no bidder met the community standards\u003c/a> attached to the sale. Proposals came and went, and COVID consumed what remained of the momentum.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Bringing life back to the Fillmore Heritage Center\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>This June, the Heritage Center’s doors began to crack open during Juneteenth celebrations, offering festival support space and a venue for the Wesley Johnson White Horse Awards honoring Black community leaders. Then, over the Fourth of July weekend, came the Dream Center — the first full weekend of public-facing programming in the building’s current activation period.\u003c/p>\n\n\n\n\u003cp>Organized by Linda Parker Pennington, an early investor in Yoshi’s and former board chair of the Jazz Heritage Center nonprofit, the weekend brought together wellness workshops, art, youth media, a reparations panel, a genealogy workshop and a screening of filmmaker Jalila Bell’s documentary \u003cem>Culture Connects Us\u003c/em>. “I want people to walk in and feel like they’ve arrived at an oasis,” she said. “Regardless of their background. Regardless of their age.”\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/2/2026/07/20260704_FillmoreHC_EG_27_qed.jpg\" alt=\"\" class=\"wp-image-13991374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_27_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Linda Parker Pennington speaks during the Power of Interracial Sisterhood workshop at the Fillmore Heritage Center in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Among the community stakeholders who have consistently stepped up to steward the building’s future is Fillmore Rising, a collective co-led by Majeid Crawford, executive director of the New Community Leadership Foundation, and Ericka Scott, the founder of Honey Art Studio who grew up in the community. \u003c/p>\n\n\n\n\u003cp>The group’s vision wasn’t drafted in a city office. It grew out of weekly community mapping sessions at Third Baptist Church, where local leaders dreamt up ideas for the space: a curated gallery, an African diaspora restaurant, a 39-seat screening room for independent film and youth programming and a sliding-scale rental model designed to give local event organizers a real path into the building for the first time.\u003c/p>\n\n\n\n\u003cp>“This is an opportunity for us to see this space again, filled with life,” Scott said.\u003c/p>\n\n\n\n\u003cp>Crawford has spent years working to bring vibrancy back to the building. After watching proposal after proposal fall apart, he said he has been explicit with the city about what community stewardship requires: a transparent, open application process, not one where proximity to power determines who gets through the door first.\u003c/p>\n\n\n\n\u003cp>“If a fair, open process cannot be established for all,” Crawford said, “then no one should have access to avoid the appearance of favoritism.”\u003c/p>\n\n\n\n\u003cp>City leaders have said they are listening. On May 28, Mayor Daniel Lurie joined Supervisor Bilal Mahmood and community leaders at the Heritage Center to announce a package of new investments in the Fillmore, including $230,000 in SF Thrives grants for 23 small businesses in the area. The ribbon-cutting came days after the launch of \u003ca href=\"https://www.eventbrite.com/e/fillmore-after-dark-night-market-sf-bites-blues-bingo-rsvp-for-free-tickets-1988574870970\">Fillmore After Dark\u003c/a>, a new yearlong night market series. And over Fourth of July weekend, the new \u003ca href=\"https://sfist.com/2025/11/18/now-the-fillmore-has-its-own-boozy-entertainment-zone-where-to-go-cocktails-are-good-to-go/\">Lower Fillmore Entertainment Zone\u003c/a> allowed participating businesses to sell alcoholic beverages to-go during the Fillmore Jazz Festival.\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/2/2026/07/20260704_FillmoreHC_EG_37_qed.jpg\" alt=\"\" class=\"wp-image-13991349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_37_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Niecey Livingsingle performs on the John Coltrane Stage located next to the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Diana Ponce de León, acting director of workforce development at the Office of Economic and Workforce Development (OEWD), acknowledged in an interview that many residents remain skeptical after decades of stalled promises.\u003c/p>\n\n\n\n\u003cp>“The desire has always been there,” she said. “We are just restarting that process again.”\u003c/p>\n\n\n\n\u003cp>She was equally clear about where the current momentum originated.\u003c/p>\n\n\n\n\u003cp>“We didn’t come up with these at all,” she said of the first activations. “The community did, and they’re leveraging their partnerships.”\u003c/p>\n\n\n\n\u003cp>OEWD is preparing a formal application process for public-facing, one-day events, with availability for up to eight activations a month through December. For now, programming is limited to the lobby, screening room and gallery while the city assesses the building’s condition, needed repairs and possible future uses. By the end of the calendar year, staff will use that work and ongoing community input to develop options for the Fillmore Heritage Center’s next steps.\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/2/2026/07/20260704_FillmoreHC_EG_48_qed.jpg\" alt=\"\" class=\"wp-image-13991375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_48_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Thousands of people line the streets during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>A community that refuses to give up\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>The question of who shapes what comes next surfaced in nearly every conversation on the corridor. Not everyone is ready to call this a resurgence, including some of the people doing the work.\u003c/p>\n\n\n\n\u003cp>Ashley Smiley, senior programs coordinator at the African American Art & Culture Complex, sees the Fillmore Heritage Center’s reopening with both optimism and caution. As one Black cultural institution begins a new chapter, another is preparing to pause its own. The African American Art & Culture Complex is expected to suspend programming this fall while its building undergoes a seismic retrofit, and Smiley still doesn’t know where the organization will land in the meantime.\u003c/p>\n\n\n\n\u003cp>“Black spaces are very fractured right now,” she said. “I’m 100% optimistic that it can be done. But in that optimism, I also want to acknowledge the things that can be adjusted, because we want sustainability.”\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/2/2026/07/20260704_FillmoreHC_EG_20_qed.jpg\" alt=\"\" class=\"wp-image-13991373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_20_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Ashley Smiley poses for a portrait outside of the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For Smiley, the Heritage Center’s reopening matters because it represents more than a single building. San Francisco’s future, she argues, depends on investing in the neighborhoods where culture is created, not simply where it is presented.\u003c/p>\n\n\n\n\u003cp>“The art and culture of the city that makes it important isn’t just downtown,” she said. “It grows here. It grows in the Fillmore, it grows in the Bayview, it grows in the Mission.”\u003c/p>\n\n\n\n\u003cp>The stakes beneath her warning are demographic as much as cultural. San Francisco’s Black population has declined from 13.5% in 1970 to roughly 5% today, according to census data. Yet in interviews, many residents reached instinctively for an even smaller number: “3%.” It wasn’t a statistic so much as a feeling, shorthand for what many believe the neighborhood has lost.\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/2/2026/07/20260704_FillmoreHC_EG_22_qed.jpg\" alt=\"\" class=\"wp-image-13991344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/07/20260704_FillmoreHC_EG_22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Cherronda G performs on the John Coltrane Stage located next to the Fillmore Heritage Center during the Fillmore Jazz Festival in San Francisco on Saturday, July 4, 2026. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Paulette Brown has spent years advocating for families affected by violence, work shaped by the loss of her son, Aubrey Abrakasa Jr., in 2006. On Saturday, she was back at 1330 Fillmore, still showing up for the community.\u003c/p>\n\n\n\n\u003cp>“Look at the Heritage Center,” she said. “It’s open. People are having hope again. We’re coming together and sticking together.”\u003c/p>\n\n\n\n\u003cp>Asked why she keeps showing up, she answered simply.\u003c/p>\n\n\n\n\u003cp>“I believe hope will prevail,” she said. “And we will all come together as one, and help each other and love on each other.”\u003c/p>\n\n\n\n\u003cp>The people who filled this building in its first life built a neighborhood.\u003c/p>\n\n\n\n\u003cp>The people filling it now are building one too.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003cem>For updates on the Fillmore Heritage Center, visit the \u003ca href=\"https://sfplanning.org/fillmore-community-action-plan\">Fillmore Community Action Plan website\u003c/a>.\u003c/em> \u003cem>The next \u003ca href=\"https://www.eventbrite.com/e/hot-august-nights-fillmore-carshow-blues-bingo-casino-rsvp-for-free-tickets-1988574870970\">Fillmore After Dark \u003c/a>night market takes place Aug. 14.\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>This week, as we near the end of 2025, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year.\u003c/em>\u003c/p>\n\u003cp>[dropcap]T[/dropcap]his year, nothing has been more beautiful than the outpouring of support for famed San Francisco rapper Messy Marv.\u003c/p>\n\u003cp>After being released last year from a stint behind bars, the lyrical game spitter has been spotted struggling on the streets of the Bay. People have pulled up and given him \u003ca href=\"https://www.youtube.com/shorts/mXuWiOev5ow\">money\u003c/a>, \u003ca href=\"https://www.youtube.com/shorts/29nYDBERpBQ\">food\u003c/a>, a \u003ca href=\"https://www.youtube.com/shorts/a5WY-nRTLYg\">haircut\u003c/a>, as well as love and support; that affection has only been \u003ca href=\"https://www.instagram.com/p/DRTEsgIEiCz/\">amplified online\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg\" alt=\"\" width=\"180\" height=\"207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w\" sizes=\"auto, (max-width: 180px) 100vw, 180px\">Marv’s return was highlighted by an emotional reunion with \u003ca href=\"https://www.instagram.com/p/DPM4vs5keOY/\">Mistah F.A.B.\u003c/a> in September, which inspired another resounding wave of props to remind people of his rightful spot in the Bay Area’s hip-hop pantheon.\u003c/p>\n\u003cp>The question of who goes on the Mt. Rushmore of Bay Area rap has always bothered me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Set aside that it’s referencing images of colonists carved into sacred stones of the Lakota Sioux, who called the land formation Tȟuŋkášila Šákpe, or Six Grandfathers. My main problem is with people believing that four individuals can truly represent the entirety of this unique, obscure, vast flavor of hip-hop we know and love.\u003c/p>\n\u003cp>\u003cem>Do you know the depth of Bay Area hip-hop? \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13951128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-800x1064.png\" alt=\"Fillmore raised MC, San Francisco rap star Messy Marv poses for a photo.\" width=\"800\" height=\"1064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-800x1064.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-1020x1357.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-768x1022.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3.png 1108w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fillmore-raised MC and San Francisco rap star Messy Marv in the 2000s. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The list of figureheads for Northern California’s rap scene usually starts with Too Short, the Godfather, and E-40, the king of slang. The Furly Ghost himself, Mac Dre, is often a shoo-in. And then the discussion gets interesting.\u003c/p>\n\u003cp>MC Hammer broke pop barriers and went diamond. The Jacka’s music reached folks on prison yards and those praying in Mecca. And HBK held it down when the Bay wasn’t really making a sound.\u003c/p>\n\u003cp>Hieroglyphics created a brand known around the world, and \u003ca href=\"https://www.xxlmag.com/california-love/\">San Quinn is in the Guinness Book of World Records\u003c/a> for recording the most features before the age of 21. Kamaiyah is a party music machine, Traxamillion gave us anthems for virtually every Bay Area city and Rick Rock embodies the term “slap.”\u003c/p>\n\u003cp>The Conscious Daughters gave us “Somethin’ to Ride To,” Larry June is showing us there’s a healthy way to be a player and Keak Da Sneak is still the people’s champ. There’s Digital Underground, Luniz, Rappin’ 4-Tay, Richie Rich, Mistah F.A.B. and more.\u003c/p>\n\u003cp>And then there’s Messy Marv.\u003c/p>\n\u003cfigure id=\"attachment_13924090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-800x756.jpg\" alt=\"\" width=\"800\" height=\"756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-800x756.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-1020x964.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-768x726.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871.jpg 1125w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nump (at right) with Messy Marv, who gave Nump his name during studio sessions in the early 2000s. \u003ccite>(Courtesy of Nump)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s a rapper that’s seen some of the highest highs and the lowest lows. And his story shows why the Mt. Rushmore question is asinine, and leaves no room for the nuances of an artist’s career, or the person’s lived experience.\u003c/p>\n\u003cp>For some rappers, “making it” isn’t about talent and hit tracks, radio spins, plaques on the wall or songs reaching the charts. It’s about surviving.\u003c/p>\n\u003cp>Messy Marv has done all of the above.\u003c/p>\n\u003cp>He’s rocked shows all across the country, dropped multiple tracks that’ve reached the Billboard charts and collaborated with the likes of \u003ca href=\"https://www.youtube.com/watch?v=GNGSCgs8moM&t=43s\">Keyshia Cole\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=xHZphkKEt2Q\">Dead Prez\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=Izr9s1ozOss\">George Clinton\u003c/a>. He’s navigated true poverty, dealt with addiction and been in and out of one system or another since he was a kid.\u003c/p>\n\u003cp>[aside postID='arts_13983670']“I’m a foster care baby,” \u003ca href=\"https://www.youtube.com/watch?v=KPhMR8X5NHk\">Messy Marv told Dregs One\u003c/a>, host of the \u003cem>History of The Bay\u003c/em> podcast during a revealing interview last year. Discussing his parents, whom he’s never met, he said, “They left me on the porch when I was two years old, and sold me for $70.”\u003c/p>\n\u003cp>He slept in trap houses with dogs, and was exposed to the fast life at a young age. “I was tooting powder at 9,” Marv told Dregs One in the same interview. “This is a Fillmore tradition,” he added. “Smoke a lil’ coke and toot a lil’ powder cocaine. This is history.”\u003c/p>\n\u003cp>Marv found family through \u003ca href=\"https://www.instagram.com/richrocka/?hl=en\">Rich Rocka\u003c/a> (formerly known as Ya Boy) and the neighboring Fillmore community; serenity came later in the form of hip-hop.\u003c/p>\n\u003cp>Inspired by the music of pioneering San Francisco rappers \u003ca href=\"https://www.instagram.com/hughemc/\">Hugh EMC\u003c/a> and the late \u003ca href=\"https://www.kqed.org/arts/13928057/alien-mac-kitty-cougnut-daughter-san-francisco-frisco-rap-legacy\">Cougnut\u003c/a>, and coupled with a push to perform during a middle school talent show, Messy Marv found his lane.\u003c/p>\n\u003cp>He dropped his first full album \u003cem>Messy Situationz\u003c/em> in 1996. Two years later he partnered with fellow Fillmore rapper \u003ca href=\"https://www.instagram.com/sanquinn415/\">San Quinn\u003c/a> for \u003cem>Explosive Mode\u003c/em>, a project that still stands as a certified hood classic.\u003c/p>\n\u003cfigure id=\"attachment_13984674\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984674\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/img_9880.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/img_9880.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/img_9880-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/img_9880-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/img_9880-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Explosive Mode,’ Messy Marv’s 1998 album with San Quinn. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marv then went on a run from the late ’90s through the early 2000s, dropping dozens of albums, recording hundreds of features and founding his own label, Scalen Entertainment.\u003c/p>\n\u003cp>His music reflected his real-life involvement with the streets, fast cars, women and drug use. With a certain ease, he used his guttural voice and punchy wordplay to paint vivid images of “the other side” of the most picturesque city in the world.\u003c/p>\n\u003cp>Marv’s career is full of erroneous decisions and unfortunate mishaps. In 2001 he was confined to a wheelchair for six months after \u003ca href=\"https://www.youtube.com/watch?v=KPhMR8X5NHk&t=2413s\">surviving a leap from a four-story window\u003c/a> that left his legs shattered. In 2005 he was \u003ca href=\"https://www.sfgate.com/crime/article/for-s-f-rappers-another-dream-deferred-2560404.php\">arrested on weapons possession charges\u003c/a> while en route to a photoshoot for the magazine \u003cem>XXL\u003c/em>. In 2018 he was seen \u003ca href=\"https://www.youtube.com/watch?v=73KjowD6TLg\">brandishing a firearm\u003c/a> while searching for rapper J-Diggs in Vallejo.\u003c/p>\n\u003cp>And still, Marv holds a special place in Bay Area hip-hop lore.\u003c/p>\n\u003cp>Two years ago, as O.J. Simpson discussed his love of hip-hop during an appearance on Cam’ron and Ma$e’s popular podcast \u003cem>It Is What It Is\u003c/em>, he surprised nearly everyone by \u003ca href=\"https://www.facebook.com/watch/?v=311185161773531\">mentioning Messy Marv first\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13895586']I’ve talked to so many people about Marv’s influence. That includes renowned hip-hop \u003ca href=\"https://www.kqed.org/arts/13951122/d-ray-bay-area-hip-hop-photographer\">photographer D-Ray\u003c/a>, who made some of the earliest images of Marv as a rapper, and \u003ca href=\"https://www.kqed.org/arts/13956701/therapy-in-the-ghetto-reimagined-to-raise-mental-health-awareness-in-sfs-bayview\">Gunna Goes Global\u003c/a>, an MC raised in the shadows of Marv’s ascension in the Fillmore. They all say the same thing: Messy Marv is tragically underrated.\u003c/p>\n\u003cp>A recent call to one of Marv’s close family members revealed to me that the famed rapper is still in need of help. And a text from Mistah F.A.B., who also runs the “\u003ca href=\"https://thethugstherapy.com/\">T.H.U.G. Therapy\u003c/a>” men’s support group, reminded me that “mental health is important.”\u003c/p>\n\u003cp>Like many all across the Bay, I’m hoping for the best for Marv. I’ll also echo something \u003ca href=\"https://www.youtube.com/watch?v=mC6momU_K50\">Mistah F.A.B. told Dregs One\u003c/a> earlier this year, while discussing Messy Marv: “They can’t take who we was,” he said, paraphrasing a line from the film \u003ca href=\"https://www.youtube.com/watch?v=K8NeB6-JQqI\">\u003cem>Above The Rim\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“A gold medal in 2002 is still a gold medal in 2025,” added F.A.B. “And Mess will always be a gold medalist in my eyes.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I don’t believe we should have a Mt. Rushmore of Bay Area hip-hop. But if we were to hoist the names of the greatest locally raised hip-hop artists to the top of, say, Twin Peaks? Then there’d better be a spot reserved for Messy Marv.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, as we near the end of 2025, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>his year, nothing has been more beautiful than the outpouring of support for famed San Francisco rapper Messy Marv.\u003c/p>\n\u003cp>After being released last year from a stint behind bars, the lyrical game spitter has been spotted struggling on the streets of the Bay. People have pulled up and given him \u003ca href=\"https://www.youtube.com/shorts/mXuWiOev5ow\">money\u003c/a>, \u003ca href=\"https://www.youtube.com/shorts/29nYDBERpBQ\">food\u003c/a>, a \u003ca href=\"https://www.youtube.com/shorts/a5WY-nRTLYg\">haircut\u003c/a>, as well as love and support; that affection has only been \u003ca href=\"https://www.instagram.com/p/DRTEsgIEiCz/\">amplified online\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg\" alt=\"\" width=\"180\" height=\"207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w\" sizes=\"auto, (max-width: 180px) 100vw, 180px\">Marv’s return was highlighted by an emotional reunion with \u003ca href=\"https://www.instagram.com/p/DPM4vs5keOY/\">Mistah F.A.B.\u003c/a> in September, which inspired another resounding wave of props to remind people of his rightful spot in the Bay Area’s hip-hop pantheon.\u003c/p>\n\u003cp>The question of who goes on the Mt. Rushmore of Bay Area rap has always bothered me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Set aside that it’s referencing images of colonists carved into sacred stones of the Lakota Sioux, who called the land formation Tȟuŋkášila Šákpe, or Six Grandfathers. My main problem is with people believing that four individuals can truly represent the entirety of this unique, obscure, vast flavor of hip-hop we know and love.\u003c/p>\n\u003cp>\u003cem>Do you know the depth of Bay Area hip-hop? \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13951128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-800x1064.png\" alt=\"Fillmore raised MC, San Francisco rap star Messy Marv poses for a photo.\" width=\"800\" height=\"1064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-800x1064.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-1020x1357.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-768x1022.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3.png 1108w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fillmore-raised MC and San Francisco rap star Messy Marv in the 2000s. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The list of figureheads for Northern California’s rap scene usually starts with Too Short, the Godfather, and E-40, the king of slang. The Furly Ghost himself, Mac Dre, is often a shoo-in. And then the discussion gets interesting.\u003c/p>\n\u003cp>MC Hammer broke pop barriers and went diamond. The Jacka’s music reached folks on prison yards and those praying in Mecca. And HBK held it down when the Bay wasn’t really making a sound.\u003c/p>\n\u003cp>Hieroglyphics created a brand known around the world, and \u003ca href=\"https://www.xxlmag.com/california-love/\">San Quinn is in the Guinness Book of World Records\u003c/a> for recording the most features before the age of 21. Kamaiyah is a party music machine, Traxamillion gave us anthems for virtually every Bay Area city and Rick Rock embodies the term “slap.”\u003c/p>\n\u003cp>The Conscious Daughters gave us “Somethin’ to Ride To,” Larry June is showing us there’s a healthy way to be a player and Keak Da Sneak is still the people’s champ. There’s Digital Underground, Luniz, Rappin’ 4-Tay, Richie Rich, Mistah F.A.B. and more.\u003c/p>\n\u003cp>And then there’s Messy Marv.\u003c/p>\n\u003cfigure id=\"attachment_13924090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-800x756.jpg\" alt=\"\" width=\"800\" height=\"756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-800x756.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-1020x964.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871-768x726.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/1b391526-3797-4371-acff-a39092a7d871.jpg 1125w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nump (at right) with Messy Marv, who gave Nump his name during studio sessions in the early 2000s. \u003ccite>(Courtesy of Nump)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s a rapper that’s seen some of the highest highs and the lowest lows. And his story shows why the Mt. Rushmore question is asinine, and leaves no room for the nuances of an artist’s career, or the person’s lived experience.\u003c/p>\n\u003cp>For some rappers, “making it” isn’t about talent and hit tracks, radio spins, plaques on the wall or songs reaching the charts. It’s about surviving.\u003c/p>\n\u003cp>Messy Marv has done all of the above.\u003c/p>\n\u003cp>He’s rocked shows all across the country, dropped multiple tracks that’ve reached the Billboard charts and collaborated with the likes of \u003ca href=\"https://www.youtube.com/watch?v=GNGSCgs8moM&t=43s\">Keyshia Cole\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=xHZphkKEt2Q\">Dead Prez\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=Izr9s1ozOss\">George Clinton\u003c/a>. He’s navigated true poverty, dealt with addiction and been in and out of one system or another since he was a kid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I’m a foster care baby,” \u003ca href=\"https://www.youtube.com/watch?v=KPhMR8X5NHk\">Messy Marv told Dregs One\u003c/a>, host of the \u003cem>History of The Bay\u003c/em> podcast during a revealing interview last year. Discussing his parents, whom he’s never met, he said, “They left me on the porch when I was two years old, and sold me for $70.”\u003c/p>\n\u003cp>He slept in trap houses with dogs, and was exposed to the fast life at a young age. “I was tooting powder at 9,” Marv told Dregs One in the same interview. “This is a Fillmore tradition,” he added. “Smoke a lil’ coke and toot a lil’ powder cocaine. This is history.”\u003c/p>\n\u003cp>Marv found family through \u003ca href=\"https://www.instagram.com/richrocka/?hl=en\">Rich Rocka\u003c/a> (formerly known as Ya Boy) and the neighboring Fillmore community; serenity came later in the form of hip-hop.\u003c/p>\n\u003cp>Inspired by the music of pioneering San Francisco rappers \u003ca href=\"https://www.instagram.com/hughemc/\">Hugh EMC\u003c/a> and the late \u003ca href=\"https://www.kqed.org/arts/13928057/alien-mac-kitty-cougnut-daughter-san-francisco-frisco-rap-legacy\">Cougnut\u003c/a>, and coupled with a push to perform during a middle school talent show, Messy Marv found his lane.\u003c/p>\n\u003cp>He dropped his first full album \u003cem>Messy Situationz\u003c/em> in 1996. Two years later he partnered with fellow Fillmore rapper \u003ca href=\"https://www.instagram.com/sanquinn415/\">San Quinn\u003c/a> for \u003cem>Explosive Mode\u003c/em>, a project that still stands as a certified hood classic.\u003c/p>\n\u003cfigure id=\"attachment_13984674\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984674\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/img_9880.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/img_9880.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/img_9880-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/img_9880-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/img_9880-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Explosive Mode,’ Messy Marv’s 1998 album with San Quinn. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marv then went on a run from the late ’90s through the early 2000s, dropping dozens of albums, recording hundreds of features and founding his own label, Scalen Entertainment.\u003c/p>\n\u003cp>His music reflected his real-life involvement with the streets, fast cars, women and drug use. With a certain ease, he used his guttural voice and punchy wordplay to paint vivid images of “the other side” of the most picturesque city in the world.\u003c/p>\n\u003cp>Marv’s career is full of erroneous decisions and unfortunate mishaps. In 2001 he was confined to a wheelchair for six months after \u003ca href=\"https://www.youtube.com/watch?v=KPhMR8X5NHk&t=2413s\">surviving a leap from a four-story window\u003c/a> that left his legs shattered. In 2005 he was \u003ca href=\"https://www.sfgate.com/crime/article/for-s-f-rappers-another-dream-deferred-2560404.php\">arrested on weapons possession charges\u003c/a> while en route to a photoshoot for the magazine \u003cem>XXL\u003c/em>. In 2018 he was seen \u003ca href=\"https://www.youtube.com/watch?v=73KjowD6TLg\">brandishing a firearm\u003c/a> while searching for rapper J-Diggs in Vallejo.\u003c/p>\n\u003cp>And still, Marv holds a special place in Bay Area hip-hop lore.\u003c/p>\n\u003cp>Two years ago, as O.J. Simpson discussed his love of hip-hop during an appearance on Cam’ron and Ma$e’s popular podcast \u003cem>It Is What It Is\u003c/em>, he surprised nearly everyone by \u003ca href=\"https://www.facebook.com/watch/?v=311185161773531\">mentioning Messy Marv first\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’ve talked to so many people about Marv’s influence. That includes renowned hip-hop \u003ca href=\"https://www.kqed.org/arts/13951122/d-ray-bay-area-hip-hop-photographer\">photographer D-Ray\u003c/a>, who made some of the earliest images of Marv as a rapper, and \u003ca href=\"https://www.kqed.org/arts/13956701/therapy-in-the-ghetto-reimagined-to-raise-mental-health-awareness-in-sfs-bayview\">Gunna Goes Global\u003c/a>, an MC raised in the shadows of Marv’s ascension in the Fillmore. They all say the same thing: Messy Marv is tragically underrated.\u003c/p>\n\u003cp>A recent call to one of Marv’s close family members revealed to me that the famed rapper is still in need of help. And a text from Mistah F.A.B., who also runs the “\u003ca href=\"https://thethugstherapy.com/\">T.H.U.G. Therapy\u003c/a>” men’s support group, reminded me that “mental health is important.”\u003c/p>\n\u003cp>Like many all across the Bay, I’m hoping for the best for Marv. I’ll also echo something \u003ca href=\"https://www.youtube.com/watch?v=mC6momU_K50\">Mistah F.A.B. told Dregs One\u003c/a> earlier this year, while discussing Messy Marv: “They can’t take who we was,” he said, paraphrasing a line from the film \u003ca href=\"https://www.youtube.com/watch?v=K8NeB6-JQqI\">\u003cem>Above The Rim\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“A gold medal in 2002 is still a gold medal in 2025,” added F.A.B. “And Mess will always be a gold medalist in my eyes.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I don’t believe we should have a Mt. Rushmore of Bay Area hip-hop. But if we were to hoist the names of the greatest locally raised hip-hop artists to the top of, say, Twin Peaks? Then there’d better be a spot reserved for Messy Marv.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The city of San Francisco has reached a tentative settlement in \u003ca href=\"https://www.kqed.org/arts/13848442/fillmore-heritage-center-attracts-another-lawsuit\">a 2018 lawsuit against the developer of the Fillmore Heritage Center\u003c/a>, the complex at 1330 Fillmore Street which once housed an iteration of the jazz nightclub Yoshi’s.\u003c/p>\n\u003cp>The city had sought to recover $5.5 million that was borrowed by Heritage Center developer Michael Johnson. The \u003ca href=\"https://sfbos.org/sites/default/files/GAO_032025_250179.pdf\">proposed settlement [PDF]\u003c/a> requires Johnson to pay just $100,000, a fraction of the original loan.\u003c/p>\n\u003cp>[aside postID='arts_13848442']The settlement, negotiated by the City Attorney’s office of David Chiu, would also bar Johnson from doing business with the city of San Francisco for five years. The Board of Supervisors is scheduled to vote on the settlement on Thursday, March 20.\u003c/p>\n\u003cp>“We believe the proposed settlement is the best outcome for the city,” said Jen Kwart, spokesperson for the City Attorney’s office, “and we are pleased the defendants and their affiliated businesses have agreed not to do business with the city for five years.”\u003c/p>\n\u003cfigure id=\"attachment_10297719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10297719\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Yoshis.jpg\" alt=\"view inside music venue with stage and balcony seating\" width=\"800\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Yoshis.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Yoshis-400x246.jpg 400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yoshi’s, the Fillmore Heritage Center’s anchor tenant, closed in 2014. \u003ccite>(Yoshi's SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city had hoped the Heritage Center would revive the Fillmore neighborhood, once known as the “Harlem of the West” for its bustling corridor of Black-owned jazz clubs, restaurants and businesses. (\u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">The neighborhood was decimated and its population was displaced by San Francisco’s Redevelopment Agency\u003c/a>, led by director Justin Herman, in the 1960s.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the Heritage Center, a 50,000-square-foot space which has sat unoccupied since 2019, has over the past decade become a visible symbol of mismanagement and neglect.\u003c/p>\n\u003cp>[aside postID='news_11825401']Johnson and his partners in the Fillmore Heritage Center declared bankruptcy in 2014. He soon afterward pursued a new development near Lake Merritt involving land owned by the city of Oakland.\u003c/p>\n\u003cp>Johnson, who countersued the city in 2018 for breach of contract, had additionally owed $4.8 million in loans from the Redevelopment Agency. That debt, like many others in the wake of the dissolution of California’s redevelopment agencies in 2011, was written off.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Johnson also owed smaller debts. In 2015, the jazz musician Christian McBride contacted KQED about a $9,300 check from Johnson that had bounced after his residency at The Addition, the Heritage Center’s short-lived reincarnation of Yoshi’s. Days after an inquiry from KQED to Johnson about the bounced check, McBride was suddenly paid the full amount.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The city of San Francisco has reached a tentative settlement in \u003ca href=\"https://www.kqed.org/arts/13848442/fillmore-heritage-center-attracts-another-lawsuit\">a 2018 lawsuit against the developer of the Fillmore Heritage Center\u003c/a>, the complex at 1330 Fillmore Street which once housed an iteration of the jazz nightclub Yoshi’s.\u003c/p>\n\u003cp>The city had sought to recover $5.5 million that was borrowed by Heritage Center developer Michael Johnson. The \u003ca href=\"https://sfbos.org/sites/default/files/GAO_032025_250179.pdf\">proposed settlement [PDF]\u003c/a> requires Johnson to pay just $100,000, a fraction of the original loan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The settlement, negotiated by the City Attorney’s office of David Chiu, would also bar Johnson from doing business with the city of San Francisco for five years. The Board of Supervisors is scheduled to vote on the settlement on Thursday, March 20.\u003c/p>\n\u003cp>“We believe the proposed settlement is the best outcome for the city,” said Jen Kwart, spokesperson for the City Attorney’s office, “and we are pleased the defendants and their affiliated businesses have agreed not to do business with the city for five years.”\u003c/p>\n\u003cfigure id=\"attachment_10297719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10297719\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Yoshis.jpg\" alt=\"view inside music venue with stage and balcony seating\" width=\"800\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Yoshis.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Yoshis-400x246.jpg 400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yoshi’s, the Fillmore Heritage Center’s anchor tenant, closed in 2014. \u003ccite>(Yoshi's SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city had hoped the Heritage Center would revive the Fillmore neighborhood, once known as the “Harlem of the West” for its bustling corridor of Black-owned jazz clubs, restaurants and businesses. (\u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">The neighborhood was decimated and its population was displaced by San Francisco’s Redevelopment Agency\u003c/a>, led by director Justin Herman, in the 1960s.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Johnson and his partners in the Fillmore Heritage Center declared bankruptcy in 2014. He soon afterward pursued a new development near Lake Merritt involving land owned by the city of Oakland.\u003c/p>\n\u003cp>Johnson, who countersued the city in 2018 for breach of contract, had additionally owed $4.8 million in loans from the Redevelopment Agency. That debt, like many others in the wake of the dissolution of California’s redevelopment agencies in 2011, was written off.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Johnson also owed smaller debts. In 2015, the jazz musician Christian McBride contacted KQED about a $9,300 check from Johnson that had bounced after his residency at The Addition, the Heritage Center’s short-lived reincarnation of Yoshi’s. Days after an inquiry from KQED to Johnson about the bounced check, McBride was suddenly paid the full amount.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Franciscans who are too young to have lived through the Fillmore District’s heyday, during the 1940s and ’50s, have probably heard stories about \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">the “Harlem of the West.”\u003c/a> Back then, Fillmore Street was packed with Black-owned restaurants, barber shops and nightclubs, and jazz legends like Billie Holiday routinely swung through the neighborhood to perform during their West Coast tours.\u003c/p>\n\u003cp>And anyone who’s paid attention to the long and steady displacement of the city’s Black population, now dwindled down to something like \u003ca href=\"https://www.threepointnineartcollective.com/#:~:text=History,of%20a%20diverse%20San%20Francisco.\">4\u003c/a> or \u003ca href=\"https://belonging.berkeley.edu/most-segregated-cities-bay-area-2020\">5%\u003c/a>, knows that today’s Fillmore \u003ca href=\"https://capitalbnews.org/san-francisco-black-neighborhood/\">doesn’t look anything like that\u003c/a>.\u003c/p>\n\u003cp>Tamara Walker is one of many Black San Franciscans who would like to change that. For the third year in a row, Walker’s event production company, Burge LLC, is organizing the \u003ca href=\"https://www.eventbrite.com/e/holiday-night-market-wlyfe-jennings-vendors-kids-wonderland-more-free-tickets-1083574984949?aff=oddtdtcreator\">Fillmore Holiday Night Market\u003c/a>, a night market and block party centered on the local Black community. The idea, she says, is to bring back a slice of that old Harlem of the West — at least for one night.\u003c/p>\n\u003cp>“A lot of people moved out of the city, and now they live in the East Bay and other places,” Walker says. “This particular event drives them back here to the Fillmore.”\u003c/p>\n\u003cfigure id=\"attachment_13969637\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa.jpg\" alt=\"Santa Claus poses for a photo with a baby.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Santa poses for a photo with a baby at last year’s holiday night market. \u003ccite>(Zoe Hertz, courtesy of Citizen Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s holiday market will take place on Friday, Dec. 20. Co-sponsors include the nonprofit Livable City and Citizen Film, a documentary film company, with some additional funding from San Francisco’s Office of Economic and Workforce Development.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The holiday block party has always been set up as a night market. Even before it \u003ca href=\"https://www.kqed.org/arts/13963258/bay-area-night-markets-food-fall-guide-2024\">became trendy\u003c/a> to brand big community events that way, Walker says, Black folks were gathering together in the streets for big reunions or celebrations: “It was just something that we did as a culture. You dressed up; you wore your finest. You came out so everybody could see your family.”\u003c/p>\n\u003cp>This year’s market will feature free cookies and hot chocolate, a toy giveaway and live snow and arts and crafts for the kids. For folks looking to pick up last-minute holiday gifts, a variety of Black- and brown-owned retail businesses will have booths set up to sell their wares. And, of course, there will be plenty of food, with vendors selling everything from oxtails and fried fish to banana pudding. \u003ca href=\"https://www.kqed.org/arts/13956178/minnie-bells-soul-food-restaurant-fillmore-sf-opening\">Minnie Bell’s\u003c/a>, a fried chicken restaurant that opened in the neighborhood this past summer — explicitly because the owner wanted to revitalize Black business in the area — will be open for business right on Fillmore (though it won’t have a booth at the market).\u003c/p>\n\u003cfigure id=\"attachment_13969638\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969638\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew.jpg\" alt=\"An outdoor vendor ladles stew into a bowl at night.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A food vendor ladles out a bowl of stew at last year’s holiday night market. \u003ccite>(Zoe Hertz, courtesy of Citizen Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Live performances will include a local jazz band, line dancing and, the headliner, the R&B singer Lyfe Jennings.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13956178,arts_13874853,arts_13969092']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>But the biggest thing, Walker says, is for the night market to be a big community gathering for the Fillmore, new and old. It will attract Black folks who were displaced and now live out in Stockton or Antioch. And it’ll also be a celebration of today’s Fillmore, which has large Asian, Russian and Eritrean populations, and is also still home to one of the largest concentrations of African Americans in the city.\u003c/p>\n\u003cp>The event is meant to boost the morale of the Fillmore, she says, and to remind everyone that Black San Francisco is still here: “We’re vibrant. We’re not leaving.”\u003c/p>\n\u003cp>“We have a Black Santa,” Walker says. “It’s important for these kids to see families that look like them, even if there’s only 3% of us — and that we are still doing business here, so the next generation knows that they can also be entrepreneurs.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This year’s Fillmore Holiday Night Market will be on Friday, Dec. 20, from 5–9 p.m., around the intersection of Fillmore and O’Farrell streets. It’s a free event, but organizers are asking guests to \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/holiday-night-market-wlyfe-jennings-vendors-kids-wonderland-more-free-tickets-1083574984949?aff=oddtdtcreator\">\u003ci>RSVP online\u003c/i>\u003c/a>\u003ci> so that they know how many people to expect.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The block party will be a celebration of Black San Francisco, past and present.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Franciscans who are too young to have lived through the Fillmore District’s heyday, during the 1940s and ’50s, have probably heard stories about \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">the “Harlem of the West.”\u003c/a> Back then, Fillmore Street was packed with Black-owned restaurants, barber shops and nightclubs, and jazz legends like Billie Holiday routinely swung through the neighborhood to perform during their West Coast tours.\u003c/p>\n\u003cp>And anyone who’s paid attention to the long and steady displacement of the city’s Black population, now dwindled down to something like \u003ca href=\"https://www.threepointnineartcollective.com/#:~:text=History,of%20a%20diverse%20San%20Francisco.\">4\u003c/a> or \u003ca href=\"https://belonging.berkeley.edu/most-segregated-cities-bay-area-2020\">5%\u003c/a>, knows that today’s Fillmore \u003ca href=\"https://capitalbnews.org/san-francisco-black-neighborhood/\">doesn’t look anything like that\u003c/a>.\u003c/p>\n\u003cp>Tamara Walker is one of many Black San Franciscans who would like to change that. For the third year in a row, Walker’s event production company, Burge LLC, is organizing the \u003ca href=\"https://www.eventbrite.com/e/holiday-night-market-wlyfe-jennings-vendors-kids-wonderland-more-free-tickets-1083574984949?aff=oddtdtcreator\">Fillmore Holiday Night Market\u003c/a>, a night market and block party centered on the local Black community. The idea, she says, is to bring back a slice of that old Harlem of the West — at least for one night.\u003c/p>\n\u003cp>“A lot of people moved out of the city, and now they live in the East Bay and other places,” Walker says. “This particular event drives them back here to the Fillmore.”\u003c/p>\n\u003cfigure id=\"attachment_13969637\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa.jpg\" alt=\"Santa Claus poses for a photo with a baby.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Santa poses for a photo with a baby at last year’s holiday night market. \u003ccite>(Zoe Hertz, courtesy of Citizen Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s holiday market will take place on Friday, Dec. 20. Co-sponsors include the nonprofit Livable City and Citizen Film, a documentary film company, with some additional funding from San Francisco’s Office of Economic and Workforce Development.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The holiday block party has always been set up as a night market. Even before it \u003ca href=\"https://www.kqed.org/arts/13963258/bay-area-night-markets-food-fall-guide-2024\">became trendy\u003c/a> to brand big community events that way, Walker says, Black folks were gathering together in the streets for big reunions or celebrations: “It was just something that we did as a culture. You dressed up; you wore your finest. You came out so everybody could see your family.”\u003c/p>\n\u003cp>This year’s market will feature free cookies and hot chocolate, a toy giveaway and live snow and arts and crafts for the kids. For folks looking to pick up last-minute holiday gifts, a variety of Black- and brown-owned retail businesses will have booths set up to sell their wares. And, of course, there will be plenty of food, with vendors selling everything from oxtails and fried fish to banana pudding. \u003ca href=\"https://www.kqed.org/arts/13956178/minnie-bells-soul-food-restaurant-fillmore-sf-opening\">Minnie Bell’s\u003c/a>, a fried chicken restaurant that opened in the neighborhood this past summer — explicitly because the owner wanted to revitalize Black business in the area — will be open for business right on Fillmore (though it won’t have a booth at the market).\u003c/p>\n\u003cfigure id=\"attachment_13969638\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969638\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew.jpg\" alt=\"An outdoor vendor ladles stew into a bowl at night.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A food vendor ladles out a bowl of stew at last year’s holiday night market. \u003ccite>(Zoe Hertz, courtesy of Citizen Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Live performances will include a local jazz band, line dancing and, the headliner, the R&B singer Lyfe Jennings.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>But the biggest thing, Walker says, is for the night market to be a big community gathering for the Fillmore, new and old. It will attract Black folks who were displaced and now live out in Stockton or Antioch. And it’ll also be a celebration of today’s Fillmore, which has large Asian, Russian and Eritrean populations, and is also still home to one of the largest concentrations of African Americans in the city.\u003c/p>\n\u003cp>The event is meant to boost the morale of the Fillmore, she says, and to remind everyone that Black San Francisco is still here: “We’re vibrant. We’re not leaving.”\u003c/p>\n\u003cp>“We have a Black Santa,” Walker says. “It’s important for these kids to see families that look like them, even if there’s only 3% of us — and that we are still doing business here, so the next generation knows that they can also be entrepreneurs.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This year’s Fillmore Holiday Night Market will be on Friday, Dec. 20, from 5–9 p.m., around the intersection of Fillmore and O’Farrell streets. It’s a free event, but organizers are asking guests to \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/holiday-night-market-wlyfe-jennings-vendors-kids-wonderland-more-free-tickets-1083574984949?aff=oddtdtcreator\">\u003ci>RSVP online\u003c/i>\u003c/a>\u003ci> so that they know how many people to expect.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music",
"headTitle": "‘Art of Noise’ at SFMOMA Celebrates the Weird Ways We Listen to Music | KQED",
"content": "\u003cp>For what’s essentially \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fuloa32ec6ej11.jpg\">a bunch of wiggly air\u003c/a>, music plays a fascinating and outsized role in civilization. The methods humans have devised to deliver sound waves to our ears are as varied as they are ubiquitous, from \u003ca href=\"https://www.youtube.com/watch?v=Rfsmj_OzdO8\">AirPods vibrating to Tommy Richman\u003c/a> to that tinny P.A. speaker at the DMV bleating out “A43, Window 8.”\u003c/p>\n\u003cp>Some of these innovations, like the Sony Walkman, changed the world. Many more were flops. Still others benefitted from being conceived as works of art.\u003c/p>\n\u003cp>The more fascinating of these wiggly-air delivery systems (or “weird stereos,” as one overheard visitor put it) make up the most compelling portion of \u003cem>Art of Noise\u003c/em>, on view at the San Francisco Museum of Modern Art, May 4–Aug. 16. The show, taking up the entire seventh floor of the museum, also includes two listening rooms, interactive displays, and collections of the artistic two-dimensional ways that music has been marketed and sold over the past 75 years.\u003c/p>\n\u003cfigure id=\"attachment_13957025\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Mathieu Lehanneur, ‘Power of Love,’ 2009. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s main flaw is also its saving grace. \u003cem>Art of Noise\u003c/em> is a hodgepodge collection of stuff related to music, with no connecting thread or narrative, and little context. And yet, because it contains over 800 pieces on display, the visitor is sure to stumble on something interesting, nostalgic or even profound.\u003c/p>\n\u003cp>[aside postID='arts_13414955']The bulk of those pieces are Fillmore-style posters, which greet visitors at the show’s entrance: colorful 11-by-17-inch posters for the Fillmore Ballroom, the Avalon Ballroom, the Matrix, the Scottish Rite Temple and other late-1960s venues that hosted bands such as Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those who grew up in the the shadow of the Bay Area’s hippie generation and its adroit marketing of its own importance, this might warrant a shrug. But the design has obviously captured the contemporary imagination, as evidenced by an opposing corner of the exhibition with similar-looking posters, bubbly writing and all, for more recent bands like Comets on Fire, the Coachwhips and Panty Raid.\u003c/p>\n\u003cfigure id=\"attachment_13957023\" class=\"wp-caption aligncenter\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg\" alt=\"\" width=\"1258\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1020x1557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1006x1536.jpg 1006w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie MacLean, The Yardbirds and The Doors at the Fillmore Auditorium, San Francisco, July 25–30, 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>The posters come from a large collection donated to SFMOMA in the 1990s, and curators Joseph Becker with Divya Saraf seem to have thought it best to display as many as possible — satisfying for the completist, but to the detriment of context or visibility. Hung in a static grid, floor to tall ceiling, they simultaneously overwhelm and bleed together.\u003c/p>\n\u003cp>(Side note: the sanctioned \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">decimation of the Fillmore’s Black community\u003c/a> is well-known, and it would be nice to see posters from \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">the earlier years of the Fillmore Auditorium\u003c/a> — which hosted artists like Duke Ellington, Ike & Tina Turner and the Temptations — before Bill Graham took over the venue’s dance permit.)\u003c/p>\n\u003cfigure id=\"attachment_13957022\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg\" alt=\"\" width=\"1454\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1163x1536.jpg 1163w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Joy Division, ‘Unknown Pleasures.’ Poster. 1979. Designed by Factory Records after Peter Saville. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On another wall, various posters and flyers run chronologically from 1955 to 2015, with a number of dorm room standbys: posters for Woodstock, Bob Dylan as imagined by Milton Glaser, Joy Division’s \u003cem>Unknown Pleasures\u003c/em>. Early computer-designed rave flyers and photocopied punk flyers, plus block-lettered cardstock posters for ’80s and ’90s hip-hop shows, are a welcome addition.\u003c/p>\n\u003cp>Meanwhile, posters of Apple’s silhouette and neon 2003 iPod campaign feel off somehow; not that they’re too recent, but perhaps too tied to a \u003cem>product\u003c/em> instead of more directly to music. For that, you can pivot to a nearby wall of aesthetically designed LP covers — some original issues, some modern reprints — from labels like Blue Note, Verve and Columbia.\u003c/p>\n\u003cfigure id=\"attachment_13957056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Devon Turnbull, ‘HiFi Pursuit Listening Room Dream No. 1,’ 2022. \u003ccite>(Michael Lavorgna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A small listening room offers the strange experience of hearing eight wooden sculptures sing songs like “Sweet Adeline” and “The Darktown Strutter’s Ball” in oddly disembodied voices reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=41U78QP8nBk\">the IBM 7094 singing “Daisy Bell” in 1961\u003c/a>. Another side room contains a sound system designed by \u003ca href=\"https://www.nytimes.com/2022/07/25/style/devon-turnbull-ojas-speakers.html\">Devon Turnbull\u003c/a>, programmed live throughout the exhibition by Turnbull himself and a \u003ca href=\"https://www.sfmoma.org/devon-turnbull-listening-room-schedule/\">rotating schedule\u003c/a> of guest DJs.\u003c/p>\n\u003cp>On to the large room of weird stereos, where the music of New Order, Kraftwerk, Santana, Miles Davis and Grandmaster Flash softly emanates in an ambient din. Here’s where my imagination ran free, thinking of the vision necessary to design a turntable that looks like it was salvaged from the Starship Enterprise, or embedded in demolished concrete rubble, or meant to double as a waffle maker.\u003c/p>\n\u003cfigure id=\"attachment_13957024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmo%CC%88bel-Rosita-Vision-2000.jpg\" alt=\"\" width=\"1920\" height=\"1588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-800x662.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1020x844.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1536x1270.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thilo Oerke and Rosita Tonmöbel, ‘Rosita Vision 2000,’ 1971. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The big hits are here: Bang & Olufsen’s sleek stereo components, Dieter Ram’s marvelous midcentury designs for Braun. An early Edison wax cylinder player sits near one of the first-ever widely marketed Rock-ola jukeboxes. 1980s boomboxes, 1990s CD players and various MP3 gizmos trip through time; there’s even a \u003ca href=\"https://www.youtube.com/watch?v=OvliFN893GA\">My First Sony\u003c/a>.\u003c/p>\n\u003cp>But the really marvelous additions are aggressively unfamiliar, such as Mathieu Lehanneur’s \u003cem>Power of Love music player\u003c/em>, or Hugh Spencer’s \u003cem>Project G\u003c/em>. In a utilitarian world, these reimagine everyday objects as transporters for the divine.\u003c/p>\n\u003cp>Why do we want to make a music player that looks like gilded flame? Or that resembles a space helmet? Perhaps, in designing its vessel, we want to create something as beautiful as music itself.\u003c/p>\n\u003cp>Not too shabby for a bunch of wiggly air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfmoma.org/exhibition/art-of-noise/\">Art of Noise\u003c/a>’ is on view at the San Francisco Museum of Modern Art, May 4–Aug. 16, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For what’s essentially \u003ca href=\"https://www.reddit.com/media?url=https%3A%2F%2Fi.redd.it%2Fuloa32ec6ej11.jpg\">a bunch of wiggly air\u003c/a>, music plays a fascinating and outsized role in civilization. The methods humans have devised to deliver sound waves to our ears are as varied as they are ubiquitous, from \u003ca href=\"https://www.youtube.com/watch?v=Rfsmj_OzdO8\">AirPods vibrating to Tommy Richman\u003c/a> to that tinny P.A. speaker at the DMV bleating out “A43, Window 8.”\u003c/p>\n\u003cp>Some of these innovations, like the Sony Walkman, changed the world. Many more were flops. Still others benefitted from being conceived as works of art.\u003c/p>\n\u003cp>The more fascinating of these wiggly-air delivery systems (or “weird stereos,” as one overheard visitor put it) make up the most compelling portion of \u003cem>Art of Noise\u003c/em>, on view at the San Francisco Museum of Modern Art, May 4–Aug. 16. The show, taking up the entire seventh floor of the museum, also includes two listening rooms, interactive displays, and collections of the artistic two-dimensional ways that music has been marketed and sold over the past 75 years.\u003c/p>\n\u003cfigure id=\"attachment_13957025\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg\" alt=\"\" width=\"1440\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/12.-Mathieu-Lehanneur-Power-of-Love-music-player-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Mathieu Lehanneur, ‘Power of Love,’ 2009. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s main flaw is also its saving grace. \u003cem>Art of Noise\u003c/em> is a hodgepodge collection of stuff related to music, with no connecting thread or narrative, and little context. And yet, because it contains over 800 pieces on display, the visitor is sure to stumble on something interesting, nostalgic or even profound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The bulk of those pieces are Fillmore-style posters, which greet visitors at the show’s entrance: colorful 11-by-17-inch posters for the Fillmore Ballroom, the Avalon Ballroom, the Matrix, the Scottish Rite Temple and other late-1960s venues that hosted bands such as Jefferson Airplane, Big Brother and the Holding Company and the Grateful Dead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those who grew up in the the shadow of the Bay Area’s hippie generation and its adroit marketing of its own importance, this might warrant a shrug. But the design has obviously captured the contemporary imagination, as evidenced by an opposing corner of the exhibition with similar-looking posters, bubbly writing and all, for more recent bands like Comets on Fire, the Coachwhips and Panty Raid.\u003c/p>\n\u003cfigure id=\"attachment_13957023\" class=\"wp-caption aligncenter\" style=\"max-width: 1258px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg\" alt=\"\" width=\"1258\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1.jpg 1258w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-800x1221.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1020x1557.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-768x1172.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/03.-Bonnie-MacLean-The-Yardbirds-and-The-Doors-at-the-Fillmore-Auditorium-San-Francisco-July-25-30-1967-1-1006x1536.jpg 1006w\" sizes=\"(max-width: 1258px) 100vw, 1258px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie MacLean, The Yardbirds and The Doors at the Fillmore Auditorium, San Francisco, July 25–30, 1967.\u003c/figcaption>\u003c/figure>\n\u003cp>The posters come from a large collection donated to SFMOMA in the 1990s, and curators Joseph Becker with Divya Saraf seem to have thought it best to display as many as possible — satisfying for the completist, but to the detriment of context or visibility. Hung in a static grid, floor to tall ceiling, they simultaneously overwhelm and bleed together.\u003c/p>\n\u003cp>(Side note: the sanctioned \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">decimation of the Fillmore’s Black community\u003c/a> is well-known, and it would be nice to see posters from \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">the earlier years of the Fillmore Auditorium\u003c/a> — which hosted artists like Duke Ellington, Ike & Tina Turner and the Temptations — before Bill Graham took over the venue’s dance permit.)\u003c/p>\n\u003cfigure id=\"attachment_13957022\" class=\"wp-caption aligncenter\" style=\"max-width: 1454px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg\" alt=\"\" width=\"1454\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster.jpg 1454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/02.-Joy-Division-Unknown-Pleasures-poster-1163x1536.jpg 1163w\" sizes=\"(max-width: 1454px) 100vw, 1454px\">\u003cfigcaption class=\"wp-caption-text\">Joy Division, ‘Unknown Pleasures.’ Poster. 1979. Designed by Factory Records after Peter Saville. \u003ccite>(Tenari Tuatagaloa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On another wall, various posters and flyers run chronologically from 1955 to 2015, with a number of dorm room standbys: posters for Woodstock, Bob Dylan as imagined by Milton Glaser, Joy Division’s \u003cem>Unknown Pleasures\u003c/em>. Early computer-designed rave flyers and photocopied punk flyers, plus block-lettered cardstock posters for ’80s and ’90s hip-hop shows, are a welcome addition.\u003c/p>\n\u003cp>Meanwhile, posters of Apple’s silhouette and neon 2003 iPod campaign feel off somehow; not that they’re too recent, but perhaps too tied to a \u003cem>product\u003c/em> instead of more directly to music. For that, you can pivot to a nearby wall of aesthetically designed LP covers — some original issues, some modern reprints — from labels like Blue Note, Verve and Columbia.\u003c/p>\n\u003cfigure id=\"attachment_13957056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/08.-Devon-Turnbull-Hifi-Pursuit-Listening-Room-Dream-No.-1-2022-photo-Michael-Lavorgna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Devon Turnbull, ‘HiFi Pursuit Listening Room Dream No. 1,’ 2022. \u003ccite>(Michael Lavorgna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A small listening room offers the strange experience of hearing eight wooden sculptures sing songs like “Sweet Adeline” and “The Darktown Strutter’s Ball” in oddly disembodied voices reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=41U78QP8nBk\">the IBM 7094 singing “Daisy Bell” in 1961\u003c/a>. Another side room contains a sound system designed by \u003ca href=\"https://www.nytimes.com/2022/07/25/style/devon-turnbull-ojas-speakers.html\">Devon Turnbull\u003c/a>, programmed live throughout the exhibition by Turnbull himself and a \u003ca href=\"https://www.sfmoma.org/devon-turnbull-listening-room-schedule/\">rotating schedule\u003c/a> of guest DJs.\u003c/p>\n\u003cp>On to the large room of weird stereos, where the music of New Order, Kraftwerk, Santana, Miles Davis and Grandmaster Flash softly emanates in an ambient din. Here’s where my imagination ran free, thinking of the vision necessary to design a turntable that looks like it was salvaged from the Starship Enterprise, or embedded in demolished concrete rubble, or meant to double as a waffle maker.\u003c/p>\n\u003cfigure id=\"attachment_13957024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmo%CC%88bel-Rosita-Vision-2000.jpg\" alt=\"\" width=\"1920\" height=\"1588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-800x662.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1020x844.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-768x635.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/16.-Thilo-Oerke-and-Rosita-Tonmöbel-Rosita-Vision-2000-1536x1270.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thilo Oerke and Rosita Tonmöbel, ‘Rosita Vision 2000,’ 1971. \u003ccite>(Don Ross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The big hits are here: Bang & Olufsen’s sleek stereo components, Dieter Ram’s marvelous midcentury designs for Braun. An early Edison wax cylinder player sits near one of the first-ever widely marketed Rock-ola jukeboxes. 1980s boomboxes, 1990s CD players and various MP3 gizmos trip through time; there’s even a \u003ca href=\"https://www.youtube.com/watch?v=OvliFN893GA\">My First Sony\u003c/a>.\u003c/p>\n\u003cp>But the really marvelous additions are aggressively unfamiliar, such as Mathieu Lehanneur’s \u003cem>Power of Love music player\u003c/em>, or Hugh Spencer’s \u003cem>Project G\u003c/em>. In a utilitarian world, these reimagine everyday objects as transporters for the divine.\u003c/p>\n\u003cp>Why do we want to make a music player that looks like gilded flame? Or that resembles a space helmet? Perhaps, in designing its vessel, we want to create something as beautiful as music itself.\u003c/p>\n\u003cp>Not too shabby for a bunch of wiggly air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfmoma.org/exhibition/art-of-noise/\">Art of Noise\u003c/a>’ is on view at the San Francisco Museum of Modern Art, May 4–Aug. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Minnie Bell’s New Soul Food Restaurant in the Fillmore Is a Homecoming",
"headTitle": "Minnie Bell’s New Soul Food Restaurant in the Fillmore Is a Homecoming | KQED",
"content": "\u003cp>Chef Fernay McPherson has been serving her take on Southern comfort foods, like crispy rosemary fried chicken and apparently the Bay Area’s \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/an-ode-to-minnie-bell-s-gooey-mac-and-cheese-16012173.php\">best mac and cheese\u003c/a>, at her stall at The Public Market Food Hall in Emeryville since 2018. But she has long \u003ca href=\"https://www.kqed.org/news/11800814/a-black-chefs-dream-of-returning-to-the-fillmore\">dreamed\u003c/a> of running a restaurant in her hometown.\u003c/p>\n\u003cp>“My quest was to find a space in San Francisco and preferably in the Fillmore,” McPherson says.\u003c/p>\n\u003cp>She grew up in that neighborhood, once known as the “Harlem of the West,” which used to be full of Black-owned businesses. But \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">urban renewal\u003c/a> efforts from the 1950s through the 1970s forced tens of thousands of families to leave, and most businesses shut down.\u003c/p>\n\u003cp>\u003cem>WATCH KQED’s 1999 documentary on the history of Fillmore:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a8h2meDtdm8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A few have remained, and in recent years, a citywide effort — the Dream Keeper Initiative — is trying to revitalize the area and help bring back Black-owned businesses, like \u003ca href=\"https://www.kqed.org/news/11954111/longtime-fillmore-resident-hopes-to-restore-commerce-with-black-led-marketplace\">In The Black\u003c/a>, a shared retail space.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13900855,arts_13916044,arts_13874853']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>The program helped make it possible for McPherson to realize her dream. On Friday, she’ll welcome the public to dine at Minnie Bell’s Soul Movement — a stand-alone brick-and-mortar version of the East Bay stall, featuring a similar menu.\u003c/p>\n\u003cp>“I want to be able to educate people who may not know what was here before,” says McPherson, wearing a blue-gray apron and a graphic T-shirt emblazoned with a photo of Whitney Houston, from inside the 40-seat establishment in the heart of the Fillmore District. “Share those stories that my dad, my aunt share with me about how rich this was and be able to represent the culture and look forward to seeing more of it.”\u003c/p>\n\u003cp>For her, food is personal, and the restaurant pays homage to her family history. One wall is decorated with a large mural of a photo of Fillmore Street in its heyday in the 1960s. Another wall has two large-scale photographs of her biggest inspirations — her grandma Lillie Bell and her great-aunt Minnie.\u003c/p>\n\u003cfigure id=\"attachment_13956186\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956186\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED.jpg\" alt=\"A fresh batch of fried chicken is pulled out of the deep fryer.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pulling a fresh batch of rosemary fried chicken out of the fryer. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I picked these photos because I wanted a photo of them in their youth, like my aunt has on her cap and gown. She was graduating high school. My grandmother was about 21 and it was a professional portrait,” she says. “I just think they look so beautiful, and when I look up at these pictures, it just gives me all the strength that I need to get through my day.”\u003c/p>\n\u003cp>McPherson talked more about how important the past has been toward shaping her present with KQED’s Adhiti Bandlamudi.\u003c/p>\n\u003cp>\u003ci>This conversation has been edited for clarity and brevity.\u003c/i>\u003c/p>\n\u003chr>\n\u003cp>\u003cb>Adhiti Bandlamudi: Tell me more about your grandma and great aunt. How did their story manifest when it came to creating a menu and thinking about what experience you wanted to give at Minnie Bell’s Soul Movement?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Fernay McPherson:\u003c/b> While I may add a little twist to it, everything that I cook is food that I grew up eating. Before my family left Texas in the 1960s, my grandma made the chicken and pound cake for their journey into San Francisco. So we have that pound cake that she made — but [with] the addition of the caramel. I make it the same way that she taught me to make it. It was one of the cakes that everyone in the family wanted for their birthday.\u003c/p>\n\u003cp>We have fried chicken, which is the highlight of what we do, [and] the addition of the rosemary, is very San Francisco with so many rosemary bushes here. So those two married together — the flavors that migrated during the Great Migration with the fried chicken and then the freshness of the rosemary in the city, where I was born and raised. It’s like a perfect blend of Chef Fernay.\u003c/p>\n\u003cp>\u003cb>It almost seems like your approach to soul food is tradition with a little twist.\u003c/b>\u003c/p>\n\u003cp>Exactly! It’s tradition with a little twist. But the twists are not so much that it doesn’t display a homestyle comfort meal. That was so important for me, for people to eat the food and feel the comfort of home. In Emeryville, people would come and say, “Well, I’m from the South, so I’ll let you know how it tastes.” And I’m like, “Okay, that’s cool.” I know how it tastes [too], you know? But they would always come back and say, “That was so good, that really reminds me of home.” That is definitely the experience that I want people to get. Not too much of a twist, but the perfect twist.\u003c/p>\n\u003cfigure id=\"attachment_13956187\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956187\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED.jpg\" alt=\"A chef picks fresh rosemary leaves.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">McPherson prepares rosemary alongside Mundo Pérez at her new Fillmore restaurant. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You’ve been operating out of Emeryville since 2018, and now you’re getting ready to open up in San Francisco. You’ve wanted this for so long. What’s going through your mind right now?\u003c/b>\u003c/p>\n\u003cp>It’s a surreal experience. [To] be in the Fillmore, the community where I was born and raised, but also in a neighborhood that was rich in African-American culture, ownership, businesses, jazz clubs, just means so much, because I want to be able to represent a bygone era.\u003c/p>\n\u003cp>I am third generation. My aunt and dad talk about the history of the neighborhood. Then, I have my own history. So it’s three layers to what that history used to be. And by the time I was a teenager and walking around these streets, it was minimal Black businesses; whereas now, it’s almost nonexistent. So being a part of that revitalization is important, so that we can learn about the culture and know what used to be here.\u003c/p>\n\u003cp>\u003cb>Are any of your relatives, like Aunt Minnie, coming to the restaurant’s grand opening? \u003c/b>\u003c/p>\n\u003cp>We have a private grand opening party on Thursday, when my Aunt Minnie will see her face on this wall for the first time. My parents, they’re still in the neighborhood. My aunt lives with them, so they’ll all be here. My brothers will be here. My children will be here.\u003c/p>\n\u003cfigure id=\"attachment_13956189\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956189\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED.jpg\" alt=\"A paper-lined basket of fried chicken on a countertop.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">McPherson’s famous rosemary fried chicken, ready to be eaten. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you plan to serve to Aunt Minnie ?\u003c/b>\u003c/p>\n\u003cp>For her, I will do candied yams, fried chicken, cornbread and greens.\u003c/p>\n\u003cp>\u003cb>How might she respond? Are you ready for her critique?\u003c/b>\u003c/p>\n\u003cp>She critiques it all the time! She tells me all the time you’re getting better and better. She has the food often. So when she comes in, it won’t be anything new. It just has to be right. Because if it’s not, she will let me know. But when she tells me, “This was delicious,” that’s all the validation I need.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.minniebellssoul.com/\">\u003ci>Minnie Bell’s Soul Movement\u003c/i>\u003c/a>\u003ci> is located at 1375 Fillmore St. in San Francisco.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Chef Fernay McPherson brings comfort classics like fried chicken and mac and cheese to her old neighborhood.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chef Fernay McPherson has been serving her take on Southern comfort foods, like crispy rosemary fried chicken and apparently the Bay Area’s \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/an-ode-to-minnie-bell-s-gooey-mac-and-cheese-16012173.php\">best mac and cheese\u003c/a>, at her stall at The Public Market Food Hall in Emeryville since 2018. But she has long \u003ca href=\"https://www.kqed.org/news/11800814/a-black-chefs-dream-of-returning-to-the-fillmore\">dreamed\u003c/a> of running a restaurant in her hometown.\u003c/p>\n\u003cp>“My quest was to find a space in San Francisco and preferably in the Fillmore,” McPherson says.\u003c/p>\n\u003cp>She grew up in that neighborhood, once known as the “Harlem of the West,” which used to be full of Black-owned businesses. But \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">urban renewal\u003c/a> efforts from the 1950s through the 1970s forced tens of thousands of families to leave, and most businesses shut down.\u003c/p>\n\u003cp>\u003cem>WATCH KQED’s 1999 documentary on the history of Fillmore:\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/a8h2meDtdm8'\n title='//www.youtube.com/embed/a8h2meDtdm8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few have remained, and in recent years, a citywide effort — the Dream Keeper Initiative — is trying to revitalize the area and help bring back Black-owned businesses, like \u003ca href=\"https://www.kqed.org/news/11954111/longtime-fillmore-resident-hopes-to-restore-commerce-with-black-led-marketplace\">In The Black\u003c/a>, a shared retail space.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>The program helped make it possible for McPherson to realize her dream. On Friday, she’ll welcome the public to dine at Minnie Bell’s Soul Movement — a stand-alone brick-and-mortar version of the East Bay stall, featuring a similar menu.\u003c/p>\n\u003cp>“I want to be able to educate people who may not know what was here before,” says McPherson, wearing a blue-gray apron and a graphic T-shirt emblazoned with a photo of Whitney Houston, from inside the 40-seat establishment in the heart of the Fillmore District. “Share those stories that my dad, my aunt share with me about how rich this was and be able to represent the culture and look forward to seeing more of it.”\u003c/p>\n\u003cp>For her, food is personal, and the restaurant pays homage to her family history. One wall is decorated with a large mural of a photo of Fillmore Street in its heyday in the 1960s. Another wall has two large-scale photographs of her biggest inspirations — her grandma Lillie Bell and her great-aunt Minnie.\u003c/p>\n\u003cfigure id=\"attachment_13956186\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956186\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED.jpg\" alt=\"A fresh batch of fried chicken is pulled out of the deep fryer.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-31-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pulling a fresh batch of rosemary fried chicken out of the fryer. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I picked these photos because I wanted a photo of them in their youth, like my aunt has on her cap and gown. She was graduating high school. My grandmother was about 21 and it was a professional portrait,” she says. “I just think they look so beautiful, and when I look up at these pictures, it just gives me all the strength that I need to get through my day.”\u003c/p>\n\u003cp>McPherson talked more about how important the past has been toward shaping her present with KQED’s Adhiti Bandlamudi.\u003c/p>\n\u003cp>\u003ci>This conversation has been edited for clarity and brevity.\u003c/i>\u003c/p>\n\u003chr>\n\u003cp>\u003cb>Adhiti Bandlamudi: Tell me more about your grandma and great aunt. How did their story manifest when it came to creating a menu and thinking about what experience you wanted to give at Minnie Bell’s Soul Movement?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Fernay McPherson:\u003c/b> While I may add a little twist to it, everything that I cook is food that I grew up eating. Before my family left Texas in the 1960s, my grandma made the chicken and pound cake for their journey into San Francisco. So we have that pound cake that she made — but [with] the addition of the caramel. I make it the same way that she taught me to make it. It was one of the cakes that everyone in the family wanted for their birthday.\u003c/p>\n\u003cp>We have fried chicken, which is the highlight of what we do, [and] the addition of the rosemary, is very San Francisco with so many rosemary bushes here. So those two married together — the flavors that migrated during the Great Migration with the fried chicken and then the freshness of the rosemary in the city, where I was born and raised. It’s like a perfect blend of Chef Fernay.\u003c/p>\n\u003cp>\u003cb>It almost seems like your approach to soul food is tradition with a little twist.\u003c/b>\u003c/p>\n\u003cp>Exactly! It’s tradition with a little twist. But the twists are not so much that it doesn’t display a homestyle comfort meal. That was so important for me, for people to eat the food and feel the comfort of home. In Emeryville, people would come and say, “Well, I’m from the South, so I’ll let you know how it tastes.” And I’m like, “Okay, that’s cool.” I know how it tastes [too], you know? But they would always come back and say, “That was so good, that really reminds me of home.” That is definitely the experience that I want people to get. Not too much of a twist, but the perfect twist.\u003c/p>\n\u003cfigure id=\"attachment_13956187\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956187\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED.jpg\" alt=\"A chef picks fresh rosemary leaves.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-35-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">McPherson prepares rosemary alongside Mundo Pérez at her new Fillmore restaurant. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You’ve been operating out of Emeryville since 2018, and now you’re getting ready to open up in San Francisco. You’ve wanted this for so long. What’s going through your mind right now?\u003c/b>\u003c/p>\n\u003cp>It’s a surreal experience. [To] be in the Fillmore, the community where I was born and raised, but also in a neighborhood that was rich in African-American culture, ownership, businesses, jazz clubs, just means so much, because I want to be able to represent a bygone era.\u003c/p>\n\u003cp>I am third generation. My aunt and dad talk about the history of the neighborhood. Then, I have my own history. So it’s three layers to what that history used to be. And by the time I was a teenager and walking around these streets, it was minimal Black businesses; whereas now, it’s almost nonexistent. So being a part of that revitalization is important, so that we can learn about the culture and know what used to be here.\u003c/p>\n\u003cp>\u003cb>Are any of your relatives, like Aunt Minnie, coming to the restaurant’s grand opening? \u003c/b>\u003c/p>\n\u003cp>We have a private grand opening party on Thursday, when my Aunt Minnie will see her face on this wall for the first time. My parents, they’re still in the neighborhood. My aunt lives with them, so they’ll all be here. My brothers will be here. My children will be here.\u003c/p>\n\u003cfigure id=\"attachment_13956189\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956189\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED.jpg\" alt=\"A paper-lined basket of fried chicken on a countertop.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/240416-MINNIESSOULFOOD-47-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">McPherson’s famous rosemary fried chicken, ready to be eaten. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you plan to serve to Aunt Minnie ?\u003c/b>\u003c/p>\n\u003cp>For her, I will do candied yams, fried chicken, cornbread and greens.\u003c/p>\n\u003cp>\u003cb>How might she respond? Are you ready for her critique?\u003c/b>\u003c/p>\n\u003cp>She critiques it all the time! She tells me all the time you’re getting better and better. She has the food often. So when she comes in, it won’t be anything new. It just has to be right. Because if it’s not, she will let me know. But when she tells me, “This was delicious,” that’s all the validation I need.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.minniebellssoul.com/\">\u003ci>Minnie Bell’s Soul Movement\u003c/i>\u003c/a>\u003ci> is located at 1375 Fillmore St. in San Francisco.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Striking New Exhibit Celebrates 50 Years of ‘Women of Rock Art’",
"headTitle": "A Striking New Exhibit Celebrates 50 Years of ‘Women of Rock Art’ | KQED",
"content": "\u003cfigure id=\"attachment_13951426\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951426\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM.png\" alt=\"A gold, purple and orange design showing a mystic and a crystal ball, one hand raised in wonder.\" width=\"812\" height=\"1186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM.png 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-768x1122.png 768w\" sizes=\"(max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">A 1967 Bonnie MacLean design promoting Cream at the Fillmore. \u003ccite>(Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Feb. 4, 2020, the world lost Bonnie MacLean — an artist whose work adorned \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">Fillmore\u003c/a> music posters throughout the Summer of Love. MacLean’s images encompassed elements of art nouveau, psychedelia and hippie culture. They used high contrast colors for maximum impact. And they advertised concerts for the likes of Jefferson Airplane, The Who, Chuck Berry, The Doors, Donovan and Pink Floyd.\u003c/p>\n\u003cp>[aside postid='arts_13950359']During her time making the Fillmore — and San Francisco — a more beautiful place, MacClean designed just 32 posters. Nine of those collectors’ items are currently on display as part of \u003ca href=\"https://haightstreetart.org/pages/women-of-rock-art\">\u003cem>Women of Rock Art: 1965-2023\u003c/em>\u003c/a>, a new exhibit at the Haight Street Art Center curated by Ben Marks. The show focuses exclusively on female poster artists, many of whom hail from the Bay Area or lived here at some point. (They may not have local links, but the striking work of \u003ca href=\"https://www.taramcpherson.com/\">Tara McPherson\u003c/a>, \u003ca href=\"https://isadorabullock.art/\">Isadora Bullock\u003c/a>, \u003ca href=\"https://www.housandarts.com/\">Chelsea Housand\u003c/a>, \u003ca href=\"https://www.sadiemaysart.com/about\">Sadie May\u003c/a> and \u003ca href=\"https://mishkawestell.com/posters/\">Mishka Westell\u003c/a> feels perfectly at home in this show.)\u003c/p>\n\u003cp>The exhibit is a jaunt through this particular brand of rock ‘n’ roll artwork through the decades — almost all of which reflects its era and the influences of the women making it. Two hundred pieces by 55 artists are included, starting with hand-drawn hallucinogen-inspired experiments of the 1960s. That style was perfected by Berkeley-born \u003ca href=\"https://www.johnmccarty.org/sam-sirdofsky/\">Samantha Sirdofsky\u003c/a>, but lovingly and more loosely played with by others, including a mysterious artist known only as Marjorie. The screen-printed work of Coralie Russo carries similar silhouettes to her peers but a simpler, bolder color palette — a product of her tool of choice.\u003c/p>\n\u003cfigure id=\"attachment_13951568\" class=\"wp-caption aligncenter\" style=\"max-width: 552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n.jpg\" alt=\"Illustration of a woman's face, facing forward, wearing a winged helmet with a peace sign on it.\" width=\"552\" height=\"736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n-160x213.jpg 160w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003cfigcaption class=\"wp-caption-text\">A 1967 anti-draft benefit poster by Coralie Russo. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The posters from this period aren’t just for live shows. Some promote anti-draft benefits, children’s events and one Grateful Dead concert that also featured “mime troupe puppets.” Given the limited opportunities available for female artists of the period, it’s no wonder they were advertising some of the more fringe gatherings.\u003c/p>\n\u003cp>[aside postid='arts_13950886']It’s well established that the art of San Francisco’s 1960s music scene was dominated by the so-called “Big Five”: Stanley Mouse, Alton Kelley, Victor Moscoco, Rick Griffin and Wes Wilson. Bonnie MacLean was only granted more opportunities at the Fillmore after Bill Graham and Wes Wilson had a difference of opinion and Wilson quit. MacLean was readily available — she was married to Graham at the time. Even so, before Wilson left she had been relegated to painting noticeboards within the venue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most of the exhibit is presented without comment and that’s no accident either. Curator Ben Marks explained to KQED that despite his best efforts, little is known today about some of the earliest women featured. Thankfully, the exhibit’s introductory statement acknowledges just what these women were up against at the dawn of the artform.\u003c/p>\n\u003cfigure id=\"attachment_13951587\" class=\"wp-caption aligncenter\" style=\"max-width: 1660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM.png\" alt=\"A wall of scrappy multicolored flyers advertising concerts.\" width=\"1660\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM.png 1660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-768x500.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-1536x999.png 1536w\" sizes=\"(max-width: 1660px) 100vw, 1660px\">\u003cfigcaption class=\"wp-caption-text\">‘Women of Rock Art’ also features a wall of 1980s flyers donated by Seattle punk band, Student Nurse. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Post-1960s, \u003cem>Women of Rock Art\u003c/em> rather starkly leaps straight into the 1980s — a jump made all the more jarring by that decade’s shift away from paint to photography. That style is best embodied here by \u003ca href=\"https://www.kqed.org/news/11966749/meet-the-woman-behind-the-fillmores-famous-posters\">the work of Arlene Owseichik\u003c/a>, but feels a touch impersonal by comparison to everything around it. No fault of the artist: The work embodies that decade’s hard lean away from the crowded, swirling aesthetics of the 1970s and into a new, cleaner, MTV-infused modernity.\u003c/p>\n\u003cp>[aside postid='news_11966749']Work on display here from the ’90s demonstrates valiant attempts at combining photos and screen-printing on the same poster. That method was sadly short-lived, and dynamic posters here for Throwing Muses, Big Star and Lush will make you wonder why we gave up on it altogether.\u003c/p>\n\u003cp>The new millennium brought with it a return to hyper-detailed and hand-drawn pieces, like that of Bay Area artists \u003ca href=\"https://www.laurenyurkovich.com/\">Lauren Yurkovich\u003c/a> and \u003ca href=\"https://alexandrafischerstudio.com/\">Alexandra Fischer\u003c/a>. There have been few obvious trend shifts in the last 20 years either — a post-modern reflection of the ways in which music culture has become more egalitarian since the dawn of the internet.\u003c/p>\n\u003cp>It is, however, impossible to ignore the sense of full circularity when looking at some of the newest posters on display. One 2022 Soul Asylum promo by \u003ca href=\"https://www.carolynferris.com/\">Carolyn Ferris\u003c/a> — featuring a woman’s face in side profile with band names unfurling in front of her in waves — appears to be a direct homage to a 1967 Bonnie MacLean piece elsewhere in the exhibit. And Oakland-based artist \u003ca href=\"https://caitlinmattisson.com/\">Caitlin Mattison\u003c/a> combines hyper-detailed modern techniques with aesthetics that clearly hark back to the work of the women that came before her.\u003c/p>\n\u003cfigure id=\"attachment_13951554\" class=\"wp-caption aligncenter\" style=\"max-width: 1995px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-scaled.jpg\" alt=\"Illustration featuring a bohemian looking woman sitting on a horseshoe and surrounded by wilderness.\" width=\"1995\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-scaled.jpg 1995w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-800x1026.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1020x1309.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-768x985.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1197x1536.jpg 1197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1596x2048.jpg 1596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1920x2463.jpg 1920w\" sizes=\"(max-width: 1995px) 100vw, 1995px\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Mattison’s poster for last year’s Hardly Strictly Bluegrass festival. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of which would no doubt thrill Bonnie MacLean. In one interview a few years before her death, MacLean noted: “I think handwork needs to be kept alive. It’s something people are inclined to do naturally. It’s something we have a human built-in desire to do. It always has been. It still is.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Women of Rock Art: 1965-2023’ is on display now through April 14, 2024. Artist and photographer Arlene Owseichik will appear for a Q&A on Feb. 9 at 6 p.m. An official opening party will take place on Feb. 16 at 6 p.m. Visit the \u003ca href=\"https://haightstreetart.org/\">Haight Street Art Center website\u003c/a> for details.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951426\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951426\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM.png\" alt=\"A gold, purple and orange design showing a mystic and a crystal ball, one hand raised in wonder.\" width=\"812\" height=\"1186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM.png 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-768x1122.png 768w\" sizes=\"(max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">A 1967 Bonnie MacLean design promoting Cream at the Fillmore. \u003ccite>(Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Feb. 4, 2020, the world lost Bonnie MacLean — an artist whose work adorned \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">Fillmore\u003c/a> music posters throughout the Summer of Love. MacLean’s images encompassed elements of art nouveau, psychedelia and hippie culture. They used high contrast colors for maximum impact. And they advertised concerts for the likes of Jefferson Airplane, The Who, Chuck Berry, The Doors, Donovan and Pink Floyd.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During her time making the Fillmore — and San Francisco — a more beautiful place, MacClean designed just 32 posters. Nine of those collectors’ items are currently on display as part of \u003ca href=\"https://haightstreetart.org/pages/women-of-rock-art\">\u003cem>Women of Rock Art: 1965-2023\u003c/em>\u003c/a>, a new exhibit at the Haight Street Art Center curated by Ben Marks. The show focuses exclusively on female poster artists, many of whom hail from the Bay Area or lived here at some point. (They may not have local links, but the striking work of \u003ca href=\"https://www.taramcpherson.com/\">Tara McPherson\u003c/a>, \u003ca href=\"https://isadorabullock.art/\">Isadora Bullock\u003c/a>, \u003ca href=\"https://www.housandarts.com/\">Chelsea Housand\u003c/a>, \u003ca href=\"https://www.sadiemaysart.com/about\">Sadie May\u003c/a> and \u003ca href=\"https://mishkawestell.com/posters/\">Mishka Westell\u003c/a> feels perfectly at home in this show.)\u003c/p>\n\u003cp>The exhibit is a jaunt through this particular brand of rock ‘n’ roll artwork through the decades — almost all of which reflects its era and the influences of the women making it. Two hundred pieces by 55 artists are included, starting with hand-drawn hallucinogen-inspired experiments of the 1960s. That style was perfected by Berkeley-born \u003ca href=\"https://www.johnmccarty.org/sam-sirdofsky/\">Samantha Sirdofsky\u003c/a>, but lovingly and more loosely played with by others, including a mysterious artist known only as Marjorie. The screen-printed work of Coralie Russo carries similar silhouettes to her peers but a simpler, bolder color palette — a product of her tool of choice.\u003c/p>\n\u003cfigure id=\"attachment_13951568\" class=\"wp-caption aligncenter\" style=\"max-width: 552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n.jpg\" alt=\"Illustration of a woman's face, facing forward, wearing a winged helmet with a peace sign on it.\" width=\"552\" height=\"736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n-160x213.jpg 160w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003cfigcaption class=\"wp-caption-text\">A 1967 anti-draft benefit poster by Coralie Russo. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The posters from this period aren’t just for live shows. Some promote anti-draft benefits, children’s events and one Grateful Dead concert that also featured “mime troupe puppets.” Given the limited opportunities available for female artists of the period, it’s no wonder they were advertising some of the more fringe gatherings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s well established that the art of San Francisco’s 1960s music scene was dominated by the so-called “Big Five”: Stanley Mouse, Alton Kelley, Victor Moscoco, Rick Griffin and Wes Wilson. Bonnie MacLean was only granted more opportunities at the Fillmore after Bill Graham and Wes Wilson had a difference of opinion and Wilson quit. MacLean was readily available — she was married to Graham at the time. Even so, before Wilson left she had been relegated to painting noticeboards within the venue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most of the exhibit is presented without comment and that’s no accident either. Curator Ben Marks explained to KQED that despite his best efforts, little is known today about some of the earliest women featured. Thankfully, the exhibit’s introductory statement acknowledges just what these women were up against at the dawn of the artform.\u003c/p>\n\u003cfigure id=\"attachment_13951587\" class=\"wp-caption aligncenter\" style=\"max-width: 1660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM.png\" alt=\"A wall of scrappy multicolored flyers advertising concerts.\" width=\"1660\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM.png 1660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-768x500.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-1536x999.png 1536w\" sizes=\"(max-width: 1660px) 100vw, 1660px\">\u003cfigcaption class=\"wp-caption-text\">‘Women of Rock Art’ also features a wall of 1980s flyers donated by Seattle punk band, Student Nurse. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Post-1960s, \u003cem>Women of Rock Art\u003c/em> rather starkly leaps straight into the 1980s — a jump made all the more jarring by that decade’s shift away from paint to photography. That style is best embodied here by \u003ca href=\"https://www.kqed.org/news/11966749/meet-the-woman-behind-the-fillmores-famous-posters\">the work of Arlene Owseichik\u003c/a>, but feels a touch impersonal by comparison to everything around it. No fault of the artist: The work embodies that decade’s hard lean away from the crowded, swirling aesthetics of the 1970s and into a new, cleaner, MTV-infused modernity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Work on display here from the ’90s demonstrates valiant attempts at combining photos and screen-printing on the same poster. That method was sadly short-lived, and dynamic posters here for Throwing Muses, Big Star and Lush will make you wonder why we gave up on it altogether.\u003c/p>\n\u003cp>The new millennium brought with it a return to hyper-detailed and hand-drawn pieces, like that of Bay Area artists \u003ca href=\"https://www.laurenyurkovich.com/\">Lauren Yurkovich\u003c/a> and \u003ca href=\"https://alexandrafischerstudio.com/\">Alexandra Fischer\u003c/a>. There have been few obvious trend shifts in the last 20 years either — a post-modern reflection of the ways in which music culture has become more egalitarian since the dawn of the internet.\u003c/p>\n\u003cp>It is, however, impossible to ignore the sense of full circularity when looking at some of the newest posters on display. One 2022 Soul Asylum promo by \u003ca href=\"https://www.carolynferris.com/\">Carolyn Ferris\u003c/a> — featuring a woman’s face in side profile with band names unfurling in front of her in waves — appears to be a direct homage to a 1967 Bonnie MacLean piece elsewhere in the exhibit. And Oakland-based artist \u003ca href=\"https://caitlinmattisson.com/\">Caitlin Mattison\u003c/a> combines hyper-detailed modern techniques with aesthetics that clearly hark back to the work of the women that came before her.\u003c/p>\n\u003cfigure id=\"attachment_13951554\" class=\"wp-caption aligncenter\" style=\"max-width: 1995px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-scaled.jpg\" alt=\"Illustration featuring a bohemian looking woman sitting on a horseshoe and surrounded by wilderness.\" width=\"1995\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-scaled.jpg 1995w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-800x1026.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1020x1309.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-768x985.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1197x1536.jpg 1197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1596x2048.jpg 1596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1920x2463.jpg 1920w\" sizes=\"(max-width: 1995px) 100vw, 1995px\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Mattison’s poster for last year’s Hardly Strictly Bluegrass festival. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of which would no doubt thrill Bonnie MacLean. In one interview a few years before her death, MacLean noted: “I think handwork needs to be kept alive. It’s something people are inclined to do naturally. It’s something we have a human built-in desire to do. It always has been. It still is.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Women of Rock Art: 1965-2023’ is on display now through April 14, 2024. Artist and photographer Arlene Owseichik will appear for a Q&A on Feb. 9 at 6 p.m. An official opening party will take place on Feb. 16 at 6 p.m. Visit the \u003ca href=\"https://haightstreetart.org/\">Haight Street Art Center website\u003c/a> for details.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'It's Bittersweet': The Story Behind RBL Posse’s ‘A Lesson to Be Learned’ Cover Photo",
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"headTitle": "‘It’s Bittersweet’: The Story Behind RBL Posse’s ‘A Lesson to Be Learned’ Cover Photo | KQED",
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"content": "\u003cp>\u003cb>\u003ci>Editor’s note: \u003c/i>\u003c/b>\u003ci>This story is part of \u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>\u003cem>RBL Posse’s debut album \u003c/em>A Lesson to Be Learned\u003cem> is a Bay Area classic that sold over 220,000 copies and put Hunters Point on the map. Here, RBL Posse’s \u003ca href=\"https://www.instagram.com/blackc/?hl=en\">Black C\u003c/a>, a.k.a. Christian Mathews, recalls the neighborhood circumstances surrounding the album’s iconic cover photo.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Location\u003c/strong>: Harbor and Northridge Roads, Hunters Point, San Francisco\u003cbr>\n\u003cstrong>As told to\u003c/strong>: Gabe Meline \u003c/em>\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he day we shot the cover for \u003cem>Lesson to be Learned\u003c/em>, we were just trying to represent our neighborhood.\u003c/p>\n\u003cp>Back then, an album cover was more about the eye candy — you pick it up and you see a bunch of guys on it, spray paint on the wall, stuff like that, and it makes you curious. I was really influenced by N.W.A. and the Geto Boys, so even though it was only me and Mr. Cee rapping in RBL, I gathered up a couple of my friends from the neighborhood to be in the picture. This is back when you had, like, \u003ca href=\"https://i.discogs.com/o1OhlCJWFiJN08RD3rFLuohEgsk6weI76QpEQ1CT39o/rs:fit/g:sm/q:90/h:600/w:597/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTEyMzM3/NTgtMTIwMjU2MTgz/NC5qcGVn.jpeg\">posse photos\u003c/a>. It attracted attention. People was like, “Oh, that’s a \u003cem>crew\u003c/em> — where they from?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I told them dudes to go put on they RBL jackets, ’cause we all had RBL jackets made at Serramonte shopping mall. And we just had one of those little wind-up Kodak cameras, the kind you buy from Walgreens. My little brother Acie Matthews took the picture. He wasn’t a professional. He was just the only one out there with us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13923773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.Lesson.cover_.jpg\" alt=\"\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Lesson.cover_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Lesson.cover_-160x160.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>We tried a few different things that day. We had a song called “More Like an Orgy,” where I talk about rollin’ four deep in a mail Jeep, so we actually did a photo with the mail Jeep. We did a photo on top of the building by the Harbor Road sign. I wish I still had those photos.\u003c/p>\n\u003cp>And then we took a couple photos there in the basketball court, because not only did it have a lot of our names on the walls with spraypaint, but it was an area where we all gathered. We were doing barbecues there, shooting dice, hanging out, playing hunches. It was just a staple in our neighborhood. [pullquote citation='Black C' size='large' align='right']‘I look at that picture and get happy, and then at times I’m sad about the whole thing. I have dudes behind me in the picture who really didn’t have my back. It’s bittersweet.’[/pullquote]\u003c/p>\n\u003cp>The picture we actually used, sitting up on the stairs at the basketball court, that one just stood out to me. It had that grimy look and represented us, you know, it just represented our neighborhood. Anybody that’s seen that picture, especially from Hunters Point, knew exactly where that was that. They knew that was our road.\u003c/p>\n\u003cfigure id=\"attachment_13923776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-800x526.jpg\" alt=\"\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBL Posse perform at the basketball court on Harbor Road, where the cover photo for ‘A Lesson to Be Learned’ was taken. \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We did so many things at the basketball court. I got shot and lost my eye close by there. We learned how to fight there. Learned how to play basketball. Our first concert we ever did in the neighborhood was done there. Back when we was hustling, that’s where everybody was at, from the OGs down to the youngsters.\u003c/p>\n\u003cp>At the time, I was living at 27 Harbor Road, the next building over. Before I even got outside and started hustling, I used to run to the candy house across the street, down them stairs across from the basketball court. I was doing store runs down to Surfside Liquors — that’s Bob’s store — or going to the candy house for the OGs that was around there hustlin’.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nhRJnuCrAoM\u003c/p>\n\u003cp>Looking at that photo now, it’s happy and it’s sad. I think about the day we took it, how we was all together, and havin’ fun. We was just happy about RBL. We had no idea it was going to take off like it did. The song “Don’t Give Me No Bammer Weed” — I knew that was hot because of what it did locally for us. I knew we had a hit on our hands. Everybody was excited, everybody had RBL jackets, and the whole neighborhood then, it was unity.\u003c/p>\n\u003cp>But then also when I look at that photo, that same album caused a divide. It brought jealousy to the dudes within the camp. The guy that’s standin’ up behind Mr. Cee — Boobie, me and him fell apart, and it split the turf in half, and that kind of caused the demise of Mr. Cee, him getting killed. I look at that picture and get happy, and then at times I’m sad about the whole thing. I have dudes behind me in the picture who really didn’t have my back. It’s bittersweet.\u003c/p>\n\u003cfigure id=\"attachment_13924411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-800x535.jpg\" alt=\"A man in black leans out the drivers-side window of a vintage teal-blue car with buildings in the background\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-2048x1369.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1920x1284.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBL Posse’s Black C in his 1966 Skylark on Harbor Road in Hunters Point, circa 1990s. \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standing on the right-hand side, that’s Lil’ Mo, I still deal with him. Rest in peace to his sister, my kid’s mom — Lil’ Mo’s her brother. And that’s me in front of him with a beanie hat on.\u003c/p>\n\u003cp>And then in the middle you have Curtis. He’s dead now. He was one of the guys that I didn’t get along with later on. He switched up on them after we left and became a snitch, worked for the state or something. But he ended up getting killed some years back in Oakland.\u003c/p>\n\u003cp>And then you have Mr. Cee to the left of him, at the bottom. Rest in peace, Mr. Cee, that was my partner.\u003c/p>\n\u003cp>The one at the top above Mr. Cee, that’s Boobie. He just got out from doing 19 years. The whole thing with Boobie and them, when the turf split up, they became Big Block and they kind of went against us, and the whole stuff happened. The feds came in, took them to jail, and Curtis told on Boobie and a few other people.\u003c/p>\n\u003cp>Me and Boobie talked a couple months ago. We’re going to let bygones be bygones, and at least be cordial moving forward. So we good.\u003c/p>\n\u003cp>And the graffiti in the back. We had all our names spraypainted at the basketball court, and little phrases and sayings we used. We had R.I.P. Chucky, our boy who had passed away. Behind me on the cover you can see an R.I.P. for Tone — that’s our boy Tone that got killed by the Vallejo PD.\u003c/p>\n\u003cfigure id=\"attachment_13923778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923778\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BlackC.Herm_-800x690.png\" alt=\"Two young men sit on graffiti-covered steps, looking into the camera\" width=\"800\" height=\"690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-800x690.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-1020x880.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-768x662.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black C on the basketball court steps with Herm Lewis (L–R), whose spoken-word intro on ‘A Lesson to Be Learned’ begins: “To survive the difficulties of these ghetto circumstances, we must motivate and respect each other, because the system is causing considerable damage to the Black man.” \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m 50 now. And that’s why \u003ca href=\"https://rblposse.bigcartel.com/product/black-c-a-part-of-survival-from-the-block-to-the-booth-book\" target=\"_blank\" rel=\"noopener\">I put it all in my book\u003c/a>. I talk about everything, from the block to the booth. From being outside, losing my eye, and being part of the Sunnydale-Fillmore turf wars, to me being part of the truce, and bringing Sunnydale and Fillmore together. And then the fallout of my neighborhood, how it all happened. The fallout with our our label, In-a-Minute Records, who we signed to at the time.\u003c/p>\n\u003cp>[aside postid='arts_13924126']And even now, today, the fans still come out to see us. Even though they know we lost two members. We lost Mr. Cee, and we lost Hitman later on.\u003c/p>\n\u003cp>I pressed forward and kept doing music, and thank God I didn’t have any problems. I’m still here to tell the story, you know?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Editor’s note: \u003c/i>\u003c/b>\u003ci>This story is part of \u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>\u003cem>RBL Posse’s debut album \u003c/em>A Lesson to Be Learned\u003cem> is a Bay Area classic that sold over 220,000 copies and put Hunters Point on the map. Here, RBL Posse’s \u003ca href=\"https://www.instagram.com/blackc/?hl=en\">Black C\u003c/a>, a.k.a. Christian Mathews, recalls the neighborhood circumstances surrounding the album’s iconic cover photo.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Location\u003c/strong>: Harbor and Northridge Roads, Hunters Point, San Francisco\u003cbr>\n\u003cstrong>As told to\u003c/strong>: Gabe Meline \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he day we shot the cover for \u003cem>Lesson to be Learned\u003c/em>, we were just trying to represent our neighborhood.\u003c/p>\n\u003cp>Back then, an album cover was more about the eye candy — you pick it up and you see a bunch of guys on it, spray paint on the wall, stuff like that, and it makes you curious. I was really influenced by N.W.A. and the Geto Boys, so even though it was only me and Mr. Cee rapping in RBL, I gathered up a couple of my friends from the neighborhood to be in the picture. This is back when you had, like, \u003ca href=\"https://i.discogs.com/o1OhlCJWFiJN08RD3rFLuohEgsk6weI76QpEQ1CT39o/rs:fit/g:sm/q:90/h:600/w:597/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTEyMzM3/NTgtMTIwMjU2MTgz/NC5qcGVn.jpeg\">posse photos\u003c/a>. It attracted attention. People was like, “Oh, that’s a \u003cem>crew\u003c/em> — where they from?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I told them dudes to go put on they RBL jackets, ’cause we all had RBL jackets made at Serramonte shopping mall. And we just had one of those little wind-up Kodak cameras, the kind you buy from Walgreens. My little brother Acie Matthews took the picture. He wasn’t a professional. He was just the only one out there with us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13923773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.Lesson.cover_.jpg\" alt=\"\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Lesson.cover_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Lesson.cover_-160x160.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>We tried a few different things that day. We had a song called “More Like an Orgy,” where I talk about rollin’ four deep in a mail Jeep, so we actually did a photo with the mail Jeep. We did a photo on top of the building by the Harbor Road sign. I wish I still had those photos.\u003c/p>\n\u003cp>And then we took a couple photos there in the basketball court, because not only did it have a lot of our names on the walls with spraypaint, but it was an area where we all gathered. We were doing barbecues there, shooting dice, hanging out, playing hunches. It was just a staple in our neighborhood. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The picture we actually used, sitting up on the stairs at the basketball court, that one just stood out to me. It had that grimy look and represented us, you know, it just represented our neighborhood. Anybody that’s seen that picture, especially from Hunters Point, knew exactly where that was that. They knew that was our road.\u003c/p>\n\u003cfigure id=\"attachment_13923776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-800x526.jpg\" alt=\"\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.Concert.HuntersPoint.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBL Posse perform at the basketball court on Harbor Road, where the cover photo for ‘A Lesson to Be Learned’ was taken. \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We did so many things at the basketball court. I got shot and lost my eye close by there. We learned how to fight there. Learned how to play basketball. Our first concert we ever did in the neighborhood was done there. Back when we was hustling, that’s where everybody was at, from the OGs down to the youngsters.\u003c/p>\n\u003cp>At the time, I was living at 27 Harbor Road, the next building over. Before I even got outside and started hustling, I used to run to the candy house across the street, down them stairs across from the basketball court. I was doing store runs down to Surfside Liquors — that’s Bob’s store — or going to the candy house for the OGs that was around there hustlin’.\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/nhRJnuCrAoM'\n title='//www.youtube.com/embed/nhRJnuCrAoM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Looking at that photo now, it’s happy and it’s sad. I think about the day we took it, how we was all together, and havin’ fun. We was just happy about RBL. We had no idea it was going to take off like it did. The song “Don’t Give Me No Bammer Weed” — I knew that was hot because of what it did locally for us. I knew we had a hit on our hands. Everybody was excited, everybody had RBL jackets, and the whole neighborhood then, it was unity.\u003c/p>\n\u003cp>But then also when I look at that photo, that same album caused a divide. It brought jealousy to the dudes within the camp. The guy that’s standin’ up behind Mr. Cee — Boobie, me and him fell apart, and it split the turf in half, and that kind of caused the demise of Mr. Cee, him getting killed. I look at that picture and get happy, and then at times I’m sad about the whole thing. I have dudes behind me in the picture who really didn’t have my back. It’s bittersweet.\u003c/p>\n\u003cfigure id=\"attachment_13924411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-800x535.jpg\" alt=\"A man in black leans out the drivers-side window of a vintage teal-blue car with buildings in the background\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-2048x1369.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/RBL.BlackC.66.Skylark-1920x1284.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBL Posse’s Black C in his 1966 Skylark on Harbor Road in Hunters Point, circa 1990s. \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standing on the right-hand side, that’s Lil’ Mo, I still deal with him. Rest in peace to his sister, my kid’s mom — Lil’ Mo’s her brother. And that’s me in front of him with a beanie hat on.\u003c/p>\n\u003cp>And then in the middle you have Curtis. He’s dead now. He was one of the guys that I didn’t get along with later on. He switched up on them after we left and became a snitch, worked for the state or something. But he ended up getting killed some years back in Oakland.\u003c/p>\n\u003cp>And then you have Mr. Cee to the left of him, at the bottom. Rest in peace, Mr. Cee, that was my partner.\u003c/p>\n\u003cp>The one at the top above Mr. Cee, that’s Boobie. He just got out from doing 19 years. The whole thing with Boobie and them, when the turf split up, they became Big Block and they kind of went against us, and the whole stuff happened. The feds came in, took them to jail, and Curtis told on Boobie and a few other people.\u003c/p>\n\u003cp>Me and Boobie talked a couple months ago. We’re going to let bygones be bygones, and at least be cordial moving forward. So we good.\u003c/p>\n\u003cp>And the graffiti in the back. We had all our names spraypainted at the basketball court, and little phrases and sayings we used. We had R.I.P. Chucky, our boy who had passed away. Behind me on the cover you can see an R.I.P. for Tone — that’s our boy Tone that got killed by the Vallejo PD.\u003c/p>\n\u003cfigure id=\"attachment_13923778\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923778\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BlackC.Herm_-800x690.png\" alt=\"Two young men sit on graffiti-covered steps, looking into the camera\" width=\"800\" height=\"690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-800x690.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-1020x880.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_-768x662.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BlackC.Herm_.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black C on the basketball court steps with Herm Lewis (L–R), whose spoken-word intro on ‘A Lesson to Be Learned’ begins: “To survive the difficulties of these ghetto circumstances, we must motivate and respect each other, because the system is causing considerable damage to the Black man.” \u003ccite>(Courtesy Black C)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m 50 now. And that’s why \u003ca href=\"https://rblposse.bigcartel.com/product/black-c-a-part-of-survival-from-the-block-to-the-booth-book\" target=\"_blank\" rel=\"noopener\">I put it all in my book\u003c/a>. I talk about everything, from the block to the booth. From being outside, losing my eye, and being part of the Sunnydale-Fillmore turf wars, to me being part of the truce, and bringing Sunnydale and Fillmore together. And then the fallout of my neighborhood, how it all happened. The fallout with our our label, In-a-Minute Records, who we signed to at the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And even now, today, the fans still come out to see us. Even though they know we lost two members. We lost Mr. Cee, and we lost Hitman later on.\u003c/p>\n\u003cp>I pressed forward and kept doing music, and thank God I didn’t have any problems. I’m still here to tell the story, you know?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A 415 Day Lineup of San Francisco Rap Connects the Culture's History With its Future",
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"content": "\u003cp>Area codes have always been a \u003cem>thing\u003c/em> in rap. (Just ask \u003ca href=\"https://www.youtube.com/watch?v=sTUU4JqFykM\" target=\"_blank\" rel=\"noopener noreferrer\">Ludacris\u003c/a>.) But in 1991, Bay Area area code representation got a little murky. That’s the year the East Bay ceded its 415 area code to the West Bay and Marin, and adopted 510 as its dialing prefix. For certain rap artists, the effect was utter chaos: \u003ca href=\"https://www.discogs.com/artist/182866-415\" target=\"_blank\" rel=\"noopener noreferrer\">an entire Oakland rap group called 415 disbanded\u003c/a>, and \u003ca href=\"https://www.discogs.com/release/18383851-Various-East-Side-415\" target=\"_blank\" rel=\"noopener noreferrer\">whole swaths of East Bay rap songs referencing the 415\u003c/a> became obsolete.\u003c/p>\n\u003cp>These days, the 415 is a proud marker of San Francisco rap all across the city, from the Fillmore to Hunters Point. And \u003ca href=\"https://www.415day.com/\" target=\"_blank\" rel=\"noopener noreferrer\">415 Day\u003c/a>, the very definition of a call-into-work-sick Friday afternoon party, is a celebration of that culture.\u003c/p>\n\u003cp>[aside postID='arts_13895586']Featured performers include early-1990s Hunters Point legends RBL Posse (“\u003ca href=\"https://www.youtube.com/watch?v=nhRJnuCrAoM\" target=\"_blank\" rel=\"noopener noreferrer\">Don’t Give Me No Bammer Weed\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=t5s8cJpsXBY\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Bird\u003c/a>“) alongside Hunters Point’s new breed, \u003ca href=\"https://www.kqed.org/arts/13828036/talking-with-prezi-the-rapper-pledging-to-do-better-for-hunters-point\" target=\"_blank\" rel=\"noopener noreferrer\">Prezi\u003c/a> (“\u003ca href=\"https://www.youtube.com/watch?v=OLGtumQ1GMk\" target=\"_blank\" rel=\"noopener noreferrer\">Do Better\u003c/a>“). The day also pairs up Fillmore stalwarts Show Banga & Ronski (“\u003ca href=\"https://www.youtube.com/watch?v=g2J_xGPGHjI\" target=\"_blank\" rel=\"noopener noreferrer\">That Filthy\u003c/a>“) with a set from current Fillmore sensation Stunnaman02—whose “\u003ca href=\"https://www.youtube.com/watch?v=5svEkex2YYo\" target=\"_blank\" rel=\"noopener noreferrer\">Big Steppin’\u003c/a>” is so ubiquitous, so long-lasting, that if you haven’t heard it or \u003ca href=\"https://mobile.twitter.com/gmeline/status/1468811474214612995\" target=\"_blank\" rel=\"noopener noreferrer\">done its viral dance\u003c/a>, uh… do you even live in the Bay?\u003c/p>\n\u003cp>For your $10 ticket, also expect food trucks (area fave Señor Sisig among them) and vendors (Cookies, naturally), plus special silkscreening by artists \u003ca href=\"https://www.instagram.com/coldgame650/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Colin Taniguchi\u003c/a> and \u003ca href=\"https://www.instagram.com/kuyageorge/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kuya George\u003c/a>. The event’s producer EMPIRE collaborates with FTC Skateboards \u003ca href=\"https://www.instagram.com/ftc_skateboarding/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">for some planned merch\u003c/a>, and a 45rpm record from EMPIRE specially for the event will be available, with music by Andre Nickatina, RBL Posse and FO15.\u003c/p>\n\u003cp>And it don’t stop: that same night at 7pm, right up the street at KQED’s new event space, \u003ca href=\"https://www.kqed.org/event/1920\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em> host Pendarvis Harshaw interviews Rocky Rivera\u003c/a>, the Filipina American MC, author, educator and journalist, before she delivers her own solo set with DJ Roza.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where was Rocky raised, you ask? Of course: the 415.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More details about 415 Day, running Friday, April 15 from 2pm-8pm at District Six in San Francisco, \u003ca href=\"https://www.415day.com/\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>. Details about Rocky Rivera’s appearance at the KQED Commons, starting Friday, April 15 at 7pm, \u003ca href=\"https://www.kqed.org/event/1920\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Featured performers include early-1990s Hunters Point legends RBL Posse (“\u003ca href=\"https://www.youtube.com/watch?v=nhRJnuCrAoM\" target=\"_blank\" rel=\"noopener noreferrer\">Don’t Give Me No Bammer Weed\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=t5s8cJpsXBY\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Bird\u003c/a>“) alongside Hunters Point’s new breed, \u003ca href=\"https://www.kqed.org/arts/13828036/talking-with-prezi-the-rapper-pledging-to-do-better-for-hunters-point\" target=\"_blank\" rel=\"noopener noreferrer\">Prezi\u003c/a> (“\u003ca href=\"https://www.youtube.com/watch?v=OLGtumQ1GMk\" target=\"_blank\" rel=\"noopener noreferrer\">Do Better\u003c/a>“). The day also pairs up Fillmore stalwarts Show Banga & Ronski (“\u003ca href=\"https://www.youtube.com/watch?v=g2J_xGPGHjI\" target=\"_blank\" rel=\"noopener noreferrer\">That Filthy\u003c/a>“) with a set from current Fillmore sensation Stunnaman02—whose “\u003ca href=\"https://www.youtube.com/watch?v=5svEkex2YYo\" target=\"_blank\" rel=\"noopener noreferrer\">Big Steppin’\u003c/a>” is so ubiquitous, so long-lasting, that if you haven’t heard it or \u003ca href=\"https://mobile.twitter.com/gmeline/status/1468811474214612995\" target=\"_blank\" rel=\"noopener noreferrer\">done its viral dance\u003c/a>, uh… do you even live in the Bay?\u003c/p>\n\u003cp>For your $10 ticket, also expect food trucks (area fave Señor Sisig among them) and vendors (Cookies, naturally), plus special silkscreening by artists \u003ca href=\"https://www.instagram.com/coldgame650/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Colin Taniguchi\u003c/a> and \u003ca href=\"https://www.instagram.com/kuyageorge/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kuya George\u003c/a>. The event’s producer EMPIRE collaborates with FTC Skateboards \u003ca href=\"https://www.instagram.com/ftc_skateboarding/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">for some planned merch\u003c/a>, and a 45rpm record from EMPIRE specially for the event will be available, with music by Andre Nickatina, RBL Posse and FO15.\u003c/p>\n\u003cp>And it don’t stop: that same night at 7pm, right up the street at KQED’s new event space, \u003ca href=\"https://www.kqed.org/event/1920\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em> host Pendarvis Harshaw interviews Rocky Rivera\u003c/a>, the Filipina American MC, author, educator and journalist, before she delivers her own solo set with DJ Roza.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where was Rocky raised, you ask? Of course: the 415.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More details about 415 Day, running Friday, April 15 from 2pm-8pm at District Six in San Francisco, \u003ca href=\"https://www.415day.com/\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>. Details about Rocky Rivera’s appearance at the KQED Commons, starting Friday, April 15 at 7pm, \u003ca href=\"https://www.kqed.org/event/1920\" target=\"_blank\" rel=\"noopener noreferrer\">can be found here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ronski and Show Banga's 'That Filthy' Puts Fillmore Culture Front and Center",
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"content": "\u003cp>\u003ci>Welcome to Pass the Aux, where every week we feature new music by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>An early frontrunner for Bay Area anthem of the summer is \u003ca href=\"https://www.instagram.com/mobetta_mochedda/\" target=\"_blank\" rel=\"noopener noreferrer\">Ronski\u003c/a> and \u003ca href=\"https://www.instagram.com/showy4mayor/\" target=\"_blank\" rel=\"noopener noreferrer\">Show Banga’s\u003c/a> “That Filthy.” Produced by Clayton William, the track hits with the simple but lethal combination of heavy bass, a cold kick drum, clear claps and a catchy hook.\u003c/p>\n\u003cp>“Fuck that bag off, and run it up again,” Show Banga says on the chorus, showing both the carefree attitude and the money-making mentality that the City is known for.\u003c/p>\n\u003cp>The video is produced by \u003ca href=\"https://www.instagram.com/melvinas_son/\" target=\"_blank\" rel=\"noopener noreferrer\">Melvina’s Son \u003c/a>and features the Fillmore front and center. In the midst of shots of the neighborhood and the people who make up the community, there are cameos from \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a>, \u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a> and \u003ca href=\"https://www.instagram.com/industrymomma/\" target=\"_blank\" rel=\"noopener noreferrer\">Danielle Banks\u003c/a>. There’s also a couple shots of boxer, cannabis club owner and Ronski’s brother,\u003ca href=\"https://www.instagram.com/p/CPLvd7hnGRLNnthSLAkUVVtESH-1FnLxCxib0M0/\" target=\"_blank\" rel=\"noopener noreferrer\"> Karim Mayfield\u003c/a>. We also see archival images and recent footage of Mayor London Breed, who was raised in the Fillmore.\u003c/p>\n\u003cp>Ronski himself is shown swangin’ tight ones in a blue Corvette. And at the end of the video there’s a clip of JT The Bigga Figga chanting “Fillmoe,” as he’s accompanied by a bunch of children; it was filmed in East Africa, or “\u003ca href=\"https://www.instagram.com/p/CMg-NCisFCd/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmoe Africa\u003c/a>,” as JT calls it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can’t have a true anthem about the Moe without incorporating the the dance that JT, founder of Get Low Recordz, played a major part in popularizing three decades ago, The Get Low.\u003c/p>\n\u003cp>In the video for “That Filthy” there’s a short clip of Ronski teaching the dance to comedian Lil Duval. And all throughout the video there are young folks bending their knees to get into a semi-squat position, and bouncing to the beat like the players of the past.\u003c/p>\n\u003cp>It’s all a sign that even with all of the changes the City has experienced, the culture is alive and well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g2J_xGPGHjI&t=194s\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Pass the Aux, where every week we feature new music by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>An early frontrunner for Bay Area anthem of the summer is \u003ca href=\"https://www.instagram.com/mobetta_mochedda/\" target=\"_blank\" rel=\"noopener noreferrer\">Ronski\u003c/a> and \u003ca href=\"https://www.instagram.com/showy4mayor/\" target=\"_blank\" rel=\"noopener noreferrer\">Show Banga’s\u003c/a> “That Filthy.” Produced by Clayton William, the track hits with the simple but lethal combination of heavy bass, a cold kick drum, clear claps and a catchy hook.\u003c/p>\n\u003cp>“Fuck that bag off, and run it up again,” Show Banga says on the chorus, showing both the carefree attitude and the money-making mentality that the City is known for.\u003c/p>\n\u003cp>The video is produced by \u003ca href=\"https://www.instagram.com/melvinas_son/\" target=\"_blank\" rel=\"noopener noreferrer\">Melvina’s Son \u003c/a>and features the Fillmore front and center. In the midst of shots of the neighborhood and the people who make up the community, there are cameos from \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a>, \u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a> and \u003ca href=\"https://www.instagram.com/industrymomma/\" target=\"_blank\" rel=\"noopener noreferrer\">Danielle Banks\u003c/a>. There’s also a couple shots of boxer, cannabis club owner and Ronski’s brother,\u003ca href=\"https://www.instagram.com/p/CPLvd7hnGRLNnthSLAkUVVtESH-1FnLxCxib0M0/\" target=\"_blank\" rel=\"noopener noreferrer\"> Karim Mayfield\u003c/a>. We also see archival images and recent footage of Mayor London Breed, who was raised in the Fillmore.\u003c/p>\n\u003cp>Ronski himself is shown swangin’ tight ones in a blue Corvette. And at the end of the video there’s a clip of JT The Bigga Figga chanting “Fillmoe,” as he’s accompanied by a bunch of children; it was filmed in East Africa, or “\u003ca href=\"https://www.instagram.com/p/CMg-NCisFCd/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmoe Africa\u003c/a>,” as JT calls it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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?",
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"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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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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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.",
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"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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"politicalbreakdown": {
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"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",
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"order": 5
},
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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",
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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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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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