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"content": "\u003cp>“I’m doing a flip off the boat,” said \u003ca href=\"https://www.instagram.com/jarrelmp/\" target=\"_blank\" rel=\"noopener noreferrer\">Jarrel Phillips\u003c/a>, breaking down last year’s performance at \u003cem>\u003ca href=\"https://remembering1619.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Remembering 1619\u003c/a>\u003c/em>, a play directed by Joanna Haigood of Zaccho Dance Theatre, which acknowledges the first shipment of enslaved Africans reaching Virginia 400 years ago.\u003c/p>\n\u003cp>“I’m one of the ones that decides, ‘I’m not having this, yo, I’m out,'” says Jarrel, summarizing his character in the play.\u003c/p>\n\u003cp>His onstage persona is much like Jarrel in real life: acrobatic, resilient and close to his roots. From the stage, Jarrel tells the story of Africans surviving in the Western hemisphere. In real life, Jarrel is part the story of how African Americans have survived on the West Coast of the United States.\u003c/p>\n\u003cp>His grandfather once ran a life insurance business in the heart of the Fillmore, on Fulton Street and Octavia Street; Jarrel and his family still use “the office,” as they call it, to this day.\u003c/p>\n\u003cfigure id=\"attachment_13883453\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Image-from-iOS-12-copy-800x1200.jpg\" alt=\"San Francisco's Jarrel Phillips, dancer, martial arts performer and photographer. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Jarrel Phillips, dancer, martial arts performer and photographer. \u003ccite>(Jarrel Phillips)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between that office, a few different studios and community centers around the city, Jarrel finds places to practice his work. He’s a multitalented artist who has held \u003ca href=\"https://www.kqed.org/arts/13861969/the-importance-of-recreation-in-jarrel-phillips-how-we-play-exhibition\">photography exhibitions\u003c/a> at the San Francisco Public Library.\u003c/p>\n\u003cp>But our discussion focused on martial arts and modern dance and how he uses capoeira-based dance to tell the story of resilience in the African diaspora, while simultaneously living the latest chapter in the story.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9031314306&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A shorter version of this episode was first broadcast on August 28, 2019. Below is a lightly edited excerpt of my more recent conversation with Jarrel.\u003c/strong>\u003c/p>\n\u003cp>Jarrel: When Covid hit, I just decided I was going to sit down and sit still. Like, we’re always in this rush. And like Capoeira is always going to be there for me, I love capoeira, that’s not going anywhere. So one of my goals was to do a class for Black people. And I’ve been doing it only with my brother and his lady so far, because I want to set the tone, so when people come in there’s a family vibe. I have this idea of how do you respect someone else’s home if you don’t already respect your own? Right and you could tie that to local Black history, since you’re dealing with an art form that has to do with the African diaspora, Black diaspora, but maybe out in Brazil, which is Americas still, but also, to know your own, like exploring your own heritage a little bit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’m doing a flip off the boat,” said \u003ca href=\"https://www.instagram.com/jarrelmp/\" target=\"_blank\" rel=\"noopener noreferrer\">Jarrel Phillips\u003c/a>, breaking down last year’s performance at \u003cem>\u003ca href=\"https://remembering1619.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Remembering 1619\u003c/a>\u003c/em>, a play directed by Joanna Haigood of Zaccho Dance Theatre, which acknowledges the first shipment of enslaved Africans reaching Virginia 400 years ago.\u003c/p>\n\u003cp>“I’m one of the ones that decides, ‘I’m not having this, yo, I’m out,'” says Jarrel, summarizing his character in the play.\u003c/p>\n\u003cp>His onstage persona is much like Jarrel in real life: acrobatic, resilient and close to his roots. From the stage, Jarrel tells the story of Africans surviving in the Western hemisphere. In real life, Jarrel is part the story of how African Americans have survived on the West Coast of the United States.\u003c/p>\n\u003cp>His grandfather once ran a life insurance business in the heart of the Fillmore, on Fulton Street and Octavia Street; Jarrel and his family still use “the office,” as they call it, to this day.\u003c/p>\n\u003cfigure id=\"attachment_13883453\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Image-from-iOS-12-copy-800x1200.jpg\" alt=\"San Francisco's Jarrel Phillips, dancer, martial arts performer and photographer. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Jarrel Phillips, dancer, martial arts performer and photographer. \u003ccite>(Jarrel Phillips)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between that office, a few different studios and community centers around the city, Jarrel finds places to practice his work. He’s a multitalented artist who has held \u003ca href=\"https://www.kqed.org/arts/13861969/the-importance-of-recreation-in-jarrel-phillips-how-we-play-exhibition\">photography exhibitions\u003c/a> at the San Francisco Public Library.\u003c/p>\n\u003cp>But our discussion focused on martial arts and modern dance and how he uses capoeira-based dance to tell the story of resilience in the African diaspora, while simultaneously living the latest chapter in the story.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9031314306&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A shorter version of this episode was first broadcast on August 28, 2019. Below is a lightly edited excerpt of my more recent conversation with Jarrel.\u003c/strong>\u003c/p>\n\u003cp>Jarrel: When Covid hit, I just decided I was going to sit down and sit still. Like, we’re always in this rush. And like Capoeira is always going to be there for me, I love capoeira, that’s not going anywhere. So one of my goals was to do a class for Black people. And I’ve been doing it only with my brother and his lady so far, because I want to set the tone, so when people come in there’s a family vibe. I have this idea of how do you respect someone else’s home if you don’t already respect your own? Right and you could tie that to local Black history, since you’re dealing with an art form that has to do with the African diaspora, Black diaspora, but maybe out in Brazil, which is Americas still, but also, to know your own, like exploring your own heritage a little bit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As the country enters a third week of constant protests over the killing of George Floyd and Breonna Taylor and reckons with its racist structures, this year’s Juneteenth celebrations have seen increased interest.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" rel=\"noopener noreferrer\" target=\"_blank\">annual day observing the end of slavery in the south\u003c/a>, Juneteenth falls each year on June 19. This Friday’s celebrations get underway not only during a national uprising for racial justice, but during a global pandemic. Below, find ways to honor Juneteenth at home with streamed music and art, and view a select list of outdoor celebrations happening around the Bay Area.[aside postid='news_11824859']\u003c/p>\n\u003cp>\u003cem>Additional reporting by Dacia Mitchell.\u003c/em>\u003c/p>\n\u003ch2>Select Online Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>‘Polar Bears, Black Boys & Prairie Fringed Orchids’\u003c/strong>\u003cbr>\nThirty Bay Area theater companies come together for this streamed performance of Vincent Terrell Durham’s play, \u003cem>Polar Bears, Black Boys & Prairie Fringed Orchids\u003c/em>, a timely meditation on police killings of Black people and the Black Lives Matter movement. The play is presented as part of the PlayGround Zoom Fest and the Juneteenth Theatre Justice Project, a national movement spanning theaters across America. Starts at 7pm Pacific time; \u003ca href=\"https://playground-sf.org/juneteenth/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Marcus Shelby: Juneteenth and the Blues\u003c/strong>\u003cbr>\nCarrying on the tradition of figures like Charles Mingus and Archie Shepp, who infused jazz with politics, composer and bassist Marcus Shelby has presented jazz programs on Harriet Tubman, the Negro Leagues, the school-to-prison pipeline and more. In an hour-long Zoom presentation of live music, readings and poetry, Shelby delves into Juneteenth’s history and resonance today. Starts at 4pm Pacific time; \u003ca href=\"https://www.moadsf.org/event/talk-performance-juneteenth-and-the-blues-with-marcus-shelby/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13882181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg\" alt=\"A still from 'Take This Hammer,' featuring James Baldwin.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Take This Hammer,’ featuring James Baldwin. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Take This Hammer’\u003c/strong>\u003cbr>\nFilmed by KQED in 1963, \u003cem>Take This Hammer\u003c/em> follows James Baldwin around San Francisco as he speaks with young Black people and compasres the racial atmosphere in the so-called “progressive” city to the segregated south. The full director’s cut is available to stream; \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>NAACP Black Family Reunion\u003cbr>\nThe NAACP hosts a two-hour special about lives lost and personal stories from the Black community. Participants can submit their story for potential inclusion in advance. Starts at 1pm Pacific time; \u003ca href=\"https://naacp.org/juneteenth/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Music From Other Minds: Juneteenth\u003c/strong>\u003cbr>\nThe Other Minds radio show expands to two hours for a Juneteenth special with the music of Black American composers including Matana Roberts, Moor Mother, Ben LaMar Gay, LOAN (Tongo Eisen-Martin & Chris Peck) and more. Hosted by Liam Herb, the special starts at 10pm Pacific time; \u003ca href=\"https://www.otherminds.org/mfom/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/strong>\u003cbr>\nElizabeth Pepin Silva and Lewis Watts, authors of the book \u003cem>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/em>, discuss the neighborhood’s robust history of Black culture, which urban renewal erased in the 1960s and 1970s. Starts at noon Pacific time; \u003ca href=\"https://bit.ly/HarlemWestJune2020\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Select Outdoor Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>Oakland\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.juneteenthspt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth West Coast Port Shutdown\u003c/a> & Caravan to Frank Ogawa Plaza – 10am\u003c/p>\n\u003cp>Second Annual \u003ca href=\"https://www.instagram.com/p/CBWcTrTBwMc/\" target=\"_blank\" rel=\"noopener noreferrer\">Bike 4 Justice Rally\u003c/a> in West Oakland – 12:30pm to 4pm[aside postid='arts_13882225']\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBb2gBLhIYF/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth at the Lake\u003c/a> – Meet at Alameda County Courthouse & March around Lake Merritt – 1pm to Sunset\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/balck-youth-march-people-liberation/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Youth for the People’s Liberation\u003c/a> Protest at deFremery Park – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBe819Oh0J6/\" target=\"_blank\" rel=\"noopener noreferrer\">California Nurses Assoc. Black Lives Matter Protest\u003c/a> – at Kaiser on Broadway – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBVBduHhUUA/\" target=\"_blank\" rel=\"noopener noreferrer\">Lake Merritt Amphitheater Juneteenth Celebration\u003c/a> – 4pm to 7pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/justice-juneteenth-lakemerritt/\" target=\"_blank\" rel=\"noopener noreferrer\">Justice for Juneteenth \u003c/a>at Lake Merritt – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://hueypnewtonfoundation.org/initiatives\" target=\"_blank\" rel=\"noopener noreferrer\">Rally for Huey P. Newton Monument\u003c/a> with Fredrika Newton at Alameda County Courthouse – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/funcheap/photos/p.10156909708402504/10156909708402504/?type=3&av=327396872503&eav=AfZ5kPmE0-C1VtLOp9LqpPcbLt1c78rut53h4mwMK1lSdSC28es2LLLFvjaVap3CjuA&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Park Blvd. Juneteenth Protest\u003c/a> at Park Blvd. between I-580 and CA13. – 5-6pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBWu88Yhtmu/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Black Mass’ Juneteenth Spoken Word & Drum Circle\u003c/a> at Lake Merritt Amphitheater – 7pm\u003c/p>\n\u003cp>\u003cstrong>San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/566725343925258/?event_time_id=566725350591924\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom & Justice\u003c/a> from Ferry Building to City Hall – Noon\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-caravan-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Caravan Protest\u003c/a> – location TBD – 10am–1pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBRiLPwBw5h/\" target=\"_blank\" rel=\"noopener noreferrer\">“Kicking for Freedom”\u003c/a> three-mile skate through SF starting at Ferry Building – 1 to 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://dothebay.com/events/2020/6/19/sf-qbar-juneteenth-reunion-black-queer-rally\" rel=\"noopener noreferrer\" target=\"_blank\">Rally Celebrating Black Queer Joy\u003c/a> at QBar in the Castro – 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBf_p41h-jd/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Rally\u003c/a> at City Hall – 1pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-peaceful-yoga-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Yoga Protest at Dolores Park\u003c/a> – 4pm to 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/bay-swimmers-in-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Swimmers in Solidarity Floating Protest\u003c/a> at Aquatic Park – 5:30pm\u003c/p>\n\u003cp>\u003cstrong>Antioch\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBe9AOJBkr5/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Peace Walk, Arts & Music\u003c/a> from City Hall to 6th & A St. – 11am to 3pm\u003c/p>\n\u003cp>\u003cstrong>Santa Rosa\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWPC7tBVV_/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Festival \u003c/a>at Pioneer Park – Noon\u003c/p>\n\u003cp>\u003cstrong>Fremont\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/juneteenth-march-for-justice-fremont/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth March for Justice\u003c/a> to City Hall – 1pm\u003c/p>\n\u003cp>\u003cstrong>Santa Clara\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/march-for-freedom/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom Day\u003c/a> at Santa Clara University- 3pm to 5pm\u003c/p>\n\u003cp>\u003cstrong>Pittsburg\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWVqluheJt/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Justice\u003c/a> from Buchanan Park to Marina – 3pm\u003c/p>\n\u003cp>\u003cstrong>Livermore\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBcjmTdhXS1/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Protest\u003c/a> at City Hall with speeches and march to Carnegie Park – 4pm\u003c/p>\n\u003cp>\u003cstrong>Palo Alto\u003c/strong>\u003cbr>\n\u003ca href=\"https://act.sixnineteen.com/event/action/86?source=map&akid=\" target=\"_blank\" rel=\"noopener noreferrer\">Defend Black Lives Protest\u003c/a> at King Plaza, City Hall – 5pm\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "A roundup of events both online and IRL to celebrate the day marking the end of slavery in the south.",
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"title": "How to Celebrate Juneteenth in the Bay Area—at Home or Outside | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the country enters a third week of constant protests over the killing of George Floyd and Breonna Taylor and reckons with its racist structures, this year’s Juneteenth celebrations have seen increased interest.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" rel=\"noopener noreferrer\" target=\"_blank\">annual day observing the end of slavery in the south\u003c/a>, Juneteenth falls each year on June 19. This Friday’s celebrations get underway not only during a national uprising for racial justice, but during a global pandemic. Below, find ways to honor Juneteenth at home with streamed music and art, and view a select list of outdoor celebrations happening around the Bay Area.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Dacia Mitchell.\u003c/em>\u003c/p>\n\u003ch2>Select Online Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>‘Polar Bears, Black Boys & Prairie Fringed Orchids’\u003c/strong>\u003cbr>\nThirty Bay Area theater companies come together for this streamed performance of Vincent Terrell Durham’s play, \u003cem>Polar Bears, Black Boys & Prairie Fringed Orchids\u003c/em>, a timely meditation on police killings of Black people and the Black Lives Matter movement. The play is presented as part of the PlayGround Zoom Fest and the Juneteenth Theatre Justice Project, a national movement spanning theaters across America. Starts at 7pm Pacific time; \u003ca href=\"https://playground-sf.org/juneteenth/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Marcus Shelby: Juneteenth and the Blues\u003c/strong>\u003cbr>\nCarrying on the tradition of figures like Charles Mingus and Archie Shepp, who infused jazz with politics, composer and bassist Marcus Shelby has presented jazz programs on Harriet Tubman, the Negro Leagues, the school-to-prison pipeline and more. In an hour-long Zoom presentation of live music, readings and poetry, Shelby delves into Juneteenth’s history and resonance today. Starts at 4pm Pacific time; \u003ca href=\"https://www.moadsf.org/event/talk-performance-juneteenth-and-the-blues-with-marcus-shelby/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13882181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg\" alt=\"A still from 'Take This Hammer,' featuring James Baldwin.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Take This Hammer,’ featuring James Baldwin. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Take This Hammer’\u003c/strong>\u003cbr>\nFilmed by KQED in 1963, \u003cem>Take This Hammer\u003c/em> follows James Baldwin around San Francisco as he speaks with young Black people and compasres the racial atmosphere in the so-called “progressive” city to the segregated south. The full director’s cut is available to stream; \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>NAACP Black Family Reunion\u003cbr>\nThe NAACP hosts a two-hour special about lives lost and personal stories from the Black community. Participants can submit their story for potential inclusion in advance. Starts at 1pm Pacific time; \u003ca href=\"https://naacp.org/juneteenth/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Music From Other Minds: Juneteenth\u003c/strong>\u003cbr>\nThe Other Minds radio show expands to two hours for a Juneteenth special with the music of Black American composers including Matana Roberts, Moor Mother, Ben LaMar Gay, LOAN (Tongo Eisen-Martin & Chris Peck) and more. Hosted by Liam Herb, the special starts at 10pm Pacific time; \u003ca href=\"https://www.otherminds.org/mfom/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/strong>\u003cbr>\nElizabeth Pepin Silva and Lewis Watts, authors of the book \u003cem>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/em>, discuss the neighborhood’s robust history of Black culture, which urban renewal erased in the 1960s and 1970s. Starts at noon Pacific time; \u003ca href=\"https://bit.ly/HarlemWestJune2020\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Select Outdoor Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>Oakland\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.juneteenthspt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth West Coast Port Shutdown\u003c/a> & Caravan to Frank Ogawa Plaza – 10am\u003c/p>\n\u003cp>Second Annual \u003ca href=\"https://www.instagram.com/p/CBWcTrTBwMc/\" target=\"_blank\" rel=\"noopener noreferrer\">Bike 4 Justice Rally\u003c/a> in West Oakland – 12:30pm to 4pm\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBb2gBLhIYF/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth at the Lake\u003c/a> – Meet at Alameda County Courthouse & March around Lake Merritt – 1pm to Sunset\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/balck-youth-march-people-liberation/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Youth for the People’s Liberation\u003c/a> Protest at deFremery Park – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBe819Oh0J6/\" target=\"_blank\" rel=\"noopener noreferrer\">California Nurses Assoc. Black Lives Matter Protest\u003c/a> – at Kaiser on Broadway – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBVBduHhUUA/\" target=\"_blank\" rel=\"noopener noreferrer\">Lake Merritt Amphitheater Juneteenth Celebration\u003c/a> – 4pm to 7pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/justice-juneteenth-lakemerritt/\" target=\"_blank\" rel=\"noopener noreferrer\">Justice for Juneteenth \u003c/a>at Lake Merritt – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://hueypnewtonfoundation.org/initiatives\" target=\"_blank\" rel=\"noopener noreferrer\">Rally for Huey P. Newton Monument\u003c/a> with Fredrika Newton at Alameda County Courthouse – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/funcheap/photos/p.10156909708402504/10156909708402504/?type=3&av=327396872503&eav=AfZ5kPmE0-C1VtLOp9LqpPcbLt1c78rut53h4mwMK1lSdSC28es2LLLFvjaVap3CjuA&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Park Blvd. Juneteenth Protest\u003c/a> at Park Blvd. between I-580 and CA13. – 5-6pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBWu88Yhtmu/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Black Mass’ Juneteenth Spoken Word & Drum Circle\u003c/a> at Lake Merritt Amphitheater – 7pm\u003c/p>\n\u003cp>\u003cstrong>San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/566725343925258/?event_time_id=566725350591924\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom & Justice\u003c/a> from Ferry Building to City Hall – Noon\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-caravan-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Caravan Protest\u003c/a> – location TBD – 10am–1pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBRiLPwBw5h/\" target=\"_blank\" rel=\"noopener noreferrer\">“Kicking for Freedom”\u003c/a> three-mile skate through SF starting at Ferry Building – 1 to 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://dothebay.com/events/2020/6/19/sf-qbar-juneteenth-reunion-black-queer-rally\" rel=\"noopener noreferrer\" target=\"_blank\">Rally Celebrating Black Queer Joy\u003c/a> at QBar in the Castro – 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBf_p41h-jd/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Rally\u003c/a> at City Hall – 1pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-peaceful-yoga-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Yoga Protest at Dolores Park\u003c/a> – 4pm to 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/bay-swimmers-in-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Swimmers in Solidarity Floating Protest\u003c/a> at Aquatic Park – 5:30pm\u003c/p>\n\u003cp>\u003cstrong>Antioch\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBe9AOJBkr5/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Peace Walk, Arts & Music\u003c/a> from City Hall to 6th & A St. – 11am to 3pm\u003c/p>\n\u003cp>\u003cstrong>Santa Rosa\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWPC7tBVV_/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Festival \u003c/a>at Pioneer Park – Noon\u003c/p>\n\u003cp>\u003cstrong>Fremont\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/juneteenth-march-for-justice-fremont/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth March for Justice\u003c/a> to City Hall – 1pm\u003c/p>\n\u003cp>\u003cstrong>Santa Clara\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/march-for-freedom/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom Day\u003c/a> at Santa Clara University- 3pm to 5pm\u003c/p>\n\u003cp>\u003cstrong>Pittsburg\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWVqluheJt/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Justice\u003c/a> from Buchanan Park to Marina – 3pm\u003c/p>\n\u003cp>\u003cstrong>Livermore\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBcjmTdhXS1/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Protest\u003c/a> at City Hall with speeches and march to Carnegie Park – 4pm\u003c/p>\n\u003cp>\u003cstrong>Palo Alto\u003c/strong>\u003cbr>\n\u003ca href=\"https://act.sixnineteen.com/event/action/86?source=map&akid=\" target=\"_blank\" rel=\"noopener noreferrer\">Defend Black Lives Protest\u003c/a> at King Plaza, City Hall – 5pm\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sydney Cain uses her art to connect with her community, as well her ancestors.\u003c/p>\n\u003cp>By using a process of reduction, slowly moving her hands in a circular motion to move dust-sized pieces of elements, such as cobalt and graphite, around the surface of a canvas, she reveals lines, shapes and figures that tell a story of what used to be… and maybe still is in another realm.\u003c/p>\n\u003cp>Sydney, who also goes by \u003ca href=\"https://www.instagram.com/sagestargate/\">Sage Stargate\u003c/a>, is a third generation San Franciscan. She grew up in the Fillmore, and remembers it from before gentrification when it was a largely African American community.\u003c/p>\n\u003cp>https://www.instagram.com/p/BqdvclFBdp3/\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The images that appear in her artwork often harken back to that time, or to even earlier eras in her family’s history, like the Jim Crow South.\u003c/p>\n\u003cp>Sydney, who is one of the Museum of African Diaspora’s \u003ca href=\"https://www.moadsf.org/exhibition/moad-emerging-artists-presents-sydney-cain-refutations/\">Emerging Artists\u003c/a> this year, says her work has revealed images that look like ancestors she’s never met, but older family members see the figures and instantly recognize them. It’s almost like they’re still here– both the people, and the community.\u003c/p>\n\u003cp>Many would call Sydney’s work “art,” but it toes the line of what one might call a spiritual practice.\u003c/p>\n\u003cp>https://www.instagram.com/p/B7WyxGcBfjO/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The images that appear in her artwork often harken back to that time, or to even earlier eras in her family’s history, like the Jim Crow South.\u003c/p>\n\u003cp>Sydney, who is one of the Museum of African Diaspora’s \u003ca href=\"https://www.moadsf.org/exhibition/moad-emerging-artists-presents-sydney-cain-refutations/\">Emerging Artists\u003c/a> this year, says her work has revealed images that look like ancestors she’s never met, but older family members see the figures and instantly recognize them. It’s almost like they’re still here– both the people, and the community.\u003c/p>\n\u003cp>Many would call Sydney’s work “art,” but it toes the line of what one might call a spiritual practice.\u003c/p>\u003c/p>\u003c/div>",
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"slug": "the-queen-of-the-harlem-of-the-west-brought-glamour-and-stars-to-the-fillmore",
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"content": "\u003cp>She was considered the Queen of the Fillmore, back when the neighborhood was still nicknamed the “Harlem of the West.” She was one of the \u003ca href=\"http://beyondchron.org/heard-fillmore-icon-leola-king-passes/\" target=\"_blank\" rel=\"noopener noreferrer\">first women of color\u003c/a> to ever own and run a Bay Area nightclub. And when the San Francisco Redevelopment Agency came for her crown, Leola King fought back, over and over again.\u003c/p>\n\u003cp>King arrived in San Francisco from Los Angeles in 1946, at the age of 27. She would call the Fillmore home for the next 64 years. Her most famous venture, the Blue Mirror Cocktail Lounge—famous for hosting jazz greats like Louis Armstrong and Dinah Washington—came only after King had brought people from all over the city to the Fillmore via her barbecue pit.\u003c/p>\n\u003cp>Oklahoma King’s was named for her birth state, lovingly constructed at 1601 Geary out of a log cabin, and featured a smoke pit that was visible to outside foot traffic. The \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">meat on King’s menu\u003c/a>, including smoked buffalo, deer and quail, was so popular that she often worked around the clock, sometimes opening at 10am and not closing until 4am the next day.\u003c/p>\n\u003cp>“I was busy all day, all night, lines outside,” she told the \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Oral History Archives Project\u003c/a> in 2007. “On Cathedral Hill, coming down the hill, I had a tall, about a 50-foot smoke stack that put the aroma in the air that was just terrific, and people would drive around trying to find the place where this beautiful smell was coming from.”\u003c/p>\n\u003cp>At the end of 1947, when the City Planning Commission submitted a \u003ca href=\"https://smartgrowth.org/how-urban-renewal-destroyed-the-fillmore-in-order-to-save-it/\" target=\"_blank\" rel=\"noopener noreferrer\">$52 million proposal\u003c/a> for rebuilding a 36-block zone enclosed by Van Ness, Webster, McAllister and Geary, King began to be regularly approached by the San Francisco Redevelopment Agency. By her own estimation, King told them the restaurant wasn’t for sale “three or four times.” One morning when she arrived to open up, she was greeted by the sight of a bulldozer—and an empty space where Oklahoma King’s used to be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They just come in and bulldoze it to the ground,” she recalled. “Took all my equipment, stuff that I’d paid for, and all of my foods and everything. I don’t know what happened to anything. When I go there, the lot is clear; there’s nothing on it. So that made me have to go to the hospital. I just was so upset.” King was later \u003ca href=\"https://www.harlemofthewestsf.com/fillmore-people/bios-interviews/leola-king/\" target=\"_blank\" rel=\"noopener noreferrer\">reimbursed\u003c/a> what she’d paid for the land, but not for the structure, equipment or business—in all, a fraction of what Oklahoma King’s was actually worth. [aside postid='pop_110017']\u003c/p>\n\u003cp>After the initial shock had subsided, King’s unbreakable tenacity drove her to open the Blue Mirror in 1953. “It was fantastic, a beautiful club,” \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>, “and it was hot, hot, hot.” The club, at 935 Fillmore Street, was smaller than the other popular neighborhood venues at the time—like \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Sullivan’s Fillmore Ballroom\u003c/a>—but attracted the same level of talent. Lena Horne, Ray Charles, Duke Ellington, Count Basie and Cab Calloway were just a few musicians that passed through, and she counted Josephine Baker, Nat “King” Cole, Elizabeth Taylor and boxing legend Sugar Ray Robinson as friends.\u003c/p>\n\u003cp>Bobbie Webb, a saxophonist who performed there with the likes of B.B. King and T-Bone Walker, \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">said in 2007\u003c/a> that it wasn’t just the luxurious decor and excellent music that attracted people to the Blue Mirror—it was King herself. “She didn’t only have a personality, she was a beautiful lady,” he reminisced. “All she had to do was stand there.”\u003c/p>\n\u003cp>After almost a decade of running one of the hottest clubs in town, \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">King later claimed\u003c/a> she was warned by neighborhood police that the Redevelopment Agency was using unscrupulous means to acquire buildings. According to her, one day a man and a child arrived at the club, asking if the youngster could use the bathroom. After the bouncer allowed them in, the man bought an alcoholic drink and handed it to the child. “Well, we didn’t even know the kid was in the place,” King recalled. “So that’s how they took my license. They came in and padlocked my door and completely put me out of business.” [aside postid='pop_108474']\u003c/p>\n\u003cp>Against the odds, King bounced back yet again, opening the Bird Cage in 1964. The tavern, decked out in stained glass and bright colors, was open between the hours of 10am and 10pm at 1505 Fillmore Street. Like the Blue Mirror, the venue found popularity quickly, thanks in no small part to its lunch counter, famous for King’s fried chicken and fish.\u003c/p>\n\u003cp>Though King selected the location in the hope that it was deep enough in the neighborhood to remain untouched by redevelopment, after a decade of success, once again the agency bought her venue’s building and, in 1974, evicted all tenants. King refused to go quietly this time, having to be forcibly removed by the sheriff. She spent the next quarter century \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">fighting\u003c/a> the Redevelopment Agency over relocation terms.\u003c/p>\n\u003cp>Leola King eventually declared bankruptcy in the late ’90s, lost her mansion at 711 Scott St., and never quite managed to complete the opening of a new bar named Goldie’s. But her grace and poise in the face of relentless losses, her indomitable spirit, and the joy she brought to the neighborhood are the things people remember most about her.\u003c/p>\n\u003cp>As Lance Burton, founder of \u003ca href=\"https://planetfillmore.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Planet Fillmore Communications\u003c/a>, who grew up in the Fillmore and remembers King in her heyday \u003ca href=\"https://sfbayview.com/2015/02/legendary-queen-of-fillmore-leola-king-leaves-proud-legacy-of-struggle-against-redevelopment/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote after her death\u003c/a> in 2015: “Mrs. King was like a big movie star to many of us, a star who brought some very bright moments to our community—maybe the most golden period of years ever to have been seen in San Francisco by black folks before or since… Mrs. King gave our people a chance to dress up and shine in a Sunday evening of glory.”\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"title": "The Queen of the 'Harlem of the West' Brought Glamour and Stars to the Fillmore | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>She was considered the Queen of the Fillmore, back when the neighborhood was still nicknamed the “Harlem of the West.” She was one of the \u003ca href=\"http://beyondchron.org/heard-fillmore-icon-leola-king-passes/\" target=\"_blank\" rel=\"noopener noreferrer\">first women of color\u003c/a> to ever own and run a Bay Area nightclub. And when the San Francisco Redevelopment Agency came for her crown, Leola King fought back, over and over again.\u003c/p>\n\u003cp>King arrived in San Francisco from Los Angeles in 1946, at the age of 27. She would call the Fillmore home for the next 64 years. Her most famous venture, the Blue Mirror Cocktail Lounge—famous for hosting jazz greats like Louis Armstrong and Dinah Washington—came only after King had brought people from all over the city to the Fillmore via her barbecue pit.\u003c/p>\n\u003cp>Oklahoma King’s was named for her birth state, lovingly constructed at 1601 Geary out of a log cabin, and featured a smoke pit that was visible to outside foot traffic. The \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">meat on King’s menu\u003c/a>, including smoked buffalo, deer and quail, was so popular that she often worked around the clock, sometimes opening at 10am and not closing until 4am the next day.\u003c/p>\n\u003cp>“I was busy all day, all night, lines outside,” she told the \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Oral History Archives Project\u003c/a> in 2007. “On Cathedral Hill, coming down the hill, I had a tall, about a 50-foot smoke stack that put the aroma in the air that was just terrific, and people would drive around trying to find the place where this beautiful smell was coming from.”\u003c/p>\n\u003cp>At the end of 1947, when the City Planning Commission submitted a \u003ca href=\"https://smartgrowth.org/how-urban-renewal-destroyed-the-fillmore-in-order-to-save-it/\" target=\"_blank\" rel=\"noopener noreferrer\">$52 million proposal\u003c/a> for rebuilding a 36-block zone enclosed by Van Ness, Webster, McAllister and Geary, King began to be regularly approached by the San Francisco Redevelopment Agency. By her own estimation, King told them the restaurant wasn’t for sale “three or four times.” One morning when she arrived to open up, she was greeted by the sight of a bulldozer—and an empty space where Oklahoma King’s used to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They just come in and bulldoze it to the ground,” she recalled. “Took all my equipment, stuff that I’d paid for, and all of my foods and everything. I don’t know what happened to anything. When I go there, the lot is clear; there’s nothing on it. So that made me have to go to the hospital. I just was so upset.” King was later \u003ca href=\"https://www.harlemofthewestsf.com/fillmore-people/bios-interviews/leola-king/\" target=\"_blank\" rel=\"noopener noreferrer\">reimbursed\u003c/a> what she’d paid for the land, but not for the structure, equipment or business—in all, a fraction of what Oklahoma King’s was actually worth. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the initial shock had subsided, King’s unbreakable tenacity drove her to open the Blue Mirror in 1953. “It was fantastic, a beautiful club,” \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">she said\u003c/a>, “and it was hot, hot, hot.” The club, at 935 Fillmore Street, was smaller than the other popular neighborhood venues at the time—like \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Sullivan’s Fillmore Ballroom\u003c/a>—but attracted the same level of talent. Lena Horne, Ray Charles, Duke Ellington, Count Basie and Cab Calloway were just a few musicians that passed through, and she counted Josephine Baker, Nat “King” Cole, Elizabeth Taylor and boxing legend Sugar Ray Robinson as friends.\u003c/p>\n\u003cp>Bobbie Webb, a saxophonist who performed there with the likes of B.B. King and T-Bone Walker, \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">said in 2007\u003c/a> that it wasn’t just the luxurious decor and excellent music that attracted people to the Blue Mirror—it was King herself. “She didn’t only have a personality, she was a beautiful lady,” he reminisced. “All she had to do was stand there.”\u003c/p>\n\u003cp>After almost a decade of running one of the hottest clubs in town, \u003ca href=\"https://tellingstories.org/fillmore/king_leola/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">King later claimed\u003c/a> she was warned by neighborhood police that the Redevelopment Agency was using unscrupulous means to acquire buildings. According to her, one day a man and a child arrived at the club, asking if the youngster could use the bathroom. After the bouncer allowed them in, the man bought an alcoholic drink and handed it to the child. “Well, we didn’t even know the kid was in the place,” King recalled. “So that’s how they took my license. They came in and padlocked my door and completely put me out of business.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Against the odds, King bounced back yet again, opening the Bird Cage in 1964. The tavern, decked out in stained glass and bright colors, was open between the hours of 10am and 10pm at 1505 Fillmore Street. Like the Blue Mirror, the venue found popularity quickly, thanks in no small part to its lunch counter, famous for King’s fried chicken and fish.\u003c/p>\n\u003cp>Though King selected the location in the hope that it was deep enough in the neighborhood to remain untouched by redevelopment, after a decade of success, once again the agency bought her venue’s building and, in 1974, evicted all tenants. King refused to go quietly this time, having to be forcibly removed by the sheriff. She spent the next quarter century \u003ca href=\"http://www.foundsf.org/index.php?title=A_Half_Century_of_Lies\" target=\"_blank\" rel=\"noopener noreferrer\">fighting\u003c/a> the Redevelopment Agency over relocation terms.\u003c/p>\n\u003cp>Leola King eventually declared bankruptcy in the late ’90s, lost her mansion at 711 Scott St., and never quite managed to complete the opening of a new bar named Goldie’s. But her grace and poise in the face of relentless losses, her indomitable spirit, and the joy she brought to the neighborhood are the things people remember most about her.\u003c/p>\n\u003cp>As Lance Burton, founder of \u003ca href=\"https://planetfillmore.tv/\" target=\"_blank\" rel=\"noopener noreferrer\">Planet Fillmore Communications\u003c/a>, who grew up in the Fillmore and remembers King in her heyday \u003ca href=\"https://sfbayview.com/2015/02/legendary-queen-of-fillmore-leola-king-leaves-proud-legacy-of-struggle-against-redevelopment/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote after her death\u003c/a> in 2015: “Mrs. King was like a big movie star to many of us, a star who brought some very bright moments to our community—maybe the most golden period of years ever to have been seen in San Francisco by black folks before or since… Mrs. King gave our people a chance to dress up and shine in a Sunday evening of glory.”\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Born and raised in San Francisco’s historic Fillmore district, rapper LaPrell Gilton—better known as Lil Pete— joins a lineage of notable artists who call the neighborhood home: Rappin’ 4 Tay, San Quinn and Messy Marv to name a few. Although he’s from the Bay, Lil Pete has worked to make his music bigger than that, not wanting to be pigeonholed as a local rapper.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The themes he touches in his music—like hustling, being on the streets—have an intense openness and honesty sometimes lacking in mainstream rap. The \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=ua3-dGNbsOE\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">music video\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for 2017’s “In This Life,” which has over 11 million views on YouTube, depicts poignant scenes of drug addiction, homelessness and the widening wealth gap eating away at the city. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lil Pete got his start in San Francisco, but it was really after he spent time in New York last year that he began developing the following he has now. There, the rapper collaborated with influential Southern rap artists like Juvenile and Bone Crusher, expanding his audience and his sound. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/ua3-dGNbsOE\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His older work, like the mixtape \u003c/span>\u003ca href=\"https://soundcloud.com/lilpete-4/sets/i-made-a-promise\" target=\"_blank\" rel=\"noopener\">\u003ci>\u003cspan style=\"font-weight: 400\">I Made a Promise\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, features the smooth, hyphy-inflected bounce many refer to as a “Bay Area sound.” And on his new album \u003ca href=\"https://empire.lnk.to/hardawayYo\" target=\"_blank\" rel=\"noopener\">\u003cem>Hardaway\u003c/em>\u003c/a>, out Sept. 6 via Empire and Pete’s own label, Public Housin’, an amalgamation of melancholic, sing-song lyricism and minimal trap drums lend his storytelling a mainstream, radio-friendly appeal. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On \u003cem>Hardaway\u003c/em>\u003c/span>\u003cspan style=\"font-weight: 400\">, Lil Pete takes command of his story for the first time. As someone who shies away from interviews—“A lot of people say I’m a closed-off person. Even though I make music, they don’t know a lot about me,” he admits—the album is a chance for Lil Pete to truly open up. “I’m telling them everything that happened in my life, what I’ve been seeing, what I’m going through now,” he says. “\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hardaway\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is gonna give the fans more of my life and let them share my journey.”\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/ZUJ7S8NEgzE\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A core part of that journey, naturally, has been Lil Pete’s community. With his Filipino, Mexican, Black and Native American heritage, the rapper identifies deeply with many cultural groups. He describes his neighborhood as “rough”—though he didn’t think so when he was young. But as Lil Pete got older, many of his childhood friends passed away, or ended up in jail. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Living in San Francisco today, Lil Pete recognizes familiar patterns of crime and violence. But rather than feeling distant or discouraged, the rapper views his position as an opportunity to use his music to uplift his neighborhood. \u003c/span>\u003cspan style=\"font-weight: 400\">“It inspires me to get big in the music industry and give back to the community and help,” he says.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/grsR7QfgYfY\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To reach the level of exposure he hopes for, Lil Pete constantly pushes himself to broaden his music taste (A Boogie Wit Da Hoodie, Rihanna and PNB Rock are just a few artists he enjoys) and grow his style. He doesn’t want to pigeonhole himself solely as a street rapper, and wants to think bigger: “You know, sometimes rappers…feel like, ‘Oh, I gotta rap about the streets, I gotta rap about this,’” he says. “But sometimes you don’t, you limiting yourself.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Earlier this year, Lil Pete started Public Housin’, a record label dedicated to giving opportunity to \u003c/span>\u003ca href=\"https://www.instagram.com/p/Bv71BGogr-q/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">artists who come from communities like his\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And as he continues to grow his following, he hopes to become a mainstream artist—to get even bigger so that he can help other rising artists from his hometown have their break in music too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of people get to fame and don’t come back, or don’t show up for they city. But I feel like that’s not right, so I’m always here. I got brothers and sisters out here,” he says.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I always come back.”\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Born and raised in San Francisco’s historic Fillmore district, rapper LaPrell Gilton—better known as Lil Pete— joins a lineage of notable artists who call the neighborhood home: Rappin’ 4 Tay, San Quinn and Messy Marv to name a few. Although he’s from the Bay, Lil Pete has worked to make his music bigger than that, not wanting to be pigeonholed as a local rapper.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The themes he touches in his music—like hustling, being on the streets—have an intense openness and honesty sometimes lacking in mainstream rap. The \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=ua3-dGNbsOE\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">music video\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for 2017’s “In This Life,” which has over 11 million views on YouTube, depicts poignant scenes of drug addiction, homelessness and the widening wealth gap eating away at the city. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lil Pete got his start in San Francisco, but it was really after he spent time in New York last year that he began developing the following he has now. There, the rapper collaborated with influential Southern rap artists like Juvenile and Bone Crusher, expanding his audience and his sound. \u003c/span>\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/ua3-dGNbsOE'\n title='//www.youtube.com/embed/ua3-dGNbsOE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">His older work, like the mixtape \u003c/span>\u003ca href=\"https://soundcloud.com/lilpete-4/sets/i-made-a-promise\" target=\"_blank\" rel=\"noopener\">\u003ci>\u003cspan style=\"font-weight: 400\">I Made a Promise\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, features the smooth, hyphy-inflected bounce many refer to as a “Bay Area sound.” And on his new album \u003ca href=\"https://empire.lnk.to/hardawayYo\" target=\"_blank\" rel=\"noopener\">\u003cem>Hardaway\u003c/em>\u003c/a>, out Sept. 6 via Empire and Pete’s own label, Public Housin’, an amalgamation of melancholic, sing-song lyricism and minimal trap drums lend his storytelling a mainstream, radio-friendly appeal. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On \u003cem>Hardaway\u003c/em>\u003c/span>\u003cspan style=\"font-weight: 400\">, Lil Pete takes command of his story for the first time. As someone who shies away from interviews—“A lot of people say I’m a closed-off person. Even though I make music, they don’t know a lot about me,” he admits—the album is a chance for Lil Pete to truly open up. “I’m telling them everything that happened in my life, what I’ve been seeing, what I’m going through now,” he says. “\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hardaway\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is gonna give the fans more of my life and let them share my journey.”\u003c/span>\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/ZUJ7S8NEgzE'\n title='//www.youtube.com/embed/ZUJ7S8NEgzE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A core part of that journey, naturally, has been Lil Pete’s community. With his Filipino, Mexican, Black and Native American heritage, the rapper identifies deeply with many cultural groups. He describes his neighborhood as “rough”—though he didn’t think so when he was young. But as Lil Pete got older, many of his childhood friends passed away, or ended up in jail. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Living in San Francisco today, Lil Pete recognizes familiar patterns of crime and violence. But rather than feeling distant or discouraged, the rapper views his position as an opportunity to use his music to uplift his neighborhood. \u003c/span>\u003cspan style=\"font-weight: 400\">“It inspires me to get big in the music industry and give back to the community and help,” he says.\u003c/span>\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/grsR7QfgYfY'\n title='//www.youtube.com/embed/grsR7QfgYfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">To reach the level of exposure he hopes for, Lil Pete constantly pushes himself to broaden his music taste (A Boogie Wit Da Hoodie, Rihanna and PNB Rock are just a few artists he enjoys) and grow his style. He doesn’t want to pigeonhole himself solely as a street rapper, and wants to think bigger: “You know, sometimes rappers…feel like, ‘Oh, I gotta rap about the streets, I gotta rap about this,’” he says. “But sometimes you don’t, you limiting yourself.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Earlier this year, Lil Pete started Public Housin’, a record label dedicated to giving opportunity to \u003c/span>\u003ca href=\"https://www.instagram.com/p/Bv71BGogr-q/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">artists who come from communities like his\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And as he continues to grow his following, he hopes to become a mainstream artist—to get even bigger so that he can help other rising artists from his hometown have their break in music too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of people get to fame and don’t come back, or don’t show up for they city. But I feel like that’s not right, so I’m always here. I got brothers and sisters out here,” he says.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I always come back.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fillmore Heritage Center, Former Home of Yoshi's, Attracts (Another) Lawsuit",
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"headTitle": "Fillmore Heritage Center, Former Home of Yoshi’s, Attracts (Another) Lawsuit | KQED",
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"content": "\u003cp>Once a beacon of neighborhood revival as the San Francisco home of jazz club Yoshi’s, the Fillmore Heritage Center has become bedeviled by litigation. \u003c/p>\n\u003cp>In August of 2018, San Francisco City Attorney Dennis Herrera filed suit to recover $5.5 million borrowed by Heritage Center developer Michael Johnson. In September, Johnson filed a countersuit claiming breach of contract, and that city interference ruinously undermined the project. \u003c/p>\n\u003cp>Most recently, a November lawsuit in federal court alleges that officials, including Mayor London Breed and Supervisor Vallie Brown, committed fraud resulting in approximately $100 million in failed public and private investments. It further charges that the city officials steered control of the center to “chosen cronies.”\u003c/p>\n\u003cp>“What was promoted as the flagship of the City’s renewal of the Fillmore community has instead become a glaring symbol of urban neglect, mismanagement, and corruption,” the suit reads.\u003c/p>\n\u003cp>Plaintiff Agonafer Shiferaw, a neighborhood businessman who previously operated Rasselas Jazz Club on Fillmore Street, has repeatedly tried to buy the crisis-stricken cultural center. His suit seeks monetary damages and a court injunction prohibiting the city from selling or leasing the property. \u003c/p>\n\u003cfigure id=\"attachment_13848448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-800x550.jpg\" alt=\"The city granted two nonprofits a temporary lease on the Fillmore Heritage Center in October, 2018.\" width=\"800\" height=\"550\" class=\"size-medium wp-image-13848448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-1200x825.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The city granted two nonprofits a temporary lease on the Fillmore Heritage Center in October 2018. Here, the lobby sits empty on a recent weekday. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the center of the suit, which the New Fillmore \u003ca href=\"http://newfillmore.com/2019/01/04/lawsuits-multiply-over-fillmore-heritage-center/\">first reported\u003c/a>, is an early 2017 request for proposals (RFP) to relaunch the 240,000-square-foot cultural center. Shiferaw alleges the outcome of the process was predetermined. And because he complained to the Public Ethics Commission, the suit claims, the city canceled the public process in favor of private negotiations. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The city said it withdrew the RFP due to a lack of qualified applicants. But last year officials gave $50,000 and a six-month lease to “temporarily activate” the center to two nonprofits—the San Francisco Housing Development Corporation (SFHDC) and the New Community Leadership Foundation (NCLF)—that’d submitted a proposal. The city is looking to sell the center for $6.5 million. \u003c/p>\n\u003cp>Chris Hansen of SFHDC said at an Entertainment Commission hearing in November that the groups are seeking a lease extension, and to buy the property themselves. The lawsuit asserts that the organizations’ “only qualification is their support for and association with London Breed.” \u003c/p>\n\u003cp>“This lawsuit is long on rhetoric and short on facts,” City Attorney spokesperson John Coté said in a statement. “It is wholly without merit, and the City will vigorously defend against it.”\u003c/p>\n\u003cp>The next hearing in the case is scheduled for February 13. \u003c/p>\n\u003cfigure id=\"attachment_10297719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Yoshis.jpg\" alt=\"Yoshi's, the Fillmore Heritage Center's anchor tenant, closed in 2014. \" width=\"800\" height=\"492\" class=\"size-full wp-image-10297719\" 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=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yoshi’s, the Fillmore Heritage Center’s anchor tenant, closed in 2014.\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore Heritage Center opened in 2007, promising economic stimulation and cultural renewal for a once predominantly black neighborhood crushed by redevelopment in the 1960s. Its anchor tenant, jazz club Yoshi’s, harked to the district’s past life as “Harlem of the West.”\u003c/p>\n\u003cp>But it was built with millions in still-unrecovered public loans, and for three years before SFHDC and NCLF received keys in October it stood vacant, a monumental disappointment. $4.8 million from the redevelopment agency was \u003ca href=\"http://newfillmore.com/2014/07/04/how-the-yoshis-deal-went-down/\">reportedly\u003c/a> “lost” in the 2014 bankruptcy of Johnson’s business partners, and the city’s August suit says Johnson still owes $5.5 million. \u003c/p>\n\u003cp>[contextly_sidebar id=”8SEZwHC6E4VRyVBmbtp8s5aP5ubIZ3FC”]\u003c/p>\n\u003cp>Johnson reopened Yoshi’s as The Addition in 2014, but \u003ca href=\"https://www.kqed.org/arts/10297603/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close\" rel=\"noopener\" target=\"_blank\">it closed\u003c/a> within months. Shiferaw, according to his suit, struck a deal to buy the center from Johnson in May 2015 for $6.4 million, a plan the city ignored. Johnson, in his countersuit, describes this as one of the ways the city undermined the project’s financial viability before taking control of the property that June. \u003c/p>\n\u003cp>NCLF and SFHDC, whose lease expires at the end of March, have promised to run housing counseling and financial workshops out of the space, and are offering events such as “Tuesday Bluesday” via a partnership with boxer Karim Mayfield’s company Hard Hitta Promotions. \u003c/p>\n\u003cp>Majeid Crawford, NCLF’s communications director, called the partnership the “result of a long, hard-fought process, in cooperation with the City, to make sure that the reactivation of the Fillmore Heritage Center is represented by stakeholders from within the Fillmore who are committed to providing an equity plan that will serve this community long into the future.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Once a beacon of neighborhood revival as the San Francisco home of jazz club Yoshi’s, the Fillmore Heritage Center has become bedeviled by litigation. \u003c/p>\n\u003cp>In August of 2018, San Francisco City Attorney Dennis Herrera filed suit to recover $5.5 million borrowed by Heritage Center developer Michael Johnson. In September, Johnson filed a countersuit claiming breach of contract, and that city interference ruinously undermined the project. \u003c/p>\n\u003cp>Most recently, a November lawsuit in federal court alleges that officials, including Mayor London Breed and Supervisor Vallie Brown, committed fraud resulting in approximately $100 million in failed public and private investments. It further charges that the city officials steered control of the center to “chosen cronies.”\u003c/p>\n\u003cp>“What was promoted as the flagship of the City’s renewal of the Fillmore community has instead become a glaring symbol of urban neglect, mismanagement, and corruption,” the suit reads.\u003c/p>\n\u003cp>Plaintiff Agonafer Shiferaw, a neighborhood businessman who previously operated Rasselas Jazz Club on Fillmore Street, has repeatedly tried to buy the crisis-stricken cultural center. His suit seeks monetary damages and a court injunction prohibiting the city from selling or leasing the property. \u003c/p>\n\u003cfigure id=\"attachment_13848448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-800x550.jpg\" alt=\"The city granted two nonprofits a temporary lease on the Fillmore Heritage Center in October, 2018.\" width=\"800\" height=\"550\" class=\"size-medium wp-image-13848448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_-1200x825.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Fillmore.Lobby_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The city granted two nonprofits a temporary lease on the Fillmore Heritage Center in October 2018. Here, the lobby sits empty on a recent weekday. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the center of the suit, which the New Fillmore \u003ca href=\"http://newfillmore.com/2019/01/04/lawsuits-multiply-over-fillmore-heritage-center/\">first reported\u003c/a>, is an early 2017 request for proposals (RFP) to relaunch the 240,000-square-foot cultural center. Shiferaw alleges the outcome of the process was predetermined. And because he complained to the Public Ethics Commission, the suit claims, the city canceled the public process in favor of private negotiations. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The city said it withdrew the RFP due to a lack of qualified applicants. But last year officials gave $50,000 and a six-month lease to “temporarily activate” the center to two nonprofits—the San Francisco Housing Development Corporation (SFHDC) and the New Community Leadership Foundation (NCLF)—that’d submitted a proposal. The city is looking to sell the center for $6.5 million. \u003c/p>\n\u003cp>Chris Hansen of SFHDC said at an Entertainment Commission hearing in November that the groups are seeking a lease extension, and to buy the property themselves. The lawsuit asserts that the organizations’ “only qualification is their support for and association with London Breed.” \u003c/p>\n\u003cp>“This lawsuit is long on rhetoric and short on facts,” City Attorney spokesperson John Coté said in a statement. “It is wholly without merit, and the City will vigorously defend against it.”\u003c/p>\n\u003cp>The next hearing in the case is scheduled for February 13. \u003c/p>\n\u003cfigure id=\"attachment_10297719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Yoshis.jpg\" alt=\"Yoshi's, the Fillmore Heritage Center's anchor tenant, closed in 2014. \" width=\"800\" height=\"492\" class=\"size-full wp-image-10297719\" 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=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yoshi’s, the Fillmore Heritage Center’s anchor tenant, closed in 2014.\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore Heritage Center opened in 2007, promising economic stimulation and cultural renewal for a once predominantly black neighborhood crushed by redevelopment in the 1960s. Its anchor tenant, jazz club Yoshi’s, harked to the district’s past life as “Harlem of the West.”\u003c/p>\n\u003cp>But it was built with millions in still-unrecovered public loans, and for three years before SFHDC and NCLF received keys in October it stood vacant, a monumental disappointment. $4.8 million from the redevelopment agency was \u003ca href=\"http://newfillmore.com/2014/07/04/how-the-yoshis-deal-went-down/\">reportedly\u003c/a> “lost” in the 2014 bankruptcy of Johnson’s business partners, and the city’s August suit says Johnson still owes $5.5 million. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Johnson reopened Yoshi’s as The Addition in 2014, but \u003ca href=\"https://www.kqed.org/arts/10297603/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close\" rel=\"noopener\" target=\"_blank\">it closed\u003c/a> within months. Shiferaw, according to his suit, struck a deal to buy the center from Johnson in May 2015 for $6.4 million, a plan the city ignored. Johnson, in his countersuit, describes this as one of the ways the city undermined the project’s financial viability before taking control of the property that June. \u003c/p>\n\u003cp>NCLF and SFHDC, whose lease expires at the end of March, have promised to run housing counseling and financial workshops out of the space, and are offering events such as “Tuesday Bluesday” via a partnership with boxer Karim Mayfield’s company Hard Hitta Promotions. \u003c/p>\n\u003cp>Majeid Crawford, NCLF’s communications director, called the partnership the “result of a long, hard-fought process, in cooperation with the City, to make sure that the reactivation of the Fillmore Heritage Center is represented by stakeholders from within the Fillmore who are committed to providing an equity plan that will serve this community long into the future.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If one way of understanding gospel music is to trace its emergence in the midst of the African-American Great Migration — from south to north, from rural areas to urban regions, from agrarian culture to industrialization, then so too can we hear Aretha Franklin traveling miles and miles in her luminous cover of Simon and Garfunkel’s “Bridge Over Troubled Water.” With each magnetic pass that she took through this song, we can hear Queen Re mediating the gospel space between traditional spirituals and blues-inflected musicality, bringing the Holy sounds of her Baptist upbringing closer to the secularized lyrics of folk hero Paul Simon.\u003c/p>\n\u003cp>In her extraordinary live performances of this track which she first performed on the Grammys telecast in 1971, Aretha Franklin \u003cem>becomes\u003c/em> a bridge, phantasmagorically elasticizing the wondrous instrument that is her vocal body across musical genres — soul, gospel, folk. Most remarkable was how she drew out the deep spiritual grooves of Simon’s “Bridge” in March of that year at concert promoter Bill Graham’s Fillmore West, a rock and roll palace where Hendrix’s psychedelia and Grateful Dead jam band bacchanalia had been flourishing since 1968. Resplendent in her flowing, earth-toned gown and a supremely Haight-Ashbury slouchy hat, she took a seat at the piano and became the first African-American woman artist to headline a concert event at the venue, home of the “long hairs” as some would refer to it.\u003c/p>\n\u003cp>[contextly_sidebar id=”NP2k2sRmZaUEykroiK5ox8yGTnIQTXN5″]\u003c/p>\n\u003cp>The journey that Aretha takes us on this song is one in which she wraps her arms around an ode to deeply enduring friendship and solidarity in times of trial. This was a moment too in which she also tapped into the traces of songwriter Paul Simon’s love of gospel greats the Swan Silvertones and their own re-reading of the spiritual “Mary Don’t You Weep,” itself a tune that folds together Old and New Testament tales of exodus and re-birth. It was a tale she surely knew well, as the daughter of legendary preacher C.L. Franklin, and she invoked all that knowledge to mine the “Bridge” for its many cultural and spiritual resonances. Along the way, just as she did with Otis Redding’s “Respect,” she made it all her own.\u003c/p>\n\u003cp>Like fellow Detroiter Diana Ross, Aretha makes a bid to “reach out and touch somebody’s hand” across an ocean of ardent, colorful tie-dye clad fans. And in doing so, those Fillmore West performances — released just a few months later as her second live album — became instantly historic in that they assert the multiracial and cross-gender possibilities of early 1970s rock and roll counterculture that so often went unrealized. As she stretches herself out in the lyrics of the song, the Queen laid the ground for making deep well statements about the politics of trust and coalition building in the face of historical uncertainty, as black liberation changed its pace and tenor, as the anti-war effort grew evermore dire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over three sold out nights, Aretha Franklin would play in the round with King Curtis and the Kingpins, one of the tightest rhythm sections other than James Brown’s JBs, setting off each evening on her own distinct version of Simon and Garfunkel’s “Bridge Over Troubled Water,” a song that marked what turned out to be a crucial period of her transformation as a musician.\u003c/p>\n\u003cp>https://youtu.be/7IExZv-mgrw\u003c/p>\n\u003cp>“Go ahead ‘Retha!” The adoring crowd embraces Aretha the vocalist and pianist as she hails her powerhouse band, a group featuring late great Curtis Ousley on saxophone and the convivial Billy Preston sitting in as guest player at the organ. “Play Billy!” Aretha calls out to her fellow musician as her incandescent cover slowly unfolds, as she wades ever so gracefully into still waters that run deep, as she moves gently and yet fearlessly into the center of Preston’s thick, bright, atmospheric keyboard universe flanked by her backup singers, the Sweethearts of Soul.\u003c/p>\n\u003cp>Aretha’s vocals radiate with the effulgent heat and the ethereal energy of the gospel tradition as she worries lines, improvises impassioned moans and carefully, elegantly puts to use a thing called the melisma, the artful, spiritually-rooted technique of stringing a series of notes together in one syllable so as to stretch out one’s vocal phrasing.\u003c/p>\n\u003cp>Hanging on words, pulling out phrases and turning them over and over so as to wring them for multiple meanings, Aretha here lets us know, without breaking a sweat, that she is still the innovator who birthed a brand of soul music that made spectacularly audible existential and spiritual self-discovery and affirmation, all at the site of her virtuosic vocalization. The philosophical intelligence of her musical phrasing and narrative interpretation set a new standard of excellence in pop music.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“When you’re down and out / When you look up and see yourself on the street / When evening falls so hard / I’ll be there to comfort you / I’ll take your part / I’ll take it when darkness comes / And there’s no one you love around.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Aretha the conduit. Aretha the medium. Aretha the surrogate figure for the masses. She was, especially at this point in her career, between 1971-1973 (called by critics, her “artistically mature period”), a kind of performer who was able to “shap[e] her intimacies with the skill of a dramatist,” as Ann Powers has beautifully put it. Like a great “method actor” who slips into the specific landscape of a particular song to fully inhabit it, Aretha both disappears into the emotional terrain of her “bridge” and unveils a protagonist who expresses herself in the most intense emotive registers.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“Don’t trouble the water… Why don’t ya just let it be”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Yes, there are rumors that Simon wrote “Bridge Over Troubled Water” “for Aretha” or “with Aretha in mind.” All speculation, but certainly we can hear the ways that the song would operate as a crossroads in her career, a prescient recording that would forecast her historic transition, her own personal and professional bridge from pop superstardom \u003cem>back\u003c/em> to fully immersing herself in the music of the church.\u003c/p>\n\u003cp>“Bridge Over Troubled Water” is, after all, a gateway song — not simply a cover of a gorgeously wrought proclamation of harmony, intimacy and understanding shared between two New York City folkies — but a song that reaches back to a gospel classic which, in turn, draws its inspiration from the Bible.\u003c/p>\n\u003cp>https://youtu.be/lMvFKpqnsWU\u003c/p>\n\u003cp>Listen carefully to the Swan Silvertones’ classic version of “Mary Don’t You Weep,” and one hears the famous line that would inspire Paul Simon to write a song about a bridge as wells as the seeds from Exodus that inspired that line.\u003c/p>\n\u003cp>“Mary Don’t You Weep” gives us the story, from the Gospel of John, of Mary of Bethany, a woman who, along with her sister Martha, mourns over the death of her brother Lazarus. When Jesus arrives at their house, he meets with both sisters. Before raising their brother to new life, he instructs Martha to draw on hope and faith. To Mary he offers added counsel and addresses her tears: “When Jesus saw her weeping, and the Jews who had come along with her also weeping, he was deeply moved in spirit and troubled.”\u003c/p>\n\u003cp>So sing the Swan Silvertones: \u003cem>“Oh Mary don’t you weep. Tell Martha not to moan.”\u003c/em>\u003c/p>\n\u003cp>“Mary Don’t You Weep” started out as a Negro spiritual, entrusted in the 20th century to the likes of the Fisk Jubilee Singers to deliver the Good Word to the segregated masses, and it is a song that has subsequently been picked up by artists as varied as Pete Seeger, Nat King Cole, Bruce Springsteen, Aaron Neville and Take 6 throughout the 20th century .\u003c/p>\n\u003cp>As Aaron Cohen points out in his book on Aretha’s \u003cem>Amazing Grace\u003c/em>, the version that would seemingly have the most overt impact on her is the 1958 recording \u003ca href=\"https://www.youtube.com/watch?v=c5UDBf9Q2bc\">by The Caravans\u003c/a>, the phenomenally influential gospel group of the ’50s and ’60s, founded by Albertine Walker and a launching pad for a run of future superstars of the genre: Shirley Caesar, James Cleveland and Inez Andrews to name but a few.\u003c/p>\n\u003cp>But the Swan Silvertones’ version from 1959 is the only one that features the marvelous lead singer Claude Jeter’s forthright interpolation: “I’ll be a bridge over deep water if you trust in my name.” It was a line that would stick with Paul Simon and one with roots to the greatest escape tale of all time.\u003c/p>\n\u003cp>Sings Jeter, \u003cem>“Pharoah’s Army got drowned in the sea, but Jesus said Mary, your little sister Martha don’t have to moan …. Now can I get a witness.”\u003c/em>\u003c/p>\n\u003cp>The Swan Silvertones version of “Mary Don’t You Weep” folds into its musical story the narrative of Exodus, one of the most famous passages in all of the Bible — when Moses, led by the Lord, saw the Israelites out of slavery in Egypt.\u003c/p>\n\u003cp>“Mary Don’t You Weep” bridges this holy miracle into the story of Jesus raising Lazarus from the dead in the Gospel of John. In doing so, it is a song that testifies to the wonder of heavenly power to comfort, to protect and to revive mortal souls.\u003c/p>\n\u003cp>\u003cem>“I’ll be a bridge over deep water if you trust in my name.” \u003c/em>Jeter’s line recalls the second half of the Exodus passage when the Israelites traveled for three days, battling heat and sun, thirsting for water. With their faith tested, as the tale goes, the “people grumbled against Moses, saying, ‘What are we to drink?’ And the Lord turned bitter water into the sweetest of drink, assuring the people that ‘I am the LORD, who heals you.'”\u003c/p>\n\u003cp>Many people remember this passage from Exodus (with or without the Cecil B. DeMille special effects from the \u003cem>Ten Commandments \u003c/em>film) because of the way that it so spectacularly showcases the might and power of the Almighty, bringing the waters of the Red Sea over Pharaoh’s army, turning bitter water into the sweetest of drink.\u003c/p>\n\u003cp>Oft-overlooked yet just as crucial to the Israelites deliverance are the women on hand who witness and musically testify to the extraordinary turn of events in their midst:\u003c/p>\n\u003cblockquote>\u003cp>“Then Miriam the prophetess, Aaron’s sister, took a tambourine in her hand, and all the women followed her, with tambourines and dancing. Miriam sang to them: ‘Sing to the LORD, for he is highly exalted. The horse and its rider he has hurled into the sea.'”\u003c/p>\u003c/blockquote>\n\u003cp>Like a bridge, Miriam and the women repeat in song this hallowed flight to freedom. With a “joyful noise,” their voices reanimate the “rock on which Moses stood” to “lead the Hebrew children through.” They are the ones who, like those sisters at the close of Toni Morrison’s \u003cem>Beloved\u003c/em>, “buil[d] voice upon voice until they found it, and when they did it was a wave of sound wide enough to sound deep water and knock the pods off chestnut trees.”\u003c/p>\n\u003cp>We might think of how Aretha picks up the frequency of Claude Jeter singing “I’ll be your bridge over deep water if you trust my name,” so crystal clear that Paul Simon can hear his truth. And it’s she who can hear Miriam and the women’s truth as well as they amplify it, sustain it, make it manifest using “the right combination, the key, the code….”\u003c/p>\n\u003cp>Aretha the code breaker sings through this history, and she also ultimately re-centers that history in a legacy of black women’s agency and conviction.\u003c/p>\n\u003cp>As Cohen reminds, it is Inez Andrews’ “bluesy vamp and original sermonette about Lazarus rising from the tune” in The Caravans’ version of “Mary Don’t You Weep” that Aretha would potently bring to life during the historic \u003cem>Grace\u003c/em> recordings at New Temple Missionary Baptist Church, some nine months after her Fillmore concerts. In that epic, earth-shaking performance, we hear the voice of a black woman actively folding together into one the sacred, secular and sonic histories of the black radical tradition and reminding us of the woman-centered foundations of that tradition. On “Mary,” Aretha follows the road that she’d set for herself on a bridge and carries the congregation through the storm.\u003c/p>\n\u003cp>https://youtu.be/KA84TNAGWJM\u003c/p>\n\u003cp>This is paradigmatic soul at the apex of masterful storytelling. Worth recognizing then, that if in soul performance the very of-this-earth James Brown would make famous the line “take it to the bridge” — an emphatic way of egging his band on and signaling his own virtuosic ability to carry a song from the verse to the chorus to the climax — if in these moments James Brown was announcing his gift of stamina, fierce performative determination, improvisation, and ingenuity, we hear all of this on Aretha Franklin’s \u003cem>Amazing Grace\u003c/em> as well.\u003c/p>\n\u003cp>In Aretha’s stunning performance of “Mary,” alone, we hear Motor City black Baptist royalty meeting New York City Jewish folkie Simon, and we hear Simon meeting Kentucky-born coal miner turned gospel great Jeter. We hear her carrying both men back to Alabama gospel role model Inez Andrews in song, melding together the spiritual and the worldly, Old and New Testament tales of perseverance and faith. We hear her responding to the call made by Miriam, summoning those old school Biblical women’s sonic circuits of energy, and channeling and translating Inez and Paul and Claude.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“I’ll be your bridge over deep water if you trust my name.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>The larger lesson for me in that tiny verse in \u003cem>Exodus\u003c/em> and its various rippling echoes in The Caravans and the Swan Silvertones’ versions of “Mary,” rolling on through Aretha’s “Bridge” and on into her own \u003cem>Amazing Grace\u003c/em> performance is that Aretha Franklin is calling out to us to respond and bear witness to the foundations of her soul music revolution. Her music will forever hold the potential to bring the richest array of peoples together in a kind of humanist collectivity that, at its core, celebrates the sound of black womanhood as a site for radical social, spiritual and philosophical possibilities.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No time like now to take that bridge once more.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aretha%27s+Bridge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If one way of understanding gospel music is to trace its emergence in the midst of the African-American Great Migration — from south to north, from rural areas to urban regions, from agrarian culture to industrialization, then so too can we hear Aretha Franklin traveling miles and miles in her luminous cover of Simon and Garfunkel’s “Bridge Over Troubled Water.” With each magnetic pass that she took through this song, we can hear Queen Re mediating the gospel space between traditional spirituals and blues-inflected musicality, bringing the Holy sounds of her Baptist upbringing closer to the secularized lyrics of folk hero Paul Simon.\u003c/p>\n\u003cp>In her extraordinary live performances of this track which she first performed on the Grammys telecast in 1971, Aretha Franklin \u003cem>becomes\u003c/em> a bridge, phantasmagorically elasticizing the wondrous instrument that is her vocal body across musical genres — soul, gospel, folk. Most remarkable was how she drew out the deep spiritual grooves of Simon’s “Bridge” in March of that year at concert promoter Bill Graham’s Fillmore West, a rock and roll palace where Hendrix’s psychedelia and Grateful Dead jam band bacchanalia had been flourishing since 1968. Resplendent in her flowing, earth-toned gown and a supremely Haight-Ashbury slouchy hat, she took a seat at the piano and became the first African-American woman artist to headline a concert event at the venue, home of the “long hairs” as some would refer to it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The journey that Aretha takes us on this song is one in which she wraps her arms around an ode to deeply enduring friendship and solidarity in times of trial. This was a moment too in which she also tapped into the traces of songwriter Paul Simon’s love of gospel greats the Swan Silvertones and their own re-reading of the spiritual “Mary Don’t You Weep,” itself a tune that folds together Old and New Testament tales of exodus and re-birth. It was a tale she surely knew well, as the daughter of legendary preacher C.L. Franklin, and she invoked all that knowledge to mine the “Bridge” for its many cultural and spiritual resonances. Along the way, just as she did with Otis Redding’s “Respect,” she made it all her own.\u003c/p>\n\u003cp>Like fellow Detroiter Diana Ross, Aretha makes a bid to “reach out and touch somebody’s hand” across an ocean of ardent, colorful tie-dye clad fans. And in doing so, those Fillmore West performances — released just a few months later as her second live album — became instantly historic in that they assert the multiracial and cross-gender possibilities of early 1970s rock and roll counterculture that so often went unrealized. As she stretches herself out in the lyrics of the song, the Queen laid the ground for making deep well statements about the politics of trust and coalition building in the face of historical uncertainty, as black liberation changed its pace and tenor, as the anti-war effort grew evermore dire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over three sold out nights, Aretha Franklin would play in the round with King Curtis and the Kingpins, one of the tightest rhythm sections other than James Brown’s JBs, setting off each evening on her own distinct version of Simon and Garfunkel’s “Bridge Over Troubled Water,” a song that marked what turned out to be a crucial period of her transformation as a musician.\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/7IExZv-mgrw'\n title='//www.youtube.com/embed/7IExZv-mgrw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Go ahead ‘Retha!” The adoring crowd embraces Aretha the vocalist and pianist as she hails her powerhouse band, a group featuring late great Curtis Ousley on saxophone and the convivial Billy Preston sitting in as guest player at the organ. “Play Billy!” Aretha calls out to her fellow musician as her incandescent cover slowly unfolds, as she wades ever so gracefully into still waters that run deep, as she moves gently and yet fearlessly into the center of Preston’s thick, bright, atmospheric keyboard universe flanked by her backup singers, the Sweethearts of Soul.\u003c/p>\n\u003cp>Aretha’s vocals radiate with the effulgent heat and the ethereal energy of the gospel tradition as she worries lines, improvises impassioned moans and carefully, elegantly puts to use a thing called the melisma, the artful, spiritually-rooted technique of stringing a series of notes together in one syllable so as to stretch out one’s vocal phrasing.\u003c/p>\n\u003cp>Hanging on words, pulling out phrases and turning them over and over so as to wring them for multiple meanings, Aretha here lets us know, without breaking a sweat, that she is still the innovator who birthed a brand of soul music that made spectacularly audible existential and spiritual self-discovery and affirmation, all at the site of her virtuosic vocalization. The philosophical intelligence of her musical phrasing and narrative interpretation set a new standard of excellence in pop music.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“When you’re down and out / When you look up and see yourself on the street / When evening falls so hard / I’ll be there to comfort you / I’ll take your part / I’ll take it when darkness comes / And there’s no one you love around.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Aretha the conduit. Aretha the medium. Aretha the surrogate figure for the masses. She was, especially at this point in her career, between 1971-1973 (called by critics, her “artistically mature period”), a kind of performer who was able to “shap[e] her intimacies with the skill of a dramatist,” as Ann Powers has beautifully put it. Like a great “method actor” who slips into the specific landscape of a particular song to fully inhabit it, Aretha both disappears into the emotional terrain of her “bridge” and unveils a protagonist who expresses herself in the most intense emotive registers.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“Don’t trouble the water… Why don’t ya just let it be”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Yes, there are rumors that Simon wrote “Bridge Over Troubled Water” “for Aretha” or “with Aretha in mind.” All speculation, but certainly we can hear the ways that the song would operate as a crossroads in her career, a prescient recording that would forecast her historic transition, her own personal and professional bridge from pop superstardom \u003cem>back\u003c/em> to fully immersing herself in the music of the church.\u003c/p>\n\u003cp>“Bridge Over Troubled Water” is, after all, a gateway song — not simply a cover of a gorgeously wrought proclamation of harmony, intimacy and understanding shared between two New York City folkies — but a song that reaches back to a gospel classic which, in turn, draws its inspiration from the Bible.\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/lMvFKpqnsWU'\n title='//www.youtube.com/embed/lMvFKpqnsWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Listen carefully to the Swan Silvertones’ classic version of “Mary Don’t You Weep,” and one hears the famous line that would inspire Paul Simon to write a song about a bridge as wells as the seeds from Exodus that inspired that line.\u003c/p>\n\u003cp>“Mary Don’t You Weep” gives us the story, from the Gospel of John, of Mary of Bethany, a woman who, along with her sister Martha, mourns over the death of her brother Lazarus. When Jesus arrives at their house, he meets with both sisters. Before raising their brother to new life, he instructs Martha to draw on hope and faith. To Mary he offers added counsel and addresses her tears: “When Jesus saw her weeping, and the Jews who had come along with her also weeping, he was deeply moved in spirit and troubled.”\u003c/p>\n\u003cp>So sing the Swan Silvertones: \u003cem>“Oh Mary don’t you weep. Tell Martha not to moan.”\u003c/em>\u003c/p>\n\u003cp>“Mary Don’t You Weep” started out as a Negro spiritual, entrusted in the 20th century to the likes of the Fisk Jubilee Singers to deliver the Good Word to the segregated masses, and it is a song that has subsequently been picked up by artists as varied as Pete Seeger, Nat King Cole, Bruce Springsteen, Aaron Neville and Take 6 throughout the 20th century .\u003c/p>\n\u003cp>As Aaron Cohen points out in his book on Aretha’s \u003cem>Amazing Grace\u003c/em>, the version that would seemingly have the most overt impact on her is the 1958 recording \u003ca href=\"https://www.youtube.com/watch?v=c5UDBf9Q2bc\">by The Caravans\u003c/a>, the phenomenally influential gospel group of the ’50s and ’60s, founded by Albertine Walker and a launching pad for a run of future superstars of the genre: Shirley Caesar, James Cleveland and Inez Andrews to name but a few.\u003c/p>\n\u003cp>But the Swan Silvertones’ version from 1959 is the only one that features the marvelous lead singer Claude Jeter’s forthright interpolation: “I’ll be a bridge over deep water if you trust in my name.” It was a line that would stick with Paul Simon and one with roots to the greatest escape tale of all time.\u003c/p>\n\u003cp>Sings Jeter, \u003cem>“Pharoah’s Army got drowned in the sea, but Jesus said Mary, your little sister Martha don’t have to moan …. Now can I get a witness.”\u003c/em>\u003c/p>\n\u003cp>The Swan Silvertones version of “Mary Don’t You Weep” folds into its musical story the narrative of Exodus, one of the most famous passages in all of the Bible — when Moses, led by the Lord, saw the Israelites out of slavery in Egypt.\u003c/p>\n\u003cp>“Mary Don’t You Weep” bridges this holy miracle into the story of Jesus raising Lazarus from the dead in the Gospel of John. In doing so, it is a song that testifies to the wonder of heavenly power to comfort, to protect and to revive mortal souls.\u003c/p>\n\u003cp>\u003cem>“I’ll be a bridge over deep water if you trust in my name.” \u003c/em>Jeter’s line recalls the second half of the Exodus passage when the Israelites traveled for three days, battling heat and sun, thirsting for water. With their faith tested, as the tale goes, the “people grumbled against Moses, saying, ‘What are we to drink?’ And the Lord turned bitter water into the sweetest of drink, assuring the people that ‘I am the LORD, who heals you.'”\u003c/p>\n\u003cp>Many people remember this passage from Exodus (with or without the Cecil B. DeMille special effects from the \u003cem>Ten Commandments \u003c/em>film) because of the way that it so spectacularly showcases the might and power of the Almighty, bringing the waters of the Red Sea over Pharaoh’s army, turning bitter water into the sweetest of drink.\u003c/p>\n\u003cp>Oft-overlooked yet just as crucial to the Israelites deliverance are the women on hand who witness and musically testify to the extraordinary turn of events in their midst:\u003c/p>\n\u003cblockquote>\u003cp>“Then Miriam the prophetess, Aaron’s sister, took a tambourine in her hand, and all the women followed her, with tambourines and dancing. Miriam sang to them: ‘Sing to the LORD, for he is highly exalted. The horse and its rider he has hurled into the sea.'”\u003c/p>\u003c/blockquote>\n\u003cp>Like a bridge, Miriam and the women repeat in song this hallowed flight to freedom. With a “joyful noise,” their voices reanimate the “rock on which Moses stood” to “lead the Hebrew children through.” They are the ones who, like those sisters at the close of Toni Morrison’s \u003cem>Beloved\u003c/em>, “buil[d] voice upon voice until they found it, and when they did it was a wave of sound wide enough to sound deep water and knock the pods off chestnut trees.”\u003c/p>\n\u003cp>We might think of how Aretha picks up the frequency of Claude Jeter singing “I’ll be your bridge over deep water if you trust my name,” so crystal clear that Paul Simon can hear his truth. And it’s she who can hear Miriam and the women’s truth as well as they amplify it, sustain it, make it manifest using “the right combination, the key, the code….”\u003c/p>\n\u003cp>Aretha the code breaker sings through this history, and she also ultimately re-centers that history in a legacy of black women’s agency and conviction.\u003c/p>\n\u003cp>As Cohen reminds, it is Inez Andrews’ “bluesy vamp and original sermonette about Lazarus rising from the tune” in The Caravans’ version of “Mary Don’t You Weep” that Aretha would potently bring to life during the historic \u003cem>Grace\u003c/em> recordings at New Temple Missionary Baptist Church, some nine months after her Fillmore concerts. In that epic, earth-shaking performance, we hear the voice of a black woman actively folding together into one the sacred, secular and sonic histories of the black radical tradition and reminding us of the woman-centered foundations of that tradition. On “Mary,” Aretha follows the road that she’d set for herself on a bridge and carries the congregation through the storm.\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/KA84TNAGWJM'\n title='//www.youtube.com/embed/KA84TNAGWJM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is paradigmatic soul at the apex of masterful storytelling. Worth recognizing then, that if in soul performance the very of-this-earth James Brown would make famous the line “take it to the bridge” — an emphatic way of egging his band on and signaling his own virtuosic ability to carry a song from the verse to the chorus to the climax — if in these moments James Brown was announcing his gift of stamina, fierce performative determination, improvisation, and ingenuity, we hear all of this on Aretha Franklin’s \u003cem>Amazing Grace\u003c/em> as well.\u003c/p>\n\u003cp>In Aretha’s stunning performance of “Mary,” alone, we hear Motor City black Baptist royalty meeting New York City Jewish folkie Simon, and we hear Simon meeting Kentucky-born coal miner turned gospel great Jeter. We hear her carrying both men back to Alabama gospel role model Inez Andrews in song, melding together the spiritual and the worldly, Old and New Testament tales of perseverance and faith. We hear her responding to the call made by Miriam, summoning those old school Biblical women’s sonic circuits of energy, and channeling and translating Inez and Paul and Claude.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“I’ll be your bridge over deep water if you trust my name.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>The larger lesson for me in that tiny verse in \u003cem>Exodus\u003c/em> and its various rippling echoes in The Caravans and the Swan Silvertones’ versions of “Mary,” rolling on through Aretha’s “Bridge” and on into her own \u003cem>Amazing Grace\u003c/em> performance is that Aretha Franklin is calling out to us to respond and bear witness to the foundations of her soul music revolution. Her music will forever hold the potential to bring the richest array of peoples together in a kind of humanist collectivity that, at its core, celebrates the sound of black womanhood as a site for radical social, spiritual and philosophical possibilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No time like now to take that bridge once more.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aretha%27s+Bridge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A piece of San Francisco musical history will be brought back to life at the end of the month, at least temporarily. The historic Fillmore West—most recently the site of a Honda dealership on the corner of Market Street and South Van Ness—is reopening under new management and will host events for the first time in 45 years. But before music fans start celebrating the reemergence of the storied venue, there’s a catch: the events company managing the former Fillmore West may only have three to five years to utilize it before the developer who owns the underlying land turns the site into a high-rise apartment tower.\u003c/p>\n\u003cp>SVN West, once a ’60s counterculture mecca, utilizes much of the Fillmore West’s original architecture and will feature a mezzanine, an approximately 25,000-square-foot ballroom with high ceilings and a similarly sized outdoor terrace. The ballroom holds 4,000 to 6,000 people—a rarity among independent venues in the city.\u003c/p>\n\u003cfigure id=\"attachment_13835051\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835051\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-800x338.jpg\" alt=\"The main ballroom at SVN West. \" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-768x325.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1020x431.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1200x508.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1180x499.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-960x406.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-240x102.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-375x159.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-520x220.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The main ballroom at SVN West. \u003ccite>(Non Plus Ultra, Inc. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://nonplusultrainc.com/\" target=\"_blank\" rel=\"noopener\">Non Plus Ultra, Inc.\u003c/a>, a local company with philanthropic roots, manages SVN West. (Its leadership team helped found \u003ca href=\"https://projectwreckless.org/\" target=\"_blank\" rel=\"noopener\">Project Wreckless\u003c/a>, which teaches at-risk youth to restore classic cars, and the company frequently donates proceeds from events to community organizations.) Non Plus Ultra (NPU) also runs The Mint, Palace of Fine Arts and The Midway.\u003c/p>\n\u003cp>Although the company hasn’t disclosed many details about upcoming booking at SVN West, NPU president Jordan Langer says he plans to host a variety of corporate and community events. The first event at the new SVN West is a \u003ca href=\"https://www.eventbrite.com/e/juanita-more-pride-saturday-night-2018-tickets-46416900198\" target=\"_blank\" rel=\"noopener\">Pride celebration\u003c/a> featuring several DJs and drag star Juanita MORE! on Saturday, June 23.\u003c/p>\n\u003cp>“We’ll do some parties, live music and art stuff including installations,” NPU President Jordan Langer said of his vision for SVN West. “Rather than the building sitting empty or underutilized, we wanted to activate it in a cool, positive light. It’s an incredible venue—and if those walls could talk!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The ballroom of 10 South Van Ness is certainly hallowed ground. Originally a big band dance hall called The Carousel Ballroom and a stop on the West Coast Chitlin’ Circuit, the network of venues where African-American artists performed during segregation, the venue became the epicenter of the San Francisco scene under the stewardship of concert impresario Bill Graham in the late ’60s. Graham renamed the venue Fillmore West after leaving his original location (today’s current Fillmore), and promoted a 1967 BB King show that became the legendary guitarist’s first performance in front of a \u003ca href=\"https://www.sfgate.com/music/article/Music-A-night-at-the-Fillmore-changed-B-B-6266457.php\" target=\"_blank\" rel=\"noopener\">majority white audience\u003c/a>.\u003c/p>\n\u003cp>The space was also briefly run by a collective formed by Jefferson Airplane, Quicksilver Messenger Service, Big Brother and the Holding Company and The Grateful Dead—all of whom would become regulars on the Fillmore West stage. The Fillmore West closed in 1971 with 14 bands performing between June 29 and July 4; an album and documentary titled \u003cem>Last Days at The Fillmore\u003c/em> was released in 1972.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_SDWjfsy-GA\u003c/p>\n\u003cp>While NPU is contacting some of those living legends from the Bay Area’s heyday for future programming, Langer noted that SVN West won’t strictly be a throwback. “We really want to keep it as a continuation of the cool stuff that’s happened in the building as opposed to re-launching the Fillmore West. Those are somewhat impossible shoes to fill.”\u003c/p>\n\u003cp>Non Plus Ultra will likely have several years to take advantage of the space. The building is owned by developers \u003ca href=\"https://www.crescentheights.com/\" target=\"_blank\" rel=\"noopener\">Crescent Heights\u003c/a>, which aims to build a 984-unit mixed-use development on the site and has undergone a years-long planning process with the city. The Miami-based company acquired the land in 2014 and Langer estimates that in three to five years, development will begin. Crescent Heights could not be reached for comment on this story.\u003c/p>\n\u003cp>“Crescent Heights is looking at this being a test run pilot program for potentially doing something more long term,” Langer said. Ultimately, NPU hopes to convince Crescent Heights that a ballroom will suit their plans.\u003c/p>\n\u003cp>In the interim, NPU is acquiring a sound system and securing its fixed-place permit from the city’s Entertainment Commission, which would allow SVN West to host events on an ongoing basis. That lengthy process involves multiple public hearings in front of the commission as well as neighborhood outreach, in addition to standard building, health and fire inspections. While it waits for a permanent permit, the company has secured multiple one-time entertainment event permits to host events such as its Pride celebration. NPU can have up to 12 such permits each year.\u003c/p>\n\u003cfigure id=\"attachment_13835052\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835052\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-800x322.jpg\" alt=\"The mezzanine of SVN West. \" width=\"800\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-800x322.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-768x309.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1020x411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1200x483.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1180x475.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-960x387.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-240x97.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-375x151.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-520x209.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The mezzanine of SVN West. \u003ccite>(Non Plus Ultra, Inc. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s great to see new places crop up, especially one that was so major in the city,” said Maggie Weiland, acting director of the city’s Entertainment Commission. “We’ve definitely seen a trend of some of those [larger capacity] venues we’ve known and loved for so many years going away. Any way we can support bringing them back and support the people who are working to bring them back is great.”\u003c/p>\n\u003cp>The opening of SVN West comes at a time of corporate consolidation in the Bay Area’s live music scene. Live Nation and Goldenvoice, which recently took control of the Great American Music Hall and Slim’s, along with Another Planet Entertainment, have an effective stronghold on booking in San Francisco; each controls small clubs, larger venues and music festivals such as Outside Lands. \u003cem>East Bay Express\u003c/em> \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\">speculated\u003c/a> whether corporate control of San Francisco’s clubs and concert halls could homogenize live music in the region at the expense of local acts and promoters.\u003c/p>\n\u003cp>Langer, however, is unfazed and surprisingly upbeat. “I’m a huge believer in the more, the merrier,” he said, adding that, while NPU works well with bigger companies, he does not intend to use any of those corporate names as full-time bookers. Instead, NPU plans to keep booking in-house and is actively hiring a booker who can bring in unique talent and national acts that aren’t quite a fit for the nearby Bill Graham Civic Auditorium, which Langer jokingly referred to as the “900 pound gorilla in the room.”\u003c/p>\n\u003cfigure id=\"attachment_13835056\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835056\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-Terrace-800x319.jpg\" alt=\"The rooftop terrace at SVN West. \" width=\"800\" height=\"319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-800x319.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-768x306.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1020x407.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1200x479.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1180x471.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-960x383.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-520x207.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rooftop terrace at SVN West. \u003ccite>(Non Plus Ultra, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not concerned about the competition. More artists and DJs and talent and events will make everything better,” Langer said. “We’re really excited to be in the booking arena. I think that San Francisco is ready for more of the unique stuff that we’re going to bring the space.”\u003c/p>\n\u003cp>Langer’s pointed to an exhibit at The Midway called “\u003ca href=\"http://www.themidwaygallery.com/current-1/\" target=\"_blank\" rel=\"noopener\">She Bends: Women in Neon\u003c/a>” as an example of future art installations that could be held at SVN West. His other dreams for the venue include the return of Aretha Franklin, who recorded \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Vyx34kgHGng\" target=\"_blank\" rel=\"noopener\">Aretha Live at the Fillmore West\u003c/a>\u003c/em> in 1971. However, Langer cautioned against pigeonholing SVN as a venue dedicated to a specific genre of music.\u003c/p>\n\u003cp>“My hope is that we knock it out of the park in the next three to five years and there’s a longer-term solution for keeping this space in San Francisco,” Langer said. “Every day, spaces are closing and changing, very often not for development, but just the cost of doing stuff in the Bay Area is crazy. Hopefully we’re going to be able to show Crescent Heights and the city as a whole that spaces are a viable business still. You don’t need a tech company to come in and fill out your space; we can make it cooler and more fun and definitely more engaging to the community.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>NPU hasn’t announced a calendar of events at SVN West (the space was scheduled to host a benefit for Project Wreckless on June 14 with a workshop, go-kart racing, rooftop zip lining and performance by local funk band The Humidors, but the event was moved to The Midway) but Langer said there are multiple projects in the pipeline. He expects to host an official grand opening party in the near future.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A piece of San Francisco musical history will be brought back to life at the end of the month, at least temporarily. The historic Fillmore West—most recently the site of a Honda dealership on the corner of Market Street and South Van Ness—is reopening under new management and will host events for the first time in 45 years. But before music fans start celebrating the reemergence of the storied venue, there’s a catch: the events company managing the former Fillmore West may only have three to five years to utilize it before the developer who owns the underlying land turns the site into a high-rise apartment tower.\u003c/p>\n\u003cp>SVN West, once a ’60s counterculture mecca, utilizes much of the Fillmore West’s original architecture and will feature a mezzanine, an approximately 25,000-square-foot ballroom with high ceilings and a similarly sized outdoor terrace. The ballroom holds 4,000 to 6,000 people—a rarity among independent venues in the city.\u003c/p>\n\u003cfigure id=\"attachment_13835051\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835051\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-800x338.jpg\" alt=\"The main ballroom at SVN West. \" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-768x325.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1020x431.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1200x508.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1180x499.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-960x406.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-240x102.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-375x159.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-520x220.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The main ballroom at SVN West. \u003ccite>(Non Plus Ultra, Inc. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://nonplusultrainc.com/\" target=\"_blank\" rel=\"noopener\">Non Plus Ultra, Inc.\u003c/a>, a local company with philanthropic roots, manages SVN West. (Its leadership team helped found \u003ca href=\"https://projectwreckless.org/\" target=\"_blank\" rel=\"noopener\">Project Wreckless\u003c/a>, which teaches at-risk youth to restore classic cars, and the company frequently donates proceeds from events to community organizations.) Non Plus Ultra (NPU) also runs The Mint, Palace of Fine Arts and The Midway.\u003c/p>\n\u003cp>Although the company hasn’t disclosed many details about upcoming booking at SVN West, NPU president Jordan Langer says he plans to host a variety of corporate and community events. The first event at the new SVN West is a \u003ca href=\"https://www.eventbrite.com/e/juanita-more-pride-saturday-night-2018-tickets-46416900198\" target=\"_blank\" rel=\"noopener\">Pride celebration\u003c/a> featuring several DJs and drag star Juanita MORE! on Saturday, June 23.\u003c/p>\n\u003cp>“We’ll do some parties, live music and art stuff including installations,” NPU President Jordan Langer said of his vision for SVN West. “Rather than the building sitting empty or underutilized, we wanted to activate it in a cool, positive light. It’s an incredible venue—and if those walls could talk!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ballroom of 10 South Van Ness is certainly hallowed ground. Originally a big band dance hall called The Carousel Ballroom and a stop on the West Coast Chitlin’ Circuit, the network of venues where African-American artists performed during segregation, the venue became the epicenter of the San Francisco scene under the stewardship of concert impresario Bill Graham in the late ’60s. Graham renamed the venue Fillmore West after leaving his original location (today’s current Fillmore), and promoted a 1967 BB King show that became the legendary guitarist’s first performance in front of a \u003ca href=\"https://www.sfgate.com/music/article/Music-A-night-at-the-Fillmore-changed-B-B-6266457.php\" target=\"_blank\" rel=\"noopener\">majority white audience\u003c/a>.\u003c/p>\n\u003cp>The space was also briefly run by a collective formed by Jefferson Airplane, Quicksilver Messenger Service, Big Brother and the Holding Company and The Grateful Dead—all of whom would become regulars on the Fillmore West stage. The Fillmore West closed in 1971 with 14 bands performing between June 29 and July 4; an album and documentary titled \u003cem>Last Days at The Fillmore\u003c/em> was released in 1972.\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/_SDWjfsy-GA'\n title='//www.youtube.com/embed/_SDWjfsy-GA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While NPU is contacting some of those living legends from the Bay Area’s heyday for future programming, Langer noted that SVN West won’t strictly be a throwback. “We really want to keep it as a continuation of the cool stuff that’s happened in the building as opposed to re-launching the Fillmore West. Those are somewhat impossible shoes to fill.”\u003c/p>\n\u003cp>Non Plus Ultra will likely have several years to take advantage of the space. The building is owned by developers \u003ca href=\"https://www.crescentheights.com/\" target=\"_blank\" rel=\"noopener\">Crescent Heights\u003c/a>, which aims to build a 984-unit mixed-use development on the site and has undergone a years-long planning process with the city. The Miami-based company acquired the land in 2014 and Langer estimates that in three to five years, development will begin. Crescent Heights could not be reached for comment on this story.\u003c/p>\n\u003cp>“Crescent Heights is looking at this being a test run pilot program for potentially doing something more long term,” Langer said. Ultimately, NPU hopes to convince Crescent Heights that a ballroom will suit their plans.\u003c/p>\n\u003cp>In the interim, NPU is acquiring a sound system and securing its fixed-place permit from the city’s Entertainment Commission, which would allow SVN West to host events on an ongoing basis. That lengthy process involves multiple public hearings in front of the commission as well as neighborhood outreach, in addition to standard building, health and fire inspections. While it waits for a permanent permit, the company has secured multiple one-time entertainment event permits to host events such as its Pride celebration. NPU can have up to 12 such permits each year.\u003c/p>\n\u003cfigure id=\"attachment_13835052\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835052\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-800x322.jpg\" alt=\"The mezzanine of SVN West. \" width=\"800\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-800x322.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-768x309.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1020x411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1200x483.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1180x475.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-960x387.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-240x97.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-375x151.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-520x209.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The mezzanine of SVN West. \u003ccite>(Non Plus Ultra, Inc. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s great to see new places crop up, especially one that was so major in the city,” said Maggie Weiland, acting director of the city’s Entertainment Commission. “We’ve definitely seen a trend of some of those [larger capacity] venues we’ve known and loved for so many years going away. Any way we can support bringing them back and support the people who are working to bring them back is great.”\u003c/p>\n\u003cp>The opening of SVN West comes at a time of corporate consolidation in the Bay Area’s live music scene. Live Nation and Goldenvoice, which recently took control of the Great American Music Hall and Slim’s, along with Another Planet Entertainment, have an effective stronghold on booking in San Francisco; each controls small clubs, larger venues and music festivals such as Outside Lands. \u003cem>East Bay Express\u003c/em> \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\">speculated\u003c/a> whether corporate control of San Francisco’s clubs and concert halls could homogenize live music in the region at the expense of local acts and promoters.\u003c/p>\n\u003cp>Langer, however, is unfazed and surprisingly upbeat. “I’m a huge believer in the more, the merrier,” he said, adding that, while NPU works well with bigger companies, he does not intend to use any of those corporate names as full-time bookers. Instead, NPU plans to keep booking in-house and is actively hiring a booker who can bring in unique talent and national acts that aren’t quite a fit for the nearby Bill Graham Civic Auditorium, which Langer jokingly referred to as the “900 pound gorilla in the room.”\u003c/p>\n\u003cfigure id=\"attachment_13835056\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835056\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-Terrace-800x319.jpg\" alt=\"The rooftop terrace at SVN West. \" width=\"800\" height=\"319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-800x319.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-768x306.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1020x407.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1200x479.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1180x471.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-960x383.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-520x207.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rooftop terrace at SVN West. \u003ccite>(Non Plus Ultra, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not concerned about the competition. More artists and DJs and talent and events will make everything better,” Langer said. “We’re really excited to be in the booking arena. I think that San Francisco is ready for more of the unique stuff that we’re going to bring the space.”\u003c/p>\n\u003cp>Langer’s pointed to an exhibit at The Midway called “\u003ca href=\"http://www.themidwaygallery.com/current-1/\" target=\"_blank\" rel=\"noopener\">She Bends: Women in Neon\u003c/a>” as an example of future art installations that could be held at SVN West. His other dreams for the venue include the return of Aretha Franklin, who recorded \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Vyx34kgHGng\" target=\"_blank\" rel=\"noopener\">Aretha Live at the Fillmore West\u003c/a>\u003c/em> in 1971. However, Langer cautioned against pigeonholing SVN as a venue dedicated to a specific genre of music.\u003c/p>\n\u003cp>“My hope is that we knock it out of the park in the next three to five years and there’s a longer-term solution for keeping this space in San Francisco,” Langer said. “Every day, spaces are closing and changing, very often not for development, but just the cost of doing stuff in the Bay Area is crazy. Hopefully we’re going to be able to show Crescent Heights and the city as a whole that spaces are a viable business still. You don’t need a tech company to come in and fill out your space; we can make it cooler and more fun and definitely more engaging to the community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>NPU hasn’t announced a calendar of events at SVN West (the space was scheduled to host a benefit for Project Wreckless on June 14 with a workshop, go-kart racing, rooftop zip lining and performance by local funk band The Humidors, but the event was moved to The Midway) but Langer said there are multiple projects in the pipeline. He expects to host an official grand opening party in the near future.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last Monday, the day Kelly Johnson planned to end his life, he started the day with a trip to Peet’s. He marked the occasion on Facebook.\u003c/p>\n\u003cp>“Today is my last day on earth as I know it!” \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=193492511373444&id=100021380898770\" rel=\"noopener\" target=\"_blank\">Johnson wrote.\u003c/a> “I slept very well and am getting ready for a community celebration at Peet’s Coffee; our little piece of San Francisco where we’ve established a phenomenal history of greeting each other every morning for many years. One last time today!”\u003c/p>\n\u003cp>An audience was waiting for him at the Fillmore District coffee shop, where the 75-year-old could be found any day of the week holding court from his wheelchair. There, the shop revealed a new plaque dedicated to Johnson, near where he always sat.\u003c/p>\n\u003cfigure id=\"attachment_13831979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-800x600.jpg\" alt=\"The plaque dedicated to Kelly Johnson at the Peet's Coffee in the Fillmore District\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13831979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque.jpg 849w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaque dedicated to Kelly Johnson at the Peet’s Coffee in the Fillmore District \u003ccite>(Kim Nalley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because Johnson had dedicated nearly his entire life to the arts, friends and family made the event an artistic affair. The sidewalk leading to the shop was decorated with feathers, and New Orleans jazz was on the radio, while a stream of folks said their goodbyes. When the sadness became palatable, jazz singer Kim Nalley broke into the song, “When You’re Smiling.”\u003c/p>\n\u003cp>“Because he always had the most beautiful smile, no matter what’s going on,” Nalley said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When he felt ready, Johnson went home to his apartment. There, he listened Chopin before taking the legally prescribed drugs to end his life, which he chased with some tequila. He then fell asleep. Not long after, he passed on.\u003c/p>\n\u003cp>“It was a peaceful and impeccable death, every detail exactly as he had wished and been describing in the weeks beforehand,” Johnson’s daughter Leda Meredith wrote \u003ca href=\"https://www.facebook.com/photo.php?fbid=193722624683766&set=a.107071100015586.1073741828.100021380898770&type=3&theater\" rel=\"noopener\" target=\"_blank\">on Facebook\u003c/a>.\u003c/p>\n\u003ch2>A Life in the Arts\u003c/h2>\n\u003cfigure id=\"attachment_13831999\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat.jpg\" alt=\"Kelly Johnson and his sister in a promotional photo for their vaudeville act\" width=\"500\" height=\"629\" class=\"size-full wp-image-13831999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat-375x472.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Johnson and his sister in a promotional photo for their vaudeville act \u003ccite>(Courtesy of Kelly Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson choreographed his death like a performance. It was a fitting end for a man who spent the majority of his life on or around stages, either performing or working behind the scenes. \u003c/p>\n\u003cp>His artistic life began at the age of six, when his mother enlisted him and his sister to perform acrobatic routines in the Chicago vaudeville circuit. The duo worked well into Johnson’s teens, but it meant he spent his childhood working constantly and unable to make friends. When he became an adult, he had no plans to continue performing.\u003c/p>\n\u003cp>Then he moved to San Francisco in the ’60s. He met his soon-to-be wife, ballet dancer Penelope Lagios, and before long he was back on stage again, dancing with the San Francisco Dance Theater. He and Lagios ran both a dance company and a school that served as many as \u003ca href=\"https://www.kellyjohnson.com/history/\" rel=\"noopener\" target=\"_blank\">1,400 students\u003c/a> during the “dance craze” of the ’70s. \u003c/p>\n\u003cp>In the ’80s, Johnson became the executive director of the Berkeley Symphony Orchestra. Brought into “resuscitate” the organization, one of the first works Johnson helped stage was the \u003ci>Zappa Affair,\u003c/i> a showcase of music by Frank Zappa. Critics praised the \u003ci>Zappa Affair\u003c/i> and it brought the symphony global recognition, but Johnson did not look back at the production fondly. He’d refer to it later as “\u003ca href=\"http://www.afka.net/Articles/1987-03_Option_2.htm\" rel=\"noopener\" target=\"_blank\">the nightmare of 1984\u003c/a>.”\u003c/p>\n\u003cp>“When I started we were six weeks out from a major project with Frank Zappa and were in way over our heads,” Johnson wrote.\u003c/p>\n\u003cp>The symphony initially conceived the show as a night of Frank Zappa music with a budget of $20,000. But the budget ballooned to over $130,000 after Zappa, music director \u003ca href=\"http://kentnagano.com/\" rel=\"noopener\" target=\"_blank\">Kent Nagano\u003c/a>, and others came up with costly additions like life-sized puppets and moving stage sets. The production threatened to sink the orchestra, but Johnson kept it going.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MX4n9jdkCF8\u003c/p>\n\u003ch2>Choosing to End\u003c/h2>\n\u003cp>Johnson worked at the orchestra until 1997, when he left to follow his dream of playing piano for a living. For years following his so-called “retirement,” he performed at retirement homes around the Bay Area.\u003c/p>\n\u003cp>But his acrobatic childhood caught up with him. By the time he was in his 70s, Johnson was in a lot of pain. Arthritis wracked his body, forcing him to depend on a walker and later a wheelchair for movement. In his last days he needed to use oxygen tanks to supplement his breathing. \u003c/p>\n\u003cfigure id=\"attachment_13831995\" class=\"wp-caption alignright\" style=\"max-width: 441px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim.jpg\" alt=\"On Johnson's last day, L-R: Johnson's daughter Leda Meredith, Johnson, and Kim Nalley.\" width=\"441\" height=\"588\" class=\"size-full wp-image-13831995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim.jpg 441w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim-375x500.jpg 375w\" sizes=\"(max-width: 441px) 100vw, 441px\">\u003cfigcaption class=\"wp-caption-text\">On Johnson’s last day, L-R: Johnson’s daughter Leda Meredith, Johnson, and Kim Nalley. \u003ccite>(Courtesy of Kim Nalley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After requesting end-of-life drugs last year, his request was approved in April. He announced his decision at a party at his apartment, where friends like Nalley danced, sang and played music. He held a similar party two nights before he ended his life. \u003ca href=\"https://www.youtube.com/user/99esto\" rel=\"noopener\" target=\"_blank\">Videos of the event\u003c/a> (see above) show Johnson sitting on a couch, surrounded by friends, while Nalley and her accompanist Tammy Hall played “stream-of-conscious style” for the small crowd.\u003c/p>\n\u003cp>It was at one of those parties that Nalley said she had her most memorable conversation with Johnson. After having his application approved by the state, Nalley says Johnson’s condition improved, both mentally and physically — thanks to new pain medication. Talking with Nalley, he was appreciative of being able to control how he died and not be a burden to his family, she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He felt blessed that he could go surrounded by the people he loved,” Nalley said, “and surrounded by music and art, especially.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last Monday, the day Kelly Johnson planned to end his life, he started the day with a trip to Peet’s. He marked the occasion on Facebook.\u003c/p>\n\u003cp>“Today is my last day on earth as I know it!” \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=193492511373444&id=100021380898770\" rel=\"noopener\" target=\"_blank\">Johnson wrote.\u003c/a> “I slept very well and am getting ready for a community celebration at Peet’s Coffee; our little piece of San Francisco where we’ve established a phenomenal history of greeting each other every morning for many years. One last time today!”\u003c/p>\n\u003cp>An audience was waiting for him at the Fillmore District coffee shop, where the 75-year-old could be found any day of the week holding court from his wheelchair. There, the shop revealed a new plaque dedicated to Johnson, near where he always sat.\u003c/p>\n\u003cfigure id=\"attachment_13831979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-800x600.jpg\" alt=\"The plaque dedicated to Kelly Johnson at the Peet's Coffee in the Fillmore District\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13831979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Kelly-Johnson-plaque.jpg 849w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaque dedicated to Kelly Johnson at the Peet’s Coffee in the Fillmore District \u003ccite>(Kim Nalley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because Johnson had dedicated nearly his entire life to the arts, friends and family made the event an artistic affair. The sidewalk leading to the shop was decorated with feathers, and New Orleans jazz was on the radio, while a stream of folks said their goodbyes. When the sadness became palatable, jazz singer Kim Nalley broke into the song, “When You’re Smiling.”\u003c/p>\n\u003cp>“Because he always had the most beautiful smile, no matter what’s going on,” Nalley said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When he felt ready, Johnson went home to his apartment. There, he listened Chopin before taking the legally prescribed drugs to end his life, which he chased with some tequila. He then fell asleep. Not long after, he passed on.\u003c/p>\n\u003cp>“It was a peaceful and impeccable death, every detail exactly as he had wished and been describing in the weeks beforehand,” Johnson’s daughter Leda Meredith wrote \u003ca href=\"https://www.facebook.com/photo.php?fbid=193722624683766&set=a.107071100015586.1073741828.100021380898770&type=3&theater\" rel=\"noopener\" target=\"_blank\">on Facebook\u003c/a>.\u003c/p>\n\u003ch2>A Life in the Arts\u003c/h2>\n\u003cfigure id=\"attachment_13831999\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat.jpg\" alt=\"Kelly Johnson and his sister in a promotional photo for their vaudeville act\" width=\"500\" height=\"629\" class=\"size-full wp-image-13831999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Johnson-Acrobat-375x472.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Johnson and his sister in a promotional photo for their vaudeville act \u003ccite>(Courtesy of Kelly Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson choreographed his death like a performance. It was a fitting end for a man who spent the majority of his life on or around stages, either performing or working behind the scenes. \u003c/p>\n\u003cp>His artistic life began at the age of six, when his mother enlisted him and his sister to perform acrobatic routines in the Chicago vaudeville circuit. The duo worked well into Johnson’s teens, but it meant he spent his childhood working constantly and unable to make friends. When he became an adult, he had no plans to continue performing.\u003c/p>\n\u003cp>Then he moved to San Francisco in the ’60s. He met his soon-to-be wife, ballet dancer Penelope Lagios, and before long he was back on stage again, dancing with the San Francisco Dance Theater. He and Lagios ran both a dance company and a school that served as many as \u003ca href=\"https://www.kellyjohnson.com/history/\" rel=\"noopener\" target=\"_blank\">1,400 students\u003c/a> during the “dance craze” of the ’70s. \u003c/p>\n\u003cp>In the ’80s, Johnson became the executive director of the Berkeley Symphony Orchestra. Brought into “resuscitate” the organization, one of the first works Johnson helped stage was the \u003ci>Zappa Affair,\u003c/i> a showcase of music by Frank Zappa. Critics praised the \u003ci>Zappa Affair\u003c/i> and it brought the symphony global recognition, but Johnson did not look back at the production fondly. He’d refer to it later as “\u003ca href=\"http://www.afka.net/Articles/1987-03_Option_2.htm\" rel=\"noopener\" target=\"_blank\">the nightmare of 1984\u003c/a>.”\u003c/p>\n\u003cp>“When I started we were six weeks out from a major project with Frank Zappa and were in way over our heads,” Johnson wrote.\u003c/p>\n\u003cp>The symphony initially conceived the show as a night of Frank Zappa music with a budget of $20,000. But the budget ballooned to over $130,000 after Zappa, music director \u003ca href=\"http://kentnagano.com/\" rel=\"noopener\" target=\"_blank\">Kent Nagano\u003c/a>, and others came up with costly additions like life-sized puppets and moving stage sets. The production threatened to sink the orchestra, but Johnson kept it going.\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/MX4n9jdkCF8'\n title='//www.youtube.com/embed/MX4n9jdkCF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Choosing to End\u003c/h2>\n\u003cp>Johnson worked at the orchestra until 1997, when he left to follow his dream of playing piano for a living. For years following his so-called “retirement,” he performed at retirement homes around the Bay Area.\u003c/p>\n\u003cp>But his acrobatic childhood caught up with him. By the time he was in his 70s, Johnson was in a lot of pain. Arthritis wracked his body, forcing him to depend on a walker and later a wheelchair for movement. In his last days he needed to use oxygen tanks to supplement his breathing. \u003c/p>\n\u003cfigure id=\"attachment_13831995\" class=\"wp-caption alignright\" style=\"max-width: 441px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim.jpg\" alt=\"On Johnson's last day, L-R: Johnson's daughter Leda Meredith, Johnson, and Kim Nalley.\" width=\"441\" height=\"588\" class=\"size-full wp-image-13831995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim.jpg 441w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Leda-Kelly-Kim-375x500.jpg 375w\" sizes=\"(max-width: 441px) 100vw, 441px\">\u003cfigcaption class=\"wp-caption-text\">On Johnson’s last day, L-R: Johnson’s daughter Leda Meredith, Johnson, and Kim Nalley. \u003ccite>(Courtesy of Kim Nalley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After requesting end-of-life drugs last year, his request was approved in April. He announced his decision at a party at his apartment, where friends like Nalley danced, sang and played music. He held a similar party two nights before he ended his life. \u003ca href=\"https://www.youtube.com/user/99esto\" rel=\"noopener\" target=\"_blank\">Videos of the event\u003c/a> (see above) show Johnson sitting on a couch, surrounded by friends, while Nalley and her accompanist Tammy Hall played “stream-of-conscious style” for the small crowd.\u003c/p>\n\u003cp>It was at one of those parties that Nalley said she had her most memorable conversation with Johnson. After having his application approved by the state, Nalley says Johnson’s condition improved, both mentally and physically — thanks to new pain medication. Talking with Nalley, he was appreciative of being able to control how he died and not be a burden to his family, she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He felt blessed that he could go surrounded by the people he loved,” Nalley said, “and surrounded by music and art, especially.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We had terrible news this week. San Francisco Chronicle Assistant Managing Editor David Wiegand, my founding co-anchor on The Do List, was found dead in his home on Tuesday. He was omnivorous in his approach to the arts, and together we crafted The Do List out of that ideal, embracing everything from classical to rap, from Shakespeare to the weirdest performance piece, from veteran to young talent. David would have wanted the show to go on, and this week’s episode is dedicated to him, and his memory.\u003c/p>\n\u003cp>\u003cstrong>May 16-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830999/a-new-concerto-from-philip-glass-for-the-new-century-chamber-orchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra offers the West Coast debut of Philip Glass’ new piano concerto\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 10-24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831011/caam-fest-mixes-film-music-and-theater-for-its-36th-edition\" target=\"_blank\" rel=\"noopener\">The Center for Asian American Media’s film festival includes a documentary on former San Jose Mayor Norm Mineta.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 9-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830976/a-festival-of-transformative-art-at-ybca\" target=\"_blank\" rel=\"noopener\">The Yerba Buena Center for the Arts Transform Festival asks “where is our public imagination?”\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5-7:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830967/khalid-not-so-dumb-not-so-broke\" target=\"_blank\" rel=\"noopener\">Khalid plays the Bay Area, taking a satiric jab at our attitudes toward millennials\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>May 4: \u003c/strong>\u003ca href=\"https://www.oakarts.org/about/227-a-front-page-cat/1163-vocal-music-s-spring-concert-fox-theatre-5-4\" target=\"_blank\" rel=\"noopener\">The kids are really, really talented at The Oakland School for the Arts in a concert at the Fox in Oakland\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 4-July 20:\u003c/strong> \u003ca href=\"https://bettiono.com/2018/04/22/betti-ono-presents-signify-a-solo-exhibition-by-kierra-johnson-may-4-july-20-2018/\" target=\"_blank\" rel=\"noopener\">The Betti Ono Gallery in Oakland offers a photography show with intimate, detailed portraits of working-class African Americans.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13830891/david-wiegand-longtime-co-host-of-kqeds-the-do-list-dies-at-70\" target=\"_blank\" rel=\"noopener\">\u003cem>A fond goodbye to former Do List co-anchor David Wiegand\u003c/em> \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg\" alt=\"The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-160x92.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-768x442.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-960x552.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-240x138.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-375x216.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-520x299.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642.jpeg 1000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015 \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We had terrible news this week. San Francisco Chronicle Assistant Managing Editor David Wiegand, my founding co-anchor on The Do List, was found dead in his home on Tuesday. He was omnivorous in his approach to the arts, and together we crafted The Do List out of that ideal, embracing everything from classical to rap, from Shakespeare to the weirdest performance piece, from veteran to young talent. David would have wanted the show to go on, and this week’s episode is dedicated to him, and his memory.\u003c/p>\n\u003cp>\u003cstrong>May 16-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830999/a-new-concerto-from-philip-glass-for-the-new-century-chamber-orchestra\" target=\"_blank\" rel=\"noopener\">The New Century Chamber Orchestra offers the West Coast debut of Philip Glass’ new piano concerto\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 10-24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13831011/caam-fest-mixes-film-music-and-theater-for-its-36th-edition\" target=\"_blank\" rel=\"noopener\">The Center for Asian American Media’s film festival includes a documentary on former San Jose Mayor Norm Mineta.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 9-20:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830976/a-festival-of-transformative-art-at-ybca\" target=\"_blank\" rel=\"noopener\">The Yerba Buena Center for the Arts Transform Festival asks “where is our public imagination?”\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5-7:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830967/khalid-not-so-dumb-not-so-broke\" target=\"_blank\" rel=\"noopener\">Khalid plays the Bay Area, taking a satiric jab at our attitudes toward millennials\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 4: \u003c/strong>\u003ca href=\"https://www.oakarts.org/about/227-a-front-page-cat/1163-vocal-music-s-spring-concert-fox-theatre-5-4\" target=\"_blank\" rel=\"noopener\">The kids are really, really talented at The Oakland School for the Arts in a concert at the Fox in Oakland\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 4-July 20:\u003c/strong> \u003ca href=\"https://bettiono.com/2018/04/22/betti-ono-presents-signify-a-solo-exhibition-by-kierra-johnson-may-4-july-20-2018/\" target=\"_blank\" rel=\"noopener\">The Betti Ono Gallery in Oakland offers a photography show with intimate, detailed portraits of working-class African Americans.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13830891/david-wiegand-longtime-co-host-of-kqeds-the-do-list-dies-at-70\" target=\"_blank\" rel=\"noopener\">\u003cem>A fond goodbye to former Do List co-anchor David Wiegand\u003c/em> \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg\" alt=\"The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-160x92.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-768x442.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-960x552.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-240x138.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-375x216.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-520x299.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642.jpeg 1000w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late David Wiegand and Cy Musiker at The Do List Live event at The Chapel in 2015 \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Dan Auerbach Brings a Rippin' Band to the Fillmore",
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"content": "\u003cp>Black Keys guitarist Dan Auerbach likes to put a fine pop shine on pretty much everything he records. He’s got a new album out of original songs, full of seductive pop hooks, and written by songwriter royalty like John Prine. But he’s also producing other artists, including the terrifically funky veteran bluesman Robert Finley, who had been supporting himself as a carpenter in his hometown of Bernice, Louisiana. \u003c/p>\n\u003cp>Auerbach put together a touring show of his most recent works that he calls the Easy Eye Sound Review. It features Finley and top musicians, all with a keen taste for oldies and R&B. They’re loose, and I think they’re better live than on record. Also on the bill is Oakland’s Shannon and the Clams, who mix garage rock, surf, and doo-wop with a hint of the weird. \u003c/p>\n\u003cp>Details for Auerbach’s show at The Fillmore Feb. 14 and 15 are \u003ca href=\"http://thefillmore.com/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XhTMgEXPKp0}\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=61FcT0T4H6Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Black Keys guitarist Dan Auerbach likes to put a fine pop shine on pretty much everything he records. He’s got a new album out of original songs, full of seductive pop hooks, and written by songwriter royalty like John Prine. But he’s also producing other artists, including the terrifically funky veteran bluesman Robert Finley, who had been supporting himself as a carpenter in his hometown of Bernice, Louisiana. \u003c/p>\n\u003cp>Auerbach put together a touring show of his most recent works that he calls the Easy Eye Sound Review. It features Finley and top musicians, all with a keen taste for oldies and R&B. They’re loose, and I think they’re better live than on record. Also on the bill is Oakland’s Shannon and the Clams, who mix garage rock, surf, and doo-wop with a hint of the weird. \u003c/p>\n\u003cp>Details for Auerbach’s show at The Fillmore Feb. 14 and 15 are \u003ca href=\"http://thefillmore.com/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XhTMgEXPKp0}\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/61FcT0T4H6Y'\n title='//www.youtube.com/embed/61FcT0T4H6Y'\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": "\u003cp>On Aug. 10, 1966, as the black community in San Francisco reeled from the sudden death days prior of the Fillmore District’s Charles Sullivan, a different crowd — young, mostly white — convened in the neighborhood. Their purpose? To see Sam the Sham & the Pharaohs perform at the venue Sullivan had once operated, the Fillmore Auditorium.\u003c/p>\n\u003cp>The show was promoted by an upstart rock impresario whose name is now virtually synonymous with the Fillmore and the ’60s rock scene in San Francisco: Bill Graham. It marked not just a turning point for the storied venue, now recognized as the center of the psychedelic era, but a microcosm for the transformation of the Fillmore district, over which Sullivan had presided for years with widespread respect and influence.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/summer-of-love/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13338499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>A concert mogul with a nightlife empire in the Fillmore district, Sullivan was busy arranging massive shows for artists such as the Temptations just days before he was found dead from a point-blank gunshot wound to the heart in 1966. Newspapers reported on the neighborhood memorial service that August, when hundreds gathered to eulogize who reports called one of the wealthiest black men in the west. \u003c/p>\n\u003cp>“A civic and cultural leader is killed and it sends shockwaves throughout the community,” says historian and radio host Rickey Vincent, of the timing of Sullivan’s death. “But that becomes a silent narrative, because it coincides with this explosion of countercultural activity.”\u003c/p>\n\u003ch3>A not-so-peaceful transition\u003c/h3>\n\u003cp>Bill Graham, of course, would go on to turn that explosion of countercultural activity into a career. A Capricorn with a clipboard, Graham beckoned the 1960s youth culture upstairs to the Fillmore Auditorium in all its extravagance: dissociative drugs, newfangled lightshows, and a lot of white guitarists enamored of a kaleidoscopic blues. But the liberationist riot of sight and sound arrived amid gathering nastiness for residents of the neighborhood below, a black cultural center embattled by the bulldozers of redevelopment.\u003c/p>\n\u003cfigure id=\"attachment_13429603\" class=\"wp-caption alignright\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-3.jpeg\" alt=\"A poster for a show with the Temptations arranged by Charles Sullivan at his Fillmore Ballroom.\" width=\"664\" height=\"980\" class=\"size-full wp-image-13429603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-3.jpeg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-3-160x236.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-3-240x354.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-3-375x553.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-3-520x767.jpeg 520w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">A poster for a show with the Temptations arranged by Charles Sullivan at his Fillmore Ballroom. \u003ccite>(Courtesy 'Harlem of the West')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sullivan’s death and Graham’s ascent meant outgoing jobs and black entertainers, and incoming hippies. The swift violence that felled the powerful figure — coupled with the police’s contentedness with their unlikely suicide theory — sowed more sadness and fear in a neighborhood that already appeared besieged. Rumors even emerged that Graham was somehow involved in the death of Sullivan, whose murderers remain unknown. \u003c/p>\n\u003cp>Graham’s autobiography \u003cem>Bill Graham Presents: My Life Inside Rock and Out\u003c/em> admiringly remembers Sullivan, yet Graham has also said that he “discovered” the Fillmore. The \u003cem>Los Angeles Times\u003c/em> reports that Graham “refurbished” the Fillmore. And the venue’s website credits Graham with instigating a “musical and cultural Renaissance” at the Fillmore. Summer of love literature often omits that, as longtime neighborhood resident Danny Duncan has said, “African Americans — we used the Fillmore Auditorium before Bill Graham took it.”\u003c/p>\n\u003cp>Graham operated the Fillmore Auditorium for two and a half years, and later opened the Fillmore West and Fillmore East. “The Fillmore Sound” became synonymous with the “San Francisco Sound,” referring to the inception of psychedelic rock. Graham died in a helicopter crash before the venue reopened in 1994, and the Fillmore today heavily honors the famed rock impresario (and his apple giveaways for concertgoers).\u003c/p>\n\u003cp>“You can go to the Fillmore now and see fanciful posters of rock shows from back in the day, and they give a sense of history that’s joyful and fun and irreverent and that begins in 1966,” says Vincent, who moderates a panel series this month on the “black psychedelic impulse” at the California Historical Society. “If you walk in the building, that’s what you get, the impression that the Fillmore began with Bill Graham.”\u003c/p>\n\u003ch3>‘Wall-to-wall people’\u003c/h3>\n\u003cp>But in the black community, the Fillmore had been bustling for many years. “From Hayes to Post, it’d be wall-to-wall people on weekends,” recalls Lewis Watts, co-author with Elizabeth Pepin-Silva of the recently republished book about the Fillmore, titled \u003cem>Harlem of the West\u003c/em>. “People would come Friday afternoon and stay until Sunday night.” \u003c/p>\n\u003cp>This was partially a result of the black population in San Francisco ballooning during World War II, when jobs in the local defense industries lured workers from the South. Housing discrimination restricted the newcomers predominantly to the Fillmore district and surrounding Western Addition, where the wartime internment of a robust Japanese community left vacant storefronts and Victorians. Black San Franciscans, few before the war, numbered more than 42,000 by 1950.\u003c/p>\n\u003cfigure id=\"attachment_13429604\" class=\"wp-caption aligncenter\" style=\"max-width: 777px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Fillmore-Street-and-Post-David-Johnson-6.jpeg\" alt=\"Fillmore and Post Streets, pictured during the Fillmore's jazz era.\" width=\"777\" height=\"1000\" class=\"size-full wp-image-13429604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Street-and-Post-David-Johnson-6.jpeg 777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Street-and-Post-David-Johnson-6-160x206.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Street-and-Post-David-Johnson-6-768x988.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Street-and-Post-David-Johnson-6-240x309.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Street-and-Post-David-Johnson-6-375x483.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Street-and-Post-David-Johnson-6-520x669.jpeg 520w\" sizes=\"(max-width: 777px) 100vw, 777px\">\u003cfigcaption class=\"wp-caption-text\">Fillmore and Post Streets, pictured during the Fillmore’s jazz era. \u003ccite>(David Johnson / Courtesy 'Harlem of the West')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This new population transformed the Fillmore into a cultural center remembered as “Harlem of the West,” with more than two dozen nightclubs in a square mile: the Champagne Supper Club hosted Billie Holiday’s San Francisco stage debut; the back room at creole restaurant Jackson’s Nook accommodated the spillover from nearby Jimbo’s Bop City; and the basement spot known as Estelle’s After Hours Place let people party until Jack’s of Sutter opened for its 6am Sunrise Jazz Session. \u003c/p>\n\u003cp>As described in \u003cem>Harlem of the West\u003c/em>, much of the area’s nightlife was presided over by Sullivan, an entrepreneur known for sharp suits and a loose billfold. His empire encompassed liquor, jukeboxes, and vending machines. He bankrolled Jimbo’s Bop City, renowned for lively jam sessions, and operated the lounge of the Booker T. Washington Hotel, choice residence for visiting black celebrities. And in 1952, Sullivan snagged the lease of a segregated roller-skating rink at the neighborhood’s center and rechristened it the Fillmore Auditorium, presenting artists such as Duke Ellington and Count Basie. \u003c/p>\n\u003ch3>From slavery to ‘The Mayor of the Fillmore’\u003c/h3>\n\u003cp>Humble does not begin to describe Charles Sullivan’s origins. “It was 48 years after the emancipation proclamation when Robert Sullivan, an Alabama farmer, got himself a slave,” reported the late Warren Hinckle in a page-one \u003cem>San Francisco Chronicle\u003c/em> story from 1963. “A young mother scrawled her ‘X’ on the indenture agreement that gave [Robert] ‘complete control and possession’ of her two-year-old.” \u003c/p>\n\u003cfigure id=\"attachment_13429607\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/oct-17-1963.jpg\" alt=\"A 1963 story by Warren Hinckle about Charles Sullivan's upbringing.\" width=\"600\" height=\"818\" class=\"size-full wp-image-13429607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/oct-17-1963.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/oct-17-1963-160x218.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/oct-17-1963-240x327.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/oct-17-1963-375x511.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/oct-17-1963-520x709.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A 1963 story by Warren Hinckle about Charles Sullivan’s upbringing. \u003ccite>(San Francisco Chronicle archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two-year-old was Charles, whose history came to light in a legal dispute after Robert, elderly and living in San Francisco, attempted to invoke parental rights. Charles had come to the west coast in search of work as a machinist. When union racism blocked him from the industry, he chauffeured on the Peninsula, and eventually opened a bar and restaurant in San Mateo. As the Western Addition filled with black workers, Sullivan eyed opportunity. Fillmore Street was known as Swing Street, and the once-indentured man set out to become the people’s mayor. \u003c/p>\n\u003cp>“He was culturally seeding the black identity into San Francisco like few other people,” says local artist Harry Hall, whose research on Sullivan culminated in a one-man play, \u003cem>Blues for Charles\u003c/em>, which premiered in 2014. “For those years the Fillmore was a mecca. I mean, before Charles we [black people] weren’t even allowed inside.”\u003c/p>\n\u003ch3>A neighborhood decimated\u003c/h3>\n\u003cp>Yet for almost the entire lifespan of the Fillmore as a bustling hub of blues and jazz, new trends in urban planning conspired with racism to end the music. The San Francisco Redevelopment Agency was empowered to acquire properties on the promise that, through razing and rezoning to increase density, they’d improve quality-of-life and reduce housing costs. \u003c/p>\n\u003cp>One of the first determinations of the agency was that huge swathes of the Fillmore and Western Addition were hopelessly “blighted,” and slated for demolition. As a 1999 KQED documentary on the Fillmore points out, official documents of the time included “non-white population” as one condition of blight.\u003c/p>\n\u003cfigure id=\"attachment_13429605\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/HOTWFrontCover.jpg\" alt=\"'Harlem of the West,' by Elizabeth Pepin Silva and Lewis Watts.\" width=\"600\" height=\"603\" class=\"size-full wp-image-13429605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-520x523.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">‘Harlem of the West,’ by Elizabeth Pepin Silva and Lewis Watts.\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the neighborhood was earlier “red-lined” on maps issued by the government to banks, meaning creditors were advised not to issue home loans. This produced a population of predominantly renters. Agency officials promised them that, if they left, they could return later to better, cheaper homes. But that didn’t happen. Agency certificates professing a right-to-return, issued in thousands by agency, remain useless. \u003c/p>\n\u003cp>The neighborhood lost 883 businesses and 4,729 households, according to the agency’s own figures. Within the redevelopment zone was nearly every nightclub, juke joint, and bar. Much of them perished to accommodate a sleek new Geary Boulevard, widened so that residents of western neighborhoods could swiftly commute to work downtown. \u003c/p>\n\u003cp>Among other landmarks, the Booker T. Washington Hotel was bought and destroyed by the agency; the lot remained empty for decades, until the construction of a large Safeway store. Bobbie Webb recalls in \u003cem>Harlem of the West\u003c/em> that his band, Bobbie Webb and Company, played the last show there in the Sullivan-operated lounge. “We played a great gig that night, and the very next day they began demolishing the hotel,” he recalls. “It was so sad because it wasn’t falling apart. I guess it was just in the way.” \u003c/p>\n\u003ch3>A ‘shining light for every black artist’\u003c/h3>\n\u003cp>Sullivan was one of few black businessmen who weathered the storm of redevelopment. “He was one of the top promoters of African-American artists in the area,” reckons Hall. “And he seemed to really be crossing over.”\u003c/p>\n\u003cfigure id=\"attachment_13429602\" class=\"wp-caption alignright\" style=\"max-width: 647px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-2.jpeg\" alt=\"A poster for a show with Ike & Tina Turner arranged by Charles Sullivan at his Fillmore Ballroom.\" width=\"647\" height=\"980\" class=\"size-full wp-image-13429602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-2.jpeg 647w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-2-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-2-240x364.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-2-375x568.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-2-520x788.jpeg 520w\" sizes=\"(max-width: 647px) 100vw, 647px\">\u003cfigcaption class=\"wp-caption-text\">A poster for a show with Ike & Tina Turner arranged by Charles Sullivan at his Fillmore Ballroom. \u003ccite>(Courtesy 'Harlem of the West')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time he encountered Bill Graham in 1965, Sullivan was organizing entire coastal tour-routes for icons of the day. Some of his bookings, such as James Brown, were too big for the Fillmore, so he’d book at the 12,000-capacity Cow Palace arena in Daly City. In other words, he was already doing in the mid-’60s what Graham would become famous for in the next two decades. \u003c/p>\n\u003cp>The scope of Sullivan’s business, coupled with the declining black population in the Fillmore, perhaps helps explain why he allowed Bill Graham to throw a benefit gig for the provocative San Francisco Mime Troupe, then battling obscenity charges, on December 10, 1965. Headlining above a newly named Grateful Dead was Jefferson Airplane. Graham, who’d been suggested the venue by \u003cem>Chronicle\u003c/em> critic Ralph Gleason, says in his autobiography that he’d never been to the venue: “I knew nothing about it.” \u003c/p>\n\u003cp>Graham struck a deal with Sullivan for off-nights. Eventually, according to Graham’s autobiography, the police pressured Sullivan to stop lending his coveted dance permit to the upstart promoter, who’d been repeatedly denied one of his own at City Hall. “No, no, no. I just ain’t going to let this happen now,” Graham recalls Sullivan saying one day. “You just go back downtown, man. And you beat those white motherfuckers.”\u003c/p>\n\u003cp>Graham marshaled support from business owners, attorneys, and various city power brokers for his bid to acquire a dance permit, and, after a crucial push from the \u003cem>Chronicle\u003c/em>’s editorial board, prevailed in June of 1966. “A few months later, Charles Sullivan got himself killed. He had a bad habit of always carrying a roll of money with him,” Graham says in his book. “Had that not happened, I think I would have done anything Charles wanted. Just out of gratitude.” \u003c/p>\n\u003cp>What followed is familiar, especially amid this year’s rosy retrospectives of the Summer of Love. So what else should we remember about the Fillmore Auditorium? “That it was a shining light for every black artist who dreamed of making it in the music business in San Francisco,” says Hall.\u003c/p>\n\u003cp>“If you feel soul in there today it’s because of Charles, and if Bill Graham was alive I bet he’d tell you the same thing.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>All images courtesy of ‘Harlem of the West,’ by Elizabeth Pepin Silva and Lewis Watts. A new, updated edition of ‘Harlem of the West’ is available in hardcover ($60) and softcover ($35), plus $5 postage, by ordering via Paypal or emailing otwfront@gmail.com. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Aug. 10, 1966, as the black community in San Francisco reeled from the sudden death days prior of the Fillmore District’s Charles Sullivan, a different crowd — young, mostly white — convened in the neighborhood. Their purpose? To see Sam the Sham & the Pharaohs perform at the venue Sullivan had once operated, the Fillmore Auditorium.\u003c/p>\n\u003cp>The show was promoted by an upstart rock impresario whose name is now virtually synonymous with the Fillmore and the ’60s rock scene in San Francisco: Bill Graham. It marked not just a turning point for the storied venue, now recognized as the center of the psychedelic era, but a microcosm for the transformation of the Fillmore district, over which Sullivan had presided for years with widespread respect and influence.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/summer-of-love/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13338499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>A concert mogul with a nightlife empire in the Fillmore district, Sullivan was busy arranging massive shows for artists such as the Temptations just days before he was found dead from a point-blank gunshot wound to the heart in 1966. Newspapers reported on the neighborhood memorial service that August, when hundreds gathered to eulogize who reports called one of the wealthiest black men in the west. \u003c/p>\n\u003cp>“A civic and cultural leader is killed and it sends shockwaves throughout the community,” says historian and radio host Rickey Vincent, of the timing of Sullivan’s death. “But that becomes a silent narrative, because it coincides with this explosion of countercultural activity.”\u003c/p>\n\u003ch3>A not-so-peaceful transition\u003c/h3>\n\u003cp>Bill Graham, of course, would go on to turn that explosion of countercultural activity into a career. A Capricorn with a clipboard, Graham beckoned the 1960s youth culture upstairs to the Fillmore Auditorium in all its extravagance: dissociative drugs, newfangled lightshows, and a lot of white guitarists enamored of a kaleidoscopic blues. But the liberationist riot of sight and sound arrived amid gathering nastiness for residents of the neighborhood below, a black cultural center embattled by the bulldozers of redevelopment.\u003c/p>\n\u003cfigure id=\"attachment_13429603\" class=\"wp-caption alignright\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-3.jpeg\" alt=\"A poster for a show with the Temptations arranged by Charles Sullivan at his Fillmore Ballroom.\" width=\"664\" height=\"980\" class=\"size-full wp-image-13429603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-3.jpeg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-3-160x236.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-3-240x354.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-3-375x553.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-3-520x767.jpeg 520w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">A poster for a show with the Temptations arranged by Charles Sullivan at his Fillmore Ballroom. \u003ccite>(Courtesy 'Harlem of the West')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sullivan’s death and Graham’s ascent meant outgoing jobs and black entertainers, and incoming hippies. The swift violence that felled the powerful figure — coupled with the police’s contentedness with their unlikely suicide theory — sowed more sadness and fear in a neighborhood that already appeared besieged. Rumors even emerged that Graham was somehow involved in the death of Sullivan, whose murderers remain unknown. \u003c/p>\n\u003cp>Graham’s autobiography \u003cem>Bill Graham Presents: My Life Inside Rock and Out\u003c/em> admiringly remembers Sullivan, yet Graham has also said that he “discovered” the Fillmore. The \u003cem>Los Angeles Times\u003c/em> reports that Graham “refurbished” the Fillmore. And the venue’s website credits Graham with instigating a “musical and cultural Renaissance” at the Fillmore. Summer of love literature often omits that, as longtime neighborhood resident Danny Duncan has said, “African Americans — we used the Fillmore Auditorium before Bill Graham took it.”\u003c/p>\n\u003cp>Graham operated the Fillmore Auditorium for two and a half years, and later opened the Fillmore West and Fillmore East. “The Fillmore Sound” became synonymous with the “San Francisco Sound,” referring to the inception of psychedelic rock. Graham died in a helicopter crash before the venue reopened in 1994, and the Fillmore today heavily honors the famed rock impresario (and his apple giveaways for concertgoers).\u003c/p>\n\u003cp>“You can go to the Fillmore now and see fanciful posters of rock shows from back in the day, and they give a sense of history that’s joyful and fun and irreverent and that begins in 1966,” says Vincent, who moderates a panel series this month on the “black psychedelic impulse” at the California Historical Society. “If you walk in the building, that’s what you get, the impression that the Fillmore began with Bill Graham.”\u003c/p>\n\u003ch3>‘Wall-to-wall people’\u003c/h3>\n\u003cp>But in the black community, the Fillmore had been bustling for many years. “From Hayes to Post, it’d be wall-to-wall people on weekends,” recalls Lewis Watts, co-author with Elizabeth Pepin-Silva of the recently republished book about the Fillmore, titled \u003cem>Harlem of the West\u003c/em>. “People would come Friday afternoon and stay until Sunday night.” \u003c/p>\n\u003cp>This was partially a result of the black population in San Francisco ballooning during World War II, when jobs in the local defense industries lured workers from the South. Housing discrimination restricted the newcomers predominantly to the Fillmore district and surrounding Western Addition, where the wartime internment of a robust Japanese community left vacant storefronts and Victorians. Black San Franciscans, few before the war, numbered more than 42,000 by 1950.\u003c/p>\n\u003cfigure id=\"attachment_13429604\" class=\"wp-caption aligncenter\" style=\"max-width: 777px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Fillmore-Street-and-Post-David-Johnson-6.jpeg\" alt=\"Fillmore and Post Streets, pictured during the Fillmore's jazz era.\" width=\"777\" height=\"1000\" class=\"size-full wp-image-13429604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Street-and-Post-David-Johnson-6.jpeg 777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Street-and-Post-David-Johnson-6-160x206.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Street-and-Post-David-Johnson-6-768x988.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Street-and-Post-David-Johnson-6-240x309.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Street-and-Post-David-Johnson-6-375x483.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Street-and-Post-David-Johnson-6-520x669.jpeg 520w\" sizes=\"(max-width: 777px) 100vw, 777px\">\u003cfigcaption class=\"wp-caption-text\">Fillmore and Post Streets, pictured during the Fillmore’s jazz era. \u003ccite>(David Johnson / Courtesy 'Harlem of the West')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This new population transformed the Fillmore into a cultural center remembered as “Harlem of the West,” with more than two dozen nightclubs in a square mile: the Champagne Supper Club hosted Billie Holiday’s San Francisco stage debut; the back room at creole restaurant Jackson’s Nook accommodated the spillover from nearby Jimbo’s Bop City; and the basement spot known as Estelle’s After Hours Place let people party until Jack’s of Sutter opened for its 6am Sunrise Jazz Session. \u003c/p>\n\u003cp>As described in \u003cem>Harlem of the West\u003c/em>, much of the area’s nightlife was presided over by Sullivan, an entrepreneur known for sharp suits and a loose billfold. His empire encompassed liquor, jukeboxes, and vending machines. He bankrolled Jimbo’s Bop City, renowned for lively jam sessions, and operated the lounge of the Booker T. Washington Hotel, choice residence for visiting black celebrities. And in 1952, Sullivan snagged the lease of a segregated roller-skating rink at the neighborhood’s center and rechristened it the Fillmore Auditorium, presenting artists such as Duke Ellington and Count Basie. \u003c/p>\n\u003ch3>From slavery to ‘The Mayor of the Fillmore’\u003c/h3>\n\u003cp>Humble does not begin to describe Charles Sullivan’s origins. “It was 48 years after the emancipation proclamation when Robert Sullivan, an Alabama farmer, got himself a slave,” reported the late Warren Hinckle in a page-one \u003cem>San Francisco Chronicle\u003c/em> story from 1963. “A young mother scrawled her ‘X’ on the indenture agreement that gave [Robert] ‘complete control and possession’ of her two-year-old.” \u003c/p>\n\u003cfigure id=\"attachment_13429607\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/oct-17-1963.jpg\" alt=\"A 1963 story by Warren Hinckle about Charles Sullivan's upbringing.\" width=\"600\" height=\"818\" class=\"size-full wp-image-13429607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/oct-17-1963.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/oct-17-1963-160x218.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/oct-17-1963-240x327.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/oct-17-1963-375x511.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/oct-17-1963-520x709.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A 1963 story by Warren Hinckle about Charles Sullivan’s upbringing. \u003ccite>(San Francisco Chronicle archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two-year-old was Charles, whose history came to light in a legal dispute after Robert, elderly and living in San Francisco, attempted to invoke parental rights. Charles had come to the west coast in search of work as a machinist. When union racism blocked him from the industry, he chauffeured on the Peninsula, and eventually opened a bar and restaurant in San Mateo. As the Western Addition filled with black workers, Sullivan eyed opportunity. Fillmore Street was known as Swing Street, and the once-indentured man set out to become the people’s mayor. \u003c/p>\n\u003cp>“He was culturally seeding the black identity into San Francisco like few other people,” says local artist Harry Hall, whose research on Sullivan culminated in a one-man play, \u003cem>Blues for Charles\u003c/em>, which premiered in 2014. “For those years the Fillmore was a mecca. I mean, before Charles we [black people] weren’t even allowed inside.”\u003c/p>\n\u003ch3>A neighborhood decimated\u003c/h3>\n\u003cp>Yet for almost the entire lifespan of the Fillmore as a bustling hub of blues and jazz, new trends in urban planning conspired with racism to end the music. The San Francisco Redevelopment Agency was empowered to acquire properties on the promise that, through razing and rezoning to increase density, they’d improve quality-of-life and reduce housing costs. \u003c/p>\n\u003cp>One of the first determinations of the agency was that huge swathes of the Fillmore and Western Addition were hopelessly “blighted,” and slated for demolition. As a 1999 KQED documentary on the Fillmore points out, official documents of the time included “non-white population” as one condition of blight.\u003c/p>\n\u003cfigure id=\"attachment_13429605\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/HOTWFrontCover.jpg\" alt=\"'Harlem of the West,' by Elizabeth Pepin Silva and Lewis Watts.\" width=\"600\" height=\"603\" class=\"size-full wp-image-13429605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-520x523.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HOTWFrontCover-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">‘Harlem of the West,’ by Elizabeth Pepin Silva and Lewis Watts.\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the neighborhood was earlier “red-lined” on maps issued by the government to banks, meaning creditors were advised not to issue home loans. This produced a population of predominantly renters. Agency officials promised them that, if they left, they could return later to better, cheaper homes. But that didn’t happen. Agency certificates professing a right-to-return, issued in thousands by agency, remain useless. \u003c/p>\n\u003cp>The neighborhood lost 883 businesses and 4,729 households, according to the agency’s own figures. Within the redevelopment zone was nearly every nightclub, juke joint, and bar. Much of them perished to accommodate a sleek new Geary Boulevard, widened so that residents of western neighborhoods could swiftly commute to work downtown. \u003c/p>\n\u003cp>Among other landmarks, the Booker T. Washington Hotel was bought and destroyed by the agency; the lot remained empty for decades, until the construction of a large Safeway store. Bobbie Webb recalls in \u003cem>Harlem of the West\u003c/em> that his band, Bobbie Webb and Company, played the last show there in the Sullivan-operated lounge. “We played a great gig that night, and the very next day they began demolishing the hotel,” he recalls. “It was so sad because it wasn’t falling apart. I guess it was just in the way.” \u003c/p>\n\u003ch3>A ‘shining light for every black artist’\u003c/h3>\n\u003cp>Sullivan was one of few black businessmen who weathered the storm of redevelopment. “He was one of the top promoters of African-American artists in the area,” reckons Hall. “And he seemed to really be crossing over.”\u003c/p>\n\u003cfigure id=\"attachment_13429602\" class=\"wp-caption alignright\" style=\"max-width: 647px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-2.jpeg\" alt=\"A poster for a show with Ike & Tina Turner arranged by Charles Sullivan at his Fillmore Ballroom.\" width=\"647\" height=\"980\" class=\"size-full wp-image-13429602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-2.jpeg 647w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-2-160x242.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-2-240x364.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-2-375x568.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Fillmore-Posters-2-520x788.jpeg 520w\" sizes=\"(max-width: 647px) 100vw, 647px\">\u003cfigcaption class=\"wp-caption-text\">A poster for a show with Ike & Tina Turner arranged by Charles Sullivan at his Fillmore Ballroom. \u003ccite>(Courtesy 'Harlem of the West')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time he encountered Bill Graham in 1965, Sullivan was organizing entire coastal tour-routes for icons of the day. Some of his bookings, such as James Brown, were too big for the Fillmore, so he’d book at the 12,000-capacity Cow Palace arena in Daly City. In other words, he was already doing in the mid-’60s what Graham would become famous for in the next two decades. \u003c/p>\n\u003cp>The scope of Sullivan’s business, coupled with the declining black population in the Fillmore, perhaps helps explain why he allowed Bill Graham to throw a benefit gig for the provocative San Francisco Mime Troupe, then battling obscenity charges, on December 10, 1965. Headlining above a newly named Grateful Dead was Jefferson Airplane. Graham, who’d been suggested the venue by \u003cem>Chronicle\u003c/em> critic Ralph Gleason, says in his autobiography that he’d never been to the venue: “I knew nothing about it.” \u003c/p>\n\u003cp>Graham struck a deal with Sullivan for off-nights. Eventually, according to Graham’s autobiography, the police pressured Sullivan to stop lending his coveted dance permit to the upstart promoter, who’d been repeatedly denied one of his own at City Hall. “No, no, no. I just ain’t going to let this happen now,” Graham recalls Sullivan saying one day. “You just go back downtown, man. And you beat those white motherfuckers.”\u003c/p>\n\u003cp>Graham marshaled support from business owners, attorneys, and various city power brokers for his bid to acquire a dance permit, and, after a crucial push from the \u003cem>Chronicle\u003c/em>’s editorial board, prevailed in June of 1966. “A few months later, Charles Sullivan got himself killed. He had a bad habit of always carrying a roll of money with him,” Graham says in his book. “Had that not happened, I think I would have done anything Charles wanted. Just out of gratitude.” \u003c/p>\n\u003cp>What followed is familiar, especially amid this year’s rosy retrospectives of the Summer of Love. So what else should we remember about the Fillmore Auditorium? “That it was a shining light for every black artist who dreamed of making it in the music business in San Francisco,” says Hall.\u003c/p>\n\u003cp>“If you feel soul in there today it’s because of Charles, and if Bill Graham was alive I bet he’d tell you the same thing.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>All images courtesy of ‘Harlem of the West,’ by Elizabeth Pepin Silva and Lewis Watts. A new, updated edition of ‘Harlem of the West’ is available in hardcover ($60) and softcover ($35), plus $5 postage, by ordering via Paypal or emailing otwfront@gmail.com. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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