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"content": "\u003cp>Growing up in San Francisco’s Mission District, Roberto Hernandez loved zoot suits. He loved art, too. It was only a matter of time before he started lowriding.\u003c/p>\n\u003cp>“It was in my DNA,” Hernandez said.\u003c/p>\n\u003cp>As soon as he could, he bought his neighbor’s 1964 Chevy Impala and began to cruise “low and slow.”\u003c/p>\n\u003cp>Hernandez was drawn to the elaborate paintings on the hoods and trunks of other lowriders, which had lowered bodies that hovered just above the street, and the hydraulic systems that made them bounce a few feet off the ground. He remembers the “joy of being able to cruise with a couple other lowriders and then just have people whistle at you or wave at you.”\u003c/p>\n\u003cp>But in the late 1970s, as lowriding was rising in popularity among Latinos in Southern California, lowriders were also becoming the targets of police.\u003c/p>\n\u003cfigure id=\"attachment_13904552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/sflc-2_custom-75b5405a247ca2484e4cc0260762e95f785ab24c-800x598.jpg\" alt=\"\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sflc-2_custom-75b5405a247ca2484e4cc0260762e95f785ab24c-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sflc-2_custom-75b5405a247ca2484e4cc0260762e95f785ab24c-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sflc-2_custom-75b5405a247ca2484e4cc0260762e95f785ab24c-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sflc-2_custom-75b5405a247ca2484e4cc0260762e95f785ab24c-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sflc-2_custom-75b5405a247ca2484e4cc0260762e95f785ab24c.jpg 1158w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roberto Y. Hernandez, founder and president of the San Francisco Lowrider Council, stands at the entrance to an exhibit about the council at the Mission Cultural Center for Latino Arts. \u003ccite>(Courtesy Roberto Y. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“At one point it was bumper to bumper for 20 blocks. It was like a parade every Friday and Saturday night,” Hernandez said. “It was something that the police just weren’t able to manage.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Police issued citations, made arrests and even shut down Mission Street, the neighborhood’s main drag where the lowriders went to cruise.\u003c/p>\n\u003cp>But enforcement of the local laws wasn’t always equal. The lowriders were mostly Latino, and Hernandez said that explains the ferocity of the police crackdown.\u003c/p>\n\u003cp>[aside postid='news_11885160']“It was racial profiling at its worst, and it was discrimination,” he said. “Across the city, on the west side of the city, they had white kids racing for pink slips. And they never messed with them.”\u003c/p>\n\u003cp>Eventually Hernandez, who said he was arrested 113 times and beaten up by the police more than once, had had it. He and several other lowriders filed a lawsuit against then-San Francisco Mayor Dianne Feinstein and the police, alleging violations of their civil rights.\u003c/p>\n\u003cp>In 1981, Hernandez united a group of car clubs to form the San Francisco Lowrider Council, an advocacy organization that helped lowriders stand up to police brutality then — and which just marked its 40th year in operation.\u003c/p>\n\u003ch3>How lowriding has evolved over the years\u003c/h3>\n\u003cp>The exact origin of lowriding is a matter of debate, but generally, it was a Chicano invention in and around Southern California after World War II.\u003c/p>\n\u003cp>“It begins in the Mexican-American southwestern experience of the United States, in the barrios,” said John Ulloa, a professor of history and anthropology at Skyline College and a lowrider.\u003c/p>\n\u003cp>It started as a blue-collar pastime. Gas was cheap, so lowriding was an inexpensive way to have fun with friends. It also united the Chicano communities in the Southwest and became a vehicle for local community organizing.\u003c/p>\n\u003cfigure id=\"attachment_13904553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/ap080210181535_custom-1e6159db1f7d7ac8ac4affcae09c3eaac9270bdd-800x533.jpg\" alt=\"Visitors to the Peterson Automobile Museum in Los Angeles examine the Gypsy Rose, a 1964 Chevrolet Impala and one of the most famous lowriders in history, in this 2008 file photo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ap080210181535_custom-1e6159db1f7d7ac8ac4affcae09c3eaac9270bdd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ap080210181535_custom-1e6159db1f7d7ac8ac4affcae09c3eaac9270bdd-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ap080210181535_custom-1e6159db1f7d7ac8ac4affcae09c3eaac9270bdd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ap080210181535_custom-1e6159db1f7d7ac8ac4affcae09c3eaac9270bdd-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ap080210181535_custom-1e6159db1f7d7ac8ac4affcae09c3eaac9270bdd-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ap080210181535_custom-1e6159db1f7d7ac8ac4affcae09c3eaac9270bdd-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ap080210181535_custom-1e6159db1f7d7ac8ac4affcae09c3eaac9270bdd-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors to the Peterson Automobile Museum in Los Angeles examine the Gypsy Rose, a 1964 Chevrolet Impala and one of the most famous lowriders in history, in this 2008 file photo. \u003ccite>(Ric Francis/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For many years it was a Latino subculture, but lowriding grew in popularity in 1979 when the film \u003cem>Boulevard Nights \u003c/em>was released, plastering the low-slung cruisers across the silver screen. The movie brought renewed attention to lowriding, but it also reinforced a stereotype that lowriding was associated with gangs and crime.\u003c/p>\n\u003cp>[aside postid='arts_11670552']“You had a lot of cops who just didn’t like lowriders, and they exercised their authority to write any ticket or any violation or make up anything that they wanted,” Don Alonzo, vice president of Low Creations Car Club, said of the tensions between lowriders and police.\u003c/p>\n\u003cp>But lowriding only continued to bounce higher in the public consciousness. Rappers Dr. Dre and Snoop Dogg cruised through music videos in lowriders to promote Dr. Dre’s 1992 hit album, \u003cem>The Chronic\u003c/em>. Ramone, a character in the Disney movie \u003cem>Cars\u003c/em>, is a lowrider. Just this year, there were lowriders in a \u003ca href=\"https://www.dailymail.co.uk/video/news/video-2350526/Video-Mister-Cartoon-stars-Super-Bowl-2021-Modelo-spot.html\">Model commercial\u003c/a> featuring the artist Mister Cartoon that aired during the Super Bowl, TV’s most coveted ad space.\u003c/p>\n\u003cfigure id=\"attachment_13904554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/gettyimages-1143236_custom-b8a858e1f6d24826f95d6d41830752e92db0f2c7-800x521.jpg\" alt=\"Lowriders bounce as high as possible during a car hopping contest at the Los Angeles Coliseum in 1996.\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/gettyimages-1143236_custom-b8a858e1f6d24826f95d6d41830752e92db0f2c7-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/gettyimages-1143236_custom-b8a858e1f6d24826f95d6d41830752e92db0f2c7-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/gettyimages-1143236_custom-b8a858e1f6d24826f95d6d41830752e92db0f2c7-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/gettyimages-1143236_custom-b8a858e1f6d24826f95d6d41830752e92db0f2c7-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/gettyimages-1143236_custom-b8a858e1f6d24826f95d6d41830752e92db0f2c7-1536x1001.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/gettyimages-1143236_custom-b8a858e1f6d24826f95d6d41830752e92db0f2c7-2048x1335.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/gettyimages-1143236_custom-b8a858e1f6d24826f95d6d41830752e92db0f2c7-1920x1251.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lowriders bounce as high as possible during a car hopping contest at the Los Angeles Coliseum in 1996. \u003ccite>(Stewart Cook/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was mapping for my forthcoming publication on the global diffusion of lowriding, the globalization of lowriding, [and] I started to map where lowriding is, and I think the more accurate map is … where it isn’t,” Ulloa said. “Where is lowriding now? It’s everywhere.”\u003c/p>\n\u003cp>Lowriding has moved from a local custom to a worldwide phenomenon, from Japan to Germany to Brazil.\u003c/p>\n\u003ch3>Cruising was taboo—now it’s treasured\u003c/h3>\n\u003cp>The city settled the lawsuit filed by Hernandez and other lowriders several years after it was filed.\u003c/p>\n\u003cp>Hernandez said he refused the city’s offer of a monetary payout, and that the final settlement guaranteed the lowriders’ right to cruise, led to a park and a gym being built and saw several police officers leave the force.\u003c/p>\n\u003cp>“It wasn’t about money,” Hernandez said. “It was about the whole discrimination and blatant selective racism and use of excessive force by the police department.”\u003c/p>\n\u003cfigure id=\"attachment_13904558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-13-at-9.14.57-AM-800x573.png\" alt=\"\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-13-at-9.14.57-AM-800x573.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-13-at-9.14.57-AM-1020x731.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-13-at-9.14.57-AM-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-13-at-9.14.57-AM-768x550.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-13-at-9.14.57-AM.png 1228w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Lowrider Council plaque on display at the Mission Cultural Center for Latino Arts. \u003ccite>(Roberto Y. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Lowrider Council’s 40-year trajectory was just memorialized in \u003ca href=\"https://missionculturalcenter.org/event/40th-anniversary-san-francisco-lowrider-councill-exhibit/\">an exhibit\u003c/a> at the Mission Cultural Center for Latino Arts. San Francisco city officials even \u003ca href=\"https://sanfrancisco.cbslocal.com/2021/09/18/san-francisco-celebrates-lowrider-rise/\">proclaimed\u003c/a> a recent Saturday as “Lowrider Day.”\u003c/p>\n\u003cp>According to Alonzo, who is also a member of the council, lowriders are viewed much differently now than they were in decades past.\u003c/p>\n\u003cp>“I got pulled over a couple times by some cops, and it wasn’t because I was riding dirty or anything like that or I had any violations or anything like that or my registration was invalid or anything like that,” Alonzo said. “They pulled me over because they wanted to see my hydraulic setup.”\u003c/p>\n\u003cp>[aside postid='arts_13899992']Ulloa, who hosted a virtual \u003ca href=\"https://savethekidsgroup.org/jan-29-2021-1st-annual-international-lowrider-studies-conference/\">academic conference on lowrider culture\u003c/a> this year, said that growing popularity has come with a catch: the cost to participate in the once blue-collar hobby has jumped. “It’s redefining who can get in, where and under what circumstances people are quote unquote buying into the culture,” he said. “That is causing some dissonance from within the culture as well, because people are getting priced out of the game.”\u003c/p>\n\u003cp>These days, the San Francisco Lowrider Council remains a diverse organization, Hernandez said.\u003c/p>\n\u003cp>“We were stereotyped by the media and by a lot of people as being drug dealers and gangbangers and whatnot,” said Hernandez, who is also a community organizer and \u003ca href=\"https://abc7news.com/roberto-hernandez-mission-food-hub-district-sf-cana/11044799/\">launched \u003c/a>the Mission Food Hub during the COVID-19 pandemic.\u003c/p>\n\u003cp>“Part of that stereotype went like, ‘Well, how could they afford these kinds of cars and put all that money into cars?'” he added. “Well, we work!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Members of the council include university professors, teachers, lawyers, construction workers, dishwashers and a sheriff.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=40+years+ago%2C+San+Francisco+lowriders+organized+to+fight+police+harassment+%E2%80%94+and+won&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up in San Francisco’s Mission District, Roberto Hernandez loved zoot suits. He loved art, too. It was only a matter of time before he started lowriding.\u003c/p>\n\u003cp>“It was in my DNA,” Hernandez said.\u003c/p>\n\u003cp>As soon as he could, he bought his neighbor’s 1964 Chevy Impala and began to cruise “low and slow.”\u003c/p>\n\u003cp>Hernandez was drawn to the elaborate paintings on the hoods and trunks of other lowriders, which had lowered bodies that hovered just above the street, and the hydraulic systems that made them bounce a few feet off the ground. He remembers the “joy of being able to cruise with a couple other lowriders and then just have people whistle at you or wave at you.”\u003c/p>\n\u003cp>But in the late 1970s, as lowriding was rising in popularity among Latinos in Southern California, lowriders were also becoming the targets of police.\u003c/p>\n\u003cfigure id=\"attachment_13904552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/sflc-2_custom-75b5405a247ca2484e4cc0260762e95f785ab24c-800x598.jpg\" alt=\"\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sflc-2_custom-75b5405a247ca2484e4cc0260762e95f785ab24c-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sflc-2_custom-75b5405a247ca2484e4cc0260762e95f785ab24c-1020x763.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sflc-2_custom-75b5405a247ca2484e4cc0260762e95f785ab24c-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sflc-2_custom-75b5405a247ca2484e4cc0260762e95f785ab24c-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sflc-2_custom-75b5405a247ca2484e4cc0260762e95f785ab24c.jpg 1158w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roberto Y. Hernandez, founder and president of the San Francisco Lowrider Council, stands at the entrance to an exhibit about the council at the Mission Cultural Center for Latino Arts. \u003ccite>(Courtesy Roberto Y. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“At one point it was bumper to bumper for 20 blocks. It was like a parade every Friday and Saturday night,” Hernandez said. “It was something that the police just weren’t able to manage.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Police issued citations, made arrests and even shut down Mission Street, the neighborhood’s main drag where the lowriders went to cruise.\u003c/p>\n\u003cp>But enforcement of the local laws wasn’t always equal. The lowriders were mostly Latino, and Hernandez said that explains the ferocity of the police crackdown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It was racial profiling at its worst, and it was discrimination,” he said. “Across the city, on the west side of the city, they had white kids racing for pink slips. And they never messed with them.”\u003c/p>\n\u003cp>Eventually Hernandez, who said he was arrested 113 times and beaten up by the police more than once, had had it. He and several other lowriders filed a lawsuit against then-San Francisco Mayor Dianne Feinstein and the police, alleging violations of their civil rights.\u003c/p>\n\u003cp>In 1981, Hernandez united a group of car clubs to form the San Francisco Lowrider Council, an advocacy organization that helped lowriders stand up to police brutality then — and which just marked its 40th year in operation.\u003c/p>\n\u003ch3>How lowriding has evolved over the years\u003c/h3>\n\u003cp>The exact origin of lowriding is a matter of debate, but generally, it was a Chicano invention in and around Southern California after World War II.\u003c/p>\n\u003cp>“It begins in the Mexican-American southwestern experience of the United States, in the barrios,” said John Ulloa, a professor of history and anthropology at Skyline College and a lowrider.\u003c/p>\n\u003cp>It started as a blue-collar pastime. Gas was cheap, so lowriding was an inexpensive way to have fun with friends. It also united the Chicano communities in the Southwest and became a vehicle for local community organizing.\u003c/p>\n\u003cfigure id=\"attachment_13904553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904553\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/ap080210181535_custom-1e6159db1f7d7ac8ac4affcae09c3eaac9270bdd-800x533.jpg\" alt=\"Visitors to the Peterson Automobile Museum in Los Angeles examine the Gypsy Rose, a 1964 Chevrolet Impala and one of the most famous lowriders in history, in this 2008 file photo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ap080210181535_custom-1e6159db1f7d7ac8ac4affcae09c3eaac9270bdd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ap080210181535_custom-1e6159db1f7d7ac8ac4affcae09c3eaac9270bdd-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ap080210181535_custom-1e6159db1f7d7ac8ac4affcae09c3eaac9270bdd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ap080210181535_custom-1e6159db1f7d7ac8ac4affcae09c3eaac9270bdd-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ap080210181535_custom-1e6159db1f7d7ac8ac4affcae09c3eaac9270bdd-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ap080210181535_custom-1e6159db1f7d7ac8ac4affcae09c3eaac9270bdd-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/ap080210181535_custom-1e6159db1f7d7ac8ac4affcae09c3eaac9270bdd-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors to the Peterson Automobile Museum in Los Angeles examine the Gypsy Rose, a 1964 Chevrolet Impala and one of the most famous lowriders in history, in this 2008 file photo. \u003ccite>(Ric Francis/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For many years it was a Latino subculture, but lowriding grew in popularity in 1979 when the film \u003cem>Boulevard Nights \u003c/em>was released, plastering the low-slung cruisers across the silver screen. The movie brought renewed attention to lowriding, but it also reinforced a stereotype that lowriding was associated with gangs and crime.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“You had a lot of cops who just didn’t like lowriders, and they exercised their authority to write any ticket or any violation or make up anything that they wanted,” Don Alonzo, vice president of Low Creations Car Club, said of the tensions between lowriders and police.\u003c/p>\n\u003cp>But lowriding only continued to bounce higher in the public consciousness. Rappers Dr. Dre and Snoop Dogg cruised through music videos in lowriders to promote Dr. Dre’s 1992 hit album, \u003cem>The Chronic\u003c/em>. Ramone, a character in the Disney movie \u003cem>Cars\u003c/em>, is a lowrider. Just this year, there were lowriders in a \u003ca href=\"https://www.dailymail.co.uk/video/news/video-2350526/Video-Mister-Cartoon-stars-Super-Bowl-2021-Modelo-spot.html\">Model commercial\u003c/a> featuring the artist Mister Cartoon that aired during the Super Bowl, TV’s most coveted ad space.\u003c/p>\n\u003cfigure id=\"attachment_13904554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/gettyimages-1143236_custom-b8a858e1f6d24826f95d6d41830752e92db0f2c7-800x521.jpg\" alt=\"Lowriders bounce as high as possible during a car hopping contest at the Los Angeles Coliseum in 1996.\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/gettyimages-1143236_custom-b8a858e1f6d24826f95d6d41830752e92db0f2c7-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/gettyimages-1143236_custom-b8a858e1f6d24826f95d6d41830752e92db0f2c7-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/gettyimages-1143236_custom-b8a858e1f6d24826f95d6d41830752e92db0f2c7-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/gettyimages-1143236_custom-b8a858e1f6d24826f95d6d41830752e92db0f2c7-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/gettyimages-1143236_custom-b8a858e1f6d24826f95d6d41830752e92db0f2c7-1536x1001.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/gettyimages-1143236_custom-b8a858e1f6d24826f95d6d41830752e92db0f2c7-2048x1335.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/gettyimages-1143236_custom-b8a858e1f6d24826f95d6d41830752e92db0f2c7-1920x1251.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lowriders bounce as high as possible during a car hopping contest at the Los Angeles Coliseum in 1996. \u003ccite>(Stewart Cook/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was mapping for my forthcoming publication on the global diffusion of lowriding, the globalization of lowriding, [and] I started to map where lowriding is, and I think the more accurate map is … where it isn’t,” Ulloa said. “Where is lowriding now? It’s everywhere.”\u003c/p>\n\u003cp>Lowriding has moved from a local custom to a worldwide phenomenon, from Japan to Germany to Brazil.\u003c/p>\n\u003ch3>Cruising was taboo—now it’s treasured\u003c/h3>\n\u003cp>The city settled the lawsuit filed by Hernandez and other lowriders several years after it was filed.\u003c/p>\n\u003cp>Hernandez said he refused the city’s offer of a monetary payout, and that the final settlement guaranteed the lowriders’ right to cruise, led to a park and a gym being built and saw several police officers leave the force.\u003c/p>\n\u003cp>“It wasn’t about money,” Hernandez said. “It was about the whole discrimination and blatant selective racism and use of excessive force by the police department.”\u003c/p>\n\u003cfigure id=\"attachment_13904558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-13-at-9.14.57-AM-800x573.png\" alt=\"\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-13-at-9.14.57-AM-800x573.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-13-at-9.14.57-AM-1020x731.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-13-at-9.14.57-AM-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-13-at-9.14.57-AM-768x550.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-13-at-9.14.57-AM.png 1228w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Lowrider Council plaque on display at the Mission Cultural Center for Latino Arts. \u003ccite>(Roberto Y. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Lowrider Council’s 40-year trajectory was just memorialized in \u003ca href=\"https://missionculturalcenter.org/event/40th-anniversary-san-francisco-lowrider-councill-exhibit/\">an exhibit\u003c/a> at the Mission Cultural Center for Latino Arts. San Francisco city officials even \u003ca href=\"https://sanfrancisco.cbslocal.com/2021/09/18/san-francisco-celebrates-lowrider-rise/\">proclaimed\u003c/a> a recent Saturday as “Lowrider Day.”\u003c/p>\n\u003cp>According to Alonzo, who is also a member of the council, lowriders are viewed much differently now than they were in decades past.\u003c/p>\n\u003cp>“I got pulled over a couple times by some cops, and it wasn’t because I was riding dirty or anything like that or I had any violations or anything like that or my registration was invalid or anything like that,” Alonzo said. “They pulled me over because they wanted to see my hydraulic setup.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ulloa, who hosted a virtual \u003ca href=\"https://savethekidsgroup.org/jan-29-2021-1st-annual-international-lowrider-studies-conference/\">academic conference on lowrider culture\u003c/a> this year, said that growing popularity has come with a catch: the cost to participate in the once blue-collar hobby has jumped. “It’s redefining who can get in, where and under what circumstances people are quote unquote buying into the culture,” he said. “That is causing some dissonance from within the culture as well, because people are getting priced out of the game.”\u003c/p>\n\u003cp>These days, the San Francisco Lowrider Council remains a diverse organization, Hernandez said.\u003c/p>\n\u003cp>“We were stereotyped by the media and by a lot of people as being drug dealers and gangbangers and whatnot,” said Hernandez, who is also a community organizer and \u003ca href=\"https://abc7news.com/roberto-hernandez-mission-food-hub-district-sf-cana/11044799/\">launched \u003c/a>the Mission Food Hub during the COVID-19 pandemic.\u003c/p>\n\u003cp>“Part of that stereotype went like, ‘Well, how could they afford these kinds of cars and put all that money into cars?'” he added. “Well, we work!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Members of the council include university professors, teachers, lawyers, construction workers, dishwashers and a sheriff.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=40+years+ago%2C+San+Francisco+lowriders+organized+to+fight+police+harassment+%E2%80%94+and+won&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "De San Francisco Para El Mundo, La Doña’s Star Rises",
"headTitle": "De San Francisco Para El Mundo, La Doña’s Star Rises | KQED",
"content": "\u003cp>[dropcap]T[/dropcap]he beat dropped and the crowd parted, revealing a handful of brave dancers—thumbs hooked under jacket collars, ponytails flying, bodies bouncing, crouching low to the ground and going absolutely dumb.\u003c/p>\n\u003cp>“Frisco bitches ain’t no punks/We talk hella shit and we got hella funk/Starting the argument settling it too/Our heads hella hot and our hearts hella blue,” Cecilia Cassandra Peña-Govea rapped on “\u003ca href=\"https://www.youtube.com/watch?v=wlNUz8tjskA\" target=\"_blank\" rel=\"noopener noreferrer\">Algo Nuevo\u003c/a>.” The chorus hit and an electrified dancer in a 49ers jacket dropped into the splits.\u003c/p>\n\u003cp>It was the first day of Carnaval—San Francisco’s 40-plus year resource fair, parade and celebration—and this was the singer, songwriter and trumpet player’s first show in over a year performing as \u003ca href=\"https://www.instagram.com/ladona415/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a>. “Algo Nuevo,” her encore on the asphalt of John O’Connell High School, was both a mirror and a balm for the crowd who turned out to the neighborhood festival in late May after 14 months of grief and isolation—a distillation of what La Doña offers through her music.\u003c/p>\n\u003cp>“I was terrified,” Peña-Govea says of easing back into life after the pandemic. “But it was like, ‘Are you going to play like Carnaval with everybody who’s known you since you were a baby, and everybody?’ … And after that moment, I was like, ‘Fuck, we’re back in this.’”\u003c/p>\n\u003cp>Like for many artists, the COVID-19 pandemic derailed Peña-Govea’s plans for her career. The early months of 2020 were setting La Doña up to explode. Days before San Francisco announced shelter-in-place orders last March, she was set to celebrate the release of her first album \u003cem>Algo Nuevo\u003c/em> with a party at The Chapel. A big album rollout and national tour were to follow. Then everything was canceled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was really heartbreaking,” Peña-Govea says.\u003c/p>\n\u003cp>But even during the Bay Area’s shelter-in-place orders, La Doña did her best to keep up the momentum: she was featured in the \u003ca href=\"https://www.nytimes.com/interactive/2021/03/10/magazine/la-dona.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a> and \u003ca href=\"https://www.billboard.com/articles/business/9590674/la-dona-san-francisco-coronavirus-pandemic-summer-festivals/\" target=\"_blank\" rel=\"noopener noreferrer\">Billboard\u003c/a>, and performed for Red Bull’s virtual festival Estados Unidos de Bass.\u003c/p>\n\u003cp>Now, her career is gaining even more steam. La Doña opened the 89th season of San Francisco’s Stern Grove Festival in June, and is on the bill for Chicago’s RuidoFest, Austin City Limits and other festivals later this year. She even had a \u003ca href=\"https://www.instagram.com/p/CQ_qL2sHyZC/\" target=\"_blank\" rel=\"noopener noreferrer\">mural\u003c/a> painted in her honor outside of Casa Guadalupe Market at 26th and Mission Streets in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13900319\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900319\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/023_KQEDArts_Alameda_LaDona_07202021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/023_KQEDArts_Alameda_LaDona_07202021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/023_KQEDArts_Alameda_LaDona_07202021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/023_KQEDArts_Alameda_LaDona_07202021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/023_KQEDArts_Alameda_LaDona_07202021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/023_KQEDArts_Alameda_LaDona_07202021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/023_KQEDArts_Alameda_LaDona_07202021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña, stands at Alameda Beach on July 20, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singing in English and Spanish, the Bernal Heights native makes music that spans Latin American musical traditions. Along with her band—her father Miguel Govea, Sergio Oriache, Esai Salas, Tano Brock and Naomi Garcia Pasmanick—Peña-Govea has been working up to this since the moment her parents ushered her into the family band at age seven.\u003c/p>\n\u003cp>[dropcap]M[/dropcap]usic was the glue in the Peña-Govea household. It was fated from the night Miguel Govea was booked to play a benefit at UC Berkeley’s law school in the 1980s. Musician and then-law student Susan Peña invited Miguel out to her car, pulled out a fiddle and played him “\u003ca href=\"https://www.youtube.com/watch?v=twrkFo_Bfug\" target=\"_blank\" rel=\"noopener noreferrer\">Jesusita en Chihuahua,\u003c/a>” a Mexican polka said to be a favorite of revolutionary Pancho Villa. (The Peña-Govea family has deep roots in San Francisco. Susan represented members of the San Francisco Lowrider Council in the 1980s when they sued the city in response to the over-policing of cruising.)\u003c/p>\n\u003cp>Miguel and Susan’s friends, and their broader community of Bernal Heights and the Mission, were all musicians. When Cecilia Peña-Govea and her older sister were born, it was only a matter of time before they learned to play an instrument.\u003c/p>\n\u003cp>“That’s a way that we connect, through music,” Peña-Govea says. “It wasn’t really a question. It was more like, if I wanted to hang out with my family than I had to play music.”\u003c/p>\n\u003cp>\u003cem>[\u003cstrong>Watch\u003c/strong>: Before she was La Doña, Cecilia Peña-Govea appeared in the below 2007 KQED Spark documentary about her family band.]\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/lg3yPyfEwOo\u003c/p>\n\u003cp>She settled on the trumpet, her dad’s main instrument, and joined her family’s conjunto, eventually singing, too, when her sister left for college. Together they played all kinds of gigs—private parties, festivals, libraries, schools—practicing and memorizing mariachi, ranchera, bolero and son jarocho standards to be ready to play any request that came their way.\u003c/p>\n\u003cp>“You’re like a magician, pulling out new tricks,” Peña-Govea says. “You have to know not only where your strengths lie, but also what is going to make people tick. So I think that’s one of the things that is appealing about my music cross-generationally and across borders. It does integrate a lot of different styles and traditions.”\u003c/p>\n\u003cp>This set Peña-Govea up for the particular kind of alchemy she does as La Doña, weaving together musical traditions from all over the Latin American diaspora.\u003c/p>\n\u003cp>https://youtu.be/xpDmpAZpIGM\u003c/p>\n\u003cp>[dropcap]I[/dropcap]n La Doña’s discography you’ll find it all: the rasp of the guira central to Colombian cumbia; the agile congas that steady Cuban salsa; the sweet vibrato of the accordion of Mexican norteñas; the syncopated dembow of reggaeton from Puerto Rico by way of Jamaica; and the 808 bass drums that direct hyphy.\u003c/p>\n\u003cp>The joy here is that she isn’t following the clumsy, lazy lead of most Western media that seeks to sweep all Latino music and culture under the same restrictive label. Instead, Peña-Govea and her band make art that explores the differences in these deeply-rooted, often liberatory sonic traditions with reverence and curiosity.\u003c/p>\n\u003cfigure id=\"attachment_13900316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900316\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/002_KQEDArts_Alameda_LaDona_07202021-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/002_KQEDArts_Alameda_LaDona_07202021-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/002_KQEDArts_Alameda_LaDona_07202021-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/002_KQEDArts_Alameda_LaDona_07202021-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/002_KQEDArts_Alameda_LaDona_07202021.jpg 875w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña, in Alameda on July 20, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also aspects of tradition that Peña-Govea rejects—namely the misogyny and machismo often embedded in the ranchera classics she and her family played. “In our reproduction of that culture, I think every member of my family felt an urgent responsibility to do work in other ways that would counter that,” Peña-Govea says, adding that these belief systems were so counter to the LGBTQ-inclusive and feminist space she grew up in.\u003c/p>\n\u003cp>Sure, she’ll sing a crowd pleaser that’s dripping in misogyny like Tierra Cali’s “\u003ca href=\"https://www.youtube.com/watch?v=euhOUgvaRuE\" target=\"_blank\" rel=\"noopener noreferrer\">Yo Fui Quien Te Hizo Mujer\u003c/a>,” but the center of power gets flipped when she sings it. And in her capacity as a songwriter, she’ll turn around and write her own song skewering machismo.\u003c/p>\n\u003cp>“I feel a joy engaging with traditional music. And I get even more excited to be appropriated in a way that is radical and true to me,” she says.\u003c/p>\n\u003cp>In that way, La Doña is part of a wave of younger Latino musicians who are upending the strictures placed upon them by outdated conceptions of their identity. Artists like Cuco, San Cha, Combo Chimbita and Reyna Tropical—and even Natanael Cano, with his muddy corridos—are taking the music they grew up on and recontextualizing it. They’re subverting the deep-rooted machismo, probing at power structures or bringing in modern trap into folk ballads. And they’re figuring out ways to do it on their terms.\u003c/p>\n\u003cfigure id=\"attachment_13900318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/017_KQEDArts_Alameda_LaDona_07202021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/017_KQEDArts_Alameda_LaDona_07202021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/017_KQEDArts_Alameda_LaDona_07202021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/017_KQEDArts_Alameda_LaDona_07202021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/017_KQEDArts_Alameda_LaDona_07202021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/017_KQEDArts_Alameda_LaDona_07202021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/017_KQEDArts_Alameda_LaDona_07202021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña, sits at Alameda Beach on July 20, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Peña-Govea, her musical upbringing was formative to her conceptualization of her identity as a Mexican American, both revealing the vast and dynamic nature of all it can encompass and the way American culture struggles to see that.\u003c/p>\n\u003cp>“San Francisco and the Mission District is unique in that it’s a hub of a lot of Central and South Americans as well,” Peña-Govea says. “I know I’m Mexican, and I know the food that we’re eating at home is Mexican. I know that a lot of the music that I grew up learning was Mexican, but at the same time, we’re playing nueva cancion, we’re playing vals criollo, we’re playing salsa—we’re playing all different types of music for all different types of people.”\u003c/p>\n\u003cp>[dropcap]L[/dropcap]atinidad as a label is too constricting to be accurate, either for music or as an organizing principle.\u003c/p>\n\u003cp>“Being a working musician, I came to understand my identity first through being consumed,” Peña-Govea says, recalling that at a very early age she was aware that their gigs were an exchange of culture for capital. She had to reconcile the tension between the connection she felt performing Mexican music and the eagerness with which the wealthy white people who booked the band commodified it.\u003c/p>\n\u003cp>She built a self-protective filter. “A way to not endure the heartbreak of that, and the pain of that, is that with this hand I take, and with this hand I give back,” she explains. “What the exchange was here at the white person’s Mexican-themed party means that I get to show out and play at 24th Street BART and play for my people and be celebrated and feel a sense of belonging.”\u003c/p>\n\u003cfigure id=\"attachment_13900315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/005_KQEDArts_Alameda_LaDona_07202021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/005_KQEDArts_Alameda_LaDona_07202021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/005_KQEDArts_Alameda_LaDona_07202021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/005_KQEDArts_Alameda_LaDona_07202021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/005_KQEDArts_Alameda_LaDona_07202021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/005_KQEDArts_Alameda_LaDona_07202021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/005_KQEDArts_Alameda_LaDona_07202021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña, poses for a portrait in Alameda on July 20, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This dance, of finding ways to pour into yourself and community in the face of a system built on extraction, is one that weighs heavy on Peña-Govea’s mind. She’s been steadily juggling three to four jobs since her graduation from UC Santa Cruz in 2015, following the examples of her parents, family and friends she’s seen all her life, hustling to stay afloat in a city that gets more expensive and more inhospitable over time.\u003c/p>\n\u003cp>“San Francisco is probably [my] biggest influence, besides the extensive study of traditional music,” Peña-Govea says. The city shapes her sound figuratively and literally, because all her collaborators are people from San Francisco.\u003c/p>\n\u003cp>Her hustle has paid off—the 28-year-old recently fulfilled her dream of buying a house in Oakland. But what’s the cost?\u003c/p>\n\u003cp>“I think that part of being a resident or native of a contested area is that you always have a lot of outside forces that are going to be exerting extreme amounts of pressure on you,” Peña-Govea says. “That influences the pervasiveness of gangs and gang violence. It has to do with displacement and hustle culture. It has to do with how you see yourself as worthy, right?”\u003c/p>\n\u003cp>It’s the root of all these symptoms—the crushing and relentless weight of capitalism on working class people of color—that she probes through her music as La Doña. Sure, Peña-Govea is perfectly adept at crafting the kind of anthems about loving and leaving that beckon your homegirls to the dancefloor. But she’s also got the acerbic perspective to articulate the rage and sorrow that displacement and exploitation leave in their wake.\u003c/p>\n\u003cfigure id=\"attachment_13900314\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900314\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/010_KQEDArts_Alameda_LaDona_07202021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/010_KQEDArts_Alameda_LaDona_07202021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/010_KQEDArts_Alameda_LaDona_07202021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/010_KQEDArts_Alameda_LaDona_07202021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/010_KQEDArts_Alameda_LaDona_07202021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/010_KQEDArts_Alameda_LaDona_07202021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/010_KQEDArts_Alameda_LaDona_07202021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña, sits at Alameda Beach on July 20, 2021. \u003ccite>( Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“De dónde vienen y cuando se van/Ratas que quieren comer nuestro pan,” Peña-Govea muses on the second track of her EP, “\u003ca href=\"https://youtu.be/OBpyW00wsVE\" target=\"_blank\" rel=\"noopener noreferrer\">Cuando Se Van\u003c/a>.” She laments how her beloved city has been transformed into a barely recognizable space by gentrifiers who show up empty-handed, or rats eager to eat the bread of others.\u003c/p>\n\u003cp>The song functions like a protection spell, with a desperation and fervor in Peña-Govea’s voice punctuated by horns that are conjuring up the strength of San Franciscan’s past and present as she calls upon mother nature to do the unthinkable.\u003c/p>\n\u003cp>“Sueño con terremotos, la ciudad pa’ nosotros/Sueño con temblores y ellos se van.” (“I dream of earthquakes, the city for us/I dream of tremors and their departure.”) It almost sounds sinister, if you could ever forget the damage decades of gentrification has wrought on the city and the people who shaped it.\u003c/p>\n\u003cp>“I think that the overall fear of displacement has deeply affected the psyche of every single person from the Bay Area. And that’s just something that my generation has to live with,” Peña-Govea says. “If you are able to stay in the Bay Area, then you hold that as the ejemplo of success, right? And if you leave, then it’s a heartbreak of displacement.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>La Doña performs at the \u003ca href=\"https://www.eventbrite.com/e/la-dona-free-concert-at-palo-alto-art-center-auditorium-tickets-162932518549\" target=\"_blank\" rel=\"noopener noreferrer\">Palo Alto Art Center on Aug. 7\u003c/a> and \u003ca href=\"https://stayhappening.com/e/blank-cassette-vol-12-ft-la-do%C3%B1a-E3LUSJ7VSSRH\" target=\"_blank\" rel=\"noopener noreferrer\">111 Minna Gallery\u003c/a> in San Francisco on Sept. 10. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Bridging corridos, hyphy and reggaeton, La Doña is creating a new San Francisco sound, and her impact is growing far beyond her hometown. ",
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"title": "De San Francisco Para El Mundo, La Doña’s Star Rises | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he beat dropped and the crowd parted, revealing a handful of brave dancers—thumbs hooked under jacket collars, ponytails flying, bodies bouncing, crouching low to the ground and going absolutely dumb.\u003c/p>\n\u003cp>“Frisco bitches ain’t no punks/We talk hella shit and we got hella funk/Starting the argument settling it too/Our heads hella hot and our hearts hella blue,” Cecilia Cassandra Peña-Govea rapped on “\u003ca href=\"https://www.youtube.com/watch?v=wlNUz8tjskA\" target=\"_blank\" rel=\"noopener noreferrer\">Algo Nuevo\u003c/a>.” The chorus hit and an electrified dancer in a 49ers jacket dropped into the splits.\u003c/p>\n\u003cp>It was the first day of Carnaval—San Francisco’s 40-plus year resource fair, parade and celebration—and this was the singer, songwriter and trumpet player’s first show in over a year performing as \u003ca href=\"https://www.instagram.com/ladona415/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a>. “Algo Nuevo,” her encore on the asphalt of John O’Connell High School, was both a mirror and a balm for the crowd who turned out to the neighborhood festival in late May after 14 months of grief and isolation—a distillation of what La Doña offers through her music.\u003c/p>\n\u003cp>“I was terrified,” Peña-Govea says of easing back into life after the pandemic. “But it was like, ‘Are you going to play like Carnaval with everybody who’s known you since you were a baby, and everybody?’ … And after that moment, I was like, ‘Fuck, we’re back in this.’”\u003c/p>\n\u003cp>Like for many artists, the COVID-19 pandemic derailed Peña-Govea’s plans for her career. The early months of 2020 were setting La Doña up to explode. Days before San Francisco announced shelter-in-place orders last March, she was set to celebrate the release of her first album \u003cem>Algo Nuevo\u003c/em> with a party at The Chapel. A big album rollout and national tour were to follow. Then everything was canceled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was really heartbreaking,” Peña-Govea says.\u003c/p>\n\u003cp>But even during the Bay Area’s shelter-in-place orders, La Doña did her best to keep up the momentum: she was featured in the \u003ca href=\"https://www.nytimes.com/interactive/2021/03/10/magazine/la-dona.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a> and \u003ca href=\"https://www.billboard.com/articles/business/9590674/la-dona-san-francisco-coronavirus-pandemic-summer-festivals/\" target=\"_blank\" rel=\"noopener noreferrer\">Billboard\u003c/a>, and performed for Red Bull’s virtual festival Estados Unidos de Bass.\u003c/p>\n\u003cp>Now, her career is gaining even more steam. La Doña opened the 89th season of San Francisco’s Stern Grove Festival in June, and is on the bill for Chicago’s RuidoFest, Austin City Limits and other festivals later this year. She even had a \u003ca href=\"https://www.instagram.com/p/CQ_qL2sHyZC/\" target=\"_blank\" rel=\"noopener noreferrer\">mural\u003c/a> painted in her honor outside of Casa Guadalupe Market at 26th and Mission Streets in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13900319\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900319\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/023_KQEDArts_Alameda_LaDona_07202021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/023_KQEDArts_Alameda_LaDona_07202021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/023_KQEDArts_Alameda_LaDona_07202021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/023_KQEDArts_Alameda_LaDona_07202021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/023_KQEDArts_Alameda_LaDona_07202021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/023_KQEDArts_Alameda_LaDona_07202021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/023_KQEDArts_Alameda_LaDona_07202021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña, stands at Alameda Beach on July 20, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singing in English and Spanish, the Bernal Heights native makes music that spans Latin American musical traditions. Along with her band—her father Miguel Govea, Sergio Oriache, Esai Salas, Tano Brock and Naomi Garcia Pasmanick—Peña-Govea has been working up to this since the moment her parents ushered her into the family band at age seven.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>usic was the glue in the Peña-Govea household. It was fated from the night Miguel Govea was booked to play a benefit at UC Berkeley’s law school in the 1980s. Musician and then-law student Susan Peña invited Miguel out to her car, pulled out a fiddle and played him “\u003ca href=\"https://www.youtube.com/watch?v=twrkFo_Bfug\" target=\"_blank\" rel=\"noopener noreferrer\">Jesusita en Chihuahua,\u003c/a>” a Mexican polka said to be a favorite of revolutionary Pancho Villa. (The Peña-Govea family has deep roots in San Francisco. Susan represented members of the San Francisco Lowrider Council in the 1980s when they sued the city in response to the over-policing of cruising.)\u003c/p>\n\u003cp>Miguel and Susan’s friends, and their broader community of Bernal Heights and the Mission, were all musicians. When Cecilia Peña-Govea and her older sister were born, it was only a matter of time before they learned to play an instrument.\u003c/p>\n\u003cp>“That’s a way that we connect, through music,” Peña-Govea says. “It wasn’t really a question. It was more like, if I wanted to hang out with my family than I had to play music.”\u003c/p>\n\u003cp>\u003cem>[\u003cstrong>Watch\u003c/strong>: Before she was La Doña, Cecilia Peña-Govea appeared in the below 2007 KQED Spark documentary about her family band.]\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lg3yPyfEwOo'\n title='//www.youtube.com/embed/lg3yPyfEwOo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She settled on the trumpet, her dad’s main instrument, and joined her family’s conjunto, eventually singing, too, when her sister left for college. Together they played all kinds of gigs—private parties, festivals, libraries, schools—practicing and memorizing mariachi, ranchera, bolero and son jarocho standards to be ready to play any request that came their way.\u003c/p>\n\u003cp>“You’re like a magician, pulling out new tricks,” Peña-Govea says. “You have to know not only where your strengths lie, but also what is going to make people tick. So I think that’s one of the things that is appealing about my music cross-generationally and across borders. It does integrate a lot of different styles and traditions.”\u003c/p>\n\u003cp>This set Peña-Govea up for the particular kind of alchemy she does as La Doña, weaving together musical traditions from all over the Latin American diaspora.\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/xpDmpAZpIGM'\n title='//www.youtube.com/embed/xpDmpAZpIGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n La Doña’s discography you’ll find it all: the rasp of the guira central to Colombian cumbia; the agile congas that steady Cuban salsa; the sweet vibrato of the accordion of Mexican norteñas; the syncopated dembow of reggaeton from Puerto Rico by way of Jamaica; and the 808 bass drums that direct hyphy.\u003c/p>\n\u003cp>The joy here is that she isn’t following the clumsy, lazy lead of most Western media that seeks to sweep all Latino music and culture under the same restrictive label. Instead, Peña-Govea and her band make art that explores the differences in these deeply-rooted, often liberatory sonic traditions with reverence and curiosity.\u003c/p>\n\u003cfigure id=\"attachment_13900316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900316\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/002_KQEDArts_Alameda_LaDona_07202021-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/002_KQEDArts_Alameda_LaDona_07202021-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/002_KQEDArts_Alameda_LaDona_07202021-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/002_KQEDArts_Alameda_LaDona_07202021-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/002_KQEDArts_Alameda_LaDona_07202021.jpg 875w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña, in Alameda on July 20, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also aspects of tradition that Peña-Govea rejects—namely the misogyny and machismo often embedded in the ranchera classics she and her family played. “In our reproduction of that culture, I think every member of my family felt an urgent responsibility to do work in other ways that would counter that,” Peña-Govea says, adding that these belief systems were so counter to the LGBTQ-inclusive and feminist space she grew up in.\u003c/p>\n\u003cp>Sure, she’ll sing a crowd pleaser that’s dripping in misogyny like Tierra Cali’s “\u003ca href=\"https://www.youtube.com/watch?v=euhOUgvaRuE\" target=\"_blank\" rel=\"noopener noreferrer\">Yo Fui Quien Te Hizo Mujer\u003c/a>,” but the center of power gets flipped when she sings it. And in her capacity as a songwriter, she’ll turn around and write her own song skewering machismo.\u003c/p>\n\u003cp>“I feel a joy engaging with traditional music. And I get even more excited to be appropriated in a way that is radical and true to me,” she says.\u003c/p>\n\u003cp>In that way, La Doña is part of a wave of younger Latino musicians who are upending the strictures placed upon them by outdated conceptions of their identity. Artists like Cuco, San Cha, Combo Chimbita and Reyna Tropical—and even Natanael Cano, with his muddy corridos—are taking the music they grew up on and recontextualizing it. They’re subverting the deep-rooted machismo, probing at power structures or bringing in modern trap into folk ballads. And they’re figuring out ways to do it on their terms.\u003c/p>\n\u003cfigure id=\"attachment_13900318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/017_KQEDArts_Alameda_LaDona_07202021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/017_KQEDArts_Alameda_LaDona_07202021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/017_KQEDArts_Alameda_LaDona_07202021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/017_KQEDArts_Alameda_LaDona_07202021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/017_KQEDArts_Alameda_LaDona_07202021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/017_KQEDArts_Alameda_LaDona_07202021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/017_KQEDArts_Alameda_LaDona_07202021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña, sits at Alameda Beach on July 20, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Peña-Govea, her musical upbringing was formative to her conceptualization of her identity as a Mexican American, both revealing the vast and dynamic nature of all it can encompass and the way American culture struggles to see that.\u003c/p>\n\u003cp>“San Francisco and the Mission District is unique in that it’s a hub of a lot of Central and South Americans as well,” Peña-Govea says. “I know I’m Mexican, and I know the food that we’re eating at home is Mexican. I know that a lot of the music that I grew up learning was Mexican, but at the same time, we’re playing nueva cancion, we’re playing vals criollo, we’re playing salsa—we’re playing all different types of music for all different types of people.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">L\u003c/span>\u003c/p>\u003cp>atinidad as a label is too constricting to be accurate, either for music or as an organizing principle.\u003c/p>\n\u003cp>“Being a working musician, I came to understand my identity first through being consumed,” Peña-Govea says, recalling that at a very early age she was aware that their gigs were an exchange of culture for capital. She had to reconcile the tension between the connection she felt performing Mexican music and the eagerness with which the wealthy white people who booked the band commodified it.\u003c/p>\n\u003cp>She built a self-protective filter. “A way to not endure the heartbreak of that, and the pain of that, is that with this hand I take, and with this hand I give back,” she explains. “What the exchange was here at the white person’s Mexican-themed party means that I get to show out and play at 24th Street BART and play for my people and be celebrated and feel a sense of belonging.”\u003c/p>\n\u003cfigure id=\"attachment_13900315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/005_KQEDArts_Alameda_LaDona_07202021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/005_KQEDArts_Alameda_LaDona_07202021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/005_KQEDArts_Alameda_LaDona_07202021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/005_KQEDArts_Alameda_LaDona_07202021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/005_KQEDArts_Alameda_LaDona_07202021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/005_KQEDArts_Alameda_LaDona_07202021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/005_KQEDArts_Alameda_LaDona_07202021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña, poses for a portrait in Alameda on July 20, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This dance, of finding ways to pour into yourself and community in the face of a system built on extraction, is one that weighs heavy on Peña-Govea’s mind. She’s been steadily juggling three to four jobs since her graduation from UC Santa Cruz in 2015, following the examples of her parents, family and friends she’s seen all her life, hustling to stay afloat in a city that gets more expensive and more inhospitable over time.\u003c/p>\n\u003cp>“San Francisco is probably [my] biggest influence, besides the extensive study of traditional music,” Peña-Govea says. The city shapes her sound figuratively and literally, because all her collaborators are people from San Francisco.\u003c/p>\n\u003cp>Her hustle has paid off—the 28-year-old recently fulfilled her dream of buying a house in Oakland. But what’s the cost?\u003c/p>\n\u003cp>“I think that part of being a resident or native of a contested area is that you always have a lot of outside forces that are going to be exerting extreme amounts of pressure on you,” Peña-Govea says. “That influences the pervasiveness of gangs and gang violence. It has to do with displacement and hustle culture. It has to do with how you see yourself as worthy, right?”\u003c/p>\n\u003cp>It’s the root of all these symptoms—the crushing and relentless weight of capitalism on working class people of color—that she probes through her music as La Doña. Sure, Peña-Govea is perfectly adept at crafting the kind of anthems about loving and leaving that beckon your homegirls to the dancefloor. But she’s also got the acerbic perspective to articulate the rage and sorrow that displacement and exploitation leave in their wake.\u003c/p>\n\u003cfigure id=\"attachment_13900314\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900314\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/010_KQEDArts_Alameda_LaDona_07202021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/010_KQEDArts_Alameda_LaDona_07202021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/010_KQEDArts_Alameda_LaDona_07202021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/010_KQEDArts_Alameda_LaDona_07202021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/010_KQEDArts_Alameda_LaDona_07202021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/010_KQEDArts_Alameda_LaDona_07202021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/010_KQEDArts_Alameda_LaDona_07202021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña, sits at Alameda Beach on July 20, 2021. \u003ccite>( Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“De dónde vienen y cuando se van/Ratas que quieren comer nuestro pan,” Peña-Govea muses on the second track of her EP, “\u003ca href=\"https://youtu.be/OBpyW00wsVE\" target=\"_blank\" rel=\"noopener noreferrer\">Cuando Se Van\u003c/a>.” She laments how her beloved city has been transformed into a barely recognizable space by gentrifiers who show up empty-handed, or rats eager to eat the bread of others.\u003c/p>\n\u003cp>The song functions like a protection spell, with a desperation and fervor in Peña-Govea’s voice punctuated by horns that are conjuring up the strength of San Franciscan’s past and present as she calls upon mother nature to do the unthinkable.\u003c/p>\n\u003cp>“Sueño con terremotos, la ciudad pa’ nosotros/Sueño con temblores y ellos se van.” (“I dream of earthquakes, the city for us/I dream of tremors and their departure.”) It almost sounds sinister, if you could ever forget the damage decades of gentrification has wrought on the city and the people who shaped it.\u003c/p>\n\u003cp>“I think that the overall fear of displacement has deeply affected the psyche of every single person from the Bay Area. And that’s just something that my generation has to live with,” Peña-Govea says. “If you are able to stay in the Bay Area, then you hold that as the ejemplo of success, right? And if you leave, then it’s a heartbreak of displacement.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>La Doña performs at the \u003ca href=\"https://www.eventbrite.com/e/la-dona-free-concert-at-palo-alto-art-center-auditorium-tickets-162932518549\" target=\"_blank\" rel=\"noopener noreferrer\">Palo Alto Art Center on Aug. 7\u003c/a> and \u003ca href=\"https://stayhappening.com/e/blank-cassette-vol-12-ft-la-do%C3%B1a-E3LUSJ7VSSRH\" target=\"_blank\" rel=\"noopener noreferrer\">111 Minna Gallery\u003c/a> in San Francisco on Sept. 10. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "milk-sf-ground-control-coffee-batch-brewer",
"title": "With Its Fancy New Coffee Machine, Milk SF Wants to Help Revolutionize the Service Industry",
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"headTitle": "With Its Fancy New Coffee Machine, Milk SF Wants to Help Revolutionize the Service Industry | KQED",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]S[/dropcap]haron Ratton was metalcasting in the Bayview when the world stopped. She stepped back, tried to turn COVID into an opportunity to develop new skills. Maybe furniture making. That’s when she met Katey “Scoots” McKee, known affectionately as such by her many friends in the queer community. The two met three days after Ratton’s birthday in September 2019.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ratton says the date turned out to be her real birthday present. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I put on my best shoes to take her out to a fancy dinner,” the longtime metalworker says. “It must have worked because we’re still together.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Once the pandemic hit, the couple stayed in each other’s pods before they uhauled, a term in the queer community for lesbians moving in together. Then came a new kind of proposal. “We got engaged first,” McKee says. “But instead of planning an engagement we decided to plan a business.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That business, a new coffee shop in the Mission called Milk SF, will open on Saturday, June 26 at Mission and 14th. \u003c/span>\u003ca href=\"https://www.sfchronicle.com/food/article/An-all-day-queer-cafe-serving-inventive-coffee-is-16256143.php\">\u003cspan style=\"font-weight: 400\">The cafe will serve nice pastries and nitro coffee\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. But it’s also touting a new piece of coffee technology from West Oakland’s Ground Control Coffee that the business claims will revolutionize the coffee world—if it hasn’t already. \u003c/span>\u003c/p>\n\u003ch2>\u003cspan style=\"font-weight: 400\"> A Fancy New Coffee Machine\u003c/span>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We make bold claims,” Eli Salomon, owner and founder of Ground Control Coffee, says. “But they’re backed with data. It’s better than any pour-over a barista can make on a repeatable basis.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s a bold claim indeed, considering how ubiquitous the pour-over approach has been in the Bay Area’s high-end coffee scene, each individual cup meticulously hand-brewed by a barista wielding a small copper kettle. Ground Control’s brewer, on the other hand, is the first new batch brewing technology—wherein a machine quickly brews a large quantity of coffee—since the 1950s. The \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Forbidden Planet\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">–looking device uses a patented vacuum technology to extract coffee from the grounds two or three times, drying the coffee grounds between takes to prevent bitterness. Your typical drip coffee brewer uses gravity to bring water through the grounds. The Ground Control machine fully immerses the coffee grounds in water, more like a French press.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13899389\" class=\"wp-caption alignright\" style=\"max-width: 1072px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899389\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Merchant-Coffee-in-Prescott-AZ-ZOOMED-in.-Photo-Credit-Sean-Marin-Merchant-Coffee.jpg\" alt=\"Close-up view of Ground Control's space age–looking machine, with coffee brewing in a clear glass cylinder on top.\" width=\"1072\" height=\"1317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Merchant-Coffee-in-Prescott-AZ-ZOOMED-in.-Photo-Credit-Sean-Marin-Merchant-Coffee.jpg 1072w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Merchant-Coffee-in-Prescott-AZ-ZOOMED-in.-Photo-Credit-Sean-Marin-Merchant-Coffee-800x983.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Merchant-Coffee-in-Prescott-AZ-ZOOMED-in.-Photo-Credit-Sean-Marin-Merchant-Coffee-1020x1253.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Merchant-Coffee-in-Prescott-AZ-ZOOMED-in.-Photo-Credit-Sean-Marin-Merchant-Coffee-160x197.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Merchant-Coffee-in-Prescott-AZ-ZOOMED-in.-Photo-Credit-Sean-Marin-Merchant-Coffee-768x944.jpg 768w\" sizes=\"(max-width: 1072px) 100vw, 1072px\">\u003cfigcaption class=\"wp-caption-text\">Close-up view of the Ground Control Coffee brewer’s patented vacuum brewing mechanism in action at Merchant Coffee in Prescott, Arizona. \u003ccite>(Sean Marin/Merchant Coffee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The coffee industry has always been dynamic, even if classic diners are still making their coffee with old-fashioned Bunn brewers. More recently, FETCO coffee brewers added important innovations like customizable settings for brew time, temperature and volume. And “smart” brewing, as practiced by companies like Ground Control, is a quantum leap.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Salomon says his machine has passed every hurdle. It even manages to earn green points by using ⅔ the amount of coffee beans to produce the same cup as other brewers. Salomon says there was a lot of skepticism when Ground Control launched in Salomon’s San Francisco kitchen eight years ago. “Now,” he says, “folks have had a chance to try the cup, and most of our critics have joined our side.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Count Umeko Motoyoshi among those who are fully convinced. They are the host of coffee podcast \u003c/span>\u003ca href=\"https://abettertable.libsyn.com\">\u003ci>\u003cspan style=\"font-weight: 400\">A Better Table\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> and are \u003c/span>\u003ca href=\"https://www.baristamagazine.com/umeshiso/\">\u003cspan style=\"font-weight: 400\">high-key famous in the coffee world\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The \u003c/span>\u003ca href=\"https://www.coffeeinstitute.org/our-work/a_common_language/what-is-a-q-grader/\">\u003cspan style=\"font-weight: 400\">Q grader\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and former barista spent an entire week solely focused on learning how the Ground Control machine works. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“With a batch brewer, baristas don’t have to live in fight-or-flight mode just to keep up,” Motoyoshi writes in an email to KQED. “And Ground Control’s extraction technology is such that it’s not just consistent, it’s consistently excellent.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The labor-saving aspect of the machine, which can produce 11 12-ounce cups of freshly brewed coffee at the touch of a button, is especially appealing to Motoyoshi. They say that the expectations that customers have of a cafe can never really be fulfilled by the baristas, and that any technology that can support the work experience is a godsend. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This would have saved so much stress, hassle, and bodily wear and tear,” Motoyoshi writes of their time working the bar. “Moreover, it would have sent a message that the owner cared about my health and happiness.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The machine also impressed Helen Russell, co-owner and founder of Equator Coffees and Tea, who says the difference is “like propeller planes to jets.” Russell used to drill extra holes into the baskets of her Bunn batch brewer in order to coax more flavor out of the beans. Now that she’s installed the Ground Control brewer in her Fort Mason shop, making Equator Salomon’s first Bay Area customer, those extra steps are no longer necessary. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For us to be putting it in our stores says something about the product,” Russell says. “It was a huge risk.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, Equator’s Proof Lab in Mill Valley and its new location in Culver City also use Ground Control machines. The Michelin three-starred chef Dominique Crenn even asked about the machine during a visit to Equator. Now she’s got one in her new Salesforce Tower bakery. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Throughout the world the company has placed a little over 200 of their machines. In the Bay Area, they’ve installed about 30. But in the coffee shop–laden Mission, the technology is still catching on. While Dandelion Chocolate sports a Ground Control brewer, Milk SF is the only business \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">exclusively \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">using the rig.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In part, that decision was the result of a personal connection between the two businesses. Long before Salomon launched Ground Control, he would get his hair cut by McKee at Glama-rama!, the venerable Mission District hair salon she now owns, every few weeks for the better part of a decade. Knowing McKee loved coffee, he invited her for tastings in his living room once he’d developed a prototype. At the time, McKee joked that she would buy a machine from Salomon one day. “I have a friend who is going to change coffee,” she says. “And now I have the opportunity to be a part of it.”\u003c/span>\u003c/p>\n\u003ch2>A Better Post-Pandemic Service Industry\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Does the coffee itself live up to the hype? A few weeks ago, I had the chance to sit outside Ground Control’s retrofitted garage warehouse in West Oakland, sipping coffee prepared on the machine as a generous East Bay sun beamed down. And I, too, was convinced: The coffee was really, really good. It reminded me of the first time I tried coffee at a Bay Area coffee shop back in 2018 and my small-town Washington mind was fully blown. Clean, fruity, sweet and tasty—words I had never associated with coffee. The Ground Control coffee felt similarly new.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But cafes are about more than just the taste of their coffee: They’re about the time, labor and money that go into their drinks, too. According to Salomon, Ground Control aims to make a positive difference in those aspects as well.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Service folks should live without fear that they won’t be able to pay their student loans,” Salomon says. “To make ends meet, cafe owners sometimes take money from their staff in the form of permanent below-living wages, and that isn’t ethical. If you can’t pay your team in a way that they can live in their community without fear of a deep financial burden, \u003c/span>\u003cspan style=\"font-weight: 400\">that’s a doomed scenario\u003c/span>\u003cspan style=\"font-weight: 400\">.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13899391\" class=\"wp-caption alignleft\" style=\"max-width: 975px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899391\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/392-Caffe-in-Davenport-IA.-Photo-Credit-Matt-Umland.jpg\" alt=\"A Ground Control Coffee batch brewer in a coffee shop in front of an exposed brick wall with shelving.\" width=\"975\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/392-Caffe-in-Davenport-IA.-Photo-Credit-Matt-Umland.jpg 975w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/392-Caffe-in-Davenport-IA.-Photo-Credit-Matt-Umland-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/392-Caffe-in-Davenport-IA.-Photo-Credit-Matt-Umland-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/392-Caffe-in-Davenport-IA.-Photo-Credit-Matt-Umland-768x512.jpg 768w\" sizes=\"(max-width: 975px) 100vw, 975px\">\u003cfigcaption class=\"wp-caption-text\">A Ground Control machine in the wild at 392 Caffe in Davenport, Iowa. \u003ccite>(Matt Umland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Ground Control system runs about four times the cost of a typical drip machine, but to Salomon, the high price point of the machine is an investment in community betterment. The machine is easy to use, which means there’s less of a barrier to entry for someone to become a skilled barista. And because the coffee produced by the Ground Control machines is popular, in theory they allow business owners to pay their employees better, too. In Tulsa, Oklahoma, for example, Ground Control customer Cirque Coffee went from selling five gallons of iced latte a day to 30 gallons, earning an estimated additional revenue of $40,000 a month. It’s unsurprising, then, that Ground Control’s business \u003ci>septupled\u003c/i> during the pandemic. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s true, however, that a coffee shop owner might simply choose to pocket any additional profits rather than hire back COVID-furloughed employees. The relative simplicity of the Ground Control machines might even allow a cafe to reduce its workforce even further. Salomon, for his part, says he doesn’t want Ground Control to replace employees. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One of the great tragedies of COVID has been that many members of the coffee community have lost their jobs,” he says. “And many of them being those at the \u003c/span>\u003cspan style=\"font-weight: 400\">most financially vulnerable members of the coffee community, in entry-level roles\u003c/span>\u003cspan style=\"font-weight: 400\">.” \u003c/span>\u003c/p>\n\u003cp>[pullquote size=\"large\" align=\"right\" citation=\"Umeko Motoyoshi of \u003cem>A Better Table\u003c/em>\"]“The belief that baristas should hand-pour each coffee borders on a fetishization of service labor.”[/pullquote]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Salomon says proper implementation should keep income high and staff turnover low. And for baristas at Ground Control–equipped shops, the tech also has the potential to improve the quality of their work life. Salomon says his brewer frees up baristas so they have time to build the meaningful customer relationships that allow local businesses to thrive. For instance, the machine makes a batch of cold brew in just eight minutes (instead of overnight), so cafe workers never have to scramble to make \u003c/span>\u003ca href=\"https://www.grandviewresearch.com/press-release/global-cold-brew-coffee-market\">\u003cspan style=\"font-weight: 400\">more of the increasingly popular drink\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. According to Russell at Equator, those time savings allow baristas to learn more about coffee and machine repair without having to constantly whip out drinks.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Replacing pour-over might also be a step toward making the job of a barista more sustainable. “In my opinion, the belief that baristas should hand-pour each coffee borders on a fetishization of service labor,” Motoyoshi writes. “It’s just not possible to execute that level of quality again and again, flawlessly, for hours.”\u003c/span>\u003c/p>\n\u003ch2>\u003cb>A Healthier Place to Work\u003c/b>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">The bright pink walls of Glama-Rama! let you know you’ve arrived at one of the Mission’s most venerable hair salons. It’s been around almost 25 years and has about 10,000 clients. McKee \u003c/span>\u003cspan style=\"font-weight: 400\">purchased the famous business from its founder in\u003c/span>\u003cspan style=\"font-weight: 400\"> December 2016. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Queers on the East Coast know about us,” McKee says. “Working there is where I had my own self-discovery.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With Milk SF, she and Ratton wanted to create a daytime space that would be \u003c/span>\u003cspan style=\"font-weight: 400\">accessible to the queer community—and to create jobs for that community in the same way as the salon.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When we opened the business, Scoots says to me, ‘Put your labor where your mouth is,’” Ratton says.\u003c/span>\u003cspan style=\"font-weight: 400\"> To get the business off the ground, they’ve opted to DIY everywhere they can.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s COVID, so budgets are tight,” Ratton says. “Luckily I have a lot of friends who are carpenters and metalsmiths.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s not lost on them that they are across the street from Four Barrel, \u003c/span>\u003ca href=\"https://sprudge.com/four-barrel-129581.html\">\u003cspan style=\"font-weight: 400\">a coffee company that has faced accusations of sexual harassment and of being a toxic workplace.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> “I’ve worked on the block the entire time,” McKee says. “What happened was wrong.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='bayareabites_133282,bayareabites_130967,bayareabites_138574']McKee also chose Ground Control in part because she doesn’t want to compete directly with the established shops nearby. She’s hoping it’ll be a magnet for deep coffee nerds, too. And, as another way to distinguish themselves, they plan to use the machine to batch-make tea.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Having the machine in our space lets us do something a little different than everyone else on that block,” McKee says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The machine’s reliability is also a big sell. \u003c/span>\u003cspan style=\"font-weight: 400\">The folks at Glama-Rama! have gone through many defunct Mr. Coffee machines, McKee laments. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">McKee and Ratton also want to \u003c/span>\u003cspan style=\"font-weight: 400\">bring Salomon’s vision of a better service industry to fruition at their shop. \u003c/span>\u003cspan style=\"font-weight: 400\">McKee notes that in her work as a hairstylist, and during a stint working at a Peet’s, she has suffered from tendinitis.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In fact, many baristas experience wrist and elbow injuries in the long term, and panic attacks behind the bar are also quite common, Motoyoshi confirms.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Most folks don’t realize the specialty coffee industry chronically overworks baristas,” Motoyoshi writes. “Considering all this, it’s amazing how good baristas are at producing consistent coffee.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What McKee and Ratton are hoping is that Ground Control will help them to create a healthier work environment. For a small, bootstrapped cafe like Milk SF, the machine’s ease of use also means they’ll be able to get their business up and running more quickly than they would otherwise.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We’re in our thirties. We don’t have time to waste,” Ratton says.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.milk-sf.com/\">Milk SF\u003c/a> opens on Saturday, June 26 at 302 Valencia St. in San Francisco. It will be open daily 9 a.m.–5 p.m.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci data-stringify-type=\"italic\">A previous version of this article contained a quote by Katey McKee that has been interpreted as downplaying workplace allegations at Four Barrel Coffee. This was not McKee’s intention. After consultation and review, KQED has agreed to remove the quote.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>haron Ratton was metalcasting in the Bayview when the world stopped. She stepped back, tried to turn COVID into an opportunity to develop new skills. Maybe furniture making. That’s when she met Katey “Scoots” McKee, known affectionately as such by her many friends in the queer community. The two met three days after Ratton’s birthday in September 2019.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ratton says the date turned out to be her real birthday present. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I put on my best shoes to take her out to a fancy dinner,” the longtime metalworker says. “It must have worked because we’re still together.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Once the pandemic hit, the couple stayed in each other’s pods before they uhauled, a term in the queer community for lesbians moving in together. Then came a new kind of proposal. “We got engaged first,” McKee says. “But instead of planning an engagement we decided to plan a business.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That business, a new coffee shop in the Mission called Milk SF, will open on Saturday, June 26 at Mission and 14th. \u003c/span>\u003ca href=\"https://www.sfchronicle.com/food/article/An-all-day-queer-cafe-serving-inventive-coffee-is-16256143.php\">\u003cspan style=\"font-weight: 400\">The cafe will serve nice pastries and nitro coffee\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. But it’s also touting a new piece of coffee technology from West Oakland’s Ground Control Coffee that the business claims will revolutionize the coffee world—if it hasn’t already. \u003c/span>\u003c/p>\n\u003ch2>\u003cspan style=\"font-weight: 400\"> A Fancy New Coffee Machine\u003c/span>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We make bold claims,” Eli Salomon, owner and founder of Ground Control Coffee, says. “But they’re backed with data. It’s better than any pour-over a barista can make on a repeatable basis.”\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\">That’s a bold claim indeed, considering how ubiquitous the pour-over approach has been in the Bay Area’s high-end coffee scene, each individual cup meticulously hand-brewed by a barista wielding a small copper kettle. Ground Control’s brewer, on the other hand, is the first new batch brewing technology—wherein a machine quickly brews a large quantity of coffee—since the 1950s. The \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Forbidden Planet\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">–looking device uses a patented vacuum technology to extract coffee from the grounds two or three times, drying the coffee grounds between takes to prevent bitterness. Your typical drip coffee brewer uses gravity to bring water through the grounds. The Ground Control machine fully immerses the coffee grounds in water, more like a French press.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13899389\" class=\"wp-caption alignright\" style=\"max-width: 1072px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899389\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Merchant-Coffee-in-Prescott-AZ-ZOOMED-in.-Photo-Credit-Sean-Marin-Merchant-Coffee.jpg\" alt=\"Close-up view of Ground Control's space age–looking machine, with coffee brewing in a clear glass cylinder on top.\" width=\"1072\" height=\"1317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Merchant-Coffee-in-Prescott-AZ-ZOOMED-in.-Photo-Credit-Sean-Marin-Merchant-Coffee.jpg 1072w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Merchant-Coffee-in-Prescott-AZ-ZOOMED-in.-Photo-Credit-Sean-Marin-Merchant-Coffee-800x983.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Merchant-Coffee-in-Prescott-AZ-ZOOMED-in.-Photo-Credit-Sean-Marin-Merchant-Coffee-1020x1253.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Merchant-Coffee-in-Prescott-AZ-ZOOMED-in.-Photo-Credit-Sean-Marin-Merchant-Coffee-160x197.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Merchant-Coffee-in-Prescott-AZ-ZOOMED-in.-Photo-Credit-Sean-Marin-Merchant-Coffee-768x944.jpg 768w\" sizes=\"(max-width: 1072px) 100vw, 1072px\">\u003cfigcaption class=\"wp-caption-text\">Close-up view of the Ground Control Coffee brewer’s patented vacuum brewing mechanism in action at Merchant Coffee in Prescott, Arizona. \u003ccite>(Sean Marin/Merchant Coffee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The coffee industry has always been dynamic, even if classic diners are still making their coffee with old-fashioned Bunn brewers. More recently, FETCO coffee brewers added important innovations like customizable settings for brew time, temperature and volume. And “smart” brewing, as practiced by companies like Ground Control, is a quantum leap.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Salomon says his machine has passed every hurdle. It even manages to earn green points by using ⅔ the amount of coffee beans to produce the same cup as other brewers. Salomon says there was a lot of skepticism when Ground Control launched in Salomon’s San Francisco kitchen eight years ago. “Now,” he says, “folks have had a chance to try the cup, and most of our critics have joined our side.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Count Umeko Motoyoshi among those who are fully convinced. They are the host of coffee podcast \u003c/span>\u003ca href=\"https://abettertable.libsyn.com\">\u003ci>\u003cspan style=\"font-weight: 400\">A Better Table\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> and are \u003c/span>\u003ca href=\"https://www.baristamagazine.com/umeshiso/\">\u003cspan style=\"font-weight: 400\">high-key famous in the coffee world\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The \u003c/span>\u003ca href=\"https://www.coffeeinstitute.org/our-work/a_common_language/what-is-a-q-grader/\">\u003cspan style=\"font-weight: 400\">Q grader\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and former barista spent an entire week solely focused on learning how the Ground Control machine works. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“With a batch brewer, baristas don’t have to live in fight-or-flight mode just to keep up,” Motoyoshi writes in an email to KQED. “And Ground Control’s extraction technology is such that it’s not just consistent, it’s consistently excellent.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The labor-saving aspect of the machine, which can produce 11 12-ounce cups of freshly brewed coffee at the touch of a button, is especially appealing to Motoyoshi. They say that the expectations that customers have of a cafe can never really be fulfilled by the baristas, and that any technology that can support the work experience is a godsend. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This would have saved so much stress, hassle, and bodily wear and tear,” Motoyoshi writes of their time working the bar. “Moreover, it would have sent a message that the owner cared about my health and happiness.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The machine also impressed Helen Russell, co-owner and founder of Equator Coffees and Tea, who says the difference is “like propeller planes to jets.” Russell used to drill extra holes into the baskets of her Bunn batch brewer in order to coax more flavor out of the beans. Now that she’s installed the Ground Control brewer in her Fort Mason shop, making Equator Salomon’s first Bay Area customer, those extra steps are no longer necessary. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For us to be putting it in our stores says something about the product,” Russell says. “It was a huge risk.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, Equator’s Proof Lab in Mill Valley and its new location in Culver City also use Ground Control machines. The Michelin three-starred chef Dominique Crenn even asked about the machine during a visit to Equator. Now she’s got one in her new Salesforce Tower bakery. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Throughout the world the company has placed a little over 200 of their machines. In the Bay Area, they’ve installed about 30. But in the coffee shop–laden Mission, the technology is still catching on. While Dandelion Chocolate sports a Ground Control brewer, Milk SF is the only business \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">exclusively \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">using the rig.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In part, that decision was the result of a personal connection between the two businesses. Long before Salomon launched Ground Control, he would get his hair cut by McKee at Glama-rama!, the venerable Mission District hair salon she now owns, every few weeks for the better part of a decade. Knowing McKee loved coffee, he invited her for tastings in his living room once he’d developed a prototype. At the time, McKee joked that she would buy a machine from Salomon one day. “I have a friend who is going to change coffee,” she says. “And now I have the opportunity to be a part of it.”\u003c/span>\u003c/p>\n\u003ch2>A Better Post-Pandemic Service Industry\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Does the coffee itself live up to the hype? A few weeks ago, I had the chance to sit outside Ground Control’s retrofitted garage warehouse in West Oakland, sipping coffee prepared on the machine as a generous East Bay sun beamed down. And I, too, was convinced: The coffee was really, really good. It reminded me of the first time I tried coffee at a Bay Area coffee shop back in 2018 and my small-town Washington mind was fully blown. Clean, fruity, sweet and tasty—words I had never associated with coffee. The Ground Control coffee felt similarly new.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But cafes are about more than just the taste of their coffee: They’re about the time, labor and money that go into their drinks, too. According to Salomon, Ground Control aims to make a positive difference in those aspects as well.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Service folks should live without fear that they won’t be able to pay their student loans,” Salomon says. “To make ends meet, cafe owners sometimes take money from their staff in the form of permanent below-living wages, and that isn’t ethical. If you can’t pay your team in a way that they can live in their community without fear of a deep financial burden, \u003c/span>\u003cspan style=\"font-weight: 400\">that’s a doomed scenario\u003c/span>\u003cspan style=\"font-weight: 400\">.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13899391\" class=\"wp-caption alignleft\" style=\"max-width: 975px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899391\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/392-Caffe-in-Davenport-IA.-Photo-Credit-Matt-Umland.jpg\" alt=\"A Ground Control Coffee batch brewer in a coffee shop in front of an exposed brick wall with shelving.\" width=\"975\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/392-Caffe-in-Davenport-IA.-Photo-Credit-Matt-Umland.jpg 975w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/392-Caffe-in-Davenport-IA.-Photo-Credit-Matt-Umland-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/392-Caffe-in-Davenport-IA.-Photo-Credit-Matt-Umland-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/392-Caffe-in-Davenport-IA.-Photo-Credit-Matt-Umland-768x512.jpg 768w\" sizes=\"(max-width: 975px) 100vw, 975px\">\u003cfigcaption class=\"wp-caption-text\">A Ground Control machine in the wild at 392 Caffe in Davenport, Iowa. \u003ccite>(Matt Umland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Ground Control system runs about four times the cost of a typical drip machine, but to Salomon, the high price point of the machine is an investment in community betterment. The machine is easy to use, which means there’s less of a barrier to entry for someone to become a skilled barista. And because the coffee produced by the Ground Control machines is popular, in theory they allow business owners to pay their employees better, too. In Tulsa, Oklahoma, for example, Ground Control customer Cirque Coffee went from selling five gallons of iced latte a day to 30 gallons, earning an estimated additional revenue of $40,000 a month. It’s unsurprising, then, that Ground Control’s business \u003ci>septupled\u003c/i> during the pandemic. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s true, however, that a coffee shop owner might simply choose to pocket any additional profits rather than hire back COVID-furloughed employees. The relative simplicity of the Ground Control machines might even allow a cafe to reduce its workforce even further. Salomon, for his part, says he doesn’t want Ground Control to replace employees. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“One of the great tragedies of COVID has been that many members of the coffee community have lost their jobs,” he says. “And many of them being those at the \u003c/span>\u003cspan style=\"font-weight: 400\">most financially vulnerable members of the coffee community, in entry-level roles\u003c/span>\u003cspan style=\"font-weight: 400\">.” \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\">But Salomon says proper implementation should keep income high and staff turnover low. And for baristas at Ground Control–equipped shops, the tech also has the potential to improve the quality of their work life. Salomon says his brewer frees up baristas so they have time to build the meaningful customer relationships that allow local businesses to thrive. For instance, the machine makes a batch of cold brew in just eight minutes (instead of overnight), so cafe workers never have to scramble to make \u003c/span>\u003ca href=\"https://www.grandviewresearch.com/press-release/global-cold-brew-coffee-market\">\u003cspan style=\"font-weight: 400\">more of the increasingly popular drink\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. According to Russell at Equator, those time savings allow baristas to learn more about coffee and machine repair without having to constantly whip out drinks.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Replacing pour-over might also be a step toward making the job of a barista more sustainable. “In my opinion, the belief that baristas should hand-pour each coffee borders on a fetishization of service labor,” Motoyoshi writes. “It’s just not possible to execute that level of quality again and again, flawlessly, for hours.”\u003c/span>\u003c/p>\n\u003ch2>\u003cb>A Healthier Place to Work\u003c/b>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">The bright pink walls of Glama-Rama! let you know you’ve arrived at one of the Mission’s most venerable hair salons. It’s been around almost 25 years and has about 10,000 clients. McKee \u003c/span>\u003cspan style=\"font-weight: 400\">purchased the famous business from its founder in\u003c/span>\u003cspan style=\"font-weight: 400\"> December 2016. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Queers on the East Coast know about us,” McKee says. “Working there is where I had my own self-discovery.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With Milk SF, she and Ratton wanted to create a daytime space that would be \u003c/span>\u003cspan style=\"font-weight: 400\">accessible to the queer community—and to create jobs for that community in the same way as the salon.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When we opened the business, Scoots says to me, ‘Put your labor where your mouth is,’” Ratton says.\u003c/span>\u003cspan style=\"font-weight: 400\"> To get the business off the ground, they’ve opted to DIY everywhere they can.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s COVID, so budgets are tight,” Ratton says. “Luckily I have a lot of friends who are carpenters and metalsmiths.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s not lost on them that they are across the street from Four Barrel, \u003c/span>\u003ca href=\"https://sprudge.com/four-barrel-129581.html\">\u003cspan style=\"font-weight: 400\">a coffee company that has faced accusations of sexual harassment and of being a toxic workplace.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> “I’ve worked on the block the entire time,” McKee says. “What happened was wrong.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>McKee also chose Ground Control in part because she doesn’t want to compete directly with the established shops nearby. She’s hoping it’ll be a magnet for deep coffee nerds, too. And, as another way to distinguish themselves, they plan to use the machine to batch-make tea.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Having the machine in our space lets us do something a little different than everyone else on that block,” McKee says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The machine’s reliability is also a big sell. \u003c/span>\u003cspan style=\"font-weight: 400\">The folks at Glama-Rama! have gone through many defunct Mr. Coffee machines, McKee laments. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">McKee and Ratton also want to \u003c/span>\u003cspan style=\"font-weight: 400\">bring Salomon’s vision of a better service industry to fruition at their shop. \u003c/span>\u003cspan style=\"font-weight: 400\">McKee notes that in her work as a hairstylist, and during a stint working at a Peet’s, she has suffered from tendinitis.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In fact, many baristas experience wrist and elbow injuries in the long term, and panic attacks behind the bar are also quite common, Motoyoshi confirms.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Most folks don’t realize the specialty coffee industry chronically overworks baristas,” Motoyoshi writes. “Considering all this, it’s amazing how good baristas are at producing consistent coffee.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What McKee and Ratton are hoping is that Ground Control will help them to create a healthier work environment. For a small, bootstrapped cafe like Milk SF, the machine’s ease of use also means they’ll be able to get their business up and running more quickly than they would otherwise.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We’re in our thirties. We don’t have time to waste,” Ratton says.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.milk-sf.com/\">Milk SF\u003c/a> opens on Saturday, June 26 at 302 Valencia St. in San Francisco. It will be open daily 9 a.m.–5 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci data-stringify-type=\"italic\">A previous version of this article contained a quote by Katey McKee that has been interpreted as downplaying workplace allegations at Four Barrel Coffee. This was not McKee’s intention. After consultation and review, KQED has agreed to remove the quote.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Food transcends language, and for immigrants in a country where everything is new, food can help bridge that divide.\u003c/p>\n\u003cp>16 years ago, Maria del Carmen Flores founded \u003ca href=\"https://www.estrellitassnackssf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Estrellita’s Snacks\u003c/a> in the heart of the Mission as a food vending operation, selling a variety of Salvadoran antojitos like plátanos fritos and yucca and plantain chips in local bars and businesses.\u003c/p>\n\u003cp>Today, Maria’s daughter Estrella Gonzalez leads the business with her children, Estrella Natale Oceguera and Angel Acevedo. After waiting two years, Estrellita’s Snacks finally opened in \u003ca href=\"https://lacocinamarketplace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">La Cocina’s Municipal Marketplace\u003c/a> alongside other small businesses led by women chefs and entrepreneurs. Though Maria del Carmen no longer works onsite at the restaurant, Estrella, Natale and Angel carry on her legacy.\u003c/p>\n\u003cp>In a bilingual conversation \u003ca href=\"https://www.facebook.com/11319471190/videos/359038808901387\" target=\"_blank\" rel=\"noopener noreferrer\">as part of KQED’s \u003cem>Mi Herencia \u003c/em>event series\u003c/a>\u003cem>, \u003c/em>KQED en Español reporter Carlos Cabrera-Lomeli spoke with the two generations of Estrellita’s Snacks about perfecting plátano frying techniques, starting your own business as an immigrant entrepreneur, and lessons they learned from their family matriarch.\u003c/p>\n\u003cp>\u003cem>We’ve translated portions of this interview in Spanish and edited for clarity. \u003ca href=\"https://www.facebook.com/11319471190/videos/359038808901387\" target=\"_blank\" rel=\"noopener noreferrer\">Watch the original conversation on Facebook.\u003c/a>\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Skip to: \u003ca href=\"#recipe\">Plátanos fritos recipe from Estrellita’s Snacks\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Carlos\u003c/strong>\u003cem>\u003cstrong>: \u003c/strong>\u003c/em>\u003cstrong>Tell us about the moment Maria del Carmen decided to start Estrellita’s Snacks.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Estrella:\u003c/strong> I was carrying my daughter, Natale, when I got an intense craving for platanitos. So we went to the store and purchased about ten platanitos and she started frying them. But she ended up producing so many! As you know, el antojo is just a little craving—that’s all I wanted. She asked me what she should do with all the leftovers. Then, she bought a few Ziploc bags and went out to sell the rest. “Te animas a salir conmigo a caminar a La Misión to the bars,” she told me. “We’re going to sell them.”\u003c/p>\n\u003cp>Out we went, entering one bar after another, and continued through the night until we sold all of them. We ended up making a lot more than we invested in for a few plantains. At that point, she said she knew exactly what she was going to do.\u003c/p>\n\u003cp>Instead of buying 10 plantains, she decided to buy a case of plantains. Every afternoon we’d go out, each time with great results. “De aquí en adelante, este negocio se va a crecer,” she said. And with the help of us, her family, we’re continuing to do just that. Seguir adelante.\u003c/p>\n\u003cp>\u003cstrong>How did your mother go from street vending in the Mission to securing a spot in La Cocina’s first municipal marketplace?\u003c/strong>\u003c/p>\n\u003cp>When she began to put effort into making her business, she started informing herself, which was complicated because she didn’t (well, doesn’t) speak English. So she started asking a variety of people for help on how to open her own business. She’d say that while she didn’t speak English, she’d find help on how to get this or that. She asked so many people. Some people told her to go to City Hall for her permiso or business license. We worked out of and rented space in two restaurants before getting to La Cocina.\u003c/p>\n\u003cp>One day, someone told her about a spot that supported small businesses in the Mission, right there on Mission and Folsom. Out of pure curiosity, she started searching for it, and when she found it, she asked a young kid where the address to La Cocina was. And he was like, “Pues, allí enfrente,” and she said, “¿Cómo que enfrente?”\u003c/p>\n\u003cp>At that point, she realized that she lived directly in front of La Cocina. The same place that could help her start producing her business was right across the street from her home. All she had to do was cross the street, and there she was. Every day starting at 5 a.m., there she was at La Cocina. Thank god people there speak both English and Spanish and could help.\u003c/p>\n\u003cp>[pullquote size=\"large\" align=\"right\" citation=\"Maria del Carmen, founder of Estrellita's Snacks\"]‘Yo no hablo inglés, pero mi comida habla por mí.’[/pullquote]\u003c/p>\n\u003cp>\u003cstrong>Estrellita’s Snacks managed to do something very unique in a very hard time. How does it feel to finally have your own place—especially during a pandemic when so many businesses have lost everything?\u003c/strong>\u003c/p>\n\u003cp>This project would have launched in early 2020. But then the pandemic hit, and so [La Cocina] told us to pause and wait to see what happens. Everything closed. We asked ourselves what we should do. [At that point] we continued at farmers’ markets, which was something essential and would stay open to the public. But even sales at the farmers’ market were low. La Cocina provided us with support and resources and told us not to worry about rent.\u003c/p>\n\u003cp>This year La Cocina told us we could begin planning our opening, but to start online first. That was fine because what mattered to us was to actually get started so that, little by little, we could finally open in accordance with the city. We opened on Wednesday [June 16, 2021], and we’re seeing more people, more movement and sales are starting to increase a little bit.\u003c/p>\n\u003cp>[aside postID='arts_13895067' label='More on La Cocina']\u003c/p>\n\u003cp>\u003cstrong>One time, I had the opportunity to meet your mother at a farmers market. I noticed that she had two stars in her front teeth. Why is Estrella—the name and the shape—so important to the family and the business?\u003c/strong>\u003c/p>\n\u003cp>When she was younger, she always dreamed of being an artist—to be a star, to shine. So when she had me, she named me Estrella, [as I also named my daughter]. When she couldn’t be a star herself, she told herself that at least she’d have a daughter named Estrella. And the business all started with an antojo, a craving that was [mine] but also her granddaughter’s [as I was pregnant with Natale]. That’s why she named the business Estrellita’s Snacks.\u003c/p>\n\u003cp>As for the stars on her smile, she asked if they could put stars when she had work done on her teeth. They put a custom order out to Honduras to represent her business.\u003c/p>\n\u003cp>https://www.instagram.com/p/CH0yb-UBAO9/\u003c/p>\n\u003cp>\u003cstrong>Before arriving in San Francisco, Maria del Carmen got to know three distinct countries with their own culinary traditions: Salvadoreña, Guatemalteca and Mexicana. From the menu of Estrellita’s Snacks, can we get to know a bit about the three countries that the family lived in and traveled through?\u003c/strong>\u003c/p>\n\u003cp>My mother is from Berlin, from the Departamento de Usulután. Her dream was to immigrate to the U.S., but unfortunately, she faced an obstacle that prevented her from doing so early on. She went first to Guatemala and then, after that, arrived in Mexico. There, she found the love of her life and stayed there for many years. She started another business in Mexico but faced many obstacles for being a Salvadoran immigrant. But just like [she did in the U.S.], she never let obstacles hold her back. She stayed for many years, but an opportunity arose when another woman asked her to travel alongside her to the United States.\u003c/p>\n\u003cp>We lived [in Mexico] for many years, and I make Mexican food. We know the culture well. We were in Oaxaca, and we can make tamales de mole con pollo. If people ask us for antojitos Mexicanos, we’ll make them. But we focus mostly on comida Salvadoreña.\u003c/p>\n\u003cp>\u003cstrong>For anyone that’s thinking about starting a business, especially a food business, what advice would you give them?\u003c/strong>\u003c/p>\n\u003cp>Fight. It’s not an easy road, but it’s not impossible. Focus on getting informed and finding the right people who can connect you to support. Find out where to get your licenses and find a kitchen you can cook in. Many organizations, not just La Cocina, are here to help you. Sigue adelante with that dream, that goal and let no one steal your dreams. It doesn’t matter what anyone says. Many people told my mom that she couldn’t do it because she didn’t speak English. But my mom would always reply, “Yo no hablo inglés, pero mi comida habla por mí.”\u003c/p>\n\u003cp>\u003cstrong>You represent four generations of business owners going back to El Salvador: your grandmother, your mom, you and now your children. That’s four generations directly involved in this spirit of offering food to the community. How do you feel being part of this legacy?\u003c/strong>\u003c/p>\n\u003cp>I feel happy. Joyful. My children help me and they’re learning [to cook] how my mother taught me. How to keep it alive. Like my mom says: “Prefiero que trabajen conmigo y no trabajen con la [otra] gente.” With me, you’ll have the opportunity to have a flexible schedule and you can continue studying and then in the afternoons help me. Once they’re done with school for the day, they ask me how they can help me in the kitchen and I tell them, “Si hay más manos, salimos más rápido también.” [If we work together], then we can all go and rest. I hope that one day they can continue the legacy if that’s what they want to do as well.\u003c/p>\n\u003cp>\u003cstrong>Angel:\u003c/strong> I don’t ever want to let go of it. We grew into it, and I totally learned to love it. I was a little hard at it at first, I admit. In the end, I fell in love with everything: the cooking, the people, the atmosphere. I hope to pass it on to my kids too.\u003c/p>\n\u003cp>\u003cstrong>For Natale and Angel, what are some of your earliest memories of helping your grandmother in the kitchen at the beginning of Estrellita’s Snacks?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Angel:\u003c/strong> Here’s a little secret: I’ve only recently learned how to throw down on the pupusas because I didn’t know how to make them for so long. I never asked my grandmother because she always had it on lock; she was just like a machine. But now I’m in there and I want to learn everything. So I’ve only just recently learned how to make pupusas.\u003c/p>\n\u003cp>My grandmother always made it an initiative of hers that we learned how to hustle and never depend on anybody. And so that is why we now take care of the family business because we see the same thing can get passed on and create generational wealth down the timeline.\u003c/p>\n\u003cp>\u003cstrong>Natale:\u003c/strong> Probably my earliest memory was packaging the tostadas. I have a picture of me packing tostadas when I was like seven years old, and I still remember that at my grandma’s house.\u003cbr>\nShe was always a really hard worker. She always put my family and jobs together as her priority. And she was really a great role model for me and my mom, too, and all of us.\u003c/p>\n\u003cp>https://www.instagram.com/p/CL9pOIbheeI/\u003c/p>\n\u003cp>\u003cstrong>Angel, you mentioned that you just recently started learning how to make your mother and grandmother’s pupusas. How did you learn or start practicing the recipes? And what do you do to try to make them special?\u003c/strong>\u003c/p>\n\u003cp>Paying close attention is how I learned. I thought that it was easy-peasy stuff. Then I tried and my pupusa was falling apart. So I started taking notes and videos and pictures with my iPhone. Later when I would get home, I would study them and the next day I’d try again until I got it.\u003c/p>\n\u003cp>When I was little, I remember my grandmother would make me a pupusa and it would have this really crisp, nice taste because it had the right amount of filling inside. What I try to do when I’m making a pupusa is that I try to flatten it really nicely and leave it real, real, full with the stuff that everybody wants, like chicken or cheese or spinach and cheese. And then I wrap them around and find it out and I try to make it like she did as best that I could.\u003c/p>\n\u003cp>I can make pupusas, tamales. Now I need to learn how to make curtido. I’m usually the one that’s peeling the plantains and frying them with my stepdad.\u003c/p>\n\u003cp>\u003cstrong>La Cocina’s Municipal Marketplace is the first marketplace in the country that’s entirely led by women. Natale, how does it feel to be in a space that’s led by women?\u003c/strong>\u003c/p>\n\u003cp>Natale: I think it’s incredible. I see everyone in the business, and I just think it’s very woman-powered. In the kitchen, you rarely see women, you see more men. But seeing women owning the business and working the business is really amazing to me and powerful.\u003c/p>\n\u003cp>\u003cstrong>Estrella, in your recipe video, you had some advice for preparing plátanos fritos. In your opinion, what is the secret to making the most delicious plátanos fritos at home?\u003c/strong>\u003c/p>\n\u003cp>Estrella: When you go to the market, make sure you pick the plantain that isn’t too ripe, nor too green. It should be the color brown. When you touch them, make sure they’re not too mushy, just a little firm and smooth. That’s when you know that plantain is ready to fry. The texture and the flavor, they’ll be sweet by this point.\u003c/p>\n\u003cp>If you get them when they’re still yellow and fry them, they’ll be bland and flavorless. They won’t be sweet, they’re not quite right. I always recommend you look for those qualities in the plantain you select.\u003c/p>\n\u003ch3>\u003ca id=\"recipe\">\u003c/a>Recipe for Plátanos Fritos, Estilo Estrellita’s Snacks\u003c/h3>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Fried Plantain Heaven at Estrellita's Snacks in San Francisco | KQED Food\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/eb5vasfidVk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Pick out the perfect platanito.\u003c/strong>\u003cbr>\nYou’ll want to pick one that’s dark brown in color and soft—but not too mushy.\u003c/li>\n\u003cli>\u003cstrong>Peel and Chop\u003c/strong>\u003cbr>\nPeel the skin of your plantain then chop it into small chunks.\u003c/li>\n\u003cli>\u003cstrong>Fry the plantains in oil.\u003c/strong>\u003cbr>\nThe oil you use for deep frying should be 350 degrees. If you’re frying at home, you can fry them in a small pan at medium heat. You only need about two cups of oil. Make sure you turn them to fry them evenly on both sides.\u003c/li>\n\u003cli>\u003cstrong>Strain your plantains\u003c/strong>\u003cbr>\nStrain your newly fried plantains to remove excess oil, then place them on a plate to drain for two or three minutes.\u003c/li>\n\u003c/ol>\n\u003cp>Then, top it all off with some refried red beans (also known as Honduran beans), a bit of cheese and some cream ¡Provecho!\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>Food transcends language, and for immigrants in a country where everything is new, food can help bridge that divide.\u003c/p>\n\u003cp>16 years ago, Maria del Carmen Flores founded \u003ca href=\"https://www.estrellitassnackssf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Estrellita’s Snacks\u003c/a> in the heart of the Mission as a food vending operation, selling a variety of Salvadoran antojitos like plátanos fritos and yucca and plantain chips in local bars and businesses.\u003c/p>\n\u003cp>Today, Maria’s daughter Estrella Gonzalez leads the business with her children, Estrella Natale Oceguera and Angel Acevedo. After waiting two years, Estrellita’s Snacks finally opened in \u003ca href=\"https://lacocinamarketplace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">La Cocina’s Municipal Marketplace\u003c/a> alongside other small businesses led by women chefs and entrepreneurs. Though Maria del Carmen no longer works onsite at the restaurant, Estrella, Natale and Angel carry on her legacy.\u003c/p>\n\u003cp>In a bilingual conversation \u003ca href=\"https://www.facebook.com/11319471190/videos/359038808901387\" target=\"_blank\" rel=\"noopener noreferrer\">as part of KQED’s \u003cem>Mi Herencia \u003c/em>event series\u003c/a>\u003cem>, \u003c/em>KQED en Español reporter Carlos Cabrera-Lomeli spoke with the two generations of Estrellita’s Snacks about perfecting plátano frying techniques, starting your own business as an immigrant entrepreneur, and lessons they learned from their family matriarch.\u003c/p>\n\u003cp>\u003cem>We’ve translated portions of this interview in Spanish and edited for clarity. \u003ca href=\"https://www.facebook.com/11319471190/videos/359038808901387\" target=\"_blank\" rel=\"noopener noreferrer\">Watch the original conversation on Facebook.\u003c/a>\u003c/em>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Skip to: \u003ca href=\"#recipe\">Plátanos fritos recipe from Estrellita’s Snacks\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Carlos\u003c/strong>\u003cem>\u003cstrong>: \u003c/strong>\u003c/em>\u003cstrong>Tell us about the moment Maria del Carmen decided to start Estrellita’s Snacks.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Estrella:\u003c/strong> I was carrying my daughter, Natale, when I got an intense craving for platanitos. So we went to the store and purchased about ten platanitos and she started frying them. But she ended up producing so many! As you know, el antojo is just a little craving—that’s all I wanted. She asked me what she should do with all the leftovers. Then, she bought a few Ziploc bags and went out to sell the rest. “Te animas a salir conmigo a caminar a La Misión to the bars,” she told me. “We’re going to sell them.”\u003c/p>\n\u003cp>Out we went, entering one bar after another, and continued through the night until we sold all of them. We ended up making a lot more than we invested in for a few plantains. At that point, she said she knew exactly what she was going to do.\u003c/p>\n\u003cp>Instead of buying 10 plantains, she decided to buy a case of plantains. Every afternoon we’d go out, each time with great results. “De aquí en adelante, este negocio se va a crecer,” she said. And with the help of us, her family, we’re continuing to do just that. Seguir adelante.\u003c/p>\n\u003cp>\u003cstrong>How did your mother go from street vending in the Mission to securing a spot in La Cocina’s first municipal marketplace?\u003c/strong>\u003c/p>\n\u003cp>When she began to put effort into making her business, she started informing herself, which was complicated because she didn’t (well, doesn’t) speak English. So she started asking a variety of people for help on how to open her own business. She’d say that while she didn’t speak English, she’d find help on how to get this or that. She asked so many people. Some people told her to go to City Hall for her permiso or business license. We worked out of and rented space in two restaurants before getting to La Cocina.\u003c/p>\n\u003cp>One day, someone told her about a spot that supported small businesses in the Mission, right there on Mission and Folsom. Out of pure curiosity, she started searching for it, and when she found it, she asked a young kid where the address to La Cocina was. And he was like, “Pues, allí enfrente,” and she said, “¿Cómo que enfrente?”\u003c/p>\n\u003cp>At that point, she realized that she lived directly in front of La Cocina. The same place that could help her start producing her business was right across the street from her home. All she had to do was cross the street, and there she was. Every day starting at 5 a.m., there she was at La Cocina. Thank god people there speak both English and Spanish and could help.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Estrellita’s Snacks managed to do something very unique in a very hard time. How does it feel to finally have your own place—especially during a pandemic when so many businesses have lost everything?\u003c/strong>\u003c/p>\n\u003cp>This project would have launched in early 2020. But then the pandemic hit, and so [La Cocina] told us to pause and wait to see what happens. Everything closed. We asked ourselves what we should do. [At that point] we continued at farmers’ markets, which was something essential and would stay open to the public. But even sales at the farmers’ market were low. La Cocina provided us with support and resources and told us not to worry about rent.\u003c/p>\n\u003cp>This year La Cocina told us we could begin planning our opening, but to start online first. That was fine because what mattered to us was to actually get started so that, little by little, we could finally open in accordance with the city. We opened on Wednesday [June 16, 2021], and we’re seeing more people, more movement and sales are starting to increase a little bit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>One time, I had the opportunity to meet your mother at a farmers market. I noticed that she had two stars in her front teeth. Why is Estrella—the name and the shape—so important to the family and the business?\u003c/strong>\u003c/p>\n\u003cp>When she was younger, she always dreamed of being an artist—to be a star, to shine. So when she had me, she named me Estrella, [as I also named my daughter]. When she couldn’t be a star herself, she told herself that at least she’d have a daughter named Estrella. And the business all started with an antojo, a craving that was [mine] but also her granddaughter’s [as I was pregnant with Natale]. That’s why she named the business Estrellita’s Snacks.\u003c/p>\n\u003cp>As for the stars on her smile, she asked if they could put stars when she had work done on her teeth. They put a custom order out to Honduras to represent her business.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Before arriving in San Francisco, Maria del Carmen got to know three distinct countries with their own culinary traditions: Salvadoreña, Guatemalteca and Mexicana. From the menu of Estrellita’s Snacks, can we get to know a bit about the three countries that the family lived in and traveled through?\u003c/strong>\u003c/p>\n\u003cp>My mother is from Berlin, from the Departamento de Usulután. Her dream was to immigrate to the U.S., but unfortunately, she faced an obstacle that prevented her from doing so early on. She went first to Guatemala and then, after that, arrived in Mexico. There, she found the love of her life and stayed there for many years. She started another business in Mexico but faced many obstacles for being a Salvadoran immigrant. But just like [she did in the U.S.], she never let obstacles hold her back. She stayed for many years, but an opportunity arose when another woman asked her to travel alongside her to the United States.\u003c/p>\n\u003cp>We lived [in Mexico] for many years, and I make Mexican food. We know the culture well. We were in Oaxaca, and we can make tamales de mole con pollo. If people ask us for antojitos Mexicanos, we’ll make them. But we focus mostly on comida Salvadoreña.\u003c/p>\n\u003cp>\u003cstrong>For anyone that’s thinking about starting a business, especially a food business, what advice would you give them?\u003c/strong>\u003c/p>\n\u003cp>Fight. It’s not an easy road, but it’s not impossible. Focus on getting informed and finding the right people who can connect you to support. Find out where to get your licenses and find a kitchen you can cook in. Many organizations, not just La Cocina, are here to help you. Sigue adelante with that dream, that goal and let no one steal your dreams. It doesn’t matter what anyone says. Many people told my mom that she couldn’t do it because she didn’t speak English. But my mom would always reply, “Yo no hablo inglés, pero mi comida habla por mí.”\u003c/p>\n\u003cp>\u003cstrong>You represent four generations of business owners going back to El Salvador: your grandmother, your mom, you and now your children. That’s four generations directly involved in this spirit of offering food to the community. How do you feel being part of this legacy?\u003c/strong>\u003c/p>\n\u003cp>I feel happy. Joyful. My children help me and they’re learning [to cook] how my mother taught me. How to keep it alive. Like my mom says: “Prefiero que trabajen conmigo y no trabajen con la [otra] gente.” With me, you’ll have the opportunity to have a flexible schedule and you can continue studying and then in the afternoons help me. Once they’re done with school for the day, they ask me how they can help me in the kitchen and I tell them, “Si hay más manos, salimos más rápido también.” [If we work together], then we can all go and rest. I hope that one day they can continue the legacy if that’s what they want to do as well.\u003c/p>\n\u003cp>\u003cstrong>Angel:\u003c/strong> I don’t ever want to let go of it. We grew into it, and I totally learned to love it. I was a little hard at it at first, I admit. In the end, I fell in love with everything: the cooking, the people, the atmosphere. I hope to pass it on to my kids too.\u003c/p>\n\u003cp>\u003cstrong>For Natale and Angel, what are some of your earliest memories of helping your grandmother in the kitchen at the beginning of Estrellita’s Snacks?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Angel:\u003c/strong> Here’s a little secret: I’ve only recently learned how to throw down on the pupusas because I didn’t know how to make them for so long. I never asked my grandmother because she always had it on lock; she was just like a machine. But now I’m in there and I want to learn everything. So I’ve only just recently learned how to make pupusas.\u003c/p>\n\u003cp>My grandmother always made it an initiative of hers that we learned how to hustle and never depend on anybody. And so that is why we now take care of the family business because we see the same thing can get passed on and create generational wealth down the timeline.\u003c/p>\n\u003cp>\u003cstrong>Natale:\u003c/strong> Probably my earliest memory was packaging the tostadas. I have a picture of me packing tostadas when I was like seven years old, and I still remember that at my grandma’s house.\u003cbr>\nShe was always a really hard worker. She always put my family and jobs together as her priority. And she was really a great role model for me and my mom, too, and all of us.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Angel, you mentioned that you just recently started learning how to make your mother and grandmother’s pupusas. How did you learn or start practicing the recipes? And what do you do to try to make them special?\u003c/strong>\u003c/p>\n\u003cp>Paying close attention is how I learned. I thought that it was easy-peasy stuff. Then I tried and my pupusa was falling apart. So I started taking notes and videos and pictures with my iPhone. Later when I would get home, I would study them and the next day I’d try again until I got it.\u003c/p>\n\u003cp>When I was little, I remember my grandmother would make me a pupusa and it would have this really crisp, nice taste because it had the right amount of filling inside. What I try to do when I’m making a pupusa is that I try to flatten it really nicely and leave it real, real, full with the stuff that everybody wants, like chicken or cheese or spinach and cheese. And then I wrap them around and find it out and I try to make it like she did as best that I could.\u003c/p>\n\u003cp>I can make pupusas, tamales. Now I need to learn how to make curtido. I’m usually the one that’s peeling the plantains and frying them with my stepdad.\u003c/p>\n\u003cp>\u003cstrong>La Cocina’s Municipal Marketplace is the first marketplace in the country that’s entirely led by women. Natale, how does it feel to be in a space that’s led by women?\u003c/strong>\u003c/p>\n\u003cp>Natale: I think it’s incredible. I see everyone in the business, and I just think it’s very woman-powered. In the kitchen, you rarely see women, you see more men. But seeing women owning the business and working the business is really amazing to me and powerful.\u003c/p>\n\u003cp>\u003cstrong>Estrella, in your recipe video, you had some advice for preparing plátanos fritos. In your opinion, what is the secret to making the most delicious plátanos fritos at home?\u003c/strong>\u003c/p>\n\u003cp>Estrella: When you go to the market, make sure you pick the plantain that isn’t too ripe, nor too green. It should be the color brown. When you touch them, make sure they’re not too mushy, just a little firm and smooth. That’s when you know that plantain is ready to fry. The texture and the flavor, they’ll be sweet by this point.\u003c/p>\n\u003cp>If you get them when they’re still yellow and fry them, they’ll be bland and flavorless. They won’t be sweet, they’re not quite right. I always recommend you look for those qualities in the plantain you select.\u003c/p>\n\u003ch3>\u003ca id=\"recipe\">\u003c/a>Recipe for Plátanos Fritos, Estilo Estrellita’s Snacks\u003c/h3>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Fried Plantain Heaven at Estrellita's Snacks in San Francisco | KQED Food\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/eb5vasfidVk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Pick out the perfect platanito.\u003c/strong>\u003cbr>\nYou’ll want to pick one that’s dark brown in color and soft—but not too mushy.\u003c/li>\n\u003cli>\u003cstrong>Peel and Chop\u003c/strong>\u003cbr>\nPeel the skin of your plantain then chop it into small chunks.\u003c/li>\n\u003cli>\u003cstrong>Fry the plantains in oil.\u003c/strong>\u003cbr>\nThe oil you use for deep frying should be 350 degrees. If you’re frying at home, you can fry them in a small pan at medium heat. You only need about two cups of oil. Make sure you turn them to fry them evenly on both sides.\u003c/li>\n\u003cli>\u003cstrong>Strain your plantains\u003c/strong>\u003cbr>\nStrain your newly fried plantains to remove excess oil, then place them on a plate to drain for two or three minutes.\u003c/li>\n\u003c/ol>\n\u003cp>Then, top it all off with some refried red beans (also known as Honduran beans), a bit of cheese and some cream ¡Provecho!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Oakland’s Vegan Barbecue Sensation Is Already Blowing Up in SF",
"headTitle": "Oakland’s Vegan Barbecue Sensation Is Already Blowing Up in SF | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400;\">Ever since it exploded onto the local dining scene in 2019, \u003c/span>\u003ca href=\"https://veganmob.biz/\">\u003cspan style=\"font-weight: 400;\">Vegan Mob\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> has been one of the most popular restaurants in Oakland—a bright-green, graffiti-bedecked retro barbecue joint known for its rib tips, brisket-stuffed burritos and garlic noodles. Naturally, everything on the menu is vegan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Now, rapper-turned-chef Toriano Gordon (a.k.a. \u003c/span>\u003ca href=\"https://soundcloud.com/don-toriano\">\u003cspan style=\"font-weight: 400;\">Don Toriano\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">) is bringing his meat-free adaptations of familiar soul food and barbecue dishes to San Francisco. Vegan Mob’s new food truck is posting up in the Mission six days a week as part of an all-vegan street food hub Gordon has helped set up at 701 Valencia Street—the \u003c/span>\u003ca href=\"https://www.instagram.com/citystationsf/\">\u003cspan style=\"font-weight: 400;\">City Station SF\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> lot, which was already a prime destination for vegan food fans when the popular Filipino-American food truck \u003c/span>\u003ca href=\"https://sf.eater.com/2020/11/6/21551481/senor-sisig-vegano-vegan-food-truck-filipino-burrito-mission-sf\">\u003cspan style=\"font-weight: 400;\">Señor Sisig set up its new vegan spinoff, Señor Sisig Vegano, there\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Now that the two trucks have teamed up, they’ve created what might be the hottest block on the Bay Area’s vegan food circuit. During Vegan Mob’s March 21 San Francisco debut, Gordon says, the line of customers wrapped all the way around the corner, all day long—notwithstanding the fact that their block on Valencia Street is about three times the length of a typical city block. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Business has stayed about as strong ever since. “We work together,” Gordon says of his collaboration with Señor Sisig co-owner Evan Kidera—a longtime friend from their days in the Bay Area rap scene. And the pair is bringing in other food trucks for guest appearances as well. This past Friday, for instance, Al Papi Pastor, the \u003ca href=\"http://www.instagram.com/p/CNJvkEjsldE/\" target=\"_blank\" rel=\"noopener noreferrer\">popular Mexico City-style taco truck\u003c/a>, was on hand to dish out a special all-vegan menu: burritos stuffed with nopales and jackfruit al pastor.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">For Gordon, launching the food truck was simply the next logical step for his growing business, once he convinced Kidera to sell him one of Señor Sisig’s old trucks. (“I begged him,” Gordon says.) The truck serves a slightly streamlined version of Vegan Mob’s restaurant menu—basically its 10 top sellers, plus Gordon’s newest creation: garlic noodles inspired by his lifelong love of Vietnamese institutions like Thanh Long and Crustacean. Vegan Mob’s garlic noodles don’t have fish sauce, and they’re made with vegan butter and vegan cheese, but Gordon says the noodles have been a runaway hit from the start—especially among his Black customers. “Black people who don’t mess with vegan food come and eat those noodles,” he says. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/CNQTyEPjPSH/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Vegan Mob is part of \u003c/span>\u003ca href=\"https://sf.eater.com/2021/1/8/22219689/senor-sisig-vegano-vegan-oakland-open-spice-monkey\">\u003cspan style=\"font-weight: 400;\">a new wave of popular, next-generation vegan food businesses\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> in the Bay Area that includes Señor Sisig Vegano, Lion Dance Cafe, Vegan Hood Chefs and Malibu’s Burgers. They all boast large social media followings (Vegan Mob, for instance, has more than 73,000 followers on \u003c/span>\u003ca href=\"https://www.instagram.com/officialveganmob/\">\u003cspan style=\"font-weight: 400;\">Instagram\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">) and a diverse customer base. They’re all owned and operated by people of color. And they all have a certain cool factor that’s reflected in how successful they’ve been, even beyond the deliciousness of the food itself. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Gordon credits the rapper Nipsey Hussle, \u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\">who was shot and killed almost exactly two years ago\u003c/a>, for helping to raise awareness of—and establishing a kind of “street cred” for—the vegan lifestyle. And Gordon believes Vegan Mob has played a large part in that as well. “I really am from the streets,” he says, noting that his father was in prison for 27 years, and that he himself nearly died of septic shock after mixing morphine, alcohol and weed.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“I feel like God kept me on earth for a reason,” Gordon says. “I changed my life to come to school, to become this. To show the Black community and communities of color that it’s cool to be healthy—to be a role model to the ones younger than me, that you can have a business like this.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“My following is a lot of non-vegans who are African American, Latino, Filipino, and Pacific Islander. They come up to me and say, ‘Hey, your food is making me go vegan.’” \u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CMRP37csjZG/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">As excited as he is about his newfound success in the city, Gordon says he feels hurt that some customers have accused him of abandoning Oakland for brighter lights on the other side of the Bay. Notwithstanding the fact that he’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">from \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">San Francisco, the Fillmore native says, “I’m not going nowhere. We’re expanding, we’re not leaving.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The problem is that as much as he loves his current location in Oakland at the former Kwik-Way, near the shores of Lake Merritt, the building’s long-term future is very much an open question. For years now, the building has been slated to be torn down and turned into a mixed-use retail facility or, more recently, an \u003c/span>\u003ca href=\"https://blog.sfgate.com/inoakland/2019/09/20/iconic-kwik-way-drive-in-site-to-become-affordable-housing-in-grand-lake-neighborhood/\">\u003cspan style=\"font-weight: 400;\">affordable housing complex\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">. Time and time again, those plans have gotten waylaid: Originally, Gordon says, Vegan Mob was supposed to vacate the building this month, but the landlords now say he can stay until this coming January.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">So, Gordon is already plotting his next moves: In addition to a new \u003c/span>\u003ca href=\"https://sj.veganmob.biz/\">\u003cspan style=\"font-weight: 400;\">virtual kitchen operation that he’s set up in San Jose, for pickup and delivery only\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, Gordon is currently in talks with his friend and mentor GW Chew about taking over the space currently occupied by Chew’s own vegan soul food restaurant, the \u003c/span>\u003ca href=\"https://www.kqed.org/checkplease/19999/check-please-bay-area-kids-review-antipastos-the-veg-hub-cocos-ramen\">\u003cspan style=\"font-weight: 400;\">Veg Hub\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, in Oakland’s Dimond district. If it works out, Gordon would move Vegan Mob there, joining a cluster of popular restaurants owned by people of color, including the new Puerto Rican spot La Perla, the soul food restaurant Southern Cafe, and Dimond Slice Pizza—all restaurants that are helping to turn the neighborhood into a cool food hub while still preserving Oakland’s authentic, homegrown culture, Gordon says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cspan style=\"font-weight: 400;\">“I’m convinced if I left Oakland, God would punish me,” Gordon says, noting that Oakland is where Vegan Mob had its first successes. “That would literally be forgetting where I came from.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Vegan Mob’s San Francisco food truck operates Tuesday through Saturday, 5pm–9pm, and Sunday, 11am–5pm; the \u003c/span>\u003c/i>\u003ca href=\"https://sj.veganmob.biz/\">\u003ci>\u003cspan style=\"font-weight: 400;\">San Jose cloud kitchen\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400;\"> operation offers takeout and delivery Tuesday through Sunday, 11am–9pm. For updates, follow Vegan Mob on \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/officialveganmob/\">\u003ci>\u003cspan style=\"font-weight: 400;\">Instagram\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"excerpt": "Vegan Mob, rapper-turned-chef Toriano Gordon’s hit restaurant, joins a bustling new vegan street food hub in the Mission.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400;\">Ever since it exploded onto the local dining scene in 2019, \u003c/span>\u003ca href=\"https://veganmob.biz/\">\u003cspan style=\"font-weight: 400;\">Vegan Mob\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> has been one of the most popular restaurants in Oakland—a bright-green, graffiti-bedecked retro barbecue joint known for its rib tips, brisket-stuffed burritos and garlic noodles. Naturally, everything on the menu is vegan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Now, rapper-turned-chef Toriano Gordon (a.k.a. \u003c/span>\u003ca href=\"https://soundcloud.com/don-toriano\">\u003cspan style=\"font-weight: 400;\">Don Toriano\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">) is bringing his meat-free adaptations of familiar soul food and barbecue dishes to San Francisco. Vegan Mob’s new food truck is posting up in the Mission six days a week as part of an all-vegan street food hub Gordon has helped set up at 701 Valencia Street—the \u003c/span>\u003ca href=\"https://www.instagram.com/citystationsf/\">\u003cspan style=\"font-weight: 400;\">City Station SF\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> lot, which was already a prime destination for vegan food fans when the popular Filipino-American food truck \u003c/span>\u003ca href=\"https://sf.eater.com/2020/11/6/21551481/senor-sisig-vegano-vegan-food-truck-filipino-burrito-mission-sf\">\u003cspan style=\"font-weight: 400;\">Señor Sisig set up its new vegan spinoff, Señor Sisig Vegano, there\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Now that the two trucks have teamed up, they’ve created what might be the hottest block on the Bay Area’s vegan food circuit. During Vegan Mob’s March 21 San Francisco debut, Gordon says, the line of customers wrapped all the way around the corner, all day long—notwithstanding the fact that their block on Valencia Street is about three times the length of a typical city block. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Business has stayed about as strong ever since. “We work together,” Gordon says of his collaboration with Señor Sisig co-owner Evan Kidera—a longtime friend from their days in the Bay Area rap scene. And the pair is bringing in other food trucks for guest appearances as well. This past Friday, for instance, Al Papi Pastor, the \u003ca href=\"http://www.instagram.com/p/CNJvkEjsldE/\" target=\"_blank\" rel=\"noopener noreferrer\">popular Mexico City-style taco truck\u003c/a>, was on hand to dish out a special all-vegan menu: burritos stuffed with nopales and jackfruit al pastor.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">For Gordon, launching the food truck was simply the next logical step for his growing business, once he convinced Kidera to sell him one of Señor Sisig’s old trucks. (“I begged him,” Gordon says.) The truck serves a slightly streamlined version of Vegan Mob’s restaurant menu—basically its 10 top sellers, plus Gordon’s newest creation: garlic noodles inspired by his lifelong love of Vietnamese institutions like Thanh Long and Crustacean. Vegan Mob’s garlic noodles don’t have fish sauce, and they’re made with vegan butter and vegan cheese, but Gordon says the noodles have been a runaway hit from the start—especially among his Black customers. “Black people who don’t mess with vegan food come and eat those noodles,” he says. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400;\">Vegan Mob is part of \u003c/span>\u003ca href=\"https://sf.eater.com/2021/1/8/22219689/senor-sisig-vegano-vegan-oakland-open-spice-monkey\">\u003cspan style=\"font-weight: 400;\">a new wave of popular, next-generation vegan food businesses\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> in the Bay Area that includes Señor Sisig Vegano, Lion Dance Cafe, Vegan Hood Chefs and Malibu’s Burgers. They all boast large social media followings (Vegan Mob, for instance, has more than 73,000 followers on \u003c/span>\u003ca href=\"https://www.instagram.com/officialveganmob/\">\u003cspan style=\"font-weight: 400;\">Instagram\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">) and a diverse customer base. They’re all owned and operated by people of color. And they all have a certain cool factor that’s reflected in how successful they’ve been, even beyond the deliciousness of the food itself. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Gordon credits the rapper Nipsey Hussle, \u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\">who was shot and killed almost exactly two years ago\u003c/a>, for helping to raise awareness of—and establishing a kind of “street cred” for—the vegan lifestyle. And Gordon believes Vegan Mob has played a large part in that as well. “I really am from the streets,” he says, noting that his father was in prison for 27 years, and that he himself nearly died of septic shock after mixing morphine, alcohol and weed.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“I feel like God kept me on earth for a reason,” Gordon says. “I changed my life to come to school, to become this. To show the Black community and communities of color that it’s cool to be healthy—to be a role model to the ones younger than me, that you can have a business like this.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“My following is a lot of non-vegans who are African American, Latino, Filipino, and Pacific Islander. They come up to me and say, ‘Hey, your food is making me go vegan.’” \u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400;\">As excited as he is about his newfound success in the city, Gordon says he feels hurt that some customers have accused him of abandoning Oakland for brighter lights on the other side of the Bay. Notwithstanding the fact that he’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">from \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">San Francisco, the Fillmore native says, “I’m not going nowhere. We’re expanding, we’re not leaving.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The problem is that as much as he loves his current location in Oakland at the former Kwik-Way, near the shores of Lake Merritt, the building’s long-term future is very much an open question. For years now, the building has been slated to be torn down and turned into a mixed-use retail facility or, more recently, an \u003c/span>\u003ca href=\"https://blog.sfgate.com/inoakland/2019/09/20/iconic-kwik-way-drive-in-site-to-become-affordable-housing-in-grand-lake-neighborhood/\">\u003cspan style=\"font-weight: 400;\">affordable housing complex\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">. Time and time again, those plans have gotten waylaid: Originally, Gordon says, Vegan Mob was supposed to vacate the building this month, but the landlords now say he can stay until this coming January.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">So, Gordon is already plotting his next moves: In addition to a new \u003c/span>\u003ca href=\"https://sj.veganmob.biz/\">\u003cspan style=\"font-weight: 400;\">virtual kitchen operation that he’s set up in San Jose, for pickup and delivery only\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, Gordon is currently in talks with his friend and mentor GW Chew about taking over the space currently occupied by Chew’s own vegan soul food restaurant, the \u003c/span>\u003ca href=\"https://www.kqed.org/checkplease/19999/check-please-bay-area-kids-review-antipastos-the-veg-hub-cocos-ramen\">\u003cspan style=\"font-weight: 400;\">Veg Hub\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, in Oakland’s Dimond district. If it works out, Gordon would move Vegan Mob there, joining a cluster of popular restaurants owned by people of color, including the new Puerto Rican spot La Perla, the soul food restaurant Southern Cafe, and Dimond Slice Pizza—all restaurants that are helping to turn the neighborhood into a cool food hub while still preserving Oakland’s authentic, homegrown culture, Gordon says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\"> \u003c/span>\u003cspan style=\"font-weight: 400;\">“I’m convinced if I left Oakland, God would punish me,” Gordon says, noting that Oakland is where Vegan Mob had its first successes. “That would literally be forgetting where I came from.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Vegan Mob’s San Francisco food truck operates Tuesday through Saturday, 5pm–9pm, and Sunday, 11am–5pm; the \u003c/span>\u003c/i>\u003ca href=\"https://sj.veganmob.biz/\">\u003ci>\u003cspan style=\"font-weight: 400;\">San Jose cloud kitchen\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400;\"> operation offers takeout and delivery Tuesday through Sunday, 11am–9pm. For updates, follow Vegan Mob on \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/officialveganmob/\">\u003ci>\u003cspan style=\"font-weight: 400;\">Instagram\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "amina-shareef-ali-comes-back-to-life",
"title": "Amina Shareef Ali Comes Back to Life",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>akland’s Morcom Rose Garden is beautiful, a floral oasis in the middle of the city, and it’s also a short walk from \u003ca href=\"https://aminashareefali.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amina Shareef Ali\u003c/a>’s place, so it makes sense that it’s been a backdrop for some of the singer-songwriter’s most memorable moments over the past few years.\u003c/p>\n\u003cp>Sometimes those experiences only became poignant in retrospect—like the time she did a tarot reading with a soon-to-be-ex over there on the concrete steps, she tells me on a recent drizzly Wednesday, as she points across the garden. “And as far as I knew, everything was peachy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13894477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Amina.Cover_-160x160.jpg\" alt=\"\" width=\"160\" height=\"160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.Cover_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.Cover_.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Within weeks, the relationship would fall apart, leaving Ali grappling with heartbreak of a magnitude she’d never known—and providing, as breakups are wont to do, the inspiration for a slew of new music. \u003ca href=\"https://aminashareefali.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In the Dark (Awake of Course)\u003c/em>\u003c/a>, out Monday, March 29, is a collection of earnest folk-punk songs about grief, acceptance, and the decision that life is worth living, even when all available evidence points to the contrary.\u003c/p>\n\u003cp>It’s also Ali’s first new record in seven years—a “gap in the resume,” she says, that she comes by honestly. Originally from St. Louis, Ali landed in the Bay Area in 2007 after studying music composition at Oberlin College, and has been a fixture in the local singer-songwriter circuit ever since. Her 2014 record \u003cem>A Place to Remember the Dead\u003c/em>, in particular, with its Occupy-era protest songs and playful odes to crushes, handily cemented her place in the scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003cem>In the Dark\u003c/em> is deeper, more nuanced, more vulnerable, with good reason. These songs span a period of time in which Ali experienced seismic shift after shift. She became a parent. She went back to school to become a therapist. And then she came out as a transgender woman.\u003c/p>\n\u003cp>“So when people are like, ‘What have you been up to?’” she says with a hint of a smile, “the answer is all of that.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DnF3Oe2LdxY\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first time Brian Belknap saw Amina Shareef Ali play, it was at \u003ca href=\"https://www.sfchronicle.com/food/article/Hotel-Utah-is-not-your-average-open-mic-night-bar-12969717.php\" target=\"_blank\" rel=\"noopener noreferrer\">the Hotel Utah\u003c/a> in 2010, and she introduced a song called “Tucson” by talking about Arizona SB 1070, the controversial immigration legislation that critics saw as institutionalized racial profiling. Belknap, a longtime Bay Area musician and activist—who at the time was involved in the fight to make San Francisco a sanctuary city—was struck by her words.\u003c/p>\n\u003cp>“And then the next time I saw her was at a warehouse show where she was just running around making everyone spaghetti,” he recalls. “There’s a sense of community that I think is really foundational for everything she does.”\u003c/p>\n\u003cfigure id=\"attachment_13894475\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894475\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Amina.Vert_.jpg\" alt=\"Amina Shareef Ali.\" width=\"600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.Vert_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.Vert_-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Amina Shareef Ali. \u003ccite>(Rob Fatal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two became fast friends after that; a decade later, Belknap is one of a handful of longtime collaborators who contributed vocals to what is mostly a solo album; Ali plays guitars, percussion, harmonica and more on \u003cem>In the Dark\u003c/em>. That wasn’t always the plan: In early 2020, Ali had designs on a full-band record; she even rehearsed the band once before shelter in place rules hit. But scrapping that idea turned out to be liberating in another way.\u003c/p>\n\u003cp>“I learned more about recording myself, and it allowed me to experiment and be an amateur and not be apologetic about that,” says the songwriter, who has previously earned comparisons to Conor Oberst; here, she seems to channel early bedroom recordings by John Darnielle and Kimya Dawson, with vocals occasionally veering into something Nico-esque. “Which is something I think I lost during my early years of doing music, when I always felt like I had to demonstrate that I’m a serious musician. I always had something to prove.”\u003c/p>\n\u003cp>Indeed, there’s an audible sense of freedom and abandon on songs like “Ready 2 Love U,” a lo-fi appreciation for the potential-filled moment before the start of a new affair: “The water’s warm, but I’m only ankle deep / I don’t know what you look like when you cry, I wanna know what you look like when you sleep,” asserts Ali, before reminding herself: “My body wasn’t made not to be touched / I’m thirty-eight years old, and I’m ready to love you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dYHYiy7biv4\u003c/p>\n\u003cp>Elsewhere, she tells off a misogynist would-be paramour; paints pastoral scenes out of take-out smells and Sharpie tags at Oakland playgrounds; and borrows from her 6-year-old, Hazel — who has a co-writing credit on two different songs — with lyrics like “Some hearts are red like a dragonfruit / some hearts are purple like a grape.”\u003c/p>\n\u003cp>Unsurprisingly, given Ali’s day job, certain lyrics also dip into therapist-speak. There is sometimes a level of earnestness which is hard to imagine other people getting away with. Ali pulls it off because she’s also hilarious, and raunchy, and self-deprecating, and equally prone to tangents about radical politics and the latest parkour video she got obsessed with on YouTube.\u003c/p>\n\u003cp>“I’m really about honoring even the most minute details of experience,” says Ali. “Especially right now, when experience is so constrained: you can’t see friends; you can’t hug anyone outside your pod; oh, now the air’s full of smoke so you can’t go outside. You can’t do jack shit, so what can we do with what is here? What meaning can we derive from this? Because this meaning ain’t gonna make itself.”\u003c/p>\n\u003cfigure id=\"attachment_13894474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894474\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Amina.forest-800x527.jpg\" alt=\"Amina Shareef Ali in 2017.\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.forest-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.forest-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.forest-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.forest.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amina Shareef Ali in 2017. \u003ccite>(Eva Wo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen Brett and Elizabeth Cline first founded the \u003ca href=\"https://www.thelostchurch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lost Church\u003c/a> in 2011, they expected the homey room, tucked inside a Mission District building designed by renowned architect David Ireland, to be a place for theater—small-scale, experimental musicals put on by their friends. But word got out fast about the charming, funky space. It wasn’t long before the singer-songwriter community, ever hungry for quiet rooms, claimed it as their own.\u003c/p>\n\u003cp>“It was sort of a ‘If you build it, they will come,’ situation, and Amina was one of the very first people who came,” remembers Brett a decade later. He’s still not even sure how she heard about the place, but he knows her shows “opened the floodgates” for other singer-songwriters to want to play there.\u003c/p>\n\u003cp>“I remember her showing up as this skinny, righteous, idealistic kid in a cowboy hat, and I learned that she had done a tour where she just went on trains for a month with her guitar. And thinking, ‘OK, that’s awesome. That’s legit.’ And her music was raw, very honest, vulnerable, authentic. There was never a made-up persona or a shield. She laid it all out on the line. And on the stage.”\u003c/p>\n\u003cp>The stage has also been the very literal place where Ali has, over the past four years, come out—often writing and singing her way through formative moments in her transition, as with the cheeky country song “Farewell to My Man.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_piJIo5vGSA\u003c/p>\n\u003cp>For the most part, she has been pleasantly surprised by people in the music community whose reactions she was nervous about. And she’s enjoyed ongoing support from a tight-knit chosen family of queer artists in Oakland—chief among them, her longtime partner and co-parent, Sil.\u003c/p>\n\u003cp>Which is not to say it’s all been easy. On the contrary, one doesn’t need to read between the lines on \u003cem>In the Dark\u003c/em> to hear signs that its narrator may have very well been to hell and back.\u003c/p>\n\u003cp>And that’s likely one reason the record feels so perfectly timed, as we round the bend on a year of isolation, anxiety, and grief: it’s the “and back” part that counts. Indeed, Ali names “I Came Back to Life” as perhaps the most important track on the record:\u003c/p>\n\u003cblockquote>\u003cp>I never been the one that quits, no I’m the one that does CPR for 45 minutes\u003cbr>\nBut once you’ve broken all the ribs, girl, you gotta admit that this love is finished\u003cbr>\nthere’s some things that you can’t bring back\u003cbr>\nthere’s some things that you can’t revive\u003cbr>\nafter all, life didn’t come back to me, no\u003cbr>\nI came back to life\u003c/p>\u003c/blockquote>\n\u003cp>“There was a time when all I could think about was trying to regain something that I lost. But now I’m not sad about any of that anymore,” she says, pausing to toss an instinctive “Go Cards” at a passing dad in a St. Louis Cardinals cap. (A few minutes later, she clarifies that she has no idea if baseball is even happening right now.)\u003c/p>\n\u003cp>“I’m glad to know who I am, and I’m grateful for the experiences that helped me grow,” she says, gathering her things to walk back across the garden before it starts raining again, to get home in time for her virtual parent-teacher conference. “Like, okay, so I’ve had a broken heart. Cry about it all you want, but then what?”\u003c/p>\n\u003cp>“Either you’re gonna love as much as you can before you die, or you’re not. So what’s it gonna be?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Amina Shareef Ali releases ‘In the Dark (Awake of Course)’ on Monday, March 29, with a live interview and listening party at 6pm. \u003ca href=\"https://aminashareefali.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "With her first record in seven years, the gifted Bay Area songwriter opens up about heartbreak, transition, and living life to its fullest.",
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"title": "Amina Shareef Ali Comes Back to Life | KQED",
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"subhead": "On 'In the Dark (Awake of Course),' the Oakland singer-songwriter accounts for seismic personal shifts — and lands on the other side with some stories to tell.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>akland’s Morcom Rose Garden is beautiful, a floral oasis in the middle of the city, and it’s also a short walk from \u003ca href=\"https://aminashareefali.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amina Shareef Ali\u003c/a>’s place, so it makes sense that it’s been a backdrop for some of the singer-songwriter’s most memorable moments over the past few years.\u003c/p>\n\u003cp>Sometimes those experiences only became poignant in retrospect—like the time she did a tarot reading with a soon-to-be-ex over there on the concrete steps, she tells me on a recent drizzly Wednesday, as she points across the garden. “And as far as I knew, everything was peachy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13894477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Amina.Cover_-160x160.jpg\" alt=\"\" width=\"160\" height=\"160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.Cover_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.Cover_.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Within weeks, the relationship would fall apart, leaving Ali grappling with heartbreak of a magnitude she’d never known—and providing, as breakups are wont to do, the inspiration for a slew of new music. \u003ca href=\"https://aminashareefali.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In the Dark (Awake of Course)\u003c/em>\u003c/a>, out Monday, March 29, is a collection of earnest folk-punk songs about grief, acceptance, and the decision that life is worth living, even when all available evidence points to the contrary.\u003c/p>\n\u003cp>It’s also Ali’s first new record in seven years—a “gap in the resume,” she says, that she comes by honestly. Originally from St. Louis, Ali landed in the Bay Area in 2007 after studying music composition at Oberlin College, and has been a fixture in the local singer-songwriter circuit ever since. Her 2014 record \u003cem>A Place to Remember the Dead\u003c/em>, in particular, with its Occupy-era protest songs and playful odes to crushes, handily cemented her place in the scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But \u003cem>In the Dark\u003c/em> is deeper, more nuanced, more vulnerable, with good reason. These songs span a period of time in which Ali experienced seismic shift after shift. She became a parent. She went back to school to become a therapist. And then she came out as a transgender woman.\u003c/p>\n\u003cp>“So when people are like, ‘What have you been up to?’” she says with a hint of a smile, “the answer is all of that.”\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/DnF3Oe2LdxY'\n title='//www.youtube.com/embed/DnF3Oe2LdxY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first time Brian Belknap saw Amina Shareef Ali play, it was at \u003ca href=\"https://www.sfchronicle.com/food/article/Hotel-Utah-is-not-your-average-open-mic-night-bar-12969717.php\" target=\"_blank\" rel=\"noopener noreferrer\">the Hotel Utah\u003c/a> in 2010, and she introduced a song called “Tucson” by talking about Arizona SB 1070, the controversial immigration legislation that critics saw as institutionalized racial profiling. Belknap, a longtime Bay Area musician and activist—who at the time was involved in the fight to make San Francisco a sanctuary city—was struck by her words.\u003c/p>\n\u003cp>“And then the next time I saw her was at a warehouse show where she was just running around making everyone spaghetti,” he recalls. “There’s a sense of community that I think is really foundational for everything she does.”\u003c/p>\n\u003cfigure id=\"attachment_13894475\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894475\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Amina.Vert_.jpg\" alt=\"Amina Shareef Ali.\" width=\"600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.Vert_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.Vert_-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Amina Shareef Ali. \u003ccite>(Rob Fatal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two became fast friends after that; a decade later, Belknap is one of a handful of longtime collaborators who contributed vocals to what is mostly a solo album; Ali plays guitars, percussion, harmonica and more on \u003cem>In the Dark\u003c/em>. That wasn’t always the plan: In early 2020, Ali had designs on a full-band record; she even rehearsed the band once before shelter in place rules hit. But scrapping that idea turned out to be liberating in another way.\u003c/p>\n\u003cp>“I learned more about recording myself, and it allowed me to experiment and be an amateur and not be apologetic about that,” says the songwriter, who has previously earned comparisons to Conor Oberst; here, she seems to channel early bedroom recordings by John Darnielle and Kimya Dawson, with vocals occasionally veering into something Nico-esque. “Which is something I think I lost during my early years of doing music, when I always felt like I had to demonstrate that I’m a serious musician. I always had something to prove.”\u003c/p>\n\u003cp>Indeed, there’s an audible sense of freedom and abandon on songs like “Ready 2 Love U,” a lo-fi appreciation for the potential-filled moment before the start of a new affair: “The water’s warm, but I’m only ankle deep / I don’t know what you look like when you cry, I wanna know what you look like when you sleep,” asserts Ali, before reminding herself: “My body wasn’t made not to be touched / I’m thirty-eight years old, and I’m ready to love you.”\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/dYHYiy7biv4'\n title='//www.youtube.com/embed/dYHYiy7biv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Elsewhere, she tells off a misogynist would-be paramour; paints pastoral scenes out of take-out smells and Sharpie tags at Oakland playgrounds; and borrows from her 6-year-old, Hazel — who has a co-writing credit on two different songs — with lyrics like “Some hearts are red like a dragonfruit / some hearts are purple like a grape.”\u003c/p>\n\u003cp>Unsurprisingly, given Ali’s day job, certain lyrics also dip into therapist-speak. There is sometimes a level of earnestness which is hard to imagine other people getting away with. Ali pulls it off because she’s also hilarious, and raunchy, and self-deprecating, and equally prone to tangents about radical politics and the latest parkour video she got obsessed with on YouTube.\u003c/p>\n\u003cp>“I’m really about honoring even the most minute details of experience,” says Ali. “Especially right now, when experience is so constrained: you can’t see friends; you can’t hug anyone outside your pod; oh, now the air’s full of smoke so you can’t go outside. You can’t do jack shit, so what can we do with what is here? What meaning can we derive from this? Because this meaning ain’t gonna make itself.”\u003c/p>\n\u003cfigure id=\"attachment_13894474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894474\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Amina.forest-800x527.jpg\" alt=\"Amina Shareef Ali in 2017.\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.forest-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.forest-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.forest-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.forest.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amina Shareef Ali in 2017. \u003ccite>(Eva Wo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen Brett and Elizabeth Cline first founded the \u003ca href=\"https://www.thelostchurch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lost Church\u003c/a> in 2011, they expected the homey room, tucked inside a Mission District building designed by renowned architect David Ireland, to be a place for theater—small-scale, experimental musicals put on by their friends. But word got out fast about the charming, funky space. It wasn’t long before the singer-songwriter community, ever hungry for quiet rooms, claimed it as their own.\u003c/p>\n\u003cp>“It was sort of a ‘If you build it, they will come,’ situation, and Amina was one of the very first people who came,” remembers Brett a decade later. He’s still not even sure how she heard about the place, but he knows her shows “opened the floodgates” for other singer-songwriters to want to play there.\u003c/p>\n\u003cp>“I remember her showing up as this skinny, righteous, idealistic kid in a cowboy hat, and I learned that she had done a tour where she just went on trains for a month with her guitar. And thinking, ‘OK, that’s awesome. That’s legit.’ And her music was raw, very honest, vulnerable, authentic. There was never a made-up persona or a shield. She laid it all out on the line. And on the stage.”\u003c/p>\n\u003cp>The stage has also been the very literal place where Ali has, over the past four years, come out—often writing and singing her way through formative moments in her transition, as with the cheeky country song “Farewell to My Man.”\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/_piJIo5vGSA'\n title='//www.youtube.com/embed/_piJIo5vGSA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For the most part, she has been pleasantly surprised by people in the music community whose reactions she was nervous about. And she’s enjoyed ongoing support from a tight-knit chosen family of queer artists in Oakland—chief among them, her longtime partner and co-parent, Sil.\u003c/p>\n\u003cp>Which is not to say it’s all been easy. On the contrary, one doesn’t need to read between the lines on \u003cem>In the Dark\u003c/em> to hear signs that its narrator may have very well been to hell and back.\u003c/p>\n\u003cp>And that’s likely one reason the record feels so perfectly timed, as we round the bend on a year of isolation, anxiety, and grief: it’s the “and back” part that counts. Indeed, Ali names “I Came Back to Life” as perhaps the most important track on the record:\u003c/p>\n\u003cblockquote>\u003cp>I never been the one that quits, no I’m the one that does CPR for 45 minutes\u003cbr>\nBut once you’ve broken all the ribs, girl, you gotta admit that this love is finished\u003cbr>\nthere’s some things that you can’t bring back\u003cbr>\nthere’s some things that you can’t revive\u003cbr>\nafter all, life didn’t come back to me, no\u003cbr>\nI came back to life\u003c/p>\u003c/blockquote>\n\u003cp>“There was a time when all I could think about was trying to regain something that I lost. But now I’m not sad about any of that anymore,” she says, pausing to toss an instinctive “Go Cards” at a passing dad in a St. Louis Cardinals cap. (A few minutes later, she clarifies that she has no idea if baseball is even happening right now.)\u003c/p>\n\u003cp>“I’m glad to know who I am, and I’m grateful for the experiences that helped me grow,” she says, gathering her things to walk back across the garden before it starts raining again, to get home in time for her virtual parent-teacher conference. “Like, okay, so I’ve had a broken heart. Cry about it all you want, but then what?”\u003c/p>\n\u003cp>“Either you’re gonna love as much as you can before you die, or you’re not. So what’s it gonna be?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Amina Shareef Ali releases ‘In the Dark (Awake of Course)’ on Monday, March 29, with a live interview and listening party at 6pm. \u003ca href=\"https://aminashareefali.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Saturday afternoon, as the news of President-elect Joe Biden’s win spread across San Francisco, so did the chorus of car horns, singing and pop-up street parties. In the Mission District, people swarmed into Dolores Park looking to celebrate with their neighbors.\u003c/p>\n\u003cp>As the day went on, more and more of them gravitated to the center of the park, drawn by the good vibes emanating from a DJ table. The mix was non-stop feel-good ’90s R&B and hip-hop. And the person behind the decks was, it turns out, a 10-year-old.\u003c/p>\n\u003cp>https://www.instagram.com/p/CHWHy-xsGsJ/\u003c/p>\n\u003cp>DJ Rillion didn’t just provide the soundtrack to the post-election party. For many who were there, he \u003cem>was\u003c/em> the party.\u003c/p>\n\u003cp>https://www.instagram.com/p/CHWmAocDUKZ/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By mid-afternoon, he’d even attracted an appropriately pint-sized dancer to hang with him behind the decks.\u003c/p>\n\u003cp>https://twitter.com/Raemondjjjj/status/1325958131847888896\u003c/p>\n\u003cp>DJ Rillion kept this little corner of Dolores dancing for \u003cem>hours\u003c/em>. Occasionally he’d ask how everyone was doing—the crowd hollered back. Now and again, he’d ask dancers to wave their hands in the air—and they complied every time. I had to find out more about this DJ wunderkind, so naturally … I asked his dad.\u003c/p>\n\u003cp>DJ Rillion’s proud papa, Ron, was easy to spot—he and his son were wearing matching bomber jackets and jeans. The born-and-raised San Franciscan informed me that his son—real name Rylan—has only been developing his skills behind the decks for one month. (One!)\u003c/p>\n\u003cp>Recognizing Rylan’s passion for tunes (favorite genres include R&B, hip-hop and trap music), and trying to keep the 10-year-old amused as they sheltered in place in the Outer Richmond, Ron passed on his mixing skills. (Ron DJed at parties and gatherings in high school and thought Rylan might enjoy it too.) Rylan picked it up so fast that within weeks, DJ Rillion was born.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The election result party in Dolores Park was DJ Rillion’s most successful public engagement to date, having previously popped up at \u003ca href=\"https://www.instagram.com/stories/highlights/17845374926437062/\" target=\"_blank\" rel=\"noopener noreferrer\">Ocean Beach\u003c/a> and a Sacramento \u003ca href=\"https://www.instagram.com/stories/highlights/17876282578917194/\" target=\"_blank\" rel=\"noopener noreferrer\">Haunted House\u003c/a>. You can follow his progress and find out about his upcoming appearances via \u003ca href=\"https://www.instagram.com/dj_rillion/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a> and \u003ca href=\"https://www.tiktok.com/@dj_rillion\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>DJ Rillion kept this little corner of Dolores dancing for \u003cem>hours\u003c/em>. Occasionally he’d ask how everyone was doing—the crowd hollered back. Now and again, he’d ask dancers to wave their hands in the air—and they complied every time. I had to find out more about this DJ wunderkind, so naturally … I asked his dad.\u003c/p>\n\u003cp>DJ Rillion’s proud papa, Ron, was easy to spot—he and his son were wearing matching bomber jackets and jeans. The born-and-raised San Franciscan informed me that his son—real name Rylan—has only been developing his skills behind the decks for one month. (One!)\u003c/p>\n\u003cp>Recognizing Rylan’s passion for tunes (favorite genres include R&B, hip-hop and trap music), and trying to keep the 10-year-old amused as they sheltered in place in the Outer Richmond, Ron passed on his mixing skills. (Ron DJed at parties and gatherings in high school and thought Rylan might enjoy it too.) Rylan picked it up so fast that within weeks, DJ Rillion was born.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The election result party in Dolores Park was DJ Rillion’s most successful public engagement to date, having previously popped up at \u003ca href=\"https://www.instagram.com/stories/highlights/17845374926437062/\" target=\"_blank\" rel=\"noopener noreferrer\">Ocean Beach\u003c/a> and a Sacramento \u003ca href=\"https://www.instagram.com/stories/highlights/17876282578917194/\" target=\"_blank\" rel=\"noopener noreferrer\">Haunted House\u003c/a>. You can follow his progress and find out about his upcoming appearances via \u003ca href=\"https://www.instagram.com/dj_rillion/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a> and \u003ca href=\"https://www.tiktok.com/@dj_rillion\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In the Mission, Performers Marga Gomez and Campo Santo Stay Resilient",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n challenging times, it’s tales of resilience that resonate most. And the tellers of those tales shine all the brighter, as inspiring beacons against the gloom.\u003c/p>\n\u003cp>In San Francisco, some of our most consistently resilient performers are those who built their reputations not in the “traditional” performance spaces downtown, but in their own neighborhoods, creating work by, for, and of the communities that inspired them and called them their own. One neighborhood that’s long been a bastion for these community-rooted artists is the Mission District, and two of its long-term survivors—Marga Gomez and Campo Santo—are not letting the pandemic slow them down.\u003c/p>\n\u003cp>One part comedian, one part solo performer, one part consummate host and all parts wholly original, Marga Gomez is resilience personified. Holding it down in a liminal space straddling the Castro and the Mission District since the early 1980s, her resume is a wild ride through some of San Francisco’s most memorable cultural highlights. From taking the stage at the first-ever Folsom Street Fair (then called “Megahood”) to working with the long-running San Francisco Mime Troupe, and then being pulled into the first incarnation of Latinx comedy supergroup Culture Clash by Rene Yanez, Gomez has continued to make her mark by always evolving her craft to fit the circumstances.\u003c/p>\n\u003cp>“A lot of my career has been accidents…opportunities…that I adapted to,” she admits with her signature, gap-toothed smile.\u003c/p>\n\u003cfigure id=\"attachment_13883622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez performs in her 12th solo show, ‘Latin Standards.’ \u003ccite>(Fabian Echevarria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even being shut down on opening night for her 13th solo show—\u003cem>The Spanking Machine\u003c/em>, at Brava Theater Center—couldn’t dim Gomez’ creative spark. Within two weeks of the shutdown, Gomez had already launched the first of many virtual comedy shows, the format of which she’s tweaked with each subsequent edition. First there were midday comedy brunches, then afternoon “high tea,” a Cinco de Mayo bash, a birthday party doubling as a political fundraiser, and, most recently, 30-minute “queer quickies” with co-host, the fabulous Jesús U. BettaWork. And finally, at long last, live-streamed performances of \u003cem>The Spanking Machine\u003c/em>, running through July 25.\u003c/p>\n\u003cfigure id=\"attachment_13883623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez and her signature smile. \u003ccite>(Courtesy of Marga Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reminiscing about her truncated run at Brava, Gomez ruefully recalls wishing that she wouldn’t “have to perform on Friday the 13th,” a wish that came all too true with the shutdown. Now scheduled as part of Dixon Place’s long-running LQBTQ+ HOT! Festival, Gomez takes the virtual stage from home. Combining clips from her invited dress rehearsal at Brava with live performance, telling a story of a long-lost friend, and a dark secret from the past. Like her other solo shows, it’s intensely personal, often hilarious, and paints a vivid picture of Gomez’ particular experience: an out-gay, Latinx comic, living a life brimming with equal measures of serendipity and struggle. And though she longs to perform in public spaces again, for the moment, Gomez is glad to be able to innovate from home.\u003c/p>\n\u003cp>“These projects are keeping me sane! I’ll do the show, and if the camera freezes for a minute, guess what? This is a pleasure, this is a\u003cem> respite\u003c/em>,” she emphasizes. Resilience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>ar from a solo act, the incomparable Campo Santo, a company prioritizing Bay Area-born voices and people of color, has created work as a tight-knit ensemble since 1996. More than a “writers” theater, Campo Santo has nonetheless cultivated a pantheon of great writers, from Luís Saguar to Luis Alfaro, Chinaka Hodge to Star Finch. More than an “actors” theater, Campo Santo has embraced the plurality of its community, and created opportunities for first-time performers and professionals alike. To be a member of Campo Santo might take years of exploring where you fit in, the ability to transform and grow in new directions. A journey embodied by ten-year veteran of the company A.M. Smiley, whose artistic evolution from production manager to featured playwright can be tied specifically to the support offered by the Campo Santo \u003cem>familia.\u003c/em>\u003c/p>\n\u003cp>While the company experiments with ways to create on digital platforms—promising more information on new shows soon—they’ve programmed a series of screenings of past shows for an enthusiastic online audience. At a recent showing of \u003cem>Ethos de Masquerade\u003c/em>—a work that combined powerful text mourning black lives lost to violence with the ceremonial power of a modern-day Masquerade dance ritual—the audience participation via chat was hundreds of messages long by the end of the show.\u003c/p>\n\u003cfigure id=\"attachment_13883624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883624\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-800x446.jpg\" alt=\"\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1536x856.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1920x1069.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Saenz, Britney Frazier and Delina Patrice Brooks in ‘Superheroes,’ by Sean San Jose. \u003ccite>(Joan Osato)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even in a Zoom interview with several core members of the company, the chat box continued to light up throughout with affirmations, such as when resident playwright Star Finch spoke to the ongoing reckoning at many theater institutions in regards to distribution of power, and pervasive racial inequities encoded in policy and practice.\u003c/p>\n\u003cp>“BOOM!” wrote Margo Hall, followed immediately by a “say that shit!” from Sean San Jose, who also punctuated the interview with snaps and hand signals whenever someone landed a particularly powerful point.\u003c/p>\n\u003cp>What comes through most indelibly is each member’s passion for their artistic home, and their recognition of its significance in their own practice.\u003c/p>\n\u003cp>“A big shock for me…is when I started doing shows outside of Campo Santo and I didn’t know that actors could do shows that they didn’t love,” actor and DJ (as Wonway Posibul) Juan Amador interjected at one point.\u003c/p>\n\u003cp>“Campo Santo gave me foundation that I would never be able to get anywhere else,” reflected co-founder Margo Hall. “Everything I learned in Campo Santo fueled me to be able to be the best and be myself at these other theaters. I learned to be able to walk in the door with myself, 100% authentic.”\u003c/p>\n\u003cfigure id=\"attachment_13883625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Milan Williams (foreground) and Michael Wayne Turner III in Star Finch’s ‘H.O.M.E.’ \u003ccite>(D'wana Stewart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still writing new chapters in their decades-long saga, Campo Santo has been long accustomed to making do with limited resources. For them, the shift from physical space to a digital one has been no more abrupt than their earlier shifts from Valencia Street to the Chronicle Building downtown to traveling, unrooted, from space to space. Times are hard and the current conditions are challenging, but when all is said and done, the fact that they have each other’s backs is a blessing and a boon. Resilience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>Marga Gomez’ \u003cem>The Spanking Machine\u003c/em> runs through July 25. \u003ca href=\"http://dixonplace.org/performances/spanking-machine-2020/\">Details here.\u003c/a> Campo Santo’s virtual throwback series and show announcements are \u003ca href=\"http://www.facebook.com/camposantosf/\">available here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n challenging times, it’s tales of resilience that resonate most. And the tellers of those tales shine all the brighter, as inspiring beacons against the gloom.\u003c/p>\n\u003cp>In San Francisco, some of our most consistently resilient performers are those who built their reputations not in the “traditional” performance spaces downtown, but in their own neighborhoods, creating work by, for, and of the communities that inspired them and called them their own. One neighborhood that’s long been a bastion for these community-rooted artists is the Mission District, and two of its long-term survivors—Marga Gomez and Campo Santo—are not letting the pandemic slow them down.\u003c/p>\n\u003cp>One part comedian, one part solo performer, one part consummate host and all parts wholly original, Marga Gomez is resilience personified. Holding it down in a liminal space straddling the Castro and the Mission District since the early 1980s, her resume is a wild ride through some of San Francisco’s most memorable cultural highlights. From taking the stage at the first-ever Folsom Street Fair (then called “Megahood”) to working with the long-running San Francisco Mime Troupe, and then being pulled into the first incarnation of Latinx comedy supergroup Culture Clash by Rene Yanez, Gomez has continued to make her mark by always evolving her craft to fit the circumstances.\u003c/p>\n\u003cp>“A lot of my career has been accidents…opportunities…that I adapted to,” she admits with her signature, gap-toothed smile.\u003c/p>\n\u003cfigure id=\"attachment_13883622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez performs in her 12th solo show, ‘Latin Standards.’ \u003ccite>(Fabian Echevarria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even being shut down on opening night for her 13th solo show—\u003cem>The Spanking Machine\u003c/em>, at Brava Theater Center—couldn’t dim Gomez’ creative spark. Within two weeks of the shutdown, Gomez had already launched the first of many virtual comedy shows, the format of which she’s tweaked with each subsequent edition. First there were midday comedy brunches, then afternoon “high tea,” a Cinco de Mayo bash, a birthday party doubling as a political fundraiser, and, most recently, 30-minute “queer quickies” with co-host, the fabulous Jesús U. BettaWork. And finally, at long last, live-streamed performances of \u003cem>The Spanking Machine\u003c/em>, running through July 25.\u003c/p>\n\u003cfigure id=\"attachment_13883623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez and her signature smile. \u003ccite>(Courtesy of Marga Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reminiscing about her truncated run at Brava, Gomez ruefully recalls wishing that she wouldn’t “have to perform on Friday the 13th,” a wish that came all too true with the shutdown. Now scheduled as part of Dixon Place’s long-running LQBTQ+ HOT! Festival, Gomez takes the virtual stage from home. Combining clips from her invited dress rehearsal at Brava with live performance, telling a story of a long-lost friend, and a dark secret from the past. Like her other solo shows, it’s intensely personal, often hilarious, and paints a vivid picture of Gomez’ particular experience: an out-gay, Latinx comic, living a life brimming with equal measures of serendipity and struggle. And though she longs to perform in public spaces again, for the moment, Gomez is glad to be able to innovate from home.\u003c/p>\n\u003cp>“These projects are keeping me sane! I’ll do the show, and if the camera freezes for a minute, guess what? This is a pleasure, this is a\u003cem> respite\u003c/em>,” she emphasizes. Resilience.\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-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>ar from a solo act, the incomparable Campo Santo, a company prioritizing Bay Area-born voices and people of color, has created work as a tight-knit ensemble since 1996. More than a “writers” theater, Campo Santo has nonetheless cultivated a pantheon of great writers, from Luís Saguar to Luis Alfaro, Chinaka Hodge to Star Finch. More than an “actors” theater, Campo Santo has embraced the plurality of its community, and created opportunities for first-time performers and professionals alike. To be a member of Campo Santo might take years of exploring where you fit in, the ability to transform and grow in new directions. A journey embodied by ten-year veteran of the company A.M. Smiley, whose artistic evolution from production manager to featured playwright can be tied specifically to the support offered by the Campo Santo \u003cem>familia.\u003c/em>\u003c/p>\n\u003cp>While the company experiments with ways to create on digital platforms—promising more information on new shows soon—they’ve programmed a series of screenings of past shows for an enthusiastic online audience. At a recent showing of \u003cem>Ethos de Masquerade\u003c/em>—a work that combined powerful text mourning black lives lost to violence with the ceremonial power of a modern-day Masquerade dance ritual—the audience participation via chat was hundreds of messages long by the end of the show.\u003c/p>\n\u003cfigure id=\"attachment_13883624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883624\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-800x446.jpg\" alt=\"\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1536x856.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1920x1069.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Saenz, Britney Frazier and Delina Patrice Brooks in ‘Superheroes,’ by Sean San Jose. \u003ccite>(Joan Osato)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even in a Zoom interview with several core members of the company, the chat box continued to light up throughout with affirmations, such as when resident playwright Star Finch spoke to the ongoing reckoning at many theater institutions in regards to distribution of power, and pervasive racial inequities encoded in policy and practice.\u003c/p>\n\u003cp>“BOOM!” wrote Margo Hall, followed immediately by a “say that shit!” from Sean San Jose, who also punctuated the interview with snaps and hand signals whenever someone landed a particularly powerful point.\u003c/p>\n\u003cp>What comes through most indelibly is each member’s passion for their artistic home, and their recognition of its significance in their own practice.\u003c/p>\n\u003cp>“A big shock for me…is when I started doing shows outside of Campo Santo and I didn’t know that actors could do shows that they didn’t love,” actor and DJ (as Wonway Posibul) Juan Amador interjected at one point.\u003c/p>\n\u003cp>“Campo Santo gave me foundation that I would never be able to get anywhere else,” reflected co-founder Margo Hall. “Everything I learned in Campo Santo fueled me to be able to be the best and be myself at these other theaters. I learned to be able to walk in the door with myself, 100% authentic.”\u003c/p>\n\u003cfigure id=\"attachment_13883625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Milan Williams (foreground) and Michael Wayne Turner III in Star Finch’s ‘H.O.M.E.’ \u003ccite>(D'wana Stewart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still writing new chapters in their decades-long saga, Campo Santo has been long accustomed to making do with limited resources. For them, the shift from physical space to a digital one has been no more abrupt than their earlier shifts from Valencia Street to the Chronicle Building downtown to traveling, unrooted, from space to space. Times are hard and the current conditions are challenging, but when all is said and done, the fact that they have each other’s backs is a blessing and a boon. Resilience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>Marga Gomez’ \u003cem>The Spanking Machine\u003c/em> runs through July 25. \u003ca href=\"http://dixonplace.org/performances/spanking-machine-2020/\">Details here.\u003c/a> Campo Santo’s virtual throwback series and show announcements are \u003ca href=\"http://www.facebook.com/camposantosf/\">available here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Guitarist Jorge Santana, the younger brother of Carlos Santana whose guitar riffs on the band Malo’s 1972 hit “Suavecito” transformed the song into a Chicano anthem, has died.\u003c/p>\n\u003cp>Carlos Santana announced his brother’s death on his Facebook page Friday. He was 68.\u003c/p>\n\u003cp>“We take time to celebrate the magnificent spirit of our beloved brother, Jorge,” Carlos Santana wrote. “He transitioned unto the realm of light that cast no shadow the eyes of my heart clearly see him right in between our glorious and magnificent mother Josefina and our father Jose.”\u003c/p>\n\u003cp>Jorge Santana died Thursday of natural causes, the family said.\u003c/p>\n\u003cp>Born in Jalisco, Mexico, Jorge Santana began playing guitar following his brother’s footsteps.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He joined a San Francisco-based band that would later become Malo, which means “bad” in Spanish. According to band legend, the group got its name after the mother of its lead singer told them, “todos ustedes son malos,” translating into English, “all of you are bad.”\u003c/p>\n\u003cp>Their 1972 hit “Suavecito,” a tune released during the apex of the Chicano Movement, became a staple for Mexican American cookouts, weddings and quinceaneras for generations throughout the American Southwest. Its laid-back pace and bilingual lyrics came to signify Southern California.\u003c/p>\n\u003cp>The song remains one of the most requested on the Art Laboe Connection, a syndicated-oldies show out of Palm Springs, California, where D.J. Laboe, 94, allows family members of loved ones in prison send messages through dedications.\u003c/p>\n\u003cp>Malo made three albums before a highly publicized breakup.\u003c/p>\n\u003cp>Santana later played with the New York-based salsa collective Fania All-Stars. He was one of the few Mexican Americans in a project that included Puerto Ricans and Cuban Americans.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Santana would embark on a solo career. He joined his brother, Carlos, on tour in 1993.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He joined a San Francisco-based band that would later become Malo, which means “bad” in Spanish. According to band legend, the group got its name after the mother of its lead singer told them, “todos ustedes son malos,” translating into English, “all of you are bad.”\u003c/p>\n\u003cp>Their 1972 hit “Suavecito,” a tune released during the apex of the Chicano Movement, became a staple for Mexican American cookouts, weddings and quinceaneras for generations throughout the American Southwest. Its laid-back pace and bilingual lyrics came to signify Southern California.\u003c/p>\n\u003cp>The song remains one of the most requested on the Art Laboe Connection, a syndicated-oldies show out of Palm Springs, California, where D.J. Laboe, 94, allows family members of loved ones in prison send messages through dedications.\u003c/p>\n\u003cp>Malo made three albums before a highly publicized breakup.\u003c/p>\n\u003cp>Santana later played with the New York-based salsa collective Fania All-Stars. He was one of the few Mexican Americans in a project that included Puerto Ricans and Cuban Americans.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Santana would embark on a solo career. He joined his brother, Carlos, on tour in 1993.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Long-running Mission District club Amnesia is closing its doors. \u003ca href=\"https://missionlocal.org/2020/01/amnesia-longtime-valencia-street-music-venue-slated-to-shutter/\" target=\"_blank\" rel=\"noopener noreferrer\">Mission Local\u003c/a> confirmed that the cozy live music venue, known for its extensive craft beer selection and eclectic programming, is set to cease operations indefinitely on Feb. 29.\u003c/p>\n\u003cp>Without going into specifics, a statement from Amnesia obtained by KQED suggests that the business will reopen in a different incarnation.\u003c/p>\n\u003cp>“It’s time now to write the next chapter of 853 Valencia,” the statement reads. “Our plan is to retain the entertainment license for the space while we work through where music fits into the new model. With full clarity we know that we will not be able to maintain the same model that exists today. We’ve explored many options over the course of the past two years, but the hard truth is that this business is not fiscally sustainable.”\u003c/p>\n\u003cp>It continues, “What we can say with confidence is that 853 Valencia has been a neighborhood bar-gathering space for over 100 years; this will not go away. Before 853 Valencia was Amnesia it was the Chameleon, before it was the Chameleon it was the Chatterbox, and on and on.”\u003c/p>\n\u003cp>San Francisco’s real estate boom—\u003ca href=\"https://www.theguardian.com/commentisfree/2020/jan/09/san-francisco-gentrification-second-wave\" target=\"_blank\" rel=\"noopener noreferrer\">or crisis\u003c/a>, depending on whom you ask—has not made things easy for independent music venues. Amnesia’s closure follows the recent shuttering of SoMa dance club Mezzanine, which held its final show on New Year’s Eve after 17 years in business. The owners of Mezzanine’s Jessie Street building plan to convert it into office spaces and increase the rent by 600 percent—in 2018, one of the building’s owners \u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a>, by way of explanation, “It’s just economics.” Also in 2018, underground rock club the \u003ca href=\"https://www.kqed.org/arts/13839507/if-the-hemlocks-walls-could-talk-looking-back-at-17-years-of-shows\" target=\"_blank\" rel=\"noopener noreferrer\">Hemlock Tavern\u003c/a> shut its doors to make room for new development.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like the aforementioned venues, Amnesia is known for its locally focused booking, without backing from live music giants like Goldenvoice or Live Nation. In the Bay Area, the two corporations control booking at many large and mid-sized venues, including the Fillmore, Chase Center, Slim’s, Great American Music Hall, Regency Ballroom and others, and prioritize touring acts over local artists.\u003c/p>\n\u003cp>Meanwhile, smaller clubs like Amnesia give Bay Area residents an alternative for live music—one that comes with a low ticket price and a chance to check out underground or local talent.\u003c/p>\n\u003cp>Craig Wathen, owner of specialty shop City Beer Store, took over Amnesia from previous owner Shawn Magee in 2015. With Adrian Spinelli, an arts journalist and host of the \u003ca href=\"https://www.noisepop.com/podcast\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop podcast\u003c/a>, handling Amnesia’s booking over the last year, the venue has hosted some of the Bay Area’s most exciting rising artists, including \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>—who is now signed to Flying Lotus’ Brainfeeder label—and \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>, a rapper celebrated for their daring lyrical subject matter.\u003c/p>\n\u003cp>Weekly jazz, bluegrass and comedy nights have long been a staple on Amnesia’s monthly calendar, and jazz bands like Gaucho have held residencies there for nearly two decades.\u003c/p>\n\u003cp>“I\u003cspan style=\"font-weight: 400\">t’s always accessible, it’s a great place where you can walk up any day of the week and pop in and catch a show whether you know who’s playing or not,” Spinelli says. “It kind of has that charm of equal parts destination and discovery.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated to include quotes from Amnesia’s statement.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long-running Mission District club Amnesia is closing its doors. \u003ca href=\"https://missionlocal.org/2020/01/amnesia-longtime-valencia-street-music-venue-slated-to-shutter/\" target=\"_blank\" rel=\"noopener noreferrer\">Mission Local\u003c/a> confirmed that the cozy live music venue, known for its extensive craft beer selection and eclectic programming, is set to cease operations indefinitely on Feb. 29.\u003c/p>\n\u003cp>Without going into specifics, a statement from Amnesia obtained by KQED suggests that the business will reopen in a different incarnation.\u003c/p>\n\u003cp>“It’s time now to write the next chapter of 853 Valencia,” the statement reads. “Our plan is to retain the entertainment license for the space while we work through where music fits into the new model. With full clarity we know that we will not be able to maintain the same model that exists today. We’ve explored many options over the course of the past two years, but the hard truth is that this business is not fiscally sustainable.”\u003c/p>\n\u003cp>It continues, “What we can say with confidence is that 853 Valencia has been a neighborhood bar-gathering space for over 100 years; this will not go away. Before 853 Valencia was Amnesia it was the Chameleon, before it was the Chameleon it was the Chatterbox, and on and on.”\u003c/p>\n\u003cp>San Francisco’s real estate boom—\u003ca href=\"https://www.theguardian.com/commentisfree/2020/jan/09/san-francisco-gentrification-second-wave\" target=\"_blank\" rel=\"noopener noreferrer\">or crisis\u003c/a>, depending on whom you ask—has not made things easy for independent music venues. Amnesia’s closure follows the recent shuttering of SoMa dance club Mezzanine, which held its final show on New Year’s Eve after 17 years in business. The owners of Mezzanine’s Jessie Street building plan to convert it into office spaces and increase the rent by 600 percent—in 2018, one of the building’s owners \u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a>, by way of explanation, “It’s just economics.” Also in 2018, underground rock club the \u003ca href=\"https://www.kqed.org/arts/13839507/if-the-hemlocks-walls-could-talk-looking-back-at-17-years-of-shows\" target=\"_blank\" rel=\"noopener noreferrer\">Hemlock Tavern\u003c/a> shut its doors to make room for new development.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like the aforementioned venues, Amnesia is known for its locally focused booking, without backing from live music giants like Goldenvoice or Live Nation. In the Bay Area, the two corporations control booking at many large and mid-sized venues, including the Fillmore, Chase Center, Slim’s, Great American Music Hall, Regency Ballroom and others, and prioritize touring acts over local artists.\u003c/p>\n\u003cp>Meanwhile, smaller clubs like Amnesia give Bay Area residents an alternative for live music—one that comes with a low ticket price and a chance to check out underground or local talent.\u003c/p>\n\u003cp>Craig Wathen, owner of specialty shop City Beer Store, took over Amnesia from previous owner Shawn Magee in 2015. With Adrian Spinelli, an arts journalist and host of the \u003ca href=\"https://www.noisepop.com/podcast\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop podcast\u003c/a>, handling Amnesia’s booking over the last year, the venue has hosted some of the Bay Area’s most exciting rising artists, including \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>—who is now signed to Flying Lotus’ Brainfeeder label—and \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>, a rapper celebrated for their daring lyrical subject matter.\u003c/p>\n\u003cp>Weekly jazz, bluegrass and comedy nights have long been a staple on Amnesia’s monthly calendar, and jazz bands like Gaucho have held residencies there for nearly two decades.\u003c/p>\n\u003cp>“I\u003cspan style=\"font-weight: 400\">t’s always accessible, it’s a great place where you can walk up any day of the week and pop in and catch a show whether you know who’s playing or not,” Spinelli says. “It kind of has that charm of equal parts destination and discovery.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated to include quotes from Amnesia’s statement.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the Mission District of the early 1970s, Latin rock reigned. Bands like Santana and Malo explored new cross-cultural hybrids, and captured the nation’s attention. Into this fertile ground came Dakila, a group of young men who snagged a deal with Epic Records by playing in a similar style, with one subtle but notable exception: singing in Tagalog.\u003c/p>\n\u003cp>As the Bay Area’s first Pinoy rock band on a major label, Dakila served as inspiration not only for the region’s growing Filipino population, but for other Filipino bands that followed (a decade later, Death Angel took the local thrash metal scene by storm). Periodically rescued from dollar bins, the band’s 1972 self-titled album evinces a harder sound than the average soulful Latin styles of the day. Within a few years, though, the band disintegrated.\u003c/p>\n\u003cp>Fast-forward to the current day, and original member David Bustamante has assembled a new Dakila lineup, one which performs at the Undiscovered pop-up on Aug. 18 as part of the Sunday Streets festival in SOMA’s Filipino cultural district. Also performing are reggae band Natural Elements, DJ Don Don, and the Astig DJ Crew, with food galore and other celebrations of Filipino culture.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cem>Updated Thursday, 11 a.m.\u003c/em>\u003c/p>\n\u003cp>Arts philanthropist Carlie Wilmans’ eviction of an immigrant family from her property next to the David Ireland House is on hold, according to the tenants’ attorney. \u003c/p>\n\u003cp>Stephen Collier of the Tenderloin Housing Clinic, who represents the multi-generational Mission District household, said he’s reached a tentative settlement rescinding the eviction lawsuit and allowing the tenants to remain. “But it is not yet finalized,” he said. [aside postID=arts_13855723,arts_13860412,arts_13860618]\u003c/p>\n\u003cp>Court records show the eviction case is still open. \u003c/p>\n\u003cp>Wilmans, who confirmed the tentative agreement, is the founder and primary financial supporter of the 500 Capp Street Foundation, which runs the late conceptual artist David Ireland’s home as a gallery. “My decision to reverse the eviction was entirely personal,” she said in a statement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wilmans bought the 20th Street duplex in 2016. That year she evicted the lower unit’s tenants, citing mattresses in the garage as a lease violation. In 2017, she invoked the Ellis Act to empty the upper unit, and the Chinese family of six has been resisting the eviction ever since.\u003c/p>\n\u003cp>Wilmans planned to “donate” use of both units to the 500 Capp Street Foundation, including as temporary lodging for visiting artists. \u003c/p>\n\u003cp>In a statement in April, 500 Capp Street staff said they were unaware of the eviction. “We have recently been briefed on the matter and have voiced our deep concerns,” the statement read. \u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13855723/arts-funder-under-fire-for-evicting-family-next-to-david-ireland-house\">previously reported\u003c/a>, news of the eviction prompted outcry. Wilmans framed her actions as part of her work to support 500 Capp Street, but critics called it “art-washing,” or a gallery masking the pernicious effects of gentrification with supposed cultural benefits.\u003c/p>\n\u003cp>In the three months since the evictions came to light, 500 Capp Street has been in disarray. \u003c/p>\n\u003cp>Wilmans ceded her role as board chair to Jock Reynolds. Head curator Bob Linder was laid off, \u003ca href=\"https://www.kqed.org/arts/13860412/500-capp-street-lays-off-head-curator-creates-confusion-about-future-exhibitions\">casting doubt\u003c/a> on the future of the gallery’s non-Ireland programming; artists currently exhibiting and scheduled to exhibit \u003ca href=\"https://www.kqed.org/arts/13860618/liz-magor-pulls-works-from-500-capp-street-in-response-to-head-curator-layoff\">withdrew\u003c/a> their work, and Linder’s colleague, curator Diego Villalobos, also resigned. \u003c/p>\n\u003cp>According to Reynolds and Wilmans, Linder was laid off due to budget shortcomings. \u003c/p>\n\u003cp>Wilmans has long been the space’s chief benefactor: 2017 tax filings show she gave 500 Capp Street 91 percent of its $670,734 in revenue. In the wake of the eviction controversy, though, Wilmans seemed less willing to continue subsidizing the organization’s payroll costs. \u003c/p>\n\u003cp>\u003cem>Mission Local\u003c/em>, citing an unnamed source “familiar with the situation,” \u003ca href=\"https://missionlocal.org/2019/07/david-ireland-house-benefactor-carlie-wilmans-to-halt-eviction-of-mission-immigrant-family-following-backlash/\">reported\u003c/a> Tuesday that Linder’s criticism of Wilmans’ role in the evictions “may have hastened his departure.” \u003c/p>\n\u003cp>In her statement, Wilmans rejected the suggestion. “If Bob Linder had any criticism of the eviction, it had absolutely nothing to do with his lay off,” she said.\u003c/p>\n\u003cp>Linder and Villalobos have said they’re unable to comment due to non-disclosure agreements. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It is unclear for what purposes Wilmans is using the duplex’s upper unit, which she successfully emptied last year, but public records show she acquired permits for interior renovations. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wilmans bought the 20th Street duplex in 2016. That year she evicted the lower unit’s tenants, citing mattresses in the garage as a lease violation. In 2017, she invoked the Ellis Act to empty the upper unit, and the Chinese family of six has been resisting the eviction ever since.\u003c/p>\n\u003cp>Wilmans planned to “donate” use of both units to the 500 Capp Street Foundation, including as temporary lodging for visiting artists. \u003c/p>\n\u003cp>In a statement in April, 500 Capp Street staff said they were unaware of the eviction. “We have recently been briefed on the matter and have voiced our deep concerns,” the statement read. \u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13855723/arts-funder-under-fire-for-evicting-family-next-to-david-ireland-house\">previously reported\u003c/a>, news of the eviction prompted outcry. Wilmans framed her actions as part of her work to support 500 Capp Street, but critics called it “art-washing,” or a gallery masking the pernicious effects of gentrification with supposed cultural benefits.\u003c/p>\n\u003cp>In the three months since the evictions came to light, 500 Capp Street has been in disarray. \u003c/p>\n\u003cp>Wilmans ceded her role as board chair to Jock Reynolds. Head curator Bob Linder was laid off, \u003ca href=\"https://www.kqed.org/arts/13860412/500-capp-street-lays-off-head-curator-creates-confusion-about-future-exhibitions\">casting doubt\u003c/a> on the future of the gallery’s non-Ireland programming; artists currently exhibiting and scheduled to exhibit \u003ca href=\"https://www.kqed.org/arts/13860618/liz-magor-pulls-works-from-500-capp-street-in-response-to-head-curator-layoff\">withdrew\u003c/a> their work, and Linder’s colleague, curator Diego Villalobos, also resigned. \u003c/p>\n\u003cp>According to Reynolds and Wilmans, Linder was laid off due to budget shortcomings. \u003c/p>\n\u003cp>Wilmans has long been the space’s chief benefactor: 2017 tax filings show she gave 500 Capp Street 91 percent of its $670,734 in revenue. In the wake of the eviction controversy, though, Wilmans seemed less willing to continue subsidizing the organization’s payroll costs. \u003c/p>\n\u003cp>\u003cem>Mission Local\u003c/em>, citing an unnamed source “familiar with the situation,” \u003ca href=\"https://missionlocal.org/2019/07/david-ireland-house-benefactor-carlie-wilmans-to-halt-eviction-of-mission-immigrant-family-following-backlash/\">reported\u003c/a> Tuesday that Linder’s criticism of Wilmans’ role in the evictions “may have hastened his departure.” \u003c/p>\n\u003cp>In her statement, Wilmans rejected the suggestion. “If Bob Linder had any criticism of the eviction, it had absolutely nothing to do with his lay off,” she said.\u003c/p>\n\u003cp>Linder and Villalobos have said they’re unable to comment due to non-disclosure agreements. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It is unclear for what purposes Wilmans is using the duplex’s upper unit, which she successfully emptied last year, but public records show she acquired permits for interior renovations. \u003c/p>\n\n\u003c/div>\u003c/p>",
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