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"content": "\u003cp>When the Great Migration led Black families to venture north and west with their eyes on new horizons, many made that journey while maintaining the traditions of their Southern roots, bringing recipes, lessons and practices into new homes. \u003c/p>\n\u003cp>Richmond artist \u003ca href=\"https://charleshlee.com/\">Charles Lee\u003c/a> can trace his own family history back to Southern states like Texas and Louisiana, and those ties now inform his practice. His first solo exhibition, \u003cem>\u003ca href=\"https://sfcamerawork.org/charles-lee_sweat-dirt\">sweat + dirt\u003c/a>\u003c/em>, on view through Feb. 3, 2024 at \u003ca href=\"https://sfcamerawork.org/\">SF Camerawork\u003c/a>, includes black-and-white photographs and installations — including a horse saddle, rocking chair and bales of hay. \u003c/p>\n\u003cp>The show transports viewers to the outskirts of big cities, in places like Jennings and Lafayette, Louisiana, where Lee centers the relationships between people and their horses, and explores how the traditions of farmwork have persisted through generations for Black Americans. Lee says he’s interested in the ancestral connection between humans and “this very majestic and important animal.” \u003c/p>\n\u003cp>“Even before this job came to the Americas, we were herders,” Lee says, referencing \u003cem>On Brand\u003c/em>, a large-scale chemigram piece, which also features a branding iron hanging from the gallery ceiling. “Our ancestors were herders, and they didn’t break the cattle or break the horses. It was an agreement that they fostered with this giant animal. Whereas Western ways of training an animal is to break it physically and use violence in order to get it to submit.”\u003c/p>\n\u003cfigure id=\"attachment_13939298\" class=\"wp-caption aligncenter\" style=\"max-width: 1218px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit.jpg\" alt=\"Black-and-white photograph of a Black man on horseback, in profile\" width=\"1218\" height=\"1420\" class=\"size-full wp-image-13939298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit.jpg 1218w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-800x933.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-1020x1189.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-768x895.jpg 768w\" sizes=\"auto, (max-width: 1218px) 100vw, 1218px\">\u003cfigcaption class=\"wp-caption-text\">Charles Lee’s ‘True Grit,’ a gelatin silver print on view in ‘sweat + dirt.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>sweat + dirt\u003c/em> is an extension of Lee’s 2023 MFA thesis show at California College of the Arts, which, in turn, was part of a project he began in 2016 called \u003cem>BEEN HERE\u003c/em>. Seven years after he got the initial idea for a photo series from his cousin, Lee has incorporated videos and found objects into the project. “I had always desired to work with objects,” he says. “So originally those pieces were extensions of the photographic practice that brought it more into an installation piece.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lee continues to find new ways to approach the series, recombining earlier work from \u003cem>BEEN HERE\u003c/em> with more recent images made during visits with family in Louisiana. It’s been important for him — and for this project — to trace the migratory paths his family followed on their way to different corners of the Bay Area. \u003c/p>\n\u003cp>“My mom was born in Lafayette, Louisiana and my dad was born in Houston, Texas,” he says about his family’s journey to California. “My mom’s parents were definitely more blue-collar. They grew up on ranches and grew up in the country in Jennings, Louisiana. So when they came here, the culture came with them.” \u003c/p>\n\u003cp>Horse culture has evolved as people have migrated, and it looks different all over the state of California. In Oakland, at Lake Merritt, it’s not uncommon to see people on horses in the middle of a crowd right alongside other, more modern, modes of conveyance, like dirt bikes and bicycles. “Even though we’re not there anymore, there’s still things that we practice over here in this urban environment,” Lee says. Oftentimes, he points out, “we don’t even know the root.” \u003c/p>\n\u003cfigure id=\"attachment_13939300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000.jpg\" alt=\"Black and white photo prints arranged in loose salon style unframed on two white gallery walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘sweat + dirt’ at SF Camerawork. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two walls at SF Camerawork display a constellation of variously sized prints, showing people on horses and closeups of horses, all in richly high-contrast black and white. In preparing for his show, Lee took the exhibition title, \u003cem>sweat + dirt\u003c/em>, to heart. All of the photos presented at SF Camerawork were developed in a dark room, an intentional and labor-intensive homage to the working people in his pictures. \u003c/p>\n\u003cp>Lee points out that when images of the cowboy in America are presented, Black people are often left out of the picture. His work places Black cowboys and cowgirls both in front of his lens and in the forefront of his work. What began as a reaction to a missing narrative in the cowboy experience is now a way to create a living document of that experience. \u003c/p>\n\u003cp>Lee is also expanding beyond the edges of America, working with the Mascogos people in Nacimiento de los Negros, Mexico, a town name which translates to “birth of the Blacks.” \u003c/p>\n\u003cp>“This project is in no way done,” Lee says, thinking about his next steps. “I’m excited about that new direction of showing another nuance and another layer to this story that brings it south of the border.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sfcamerawork.org/charles-lee_sweat-dirt\">sweat + dirt\u003c/a>’ is on view at SF Camerawork (Fort Mason Center, 2 Marina Blvd, Building A) through Feb. 3, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Great Migration led Black families to venture north and west with their eyes on new horizons, many made that journey while maintaining the traditions of their Southern roots, bringing recipes, lessons and practices into new homes. \u003c/p>\n\u003cp>Richmond artist \u003ca href=\"https://charleshlee.com/\">Charles Lee\u003c/a> can trace his own family history back to Southern states like Texas and Louisiana, and those ties now inform his practice. His first solo exhibition, \u003cem>\u003ca href=\"https://sfcamerawork.org/charles-lee_sweat-dirt\">sweat + dirt\u003c/a>\u003c/em>, on view through Feb. 3, 2024 at \u003ca href=\"https://sfcamerawork.org/\">SF Camerawork\u003c/a>, includes black-and-white photographs and installations — including a horse saddle, rocking chair and bales of hay. \u003c/p>\n\u003cp>The show transports viewers to the outskirts of big cities, in places like Jennings and Lafayette, Louisiana, where Lee centers the relationships between people and their horses, and explores how the traditions of farmwork have persisted through generations for Black Americans. Lee says he’s interested in the ancestral connection between humans and “this very majestic and important animal.” \u003c/p>\n\u003cp>“Even before this job came to the Americas, we were herders,” Lee says, referencing \u003cem>On Brand\u003c/em>, a large-scale chemigram piece, which also features a branding iron hanging from the gallery ceiling. “Our ancestors were herders, and they didn’t break the cattle or break the horses. It was an agreement that they fostered with this giant animal. Whereas Western ways of training an animal is to break it physically and use violence in order to get it to submit.”\u003c/p>\n\u003cfigure id=\"attachment_13939298\" class=\"wp-caption aligncenter\" style=\"max-width: 1218px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit.jpg\" alt=\"Black-and-white photograph of a Black man on horseback, in profile\" width=\"1218\" height=\"1420\" class=\"size-full wp-image-13939298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit.jpg 1218w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-800x933.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-1020x1189.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/True-Grit-768x895.jpg 768w\" sizes=\"auto, (max-width: 1218px) 100vw, 1218px\">\u003cfigcaption class=\"wp-caption-text\">Charles Lee’s ‘True Grit,’ a gelatin silver print on view in ‘sweat + dirt.’ \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>sweat + dirt\u003c/em> is an extension of Lee’s 2023 MFA thesis show at California College of the Arts, which, in turn, was part of a project he began in 2016 called \u003cem>BEEN HERE\u003c/em>. Seven years after he got the initial idea for a photo series from his cousin, Lee has incorporated videos and found objects into the project. “I had always desired to work with objects,” he says. “So originally those pieces were extensions of the photographic practice that brought it more into an installation piece.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lee continues to find new ways to approach the series, recombining earlier work from \u003cem>BEEN HERE\u003c/em> with more recent images made during visits with family in Louisiana. It’s been important for him — and for this project — to trace the migratory paths his family followed on their way to different corners of the Bay Area. \u003c/p>\n\u003cp>“My mom was born in Lafayette, Louisiana and my dad was born in Houston, Texas,” he says about his family’s journey to California. “My mom’s parents were definitely more blue-collar. They grew up on ranches and grew up in the country in Jennings, Louisiana. So when they came here, the culture came with them.” \u003c/p>\n\u003cp>Horse culture has evolved as people have migrated, and it looks different all over the state of California. In Oakland, at Lake Merritt, it’s not uncommon to see people on horses in the middle of a crowd right alongside other, more modern, modes of conveyance, like dirt bikes and bicycles. “Even though we’re not there anymore, there’s still things that we practice over here in this urban environment,” Lee says. Oftentimes, he points out, “we don’t even know the root.” \u003c/p>\n\u003cfigure id=\"attachment_13939300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000.jpg\" alt=\"Black and white photo prints arranged in loose salon style unframed on two white gallery walls\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Charles-Lee-017_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘sweat + dirt’ at SF Camerawork. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two walls at SF Camerawork display a constellation of variously sized prints, showing people on horses and closeups of horses, all in richly high-contrast black and white. In preparing for his show, Lee took the exhibition title, \u003cem>sweat + dirt\u003c/em>, to heart. All of the photos presented at SF Camerawork were developed in a dark room, an intentional and labor-intensive homage to the working people in his pictures. \u003c/p>\n\u003cp>Lee points out that when images of the cowboy in America are presented, Black people are often left out of the picture. His work places Black cowboys and cowgirls both in front of his lens and in the forefront of his work. What began as a reaction to a missing narrative in the cowboy experience is now a way to create a living document of that experience. \u003c/p>\n\u003cp>Lee is also expanding beyond the edges of America, working with the Mascogos people in Nacimiento de los Negros, Mexico, a town name which translates to “birth of the Blacks.” \u003c/p>\n\u003cp>“This project is in no way done,” Lee says, thinking about his next steps. “I’m excited about that new direction of showing another nuance and another layer to this story that brings it south of the border.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sfcamerawork.org/charles-lee_sweat-dirt\">sweat + dirt\u003c/a>’ is on view at SF Camerawork (Fort Mason Center, 2 Marina Blvd, Building A) through Feb. 3, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-hip-hop-photographer-who-makes-guests-feel-at-home",
"title": "The Hip-Hop Photographer Who Makes Guests Feel At Home",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003cem>View the full episode transcript.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Inside of a classic Queen Anne Victorian in West Oakland, photographer \u003ca href=\"https://www.instagram.com/tracibartlow/\" target=\"_blank\" rel=\"noopener noreferrer\">Traci Bartlow\u003c/a> displays beautifully framed images of the people who shaped hip-hop culture here in the Bay Area, and across the nation.\u003c/p>\n\u003cp>Her exhibition, \u003cem>Oakland Picture Lady: Tales of the 90’s Girl\u003c/em>, features photos of Outkast and Queen Latifah, Busta Rhymes and ODB, alongside images of the Luniz and Shock-G, as well as E-40 and The Click.\u003c/p>\n\u003cp>While the photos tell a story about what life was like in growing up in Oakland, it’s her house that tells \u003ca href=\"https://www.instagram.com/p/CxjCC5Uv62l/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==\">the complex story of multiple generations of Black folks\u003c/a>, land ownership and community appreciation.\u003c/p>\n\u003cp>Traci is the owner of \u003ca href=\"https://www.b-lovesguesthouse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">B-Love’s Guesthouse\u003c/a>, which is a photography museum and a boutique hotel. With its picturesque front porch and flourishing garden in the back, the building features seven different rooms that folks can rent.\u003c/p>\n\u003cfigure id=\"attachment_13920339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920339\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04426-800x535.jpg\" alt=\"Traci Bartlow holds up an image of the wash house her mother once owned in East Oakland. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow holds up an image of the washhouse her mother once owned in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An \u003ca href=\"https://www.alvinailey.org/school\">Ailey School\u003c/a> graduate turned \u003ca href=\"https://www.youtube.com/watch?v=LjBa6yqRau4\">Emmy-winning dancer\u003c/a> and choreographer, Traci fell in love with the arts through what she experienced in her neighborhood as a child. Block parties and family functions introduced her to her love of dance.\u003c/p>\n\u003cp>Born and raised in East Oakland, she also saw firsthand the importance of a neighborhood hub by watching the multiple ways people would use her mother’s washhouse. It wasn’t just a laundromat but a corner store, a place to get your prom dress made or pick up your Avon order.\u003c/p>\n\u003cp>She acquired her current home from the late Eddie Mae Holmes, a Black woman who once owned multiple properties in West Oakland. And Traci envisioned using the space for the purposes of artistic expression and community gatherings, including showcasing her work. Now B-Love’s Guesthouse stands as a home for hip-hop history and a safe haven for folks to come together.\u003c/p>\n\u003cfigure id=\"attachment_13920342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13920342 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04446-800x535.jpg\" alt=\"Traci Bartlow.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow sits on the stairwell of her Queen Ann Victorian home in West Oakland \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3179587234&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>This episode originally aired on October 14, 2022 .\u003c/em>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena, Producer: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey Rightnowish listeners, it’s Marisol Medina-Cadena. As we continue to honor 50 Years of Hip-Hop, we’re bringing you an episode from our archive featuring dancer and photographer Traci Bartlow.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Traci documented Bay Area dancers, rappers, and dj’s in the 90’s and still hasn’t put the camera down. \u003c/span>\u003cspan style=\"font-weight: 400\">This summer, the inaugural Bay Area Hip Hop Archives honored Traci Bartlow for her contributions to the region’s Hip Hop scene. \u003c/span>\u003cspan style=\"font-weight: 400\">And Pendarvis Harshaw is gonna take it from here, enjoy. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">] \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mic, mic check one, mic check two. Are we here? All right we’re here…Rightnowish. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Street ambience ]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Do you know what type of tree it is?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s called a bottle brush tree.Usually it’s full of these bright red flowers with skinny pistils and the hummingbirds love it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> Why start here on your tour? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s in the shade and it’s a moment to get a feel for the house and the neighborhood. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hey y’all, what’s happening? You’re listening to Rightnowish, a podcast about arts and culture in the bay area. I’m your partna Pen…Pendarvis Harshaw. And today, we’re gonna spend some time in West Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The neighborhood looks hella different than it did when I was coming up, but all is not lost. There’s still places and people that have weathered the market forces to maintain the character of the area. \u003c/span>\u003cspan style=\"font-weight: 400\">Like this Victorian house I’m standing in front of with today’s guest, Traci Bartlow. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> This is a Queen Anne Victorian house and it was built in 1895. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s painted white with a mix of soft yellow and sky blue accents. Potted roses and succulents line the stairwell.. and it’s got this half arch that extends from the porch and frames the door, almost like a house you’d see in a storybook. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> It seems like they wanted to make it look like a castle! You know, like with the high ceilings, this beautiful arc, all of this really unique molding on the house. Everything is really grand. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Traci’s home is also a boutique hotel called B-Love’s Guesthouse, where you can rent a room for a day or two. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> B-Love’s Guesthouse has served as a healing space and a respite in many different ways. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s also a photography museum where you could spend an hour or two just soaking up the rich history. This month, Traci is exhibiting photos she shot of the Town, including images that graced the pages of historic magazines like The Source and Rap Pages.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> This image here is the Hobo Junction. And I love this image because they’re selling their tapes out of a box on Telegraph Avenue. In front of the record store! That’s how we did in the nineties.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> She had a front row seat to the artists who shaped both the Bay Area hip hop scene and the national hip hop scene. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow: \u003c/b>\u003cspan style=\"font-weight: 400\">These pictures are fun! Busta Rhymes and ODB. This was on the set of Busta’s music video. “Woo-ha! Got You All In Check.” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay yeah.. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes, so he shot the video in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">San Francisco, and so I came out to capture photographs and… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> What?\u003c/span> \u003cspan style=\"font-weight: 400\">That’s tight as hell. I didn’t know that.. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yep! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s Isha B doing ODB’s hair?! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Isha B did ODB’s hair?? What?? That’s crazy!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Yep, classic history!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Woah, okay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, today we’re focused on Traci Bartlow’s dope photo archive and the story behind the place where these photos are housed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So wipe your kicks at the door, hang up your coat, relax your shoulders,\u003c/span> \u003cspan style=\"font-weight: 400\">and take a deep breath: we’re posting up at B-Love’s Guesthouse. Right after this…\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\"> [Outdoor Ambience]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Just a few blocks from the women of the Black Panther Party mural and west Oakland Bart station is Traci Bartlow’s home and hotel. It’s a residential street with lots of history… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> I acquired this house in 2007 and I acquired the house from a team of people that would buy houses, flip them, and then sell them. They bought the house from a woman named Eddie Mae Holmes. And Ms. Holmes was an African-American woman that came to West Oakland when she was 14 years old. And, um, through her family ownership, she acquired this house, the house I now own, this house on the corner. And in 1965, she had that apartment building around the corner built and on the lower level of the apartment building, she had Holmes Barber Shop. So Ms.Holmes is one of those black women in the community that was providing in so many different ways for everyone. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ms. Holmes was my friend! I used to make ginger tea and go sit in the kitchen in her house and we would watch The View in the mornings. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cem>\u003cspan style=\"font-weight: 400\">[Laughs\u003c/span>\u003c/em>\u003cspan style=\"font-weight: 400\">\u003cem>]\u003c/em> Okay! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> She was my partna! And she was just really amazed by me like, ‘Oh, this is who bought the house?’ And so she was really encouraging to me as a property owner. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">About 15 years ago, Traci converted her home into a guesthouse. People can choose from one of seven rooms for an overnight stay. And at the same time, folks can enjoy the framed photos from Traci’s archives. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay here is B-Love’s Guesthouse.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Traci leads me to the kitchenette of the downstairs guest house. Above a small dining room table they’re framed black and white images of kids. I see little girls with barrettes in their hair. In another image, the camera is pointed toward a window sill where a boy with a D.A.R.E. t-shirt is joined by family members, as he looks directly into the camera while eating his cup of noodles. In the background of these images are the streets and structures of the houses in East Oakland– they too are featured characters in the composition of these images. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> This photo collection. Ah, this all from the neighborhood? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> These are from my neighborhood.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The brick cell phone? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I mean, the hairdo, of course, in the fashion. But the brick cell phone and the leaning like “Talk to me and Imma talk back.” That’s what she looks like. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow: \u003c/b>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">laughs\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> This one. This one as well with the cross colors and then this Benz and even the Lack behind it\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\"> [Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The photos are a time machine, instantly transporting me back to the East Oakland that I knew as a youth. Outfits that my sister used to rock. And facial expressions looking like kids I used to kick it with. Squinting, I look for a familiar face or two.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> These are people that I grew up with. You know, we went to middle school and high school together. My mother owned the laundromat on 98th and Birch, and so everyone would come and do their laundry at my mom’s laundromat. And her business wasn’t just where you can do your laundry. It was like a community center \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> where my mom had a sewing machine in the corner and she would do alterations and she would make prom dresses and make outfits for people. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> She also sold Avon, and um we had a little store in the back where you could buy candy and chips and sandwiches, and I would make homemade cookies and we would have those ghetto Icees, you know, like Kool-Aid in a cup. So people were always coming to the laundromat. They were like, Miss Bartlow, did you? Can you hem the skirt? And is my Avon ready? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Taken by the beauty of her community and the joy of capturing it on film, Traci started a photography business, shooting people’s portraits and printing them for $2. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> And if I didn’t see people in the neighborhood, when I would bring them, I would be like, ‘Oh, stop by the wash house and pick up your order of photos.’ \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Even before she got into photography, Traci was already into the arts. At age 19, Traci was awarded a scholarship to study dance at New York’s Alvin Ailey Dance Center. A dancer since a kid, she was inspired by both the entertainers she saw on TV and the way folks moved in her community– the family gatherings and community kickbacks–so, this was a dream come true. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> This is a picture of my mom escorting me to audition for the Alvin Ailey School when I was 19 years old. We’re at the 34th Street Station in New York City. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> And she’s beaming. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> She’s beaming! Yes! My mom was very supportive of my dance career.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> After finishing the two year professional dance training program, she took performing gigs across the globe. One thing led to another and Traci dabbled in modeling before picking up the camera herself. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> I would also find myself at modeling shoots and just be like, ‘What kind of light is that? Oh, that’s a diffuser? What does that do?’ So I was interested in the hardware of photography. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> It was just like this natural progression of me knowing about photography and wanting to learn more and also the way I would study magazine layouts. Then I had this eye for how I wanted to capture a photograph. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Traci made her way back to Oakland and this time she \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">really\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> picked up the film camera. She saw the beauty and life in her neighbors and wanted to document that with the same eye and artfulness that fashion magazine photographers did. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> My neighbors were amused with me. \u003c/span>\u003cspan style=\"font-weight: 400\">Like, ‘You’ve been living in New York City. Oh you want us to pose?’ Like, so I would always have my camera. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">If it was a holiday, a cook, a cookout, kind of holiday. Memorial Day, 4th of July. I would just come outside and take pictures and hang out. So when they saw me, they’re like, ‘Heyyyy! \u003c/span>\u003cspan style=\"font-weight: 400\">Picture time! Yeah, here come the photo lady, l\u003c/span>\u003cspan style=\"font-weight: 400\">et’s get ready. She’s going to take our picture!’ \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Traci’s background in dance soon became the focus of her photography. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m self-taught, so I started photographing other dancers. And you’ll see many images from this photo shoot, because this was an assignment I gave myself to practice with high speed film. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> We make our way from guest room to guest room, photos hung everywhere. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s this one black and white image of teenage b-boy dancers in throwback gear: one is rocking a visor, another in a pair of Marvin the martian shorts– just dripping with youthful 90s flavor. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In front of a brick wall, one guy is doing a crazy handstand and the other is seen jumping 3 feet off the ground hitting a pose. In spite of all the movement, everything is captured in crisp detail, no blur. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> And the dancers are two of the members of Housing Authority. And Housing Authority was this bad ass crew of all male dancers from Oakland and Richmond, Black and brown men. And they were running things in the nineties. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> One of the dancers in the photo is Fly Styles who went on to be a successful backup dancer and choreographer for musicians like Usher and Missy Elliot. Same goes for other Town folks that Traci has photographed in the 90s. Most are now thriving in the entertainment world or powerhouses in the local arts and culture scene. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> This is Aisha Bilal, Layla Jenkins, Asha Karima and Ingrid Best. We were at \u003c/span>\u003cspan style=\"font-weight: 400\">DeFremery Park \u003c/span>\u003cspan style=\"font-weight: 400\">at an event there. This is 1997. We were having a conversation. And in that moment, I just stepped back from the cipher and leaned down and captured this photograph of them. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Black and white, the posture, arms across, you know, like stoic for the most part and angled up. You’re like looking up at them. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> My tentative title for this one is “Giant” because of how larger than life these women are, not only in the photograph, but in real life. They have all been just very powerful and dynamic in their lives, in their families, in their communities, in business. It’s really amazing just to see who these women are even today. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Look, she really has a house full of anecdotal stories about artists at every turn. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Here we are… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Entering the next room. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> So this is one of the rooms that I rent out for B-Love’s Guesthouse, and people are just, like, rejuvenated and just excited to have a good night’s rest in this comfortable plush queen bed surrounded by all this art, these high ceilings, chandelier, and just this big picture window that brings so much morning sunlight into the room.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You’ve got some legends in here. Like, that’s a portrait of Shock G, the late. And this is the Luniz it looks like. That’s fresh out of high school Luniz. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">That picture was taken backstage as Summer Jam… mhmmm \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cspan style=\"font-weight: 400\"> This is ’97. So this is yeah, post “I Got Five On It.”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> They are still riding that wave. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b> \u003cspan style=\"font-weight: 400\">Mm. Mm mm.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> O\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">ne of the things I would do as a photographer in starting out and being self-taught is, I would get a great photo of an artist. I would look on the liner notes of their album and find out who the management was, send them the photo with the cover letter and introduce myself. Sometimes I would write with a ballpoint pen on the back of the photo, like “photo by Tracy Barlow. Copyright 1994.” \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> To break into the industry, Traci had to put herself out there. And with all those portraits that she shot of her neighbors, dancer friends, and hip hop artists on the rise– that became her portfolio of work that she carried with her in a Walgreens photo album just waiting for that right moment when she’d have to pull it out.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> And so I talked my way into Chi Modu’s office! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The late Chi Modu is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">thee\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> late ‘90s hip-hop photographer. He famously photographed Biggie, Eazy-E, Mobb Deep, Nas, members of the Wu Tang Clan, and Tupac. His artwork is culture visualized. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> And I said, ‘I’m from Oakland, and if I get pictures of the scene in Oakland, then maybe you could publish them in your magazine?’\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And he looked at this portfolio with all these faces from deep East Oakland, and he was like, ‘You have a good eye.’ He said, ‘Let’s do it. You capture photos of the scene. Maybe we’ll publish them.’ And the first photo that was published was this image of Hiero at Hip Hop on the Green, and this was published in the Source Magazine. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music ] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">Hip Hop On the Green was this dope outdoor concert that was held in the East Bay throughout the 90s. And Traci was there to document it! Her photos of the event helped spread awareness of Bay Area Hip Hop Culture to the rest of the country. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\">From Hip Hop On the Green…look at E-40. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Oh, Mail Man time. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\">Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Mail Man! Okay, Slurricane. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, the Mossie. B-legit.\u003c/span> \u003cspan style=\"font-weight: 400\">Suga-T\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">Oooh, look at the finger waves. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes and the Cross Colours. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Nice! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It should be noted that while Traci is fully in community with folks, she’s largely doing this on her own: Her photos. Her home. Her idea. And her actualization. She’s not waiting around for someone to give her a platform or to recognize her contributions to the culture, she’s just doing it herself.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And in a place where Black folks have been under-resourced, overpoliced, locked-up and pushed out of the Town for decades, for her to hold space for herself, her work and her community? Cmon, man, we’ve gotta recognize the power in that. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b> \u003cspan style=\"font-weight: 400\">I’m amazed that I survived foreclosure. There was many moments of just the spirit of detachment. This may not work out. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> I would come home. Those notices were posted on my front door. This house is up for auction on the county courthouse steps at 6 a.m.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> After surviving foreclosure, Traci opened up her space, allowing people to rent out rooms. The guests? It started with her network of artist friends… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow: \u003c/b>\u003cspan style=\"font-weight: 400\">And I was like, Well, I think I’m going to start renting out rooms to people that I know that are coming to town for residencies, for conferences, for events, for direct actions. Like these are people that I know come to the Bay Area for these different things. I know all the African dance festivals. I know the B Boys, I know the film festivals, I know the National Poetry Slams. Like, that’s my life! Artists and activism is my life. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">That’s beautiful… to have it come almost naturally, like from your experience is poured into you and also it benefits the larger community. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, there are people in this neighborhood that have been here for a long time, as well as a mix of new people that are coming in. So to honor this history of the black experience in West Oakland is really important to me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The house itself is preserving history. And then within the house you have history on the walls. And it’s not all historical, it’s forward moving, like you have people coming through in real time\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">…who are \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">culture makers, people, cultural icons, you know. And so I just wanted to get a sense of some of the people who’ve come through here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes!!! Norma Miller, the queen of swing! The Lindy Hop champion! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">S\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">he’ll be like,’ Nope, I don’t want to be at the Marriott.’ She’s like, ‘I want to be at B-Love’s Guesthouse.’\u003c/span>\u003cspan style=\"font-weight: 400\"> Because it was like she wanted to be immersed in Black culture.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">B-Girl FaTara from New York. She came out for a breaking event here in Oakland. And she said, ‘I’ve stayed at so many AirBnbs, but this is like a Black house, like the incense you have burning, the beans you got cooking, like it smells and feels like the house of an African American person.’\u003c/span> \u003cspan style=\"font-weight: 400\">So people are coming here and they may be in this gentrified neighborhood, but they’re like, Oh, but this is I, this is the Black lady’s house! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> ‘Thank you’ doesn’t do justice, man. I want to offer my sincere appreciation to Traci Bartlow. Thank you for your art, your hospitality and for your time. Also, thanks for being a pleasant community member, just a delightful person to see at an event and around the Town. Thank you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can find more information at b-lovesguesthouse.com or \u003c/span>\u003ca href=\"https://www.instagram.com/blovesguesthouse/#\">\u003cspan style=\"font-weight: 400\">blovesguesthouse on Instagram. \u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Traci’s instagram is tracibartlow and we’ll add a link to more information on her photo exhibit to the show notes. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Time to give credit where it’s due:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena came with me and Traci on this tour, and then produced this joint. Thank you Marisol. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Suzie Racho and Jen Chien edited this one, \u003c/span>\u003cspan style=\"font-weight: 400\">Christopher Beal engineered this one. \u003c/span>\u003cspan style=\"font-weight: 400\">Ryce Stoughtenborough is our engagement intern and Justin Ebramehimi and Ria Garewal are the engagement leads. \u003c/span>\u003cspan style=\"font-weight: 400\">Ethan Toven Lindsey, Jen Chien and Holly Kernan are the KQED execs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m your host Pendarvis Harshaw! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thanks! Much love and peace to you. Till’ next time.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Traci Bartlow's home is a showcase for her work and holds the history of her West Oakland neighborhood.",
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"title": "The Hip-Hop Photographer Who Makes Guests Feel At Home | KQED",
"description": "Inside of a classic Queen Anne Victorian in West Oakland, photographer Traci Bartlow displays beautifully framed images of the people who shaped hip-hop culture here in the Bay Area, and across the nation. While the photos tell a story about what life was like in growing up in Oakland, it's her house, which is a photography museum and a boutique hotel, that tells the complex story of multiple generations of Black folks, land ownership and community appreciation.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003cem>View the full episode transcript.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Inside of a classic Queen Anne Victorian in West Oakland, photographer \u003ca href=\"https://www.instagram.com/tracibartlow/\" target=\"_blank\" rel=\"noopener noreferrer\">Traci Bartlow\u003c/a> displays beautifully framed images of the people who shaped hip-hop culture here in the Bay Area, and across the nation.\u003c/p>\n\u003cp>Her exhibition, \u003cem>Oakland Picture Lady: Tales of the 90’s Girl\u003c/em>, features photos of Outkast and Queen Latifah, Busta Rhymes and ODB, alongside images of the Luniz and Shock-G, as well as E-40 and The Click.\u003c/p>\n\u003cp>While the photos tell a story about what life was like in growing up in Oakland, it’s her house that tells \u003ca href=\"https://www.instagram.com/p/CxjCC5Uv62l/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==\">the complex story of multiple generations of Black folks\u003c/a>, land ownership and community appreciation.\u003c/p>\n\u003cp>Traci is the owner of \u003ca href=\"https://www.b-lovesguesthouse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">B-Love’s Guesthouse\u003c/a>, which is a photography museum and a boutique hotel. With its picturesque front porch and flourishing garden in the back, the building features seven different rooms that folks can rent.\u003c/p>\n\u003cfigure id=\"attachment_13920339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920339\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04426-800x535.jpg\" alt=\"Traci Bartlow holds up an image of the wash house her mother once owned in East Oakland. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow holds up an image of the washhouse her mother once owned in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An \u003ca href=\"https://www.alvinailey.org/school\">Ailey School\u003c/a> graduate turned \u003ca href=\"https://www.youtube.com/watch?v=LjBa6yqRau4\">Emmy-winning dancer\u003c/a> and choreographer, Traci fell in love with the arts through what she experienced in her neighborhood as a child. Block parties and family functions introduced her to her love of dance.\u003c/p>\n\u003cp>Born and raised in East Oakland, she also saw firsthand the importance of a neighborhood hub by watching the multiple ways people would use her mother’s washhouse. It wasn’t just a laundromat but a corner store, a place to get your prom dress made or pick up your Avon order.\u003c/p>\n\u003cp>She acquired her current home from the late Eddie Mae Holmes, a Black woman who once owned multiple properties in West Oakland. And Traci envisioned using the space for the purposes of artistic expression and community gatherings, including showcasing her work. Now B-Love’s Guesthouse stands as a home for hip-hop history and a safe haven for folks to come together.\u003c/p>\n\u003cfigure id=\"attachment_13920342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13920342 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04446-800x535.jpg\" alt=\"Traci Bartlow.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow sits on the stairwell of her Queen Ann Victorian home in West Oakland \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3179587234&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>This episode originally aired on October 14, 2022 .\u003c/em>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena, Producer: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey Rightnowish listeners, it’s Marisol Medina-Cadena. As we continue to honor 50 Years of Hip-Hop, we’re bringing you an episode from our archive featuring dancer and photographer Traci Bartlow.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Traci documented Bay Area dancers, rappers, and dj’s in the 90’s and still hasn’t put the camera down. \u003c/span>\u003cspan style=\"font-weight: 400\">This summer, the inaugural Bay Area Hip Hop Archives honored Traci Bartlow for her contributions to the region’s Hip Hop scene. \u003c/span>\u003cspan style=\"font-weight: 400\">And Pendarvis Harshaw is gonna take it from here, enjoy. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">] \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Mic, mic check one, mic check two. Are we here? All right we’re here…Rightnowish. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Street ambience ]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Do you know what type of tree it is?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s called a bottle brush tree.Usually it’s full of these bright red flowers with skinny pistils and the hummingbirds love it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> Why start here on your tour? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s in the shade and it’s a moment to get a feel for the house and the neighborhood. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hey y’all, what’s happening? You’re listening to Rightnowish, a podcast about arts and culture in the bay area. I’m your partna Pen…Pendarvis Harshaw. And today, we’re gonna spend some time in West Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The neighborhood looks hella different than it did when I was coming up, but all is not lost. There’s still places and people that have weathered the market forces to maintain the character of the area. \u003c/span>\u003cspan style=\"font-weight: 400\">Like this Victorian house I’m standing in front of with today’s guest, Traci Bartlow. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> This is a Queen Anne Victorian house and it was built in 1895. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s painted white with a mix of soft yellow and sky blue accents. Potted roses and succulents line the stairwell.. and it’s got this half arch that extends from the porch and frames the door, almost like a house you’d see in a storybook. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> It seems like they wanted to make it look like a castle! You know, like with the high ceilings, this beautiful arc, all of this really unique molding on the house. Everything is really grand. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Traci’s home is also a boutique hotel called B-Love’s Guesthouse, where you can rent a room for a day or two. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> B-Love’s Guesthouse has served as a healing space and a respite in many different ways. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s also a photography museum where you could spend an hour or two just soaking up the rich history. This month, Traci is exhibiting photos she shot of the Town, including images that graced the pages of historic magazines like The Source and Rap Pages.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> This image here is the Hobo Junction. And I love this image because they’re selling their tapes out of a box on Telegraph Avenue. In front of the record store! That’s how we did in the nineties.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> She had a front row seat to the artists who shaped both the Bay Area hip hop scene and the national hip hop scene. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow: \u003c/b>\u003cspan style=\"font-weight: 400\">These pictures are fun! Busta Rhymes and ODB. This was on the set of Busta’s music video. “Woo-ha! Got You All In Check.” \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay yeah.. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes, so he shot the video in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">San Francisco, and so I came out to capture photographs and… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> What?\u003c/span> \u003cspan style=\"font-weight: 400\">That’s tight as hell. I didn’t know that.. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yep! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s Isha B doing ODB’s hair?! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Isha B did ODB’s hair?? What?? That’s crazy!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Yep, classic history!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Woah, okay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, today we’re focused on Traci Bartlow’s dope photo archive and the story behind the place where these photos are housed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So wipe your kicks at the door, hang up your coat, relax your shoulders,\u003c/span> \u003cspan style=\"font-weight: 400\">and take a deep breath: we’re posting up at B-Love’s Guesthouse. Right after this…\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\"> [Outdoor Ambience]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Just a few blocks from the women of the Black Panther Party mural and west Oakland Bart station is Traci Bartlow’s home and hotel. It’s a residential street with lots of history… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> I acquired this house in 2007 and I acquired the house from a team of people that would buy houses, flip them, and then sell them. They bought the house from a woman named Eddie Mae Holmes. And Ms. Holmes was an African-American woman that came to West Oakland when she was 14 years old. And, um, through her family ownership, she acquired this house, the house I now own, this house on the corner. And in 1965, she had that apartment building around the corner built and on the lower level of the apartment building, she had Holmes Barber Shop. So Ms.Holmes is one of those black women in the community that was providing in so many different ways for everyone. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ms. Holmes was my friend! I used to make ginger tea and go sit in the kitchen in her house and we would watch The View in the mornings. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cem>\u003cspan style=\"font-weight: 400\">[Laughs\u003c/span>\u003c/em>\u003cspan style=\"font-weight: 400\">\u003cem>]\u003c/em> Okay! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> She was my partna! And she was just really amazed by me like, ‘Oh, this is who bought the house?’ And so she was really encouraging to me as a property owner. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">About 15 years ago, Traci converted her home into a guesthouse. People can choose from one of seven rooms for an overnight stay. And at the same time, folks can enjoy the framed photos from Traci’s archives. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay here is B-Love’s Guesthouse.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Traci leads me to the kitchenette of the downstairs guest house. Above a small dining room table they’re framed black and white images of kids. I see little girls with barrettes in their hair. In another image, the camera is pointed toward a window sill where a boy with a D.A.R.E. t-shirt is joined by family members, as he looks directly into the camera while eating his cup of noodles. In the background of these images are the streets and structures of the houses in East Oakland– they too are featured characters in the composition of these images. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> This photo collection. Ah, this all from the neighborhood? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> These are from my neighborhood.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The brick cell phone? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I mean, the hairdo, of course, in the fashion. But the brick cell phone and the leaning like “Talk to me and Imma talk back.” That’s what she looks like. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow: \u003c/b>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">laughs\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> This one. This one as well with the cross colors and then this Benz and even the Lack behind it\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\"> [Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The photos are a time machine, instantly transporting me back to the East Oakland that I knew as a youth. Outfits that my sister used to rock. And facial expressions looking like kids I used to kick it with. Squinting, I look for a familiar face or two.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> These are people that I grew up with. You know, we went to middle school and high school together. My mother owned the laundromat on 98th and Birch, and so everyone would come and do their laundry at my mom’s laundromat. And her business wasn’t just where you can do your laundry. It was like a community center \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> where my mom had a sewing machine in the corner and she would do alterations and she would make prom dresses and make outfits for people. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> She also sold Avon, and um we had a little store in the back where you could buy candy and chips and sandwiches, and I would make homemade cookies and we would have those ghetto Icees, you know, like Kool-Aid in a cup. So people were always coming to the laundromat. They were like, Miss Bartlow, did you? Can you hem the skirt? And is my Avon ready? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Taken by the beauty of her community and the joy of capturing it on film, Traci started a photography business, shooting people’s portraits and printing them for $2. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> And if I didn’t see people in the neighborhood, when I would bring them, I would be like, ‘Oh, stop by the wash house and pick up your order of photos.’ \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Even before she got into photography, Traci was already into the arts. At age 19, Traci was awarded a scholarship to study dance at New York’s Alvin Ailey Dance Center. A dancer since a kid, she was inspired by both the entertainers she saw on TV and the way folks moved in her community– the family gatherings and community kickbacks–so, this was a dream come true. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> This is a picture of my mom escorting me to audition for the Alvin Ailey School when I was 19 years old. We’re at the 34th Street Station in New York City. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> And she’s beaming. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> She’s beaming! Yes! My mom was very supportive of my dance career.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> After finishing the two year professional dance training program, she took performing gigs across the globe. One thing led to another and Traci dabbled in modeling before picking up the camera herself. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> I would also find myself at modeling shoots and just be like, ‘What kind of light is that? Oh, that’s a diffuser? What does that do?’ So I was interested in the hardware of photography. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> It was just like this natural progression of me knowing about photography and wanting to learn more and also the way I would study magazine layouts. Then I had this eye for how I wanted to capture a photograph. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Traci made her way back to Oakland and this time she \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">really\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> picked up the film camera. She saw the beauty and life in her neighbors and wanted to document that with the same eye and artfulness that fashion magazine photographers did. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> My neighbors were amused with me. \u003c/span>\u003cspan style=\"font-weight: 400\">Like, ‘You’ve been living in New York City. Oh you want us to pose?’ Like, so I would always have my camera. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">If it was a holiday, a cook, a cookout, kind of holiday. Memorial Day, 4th of July. I would just come outside and take pictures and hang out. So when they saw me, they’re like, ‘Heyyyy! \u003c/span>\u003cspan style=\"font-weight: 400\">Picture time! Yeah, here come the photo lady, l\u003c/span>\u003cspan style=\"font-weight: 400\">et’s get ready. She’s going to take our picture!’ \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Traci’s background in dance soon became the focus of her photography. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m self-taught, so I started photographing other dancers. And you’ll see many images from this photo shoot, because this was an assignment I gave myself to practice with high speed film. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> We make our way from guest room to guest room, photos hung everywhere. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s this one black and white image of teenage b-boy dancers in throwback gear: one is rocking a visor, another in a pair of Marvin the martian shorts– just dripping with youthful 90s flavor. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In front of a brick wall, one guy is doing a crazy handstand and the other is seen jumping 3 feet off the ground hitting a pose. In spite of all the movement, everything is captured in crisp detail, no blur. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> And the dancers are two of the members of Housing Authority. And Housing Authority was this bad ass crew of all male dancers from Oakland and Richmond, Black and brown men. And they were running things in the nineties. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> One of the dancers in the photo is Fly Styles who went on to be a successful backup dancer and choreographer for musicians like Usher and Missy Elliot. Same goes for other Town folks that Traci has photographed in the 90s. Most are now thriving in the entertainment world or powerhouses in the local arts and culture scene. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> This is Aisha Bilal, Layla Jenkins, Asha Karima and Ingrid Best. We were at \u003c/span>\u003cspan style=\"font-weight: 400\">DeFremery Park \u003c/span>\u003cspan style=\"font-weight: 400\">at an event there. This is 1997. We were having a conversation. And in that moment, I just stepped back from the cipher and leaned down and captured this photograph of them. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Black and white, the posture, arms across, you know, like stoic for the most part and angled up. You’re like looking up at them. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> My tentative title for this one is “Giant” because of how larger than life these women are, not only in the photograph, but in real life. They have all been just very powerful and dynamic in their lives, in their families, in their communities, in business. It’s really amazing just to see who these women are even today. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Look, she really has a house full of anecdotal stories about artists at every turn. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Here we are… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Entering the next room. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> So this is one of the rooms that I rent out for B-Love’s Guesthouse, and people are just, like, rejuvenated and just excited to have a good night’s rest in this comfortable plush queen bed surrounded by all this art, these high ceilings, chandelier, and just this big picture window that brings so much morning sunlight into the room.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You’ve got some legends in here. Like, that’s a portrait of Shock G, the late. And this is the Luniz it looks like. That’s fresh out of high school Luniz. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">That picture was taken backstage as Summer Jam… mhmmm \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cspan style=\"font-weight: 400\"> This is ’97. So this is yeah, post “I Got Five On It.”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> They are still riding that wave. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b> \u003cspan style=\"font-weight: 400\">Mm. Mm mm.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> O\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">ne of the things I would do as a photographer in starting out and being self-taught is, I would get a great photo of an artist. I would look on the liner notes of their album and find out who the management was, send them the photo with the cover letter and introduce myself. Sometimes I would write with a ballpoint pen on the back of the photo, like “photo by Tracy Barlow. Copyright 1994.” \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> To break into the industry, Traci had to put herself out there. And with all those portraits that she shot of her neighbors, dancer friends, and hip hop artists on the rise– that became her portfolio of work that she carried with her in a Walgreens photo album just waiting for that right moment when she’d have to pull it out.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> And so I talked my way into Chi Modu’s office! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The late Chi Modu is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">thee\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> late ‘90s hip-hop photographer. He famously photographed Biggie, Eazy-E, Mobb Deep, Nas, members of the Wu Tang Clan, and Tupac. His artwork is culture visualized. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> And I said, ‘I’m from Oakland, and if I get pictures of the scene in Oakland, then maybe you could publish them in your magazine?’\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And he looked at this portfolio with all these faces from deep East Oakland, and he was like, ‘You have a good eye.’ He said, ‘Let’s do it. You capture photos of the scene. Maybe we’ll publish them.’ And the first photo that was published was this image of Hiero at Hip Hop on the Green, and this was published in the Source Magazine. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music ] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">Hip Hop On the Green was this dope outdoor concert that was held in the East Bay throughout the 90s. And Traci was there to document it! Her photos of the event helped spread awareness of Bay Area Hip Hop Culture to the rest of the country. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\">From Hip Hop On the Green…look at E-40. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Oh, Mail Man time. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\">Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Mail Man! Okay, Slurricane. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, the Mossie. B-legit.\u003c/span> \u003cspan style=\"font-weight: 400\">Suga-T\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">Oooh, look at the finger waves. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes and the Cross Colours. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Nice! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It should be noted that while Traci is fully in community with folks, she’s largely doing this on her own: Her photos. Her home. Her idea. And her actualization. She’s not waiting around for someone to give her a platform or to recognize her contributions to the culture, she’s just doing it herself.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And in a place where Black folks have been under-resourced, overpoliced, locked-up and pushed out of the Town for decades, for her to hold space for herself, her work and her community? Cmon, man, we’ve gotta recognize the power in that. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b> \u003cspan style=\"font-weight: 400\">I’m amazed that I survived foreclosure. There was many moments of just the spirit of detachment. This may not work out. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> I would come home. Those notices were posted on my front door. This house is up for auction on the county courthouse steps at 6 a.m.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> After surviving foreclosure, Traci opened up her space, allowing people to rent out rooms. The guests? It started with her network of artist friends… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow: \u003c/b>\u003cspan style=\"font-weight: 400\">And I was like, Well, I think I’m going to start renting out rooms to people that I know that are coming to town for residencies, for conferences, for events, for direct actions. Like these are people that I know come to the Bay Area for these different things. I know all the African dance festivals. I know the B Boys, I know the film festivals, I know the National Poetry Slams. Like, that’s my life! Artists and activism is my life. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">That’s beautiful… to have it come almost naturally, like from your experience is poured into you and also it benefits the larger community. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, there are people in this neighborhood that have been here for a long time, as well as a mix of new people that are coming in. So to honor this history of the black experience in West Oakland is really important to me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> The house itself is preserving history. And then within the house you have history on the walls. And it’s not all historical, it’s forward moving, like you have people coming through in real time\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">…who are \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">culture makers, people, cultural icons, you know. And so I just wanted to get a sense of some of the people who’ve come through here.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Traci Bartlow:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yes!!! Norma Miller, the queen of swing! The Lindy Hop champion! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">S\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">he’ll be like,’ Nope, I don’t want to be at the Marriott.’ She’s like, ‘I want to be at B-Love’s Guesthouse.’\u003c/span>\u003cspan style=\"font-weight: 400\"> Because it was like she wanted to be immersed in Black culture.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">B-Girl FaTara from New York. She came out for a breaking event here in Oakland. And she said, ‘I’ve stayed at so many AirBnbs, but this is like a Black house, like the incense you have burning, the beans you got cooking, like it smells and feels like the house of an African American person.’\u003c/span> \u003cspan style=\"font-weight: 400\">So people are coming here and they may be in this gentrified neighborhood, but they’re like, Oh, but this is I, this is the Black lady’s house! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> ‘Thank you’ doesn’t do justice, man. I want to offer my sincere appreciation to Traci Bartlow. Thank you for your art, your hospitality and for your time. Also, thanks for being a pleasant community member, just a delightful person to see at an event and around the Town. Thank you. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can find more information at b-lovesguesthouse.com or \u003c/span>\u003ca href=\"https://www.instagram.com/blovesguesthouse/#\">\u003cspan style=\"font-weight: 400\">blovesguesthouse on Instagram. \u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Traci’s instagram is tracibartlow and we’ll add a link to more information on her photo exhibit to the show notes. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Time to give credit where it’s due:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena came with me and Traci on this tour, and then produced this joint. Thank you Marisol. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Suzie Racho and Jen Chien edited this one, \u003c/span>\u003cspan style=\"font-weight: 400\">Christopher Beal engineered this one. \u003c/span>\u003cspan style=\"font-weight: 400\">Ryce Stoughtenborough is our engagement intern and Justin Ebramehimi and Ria Garewal are the engagement leads. \u003c/span>\u003cspan style=\"font-weight: 400\">Ethan Toven Lindsey, Jen Chien and Holly Kernan are the KQED execs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m your host Pendarvis Harshaw! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thanks! Much love and peace to you. Till’ next time.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>"
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"title": "PHOTOS: Peso Pluma Fans in San Jose Show Up in Style for Mexican Superstar’s Tour",
"headTitle": "PHOTOS: Peso Pluma Fans in San Jose Show Up in Style for Mexican Superstar’s Tour | KQED",
"content": "\u003cp>Friday the 13th in San Jose was far from ordinary at the SAP Center, where an eerie, oversized, purple-and-pink spider on the street greeted \u003ca href=\"https://www.kqed.org/news/11963875/peso-pluma-san-jose-parking-schedule\">Peso Pluma\u003c/a>’s devoted fans for his anticipated return to The Bay.\u003c/p>\n\u003cp>Born Hassan Emilio Kabande Laija in Guadalajara, Mexico, the 24-year-old is a prominent figure in the surging Mexican corridos scene, ignited by hits like “La Bebe” with \u003ca href=\"https://www.billboard.com/music/latin/yng-lvcas-peso-pluma-la-bebe-remix-hot-100-interview-1235315184/\">Yng Lvcas\u003c/a> and a collaboration with the Mexican-American group \u003ca href=\"https://variety.com/2023/music/news/peso-pluma-eslabon-armado-ella-baila-sola-global-song-summer-spotify-1235702519/\">Eslabon Armado\u003c/a> on “Ella Baila Sola” — which made history as the first \u003ca href=\"https://www.billboard.com/t/regional-mexican/\">regional Mexican track\u003c/a> to reach the top five on the all-genre chart.\u003c/p>\n\u003cfigure id=\"attachment_13936442\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-53.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peso Pluma teased his set with a pre-recorded video of each of his band members sharing what Peso Pluma meant to them: family, companionship, a lifestyle. Then came a black-and-white countdown projected onto a white stage curtain, displaying spiders crawling downward, as if into the crowd. As soon as the curtain dropped, the young artist was greeted with screams.\u003c/p>\n\u003cp>[aside postID='arts_13936015']With his full band in tow, Peso Pluma didn’t just offer music; he provided a unique, high-energy experience for fans and aspiring Latinx artists alike. \u003c/p>\n\u003cp>Concert attendees showed their style, ranging from ski masks inspired by Peso Pluma himself to sombreros, all-black outfits and an outpouring of Mexican pride. KQED’s Paloma Abarca and photographer Estefany Gonzalez were there to capture the artist’s far-reaching impact.\u003cem>—Paloma Abarca\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13936416\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Isael Altamirano (left) and Santi Ochoa sport matching haircuts to Peso Pluma’s Doble P tour at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936433\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-44.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Gomez wears custom nails to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Rojas (left) and Betsy Luna pose pose for a portrait with the Mexican flag outside the SAP Center on Friday, Oct. 13, 2023. The two are very proud of their Mexican heritage. ‘Mexicanos al el 100 por ciento,’ Rojas said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936436\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936427\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-30.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13936427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Ángeles Acevedo wears sparkly jersey and cowboy boots to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-8.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marlen Martinez (left) and Eduardo Martinez pose for a portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-35.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jose Plata wears a ski mask, an accessory often worn by Peso Pluma, to SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yeni Mota (right) and daughter Ashlyn Mota wear matching outfits to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936437\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-78.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936424\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">José Rodríguez poses for a portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936431\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jazmin Sigala (left) and Isabel Perez pose for portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936412\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-6.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13936412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Zaira Cortez wears a spider necklace to Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936440\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma concert attendees arrive to the SAP Center via Eco City Cycles on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936438\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-82.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936425\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-27.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Cristina Ledezma (left) and Sade Ledezma wear matching shirts to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936408\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Magy Hernández and her children Aylin Hernández and Adrian Hernández pose for a portrait next to a spider installation at the SAP Center on Friday, Oct. 13, 2023. The three traveled from Chicago to attend the Peso Pluma concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936415\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Braulio Ochoa poses for a portrait next to a spider installation at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "A sea of black outfits, sombreros and Mexican pride greeted Peso Pluma's Doble P tour at San Jose's SAP Center.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Friday the 13th in San Jose was far from ordinary at the SAP Center, where an eerie, oversized, purple-and-pink spider on the street greeted \u003ca href=\"https://www.kqed.org/news/11963875/peso-pluma-san-jose-parking-schedule\">Peso Pluma\u003c/a>’s devoted fans for his anticipated return to The Bay.\u003c/p>\n\u003cp>Born Hassan Emilio Kabande Laija in Guadalajara, Mexico, the 24-year-old is a prominent figure in the surging Mexican corridos scene, ignited by hits like “La Bebe” with \u003ca href=\"https://www.billboard.com/music/latin/yng-lvcas-peso-pluma-la-bebe-remix-hot-100-interview-1235315184/\">Yng Lvcas\u003c/a> and a collaboration with the Mexican-American group \u003ca href=\"https://variety.com/2023/music/news/peso-pluma-eslabon-armado-ella-baila-sola-global-song-summer-spotify-1235702519/\">Eslabon Armado\u003c/a> on “Ella Baila Sola” — which made history as the first \u003ca href=\"https://www.billboard.com/t/regional-mexican/\">regional Mexican track\u003c/a> to reach the top five on the all-genre chart.\u003c/p>\n\u003cfigure id=\"attachment_13936442\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-53.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peso Pluma teased his set with a pre-recorded video of each of his band members sharing what Peso Pluma meant to them: family, companionship, a lifestyle. Then came a black-and-white countdown projected onto a white stage curtain, displaying spiders crawling downward, as if into the crowd. As soon as the curtain dropped, the young artist was greeted with screams.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With his full band in tow, Peso Pluma didn’t just offer music; he provided a unique, high-energy experience for fans and aspiring Latinx artists alike. \u003c/p>\n\u003cp>Concert attendees showed their style, ranging from ski masks inspired by Peso Pluma himself to sombreros, all-black outfits and an outpouring of Mexican pride. KQED’s Paloma Abarca and photographer Estefany Gonzalez were there to capture the artist’s far-reaching impact.\u003cem>—Paloma Abarca\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13936416\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Isael Altamirano (left) and Santi Ochoa sport matching haircuts to Peso Pluma’s Doble P tour at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936433\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-44.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Gomez wears custom nails to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Rojas (left) and Betsy Luna pose pose for a portrait with the Mexican flag outside the SAP Center on Friday, Oct. 13, 2023. The two are very proud of their Mexican heritage. ‘Mexicanos al el 100 por ciento,’ Rojas said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936436\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936427\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-30.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13936427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Ángeles Acevedo wears sparkly jersey and cowboy boots to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-8.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marlen Martinez (left) and Eduardo Martinez pose for a portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-35.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jose Plata wears a ski mask, an accessory often worn by Peso Pluma, to SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yeni Mota (right) and daughter Ashlyn Mota wear matching outfits to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936437\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-78.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936424\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">José Rodríguez poses for a portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936431\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jazmin Sigala (left) and Isabel Perez pose for portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936412\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-6.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13936412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Zaira Cortez wears a spider necklace to Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936440\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma concert attendees arrive to the SAP Center via Eco City Cycles on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936438\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-82.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936425\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-27.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Cristina Ledezma (left) and Sade Ledezma wear matching shirts to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936408\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Magy Hernández and her children Aylin Hernández and Adrian Hernández pose for a portrait next to a spider installation at the SAP Center on Friday, Oct. 13, 2023. The three traveled from Chicago to attend the Peso Pluma concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936415\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Braulio Ochoa poses for a portrait next to a spider installation at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Descriptions of the Tenderloin have long been seeped in negativity. This was happening long before the past couple years, when Fox News has reported streets full of “zombies roaming” and the \u003cem>Daily Mail\u003c/em> blamed the TL and Civic Center for making San Francisco “a byword for \u003ca href=\"https://www.kqed.org/news/11952285/from-the-vault-when-the-tenderloins-addiction-crisis-goes-viral\">drug taking\u003c/a> … and associated crime.” Even back in 1977, San Francisco’s own\u003cem> Examiner \u003c/em>newspaper had an entire series that described the Tenderloin as “hell at your doorstep.” That same publication referred to the neighborhood as “the shady part of town” all the way back in 1897.\u003c/p>\n\u003cp>[aside postid='arts_13935330']For the people that regularly frequent, live in and/or still love the Tenderloin and mid-Market neighborhoods, these widely distributed, one-note perceptions of the area are frustrating and frequently worthy of an eye-roll. Outsiders are all too often willing to focus on the worst rather than appreciate the Tenderloin’s small businesses, \u003ca href=\"https://www.kqed.org/arts/13916794/azalina-malaysian-restaurant-reopening-tenderloin\">tasty restaurants\u003c/a>, fun bars, \u003ca href=\"https://www.kqed.org/pop/103422/rebel-girls-from-bay-area-history-ruth-brinker-aids-activist\">long-standing charitable organizations\u003c/a> and interesting \u003ca href=\"https://www.kqed.org/arts/13935933/counterpulse-vivvyanne-forevermore-drag-the-show\">local characters\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg\" alt=\"A senior man with white hair and receding hairline pours a drink from behind a small, old-fashioned bar. He is wearing a white short-sleeved shirt and black pants. The bar is full of Christmas lights and lined with mirrors. There are three or four patrons seated at the bar.\" width=\"1920\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1536x1053.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Aunt Charlie’s Lounge, Turk Street, Tenderloin District, San Francisco 2016’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter photographic hero \u003ca href=\"https://www.flickr.com/photos/daveglass/albums\">Dave Glass.\u003c/a> He’s a San Francisco local that has long documented neighborhoods — and, crucially, the mix of people within them — across the city. Glass had the good sense to spend decades documenting the Tenderloin and Civic Center, and his new exhibition, \u003cem>Central City 1960-2016, \u003c/em>reflects an appreciation for those neighborhoods right when it’s needed most. Right when, let’s be frank, so many people have nothing good to say about the area at all.\u003c/p>\n\u003cp>In the exhibition, on view at the \u003ca href=\"http://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a> through the end of the year, Glass only has 14 images on display — nine in black and white, five in color. But each is potent, and the collection is carefully curated to reflect the broad swath of life that has always existed in the neighborhood. Cool kids on street corners, anti-war protesters, a smiling baby in a Volvo driver’s seat, a stoic Polk Street watch repairman. They all exist alongside old neighborhood bars and their patrons, liquor store foot traffic, and cops lined up on Market near Sixth.\u003c/p>\n\u003cfigure id=\"attachment_13936208\" class=\"wp-caption aligncenter\" style=\"max-width: 1842px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png\" alt=\"A line of motorcycle cops block off the entire street. Barricades hold back crowds on the sidewalk behind them. A cinema promises LIVE NUDE GIRLS from its marquee.\" width=\"1842\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png 1842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1536x1024.png 1536w\" sizes=\"(max-width: 1842px) 100vw, 1842px\">\u003cfigcaption class=\"wp-caption-text\">‘Market Street Cinema 1985’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though small, \u003cem>Central City\u003c/em> is a fuller — and fairer — picture of the Tenderloin and mid-Market than most of the country is afforded right now. Glass’ black and white images are the most striking, too, in part because, at a glance, they all appear to be from the same era — despite them spanning 45 years of street life.\u003c/p>\n\u003cp>Through Glass’ lens, the Tenderloin and its surrounding streets become timeless. There is something undeniably beautiful about that — especially while so much of the country is still talking smack about them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.tenderloinmuseum.org/dave-glass-central-city-1970-2016\">Dave Glass: Central City 1970-2016\u003c/a>’ is on view at the Tenderloin Museum (398 Eddy St.) until Dec. 30, 2023. Glass will appear in conversation at the museum with \u003ca href=\"http://www.adrianmrtnz.com/\">Adrian Martinez\u003c/a> and \u003ca href=\"https://www.austinleong.com/\">Austin Leong\u003c/a> on at 5:30 p.m. on Dec. 7 .\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Descriptions of the Tenderloin have long been seeped in negativity. This was happening long before the past couple years, when Fox News has reported streets full of “zombies roaming” and the \u003cem>Daily Mail\u003c/em> blamed the TL and Civic Center for making San Francisco “a byword for \u003ca href=\"https://www.kqed.org/news/11952285/from-the-vault-when-the-tenderloins-addiction-crisis-goes-viral\">drug taking\u003c/a> … and associated crime.” Even back in 1977, San Francisco’s own\u003cem> Examiner \u003c/em>newspaper had an entire series that described the Tenderloin as “hell at your doorstep.” That same publication referred to the neighborhood as “the shady part of town” all the way back in 1897.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For the people that regularly frequent, live in and/or still love the Tenderloin and mid-Market neighborhoods, these widely distributed, one-note perceptions of the area are frustrating and frequently worthy of an eye-roll. Outsiders are all too often willing to focus on the worst rather than appreciate the Tenderloin’s small businesses, \u003ca href=\"https://www.kqed.org/arts/13916794/azalina-malaysian-restaurant-reopening-tenderloin\">tasty restaurants\u003c/a>, fun bars, \u003ca href=\"https://www.kqed.org/pop/103422/rebel-girls-from-bay-area-history-ruth-brinker-aids-activist\">long-standing charitable organizations\u003c/a> and interesting \u003ca href=\"https://www.kqed.org/arts/13935933/counterpulse-vivvyanne-forevermore-drag-the-show\">local characters\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg\" alt=\"A senior man with white hair and receding hairline pours a drink from behind a small, old-fashioned bar. He is wearing a white short-sleeved shirt and black pants. The bar is full of Christmas lights and lined with mirrors. There are three or four patrons seated at the bar.\" width=\"1920\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1536x1053.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Aunt Charlie’s Lounge, Turk Street, Tenderloin District, San Francisco 2016’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter photographic hero \u003ca href=\"https://www.flickr.com/photos/daveglass/albums\">Dave Glass.\u003c/a> He’s a San Francisco local that has long documented neighborhoods — and, crucially, the mix of people within them — across the city. Glass had the good sense to spend decades documenting the Tenderloin and Civic Center, and his new exhibition, \u003cem>Central City 1960-2016, \u003c/em>reflects an appreciation for those neighborhoods right when it’s needed most. Right when, let’s be frank, so many people have nothing good to say about the area at all.\u003c/p>\n\u003cp>In the exhibition, on view at the \u003ca href=\"http://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a> through the end of the year, Glass only has 14 images on display — nine in black and white, five in color. But each is potent, and the collection is carefully curated to reflect the broad swath of life that has always existed in the neighborhood. Cool kids on street corners, anti-war protesters, a smiling baby in a Volvo driver’s seat, a stoic Polk Street watch repairman. They all exist alongside old neighborhood bars and their patrons, liquor store foot traffic, and cops lined up on Market near Sixth.\u003c/p>\n\u003cfigure id=\"attachment_13936208\" class=\"wp-caption aligncenter\" style=\"max-width: 1842px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png\" alt=\"A line of motorcycle cops block off the entire street. Barricades hold back crowds on the sidewalk behind them. A cinema promises LIVE NUDE GIRLS from its marquee.\" width=\"1842\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png 1842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1536x1024.png 1536w\" sizes=\"(max-width: 1842px) 100vw, 1842px\">\u003cfigcaption class=\"wp-caption-text\">‘Market Street Cinema 1985’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though small, \u003cem>Central City\u003c/em> is a fuller — and fairer — picture of the Tenderloin and mid-Market than most of the country is afforded right now. Glass’ black and white images are the most striking, too, in part because, at a glance, they all appear to be from the same era — despite them spanning 45 years of street life.\u003c/p>\n\u003cp>Through Glass’ lens, the Tenderloin and its surrounding streets become timeless. There is something undeniably beautiful about that — especially while so much of the country is still talking smack about them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.tenderloinmuseum.org/dave-glass-central-city-1970-2016\">Dave Glass: Central City 1970-2016\u003c/a>’ is on view at the Tenderloin Museum (398 Eddy St.) until Dec. 30, 2023. Glass will appear in conversation at the museum with \u003ca href=\"http://www.adrianmrtnz.com/\">Adrian Martinez\u003c/a> and \u003ca href=\"https://www.austinleong.com/\">Austin Leong\u003c/a> on at 5:30 p.m. on Dec. 7 .\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Under \u003ca href=\"https://www.kqed.org/science/1984120/heres-when-to-see-the-rare-super-blue-moon-2023\">the super rare blue moon\u003c/a>, thousands of members of the BeyHive gathered in Levi’s Stadium to watch the Queen perform the hits from her critically acclaimed, dance music tribute album \u003cem>Renaissance\u003c/em> for three dazzling hours.\u003c/p>\n\u003cp>[aside postID='arts_13934154']Beyoncé specifically requested her fans dress in their best silver fits for the last leg of the tour to celebrate Virgo season — her astrological sign.\u003c/p>\n\u003cp>“We’ll surround ourselves in a shimmering human disco ball each night,” she \u003ca href=\"https://twitter.com/BeyLegion/status/1694199294629191852\">wrote in a post\u003c/a>. “Everybody mirroring each other’s joy. Virgo season together in the House of Chrome.”\u003c/p>\n\u003cp>Despite some telling KQED they had to scramble last-minute to fulfill Beyoncé’s birthday wish, fans did not disappoint. They donned glimmering cowboy hats, HEATED fans and opulent headpieces, all vibrating with excitement to \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">celebrate the album that honors queer dance and house music\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13934142\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg\" alt=\"Left: A person holds a fan and wears a silver harness. Right: A person wears silver sequined cowboy boots and black leather pants.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Sebaztian Pardo from Hayward arrives with friends for Beyoncé at Levi’s Stadium in Santa Clara on Aug. 30, 2023. Right: Pardo wears sequined cowboy boots. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She actually invests into that culture, understands it, and then does an album that honors the culture,” said Sebaztian Pardo on the walk to the stadium.\u003c/p>\n\u003cp>He said \u003cem>Renaissance\u003c/em> shows Beyoncé’s expertise and versatility, along with her ability “to blend into another genre without appropriating it.”\u003c/p>\n\u003cfigure id=\"attachment_13934141\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934141\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg\" alt=\"A woman wears a gold headpiece, a N95 face mask, and a white dress in a parking lot.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Keiki Leni, from East Palo Alto, wears a gold headpiece. Right: Leni shows the earrings she styled into her hair. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keiki Leni poses outside of Levi’s Stadium, with gold in her hair.\u003c/p>\n\u003cp>“Growing up, I always see Black women putting earrings in their hair and stuff like that,” she said. “And I was like, ‘I love it.’ My fashion and my style and everything – it comes from Black women. And I love the \u003cem>Renaissance\u003c/em> tour because Beyoncé uses her platform for Black LBGTQIA+ and she’s very inclusive. And that’s why we here and we are showing out.”\u003c/p>\n\u003cp>Leni’s favorite song off the album is “Thique.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1LCm0lFnEsxR2oPqyHLGX9?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg\" alt=\"A woman stands in sunset light wearing a black cowboy hat with rhinestone strands hanging around the brim.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Wright, from Redwood City, wears silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a fringe cowboy hat, Naomi Wright said, “I feel like a \u003cem>Renaissance\u003c/em> cowgirl. I feel like a mistress of the manor, and ready to party.”\u003c/p>\n\u003cp>She said Beyoncé’s album represents liberation and individuality.\u003c/p>\n\u003cp>“It makes you feel \u003cem>free\u003c/em>,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13934084\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg\" alt=\"A woman rides a bicycle pedicab wearing a sequined top and silver sequined cowboy hat.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeannette Arnold, owner of Eco City Bikes in San José, drives a pedicab for Beyoncé fans. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeannette Arnold was outside the parameters of Levi’s Stadium too, looking for anyone who needed a ride to the venue, her cart blasting Beyoncé hits. She is with Eco City Cycle and has been pedicabbing since 2011. In fact, she has been cycling at Levi’s Stadium since its very first game.\u003c/p>\n\u003cp>“I get to be part of the party no matter what the event is. Whether it’s a concert, a football game,” Arnold said. “People are almost always really excited to be on a pedicab … It’s so fun that I get paid to be part of that experience.”\u003c/p>\n\u003cfigure id=\"attachment_13934140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg\" alt=\"Left: A person wears a disco ball on their head with a white sequined body suit. Right: A person wears sequined platform shoes while holding a disco ball.\" width=\"1920\" height=\"626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-768x250.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1536x501.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: West Walker, also known as the Disco Cowboy of San Francisco and ‘Wild West,’ kicks a sequined boot into the air before getting in line for Beyoncé. Right: Walker holds his disco ball headpiece. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>West Walter’s disco ball head was actually a regular part of their attire — they said they’re known for being the Disco Cowboy of San Francisco, where they produce \u003ca href=\"https://www.instagram.com/wild.west.sf/\">a queer disco party called Wild West\u003c/a>.\u003c/p>\n\u003cp>“At that event, I’m able to really celebrate queer joy,” Walter said. “And that’s what I think tonight is all about, is the ability to be able to share queer joy and to be able to just come into a space like this where there’s this many people and to like literally be able to be your most authentic self. It’s so incredibly rare. And so that’s what I think tonight is truly going to be all about.”\u003c/p>\n\u003cp>Walter’s favorite song off the album is “Summer Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13934099\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934099\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg\" alt=\"A man wears a black jacket and black cowboy hat with silver circular and triangular rhinestones.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner, from Stockton, wears a rhinestoned jacket. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sergio Skinner’s favorite song is “America Has a Problem.” When asked why, he replied, laughing afterwards, “Because America has a problem.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/2XMAWynSTIst5KmLSv0Npf?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934100\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934100\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg\" alt=\"Two people wearing black and silver clothing embrace in front of a stadium entrance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner (left), from Stockton, and Nathaniel Gillus embrace. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13934143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-NailsCrop.jpg\" alt=\"On the left: A woman holds out her manicured nails. On the right: A woman wearing white with long rhinestone earrings looks at the camera.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Shikira Dupar wears all white with rhinestoned nails. Right: Dupar wears waterfall rhinestone earings. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shikira Dupar said she wanted to look classy and sparkly for the \u003cem>Renaissance\u003c/em> concert, fitting into the silver and chrome theme.\u003c/p>\n\u003cp>“She’s just another artist that’s, like, on an M.J. level. And I just think she’s a phenomenal dancer. She’s a powerful singer,” Dupar said. “She seems like a wonderful person just outside of what we know her as being Beyoncé.”\u003c/p>\n\u003cfigure id=\"attachment_13934095\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934095\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg\" alt=\"Two women stand with their arms around one another smiling at the camera. The woman on the left wears a feathered top and silver pants, and the woman on the right wears a dress made of small circular mirros.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kylie (left) and Sara Eng wear silver and ‘Virgo’ necklaces. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kylie and Sara Eng are both Virgos, with the necklaces to prove it. It felt like their birthday too, saying they “came to play.”\u003c/p>\n\u003cfigure id=\"attachment_13934098\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg\" alt=\"A woman wears a black cowboy hat, Beyonce t-shirt, silver skirt and silver boots with a fan fan while standing in a parking lot.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amelia Mina, from San Francisco, walks through the parking lot on the way to see Beyoncé. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amelia Mina is a diehard Beyoncé fan, saying she was showing up for the queen.\u003c/p>\n\u003cp>Mina was at the front of the famous Beychella – Beyonce’s set at the 2018 Coachella, which is captured in \u003ca href=\"https://www.youtube.com/watch?v=GusEQ22vkGo&list=PLVc_YdN1KmT55SqcTpP5G7jjPV7XCSnsl\">the documentary \u003cem>Homecoming\u003c/em>\u003c/a>. (Mina said she tried to see if her head was captured in the shots of fans.)\u003c/p>\n\u003cp>“Oh, my God. It was insane,” she said, recalling the night. “I stayed there from 11:30 a.m. to 11:30 p.m. when she came on.”\u003c/p>\n\u003cp>Her favorite song from the album is “Cuff It.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1xzi1Jcr7mEi9K2RfzLOqS?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934108\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg\" alt=\"Two people smile facing the camera in white t-shirts and silver shorts.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David (left) and Jimmy Eli-Chan wear shirts they bedazzled. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Eli-Chan and Jimmy Eli-Chan got their shirts online – but they did add their own personal chrome touch, by bedazzling them.\u003c/p>\n\u003cfigure id=\"attachment_13934117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg\" alt=\"Four people stand together wearing silver and black clothing.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Levi Luna, Ian Nool, Justin Nool, and Greg Fiorina, from Oakland and San Jose, dress in silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Levi Luna, attending with Ian Nool, Justin Nool and Greg Fiorina, called \u003cem>Renaissance\u003c/em> Beyoncé’s love letter to queer people of color, queer joy “and giving recognition to the things that we hold near and dear.”\u003c/p>\n\u003cp>“It’s about us, through the lens of her lived experience,” Luna said.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/3HyR1j49TY5ACP2lseF1jx?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Ian Nool enjoys how Beyoncé honors her musical predecessors. “When I first heard [“Summer Renaissance”], it gave me chills … because I already know I feel loved by Donna Summer,” he said. “But when she took that sample from that track, I knew that this was the album that was to give me joy, give me something to get through this summer.”\u003c/p>\n\u003cp>“It really connected to our queer lived experience to that of yesteryear queers,” Luna added. “Like the disco queens of our predecessors, like the people who came before us, who paved the way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The audience at Levi’s Stadium for Beyoncé’s Renaissance World Tour delivered on her wish for a ‘shimmering human disco ball.’",
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"title": "Beyoncé’s Fans at Levi’s Stadium Wear Their Best Silver Fashion | KQED",
"description": "The audience at Levi’s Stadium for Beyoncé’s Renaissance World Tour delivered on her wish for a ‘shimmering human disco ball.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Under \u003ca href=\"https://www.kqed.org/science/1984120/heres-when-to-see-the-rare-super-blue-moon-2023\">the super rare blue moon\u003c/a>, thousands of members of the BeyHive gathered in Levi’s Stadium to watch the Queen perform the hits from her critically acclaimed, dance music tribute album \u003cem>Renaissance\u003c/em> for three dazzling hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Beyoncé specifically requested her fans dress in their best silver fits for the last leg of the tour to celebrate Virgo season — her astrological sign.\u003c/p>\n\u003cp>“We’ll surround ourselves in a shimmering human disco ball each night,” she \u003ca href=\"https://twitter.com/BeyLegion/status/1694199294629191852\">wrote in a post\u003c/a>. “Everybody mirroring each other’s joy. Virgo season together in the House of Chrome.”\u003c/p>\n\u003cp>Despite some telling KQED they had to scramble last-minute to fulfill Beyoncé’s birthday wish, fans did not disappoint. They donned glimmering cowboy hats, HEATED fans and opulent headpieces, all vibrating with excitement to \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">celebrate the album that honors queer dance and house music\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13934142\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg\" alt=\"Left: A person holds a fan and wears a silver harness. Right: A person wears silver sequined cowboy boots and black leather pants.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-ISlayFanCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Sebaztian Pardo from Hayward arrives with friends for Beyoncé at Levi’s Stadium in Santa Clara on Aug. 30, 2023. Right: Pardo wears sequined cowboy boots. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She actually invests into that culture, understands it, and then does an album that honors the culture,” said Sebaztian Pardo on the walk to the stadium.\u003c/p>\n\u003cp>He said \u003cem>Renaissance\u003c/em> shows Beyoncé’s expertise and versatility, along with her ability “to blend into another genre without appropriating it.”\u003c/p>\n\u003cfigure id=\"attachment_13934141\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934141\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg\" alt=\"A woman wears a gold headpiece, a N95 face mask, and a white dress in a parking lot.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-GoldHeadPieceCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Keiki Leni, from East Palo Alto, wears a gold headpiece. Right: Leni shows the earrings she styled into her hair. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Keiki Leni poses outside of Levi’s Stadium, with gold in her hair.\u003c/p>\n\u003cp>“Growing up, I always see Black women putting earrings in their hair and stuff like that,” she said. “And I was like, ‘I love it.’ My fashion and my style and everything – it comes from Black women. And I love the \u003cem>Renaissance\u003c/em> tour because Beyoncé uses her platform for Black LBGTQIA+ and she’s very inclusive. And that’s why we here and we are showing out.”\u003c/p>\n\u003cp>Leni’s favorite song off the album is “Thique.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1LCm0lFnEsxR2oPqyHLGX9?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934092\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg\" alt=\"A woman stands in sunset light wearing a black cowboy hat with rhinestone strands hanging around the brim.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-07-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Wright, from Redwood City, wears silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a fringe cowboy hat, Naomi Wright said, “I feel like a \u003cem>Renaissance\u003c/em> cowgirl. I feel like a mistress of the manor, and ready to party.”\u003c/p>\n\u003cp>She said Beyoncé’s album represents liberation and individuality.\u003c/p>\n\u003cp>“It makes you feel \u003cem>free\u003c/em>,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13934084\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg\" alt=\"A woman rides a bicycle pedicab wearing a sequined top and silver sequined cowboy hat.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-01-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeannette Arnold, owner of Eco City Bikes in San José, drives a pedicab for Beyoncé fans. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeannette Arnold was outside the parameters of Levi’s Stadium too, looking for anyone who needed a ride to the venue, her cart blasting Beyoncé hits. She is with Eco City Cycle and has been pedicabbing since 2011. In fact, she has been cycling at Levi’s Stadium since its very first game.\u003c/p>\n\u003cp>“I get to be part of the party no matter what the event is. Whether it’s a concert, a football game,” Arnold said. “People are almost always really excited to be on a pedicab … It’s so fun that I get paid to be part of that experience.”\u003c/p>\n\u003cfigure id=\"attachment_13934140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg\" alt=\"Left: A person wears a disco ball on their head with a white sequined body suit. Right: A person wears sequined platform shoes while holding a disco ball.\" width=\"1920\" height=\"626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-768x250.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-DiscoBallCrop-1536x501.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: West Walker, also known as the Disco Cowboy of San Francisco and ‘Wild West,’ kicks a sequined boot into the air before getting in line for Beyoncé. Right: Walker holds his disco ball headpiece. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>West Walter’s disco ball head was actually a regular part of their attire — they said they’re known for being the Disco Cowboy of San Francisco, where they produce \u003ca href=\"https://www.instagram.com/wild.west.sf/\">a queer disco party called Wild West\u003c/a>.\u003c/p>\n\u003cp>“At that event, I’m able to really celebrate queer joy,” Walter said. “And that’s what I think tonight is all about, is the ability to be able to share queer joy and to be able to just come into a space like this where there’s this many people and to like literally be able to be your most authentic self. It’s so incredibly rare. And so that’s what I think tonight is truly going to be all about.”\u003c/p>\n\u003cp>Walter’s favorite song off the album is “Summer Renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13934099\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934099\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg\" alt=\"A man wears a black jacket and black cowboy hat with silver circular and triangular rhinestones.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-23-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner, from Stockton, wears a rhinestoned jacket. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sergio Skinner’s favorite song is “America Has a Problem.” When asked why, he replied, laughing afterwards, “Because America has a problem.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/2XMAWynSTIst5KmLSv0Npf?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934100\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934100\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg\" alt=\"Two people wearing black and silver clothing embrace in front of a stadium entrance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-24-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sergio Skinner (left), from Stockton, and Nathaniel Gillus embrace. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13934143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-NailsCrop.jpg\" alt=\"On the left: A woman holds out her manicured nails. On the right: A woman wearing white with long rhinestone earrings looks at the camera.\" width=\"1920\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-800x261.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1020x333.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-768x251.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-NailsCrop-1536x502.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Left: Shikira Dupar wears all white with rhinestoned nails. Right: Dupar wears waterfall rhinestone earings. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shikira Dupar said she wanted to look classy and sparkly for the \u003cem>Renaissance\u003c/em> concert, fitting into the silver and chrome theme.\u003c/p>\n\u003cp>“She’s just another artist that’s, like, on an M.J. level. And I just think she’s a phenomenal dancer. She’s a powerful singer,” Dupar said. “She seems like a wonderful person just outside of what we know her as being Beyoncé.”\u003c/p>\n\u003cfigure id=\"attachment_13934095\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934095\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg\" alt=\"Two women stand with their arms around one another smiling at the camera. The woman on the left wears a feathered top and silver pants, and the woman on the right wears a dress made of small circular mirros.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-10-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kylie (left) and Sara Eng wear silver and ‘Virgo’ necklaces. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kylie and Sara Eng are both Virgos, with the necklaces to prove it. It felt like their birthday too, saying they “came to play.”\u003c/p>\n\u003cfigure id=\"attachment_13934098\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg\" alt=\"A woman wears a black cowboy hat, Beyonce t-shirt, silver skirt and silver boots with a fan fan while standing in a parking lot.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-19-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amelia Mina, from San Francisco, walks through the parking lot on the way to see Beyoncé. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amelia Mina is a diehard Beyoncé fan, saying she was showing up for the queen.\u003c/p>\n\u003cp>Mina was at the front of the famous Beychella – Beyonce’s set at the 2018 Coachella, which is captured in \u003ca href=\"https://www.youtube.com/watch?v=GusEQ22vkGo&list=PLVc_YdN1KmT55SqcTpP5G7jjPV7XCSnsl\">the documentary \u003cem>Homecoming\u003c/em>\u003c/a>. (Mina said she tried to see if her head was captured in the shots of fans.)\u003c/p>\n\u003cp>“Oh, my God. It was insane,” she said, recalling the night. “I stayed there from 11:30 a.m. to 11:30 p.m. when she came on.”\u003c/p>\n\u003cp>Her favorite song from the album is “Cuff It.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1xzi1Jcr7mEi9K2RfzLOqS?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13934108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934108\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg\" alt=\"Two people smile facing the camera in white t-shirts and silver shorts.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-25-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David (left) and Jimmy Eli-Chan wear shirts they bedazzled. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Eli-Chan and Jimmy Eli-Chan got their shirts online – but they did add their own personal chrome touch, by bedazzling them.\u003c/p>\n\u003cfigure id=\"attachment_13934117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg\" alt=\"Four people stand together wearing silver and black clothing.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/230830-BeyonceFans-09-BL-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Levi Luna, Ian Nool, Justin Nool, and Greg Fiorina, from Oakland and San Jose, dress in silver and black. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Levi Luna, attending with Ian Nool, Justin Nool and Greg Fiorina, called \u003cem>Renaissance\u003c/em> Beyoncé’s love letter to queer people of color, queer joy “and giving recognition to the things that we hold near and dear.”\u003c/p>\n\u003cp>“It’s about us, through the lens of her lived experience,” Luna said.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/3HyR1j49TY5ACP2lseF1jx?utm_source=generator&theme=0\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Ian Nool enjoys how Beyoncé honors her musical predecessors. “When I first heard [“Summer Renaissance”], it gave me chills … because I already know I feel loved by Donna Summer,” he said. “But when she took that sample from that track, I knew that this was the album that was to give me joy, give me something to get through this summer.”\u003c/p>\n\u003cp>“It really connected to our queer lived experience to that of yesteryear queers,” Luna added. “Like the disco queens of our predecessors, like the people who came before us, who paved the way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "chloe-sherman-renegades-book-1990s-san-francisco-lesbian-queer-trans",
"title": "Chloe Sherman’s ‘Renegades’ Beautifully Conveys Queer Life in 1990s San Francisco",
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"headTitle": "Chloe Sherman’s ‘Renegades’ Beautifully Conveys Queer Life in 1990s San Francisco | KQED",
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"content": "\u003cp>At the outset of \u003ca href=\"https://www.chloeshermanphotography.com/\">Chloe Sherman\u003c/a>’s new photography book \u003cem>Renegades\u003c/em>, there are three forewords. One by fellow photographer \u003ca href=\"https://art21.org/artist/catherine-opie/\">Catherine Opie\u003c/a>, one by writer (and former Blatz vocalist) \u003ca href=\"https://www.goodreads.com/author/show/4059815.Anna_Joy_Springer\">Anna Joy Springer\u003c/a>, and one by Tribe 8 vocalist and author \u003ca href=\"https://www.instagram.com/lynneeboy/?hl=en\">Lynn Breedlove\u003c/a>. All pay tribute to \u003ca href=\"https://www.kqed.org/arts/13915084/chloe-sherman-renegade-san-francisco-1990s-schlomer-haus\">Sherman’s disarming photographic style\u003c/a> and her knack for preserving everyday moments in queer Bay Area history. Breedlove’s words, however, go one step further, viscerally reveling in the memory of what it was to be young, rebellious and queer in 1990s San Francisco.\u003c/p>\n\u003cp>[aside postid='arts_13915084']“We came from around the country and the planet, tired of the crusades to be seen and not killed, from rural places, big cities,” Breedlove writes. “Even NYC and LA looked askance at our out-of-line gender assertions, as we stabbed flags into the dirt, some of us already transitioning, adopting pronouns, audaciously insisting we were gorgeous, terrifying, trifling with normativities, flying in the face of cisterns, tossing dynamite at binaries, then rebuilding ourselves from the bits.”\u003c/p>\n\u003cp>Breedlove’s searing introduction wholly reflects the 58 pages of photographs in \u003cem>Renegades\u003c/em>. But in truth, the book would have had just as much impact — and still succeeded in painting the very same picture that Breedlove does — even if accompanied by no words at all. Sherman’s colorful, intimate, impulsive and affectionate photos speak loudly for the wild, untethered souls in them, as well as the era they were living through.\u003c/p>\n\u003cfigure id=\"attachment_13933329\" class=\"wp-caption aligncenter\" style=\"max-width: 1556px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Cake-and-wig.png\" alt=\"An androgynous Black person wearing black t-shirt and jeans laughs closely to a white woman with long, messy, pink hair. They are both leaning over a mint green cake on a red table in a back yard.\" width=\"1556\" height=\"1030\" class=\"size-full wp-image-13933329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig.png 1556w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-1536x1017.png 1536w\" sizes=\"(max-width: 1556px) 100vw, 1556px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ’Birthday Cake With Wings,’ mid-90s. \u003ccite>(Hatje Cantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The queer joy positively beams from these pictures, with a palpable and rollicking sense of newfound freedom and community. Viewing these images all in one sitting is like suddenly being invited into the coolest (and tightest) group of friends you’ve ever had. Those of Sherman’s pals who appear repeatedly — I don’t mind admitting that I grew rather attached to both \u003ca href=\"https://en.wikipedia.org/wiki/Harry_Dodge\">Harry Dodge\u003c/a> and Asia — begin to feel like characters to root for. Each appearance leaves a more detailed impression of their beautiful, unapologetic selves than the last.\u003c/p>\n\u003cp>[aside postid='arts_13902953']Sherman’s work also acts as a guide to queer San Francisco hotspots — some past (RIP \u003ca href=\"http://lostwomynsspace.blogspot.com/2014/07/red-doras-bearded-lady.html\">Bearded Lady Cafe\u003c/a>, \u003ca href=\"https://www.kqed.org/news/10501545/goodbye-lexington-owner-to-shut-doors-to-beloved-lesbian-bar\">The Lexington\u003c/a>), others still very present (hello \u003ca href=\"https://www.yelp.com/biz/hole-in-the-wall-saloon-san-francisco\">Hole in the Wall\u003c/a>, \u003ca href=\"https://www.yelp.com/biz/glama-rama-san-francisco-3\">Glamarama\u003c/a>, \u003ca href=\"http://www.blackandbluetattoo.com/\">Black & Blue Tattoo\u003c/a>). Well known figures from the city’s queer community also appear — including \u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\">Juanita More\u003c/a> looking like a silver screen goddess in 1999, \u003ca href=\"https://www.mothersf.com/home\">Mother\u003c/a> bar owner Malia Spanyol before she started running venues, and Lexington founder Lila Thirkield behind her brand new bar in 1998. Impossibly cool members of queercore bands like \u003ca href=\"https://en.wikipedia.org/wiki/Tribe_8\">Tribe 8\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Cypher_in_the_Snow\">Cypher in the Snow\u003c/a> also make appearances.\u003c/p>\n\u003cfigure id=\"attachment_13933364\" class=\"wp-caption aligncenter\" style=\"max-width: 1572px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM.png\" alt=\"A woman in a red satin dressing gown reclines on a bed, her black messy hair pulled back, her lips painted red. She is talking on a green landline telephone and smoking a cigarette. A leaf-shaped ashtray sits at her hip.\" width=\"1572\" height=\"1048\" class=\"size-full wp-image-13933364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM.png 1572w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-1536x1024.png 1536w\" sizes=\"(max-width: 1572px) 100vw, 1572px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘Anna Joy Post Surgery at Home,’ 1997. \u003ccite>(Hatje Cantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though featured frequently, \u003cem>Renegades\u003c/em> isn’t just about queer San Francisco nightlife in the ’90s. Some of the most impactful images are of messy bedrooms with graffitied walls, group outings in classic cars, idyllic picnics with sunbathing and snacks, and casual frolics on the beach. It’s a reminder that not so long ago, San Francisco was a place with affordable rent where young bohemians could live, thriving on minimal wages and maximum fun. That Sherman can take us back to that time so vividly is a gift to us all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Chloe Sherman’s ‘\u003ca href=\"https://bookshop.org/p/books/chloe-sherman-renegades-chloe-sherman/19986751?\">Renegades\u003c/a>’ will be released by Hatje Cantz on Sept. 19, 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cem>A launch and signing event for the book will be held at the San Francisco bar \u003ca href=\"https://www.mothersf.com/home\">Mother\u003c/a> (3079 16th St.) on Friday, Aug. 25 at 6 p.m. Sherman will also be signing copies of ‘Renegades’ at San Francisco’s \u003ca href=\"https://www.fabulosabooks.com/\">Fabulosa Books\u003c/a> (489 Castro St.) on Thursday, Sept. 28.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sherman will be in conversation at the San Francisco Public Library’s \u003ca href=\"https://sfpl.org/locations/main-library/rooms/koret-auditorium\">Koret Auditorium\u003c/a> (100 Larkin St.) on Thursday, Oct. 5 at 6 p.m.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The photographer's new book is a joyful time capsule of lesbian, queer and trans life in the city, not so long ago.",
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"title": "Chloe Sherman’s Book Beautifully Conveys Queer Life in ’90s SF | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the outset of \u003ca href=\"https://www.chloeshermanphotography.com/\">Chloe Sherman\u003c/a>’s new photography book \u003cem>Renegades\u003c/em>, there are three forewords. One by fellow photographer \u003ca href=\"https://art21.org/artist/catherine-opie/\">Catherine Opie\u003c/a>, one by writer (and former Blatz vocalist) \u003ca href=\"https://www.goodreads.com/author/show/4059815.Anna_Joy_Springer\">Anna Joy Springer\u003c/a>, and one by Tribe 8 vocalist and author \u003ca href=\"https://www.instagram.com/lynneeboy/?hl=en\">Lynn Breedlove\u003c/a>. All pay tribute to \u003ca href=\"https://www.kqed.org/arts/13915084/chloe-sherman-renegade-san-francisco-1990s-schlomer-haus\">Sherman’s disarming photographic style\u003c/a> and her knack for preserving everyday moments in queer Bay Area history. Breedlove’s words, however, go one step further, viscerally reveling in the memory of what it was to be young, rebellious and queer in 1990s San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We came from around the country and the planet, tired of the crusades to be seen and not killed, from rural places, big cities,” Breedlove writes. “Even NYC and LA looked askance at our out-of-line gender assertions, as we stabbed flags into the dirt, some of us already transitioning, adopting pronouns, audaciously insisting we were gorgeous, terrifying, trifling with normativities, flying in the face of cisterns, tossing dynamite at binaries, then rebuilding ourselves from the bits.”\u003c/p>\n\u003cp>Breedlove’s searing introduction wholly reflects the 58 pages of photographs in \u003cem>Renegades\u003c/em>. But in truth, the book would have had just as much impact — and still succeeded in painting the very same picture that Breedlove does — even if accompanied by no words at all. Sherman’s colorful, intimate, impulsive and affectionate photos speak loudly for the wild, untethered souls in them, as well as the era they were living through.\u003c/p>\n\u003cfigure id=\"attachment_13933329\" class=\"wp-caption aligncenter\" style=\"max-width: 1556px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Cake-and-wig.png\" alt=\"An androgynous Black person wearing black t-shirt and jeans laughs closely to a white woman with long, messy, pink hair. They are both leaning over a mint green cake on a red table in a back yard.\" width=\"1556\" height=\"1030\" class=\"size-full wp-image-13933329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig.png 1556w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cake-and-wig-1536x1017.png 1536w\" sizes=\"(max-width: 1556px) 100vw, 1556px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ’Birthday Cake With Wings,’ mid-90s. \u003ccite>(Hatje Cantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The queer joy positively beams from these pictures, with a palpable and rollicking sense of newfound freedom and community. Viewing these images all in one sitting is like suddenly being invited into the coolest (and tightest) group of friends you’ve ever had. Those of Sherman’s pals who appear repeatedly — I don’t mind admitting that I grew rather attached to both \u003ca href=\"https://en.wikipedia.org/wiki/Harry_Dodge\">Harry Dodge\u003c/a> and Asia — begin to feel like characters to root for. Each appearance leaves a more detailed impression of their beautiful, unapologetic selves than the last.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sherman’s work also acts as a guide to queer San Francisco hotspots — some past (RIP \u003ca href=\"http://lostwomynsspace.blogspot.com/2014/07/red-doras-bearded-lady.html\">Bearded Lady Cafe\u003c/a>, \u003ca href=\"https://www.kqed.org/news/10501545/goodbye-lexington-owner-to-shut-doors-to-beloved-lesbian-bar\">The Lexington\u003c/a>), others still very present (hello \u003ca href=\"https://www.yelp.com/biz/hole-in-the-wall-saloon-san-francisco\">Hole in the Wall\u003c/a>, \u003ca href=\"https://www.yelp.com/biz/glama-rama-san-francisco-3\">Glamarama\u003c/a>, \u003ca href=\"http://www.blackandbluetattoo.com/\">Black & Blue Tattoo\u003c/a>). Well known figures from the city’s queer community also appear — including \u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\">Juanita More\u003c/a> looking like a silver screen goddess in 1999, \u003ca href=\"https://www.mothersf.com/home\">Mother\u003c/a> bar owner Malia Spanyol before she started running venues, and Lexington founder Lila Thirkield behind her brand new bar in 1998. Impossibly cool members of queercore bands like \u003ca href=\"https://en.wikipedia.org/wiki/Tribe_8\">Tribe 8\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Cypher_in_the_Snow\">Cypher in the Snow\u003c/a> also make appearances.\u003c/p>\n\u003cfigure id=\"attachment_13933364\" class=\"wp-caption aligncenter\" style=\"max-width: 1572px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM.png\" alt=\"A woman in a red satin dressing gown reclines on a bed, her black messy hair pulled back, her lips painted red. She is talking on a green landline telephone and smoking a cigarette. A leaf-shaped ashtray sits at her hip.\" width=\"1572\" height=\"1048\" class=\"size-full wp-image-13933364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM.png 1572w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-17-at-11.51.05-AM-1536x1024.png 1536w\" sizes=\"(max-width: 1572px) 100vw, 1572px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘Anna Joy Post Surgery at Home,’ 1997. \u003ccite>(Hatje Cantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though featured frequently, \u003cem>Renegades\u003c/em> isn’t just about queer San Francisco nightlife in the ’90s. Some of the most impactful images are of messy bedrooms with graffitied walls, group outings in classic cars, idyllic picnics with sunbathing and snacks, and casual frolics on the beach. It’s a reminder that not so long ago, San Francisco was a place with affordable rent where young bohemians could live, thriving on minimal wages and maximum fun. That Sherman can take us back to that time so vividly is a gift to us all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Chloe Sherman’s ‘\u003ca href=\"https://bookshop.org/p/books/chloe-sherman-renegades-chloe-sherman/19986751?\">Renegades\u003c/a>’ will be released by Hatje Cantz on Sept. 19, 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cem>A launch and signing event for the book will be held at the San Francisco bar \u003ca href=\"https://www.mothersf.com/home\">Mother\u003c/a> (3079 16th St.) on Friday, Aug. 25 at 6 p.m. Sherman will also be signing copies of ‘Renegades’ at San Francisco’s \u003ca href=\"https://www.fabulosabooks.com/\">Fabulosa Books\u003c/a> (489 Castro St.) on Thursday, Sept. 28.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sherman will be in conversation at the San Francisco Public Library’s \u003ca href=\"https://sfpl.org/locations/main-library/rooms/koret-auditorium\">Koret Auditorium\u003c/a> (100 Larkin St.) on Thursday, Oct. 5 at 6 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "crowned-fairy-tales-black-children-kahran-regis-bethencourt",
"title": "A Husband and Wife Reimagine Fairy Tales with Black Children in Mind",
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"headTitle": "A Husband and Wife Reimagine Fairy Tales with Black Children in Mind | KQED",
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"content": "\u003cfigure id=\"attachment_13930688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-800x998.jpg\" alt=\"A young Black girl sits on a gold throne, wearing a cream and gold gown, her long hair in perfect red locks. She is holding up a tea cup and saucer, as if poised to drink.\" width=\"800\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-1020x1273.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37.jpg 1197w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A new vision of Goldilocks, sipping tea. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is Goldilocks like you’ve never seen her.\u003c/p>\n\u003cp>Bathed in a golden light, she looks out from a photo resembling a fashion magazine spread with a commanding stare, surrounded by massive teddy bears. Instead of yellow curly hair, she wears thick, afro-textured, honey blonde locs.\u003c/p>\n\u003cp>[aside postid='arts_13894928']This is the Goldilocks of \u003cem> from the Diaspora\u003c/em> by husband and wife photographers Kahran and Regis Bethencourt. The two have reimagined familiar stories with photographs of Black children and, occasionally, new plot points, in an elaborate book of 141 photos.\u003c/p>\n\u003cp>It’s the sequel to 2021’s \u003cem>GLORY: Magical Visions of Black Beauty.\u003c/em>\u003c/p>\n\u003cp>The book is broken down into three categories: Classic fairy tales, African and African American Folktales and original stories. The couple intentionally casts Black children of different ages, skin tones and hair textures in traditionally white roles, like Cinderella.\u003c/p>\n\u003cfigure id=\"attachment_13930696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-800x1001.png\" alt=\"A young Black girl stands proudly before a regal blue curtain. She is wearing a blue, green and pink gown.\" width=\"800\" height=\"1001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-800x1001.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-1020x1276.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-160x200.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-768x961.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM.png 1036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cinderella becomes Asha in this retelling. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the retelling of Cinderella, “Asha the Little Cinder Girl,” Asha wears an extravagant blue gown with purple tulle shooting from the bottom as Jamal, her Prince Charming, slides on a white high-top sneaker instead of a glass slipper.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps the most striking element in the picture is Asha’s hair, a structure of carefully placed black braids and white pearls piled high on top of her head.\u003c/p>\n\u003cp>“I think it’s important for, specifically, Black and brown kids to be able to see themselves reflected in the stories that they read growing up,” Kahran said.\u003c/p>\n\u003cp>The Bethencourts began their photography careers in Atlanta in 2009. For a while, they worked in the children’s fashion industry, capturing headshots for adolescent actors and shooting campaigns for kids’ brands. But they noticed a specific and unsettling pattern among Black children in the industry.\u003c/p>\n\u003cfigure id=\"attachment_13930697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-800x1003.png\" alt=\"A young Black boy wears a gold crown and read leather top featuring traditional African textile detailing.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-1020x1279.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poisoned Apple, from the book CROWNED, which casts Black children as the central characters in fairy and folk tales. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We realized that a lot of the kids that had natural Afro hair would come in to get their headshots and the parents would have their hair straightened because they thought that’s what they needed to do to get their kids into the industry,” Kahran said.\u003c/p>\n\u003cp>[aside postid='arts_13872372']“We thought, ‘Gosh, wow! At an early age we’re teaching our kids that they’re not acceptable, that their looks are not good enough.'”\u003c/p>\n\u003cp>The two began doing personal projects where Black children were encouraged to wear their natural hair in fashionable settings. Staying connected to the industry helped them build enough clientele to create their own photography company, CreativeSoul.\u003c/p>\n\u003cfigure id=\"attachment_13930699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-800x1003.png\" alt=\"A young Black girl wears a puffy gown that appears to be made from candy, wrappers and tulle. She is clutching a miniature cake in her hands.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-1020x1279.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Candyland, from the book ‘CROWNED’, which retells familiar stories with Black children. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>CROWNED\u003c/em> is a visual representation of the CreativeSoul original mission: celebrate and embrace natural Black beauty. But the book also showcases Regis and Kahran’s ability to imagine and translate new worlds.\u003c/p>\n\u003cp>[aside postid='arts_13919105']“Goldi: The Girl with the Golden Locks” was the favorite story for Regis to retell because the original story “didn’t really have a lesson at the end.”\u003c/p>\n\u003cp>“It pretty much was a story about a privileged girl going in and just eating everything and just leaving and going back home,” he said. “No lesson learned.”\u003c/p>\n\u003cp>In \u003cem>CROWNED\u003c/em>, Goldi is still a privileged girl, but she is welcomed into the bears’ home. The bears don’t have much, but they have each other and a once-haughty Goldi leaves the house with three new friends and an appreciation for nurturing her relationships.\u003c/p>\n\u003cp>Changing the ending “was so cool for me because I feel like we’re actually changing history,” Regis said.\u003c/p>\n\u003cfigure id=\"attachment_13930701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930701\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-800x1003.png\" alt=\"A little Black girl, dressed as a mermaid with an exaggeratedly large hairdo stands in a sea scape, looking poised.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-1020x1278.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM.png 1034w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Treasures from the sea nestle in the little mermaid’s rosy hair as she strikes a royal pose. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book was released May 23, three days before the live action film \u003cem>The Little Mermaid\u003c/em> premiered with Halle Bailey, a Black woman with natural locs, as Ariel, a princess and the main character.\u003c/p>\n\u003cp>[aside postid='arts_13926336']Like the live-action adaption of \u003cem>The Little Mermaid\u003c/em>, the Bethencourts’ version is setting the standard for Black representation in traditionally white spaces.\u003c/p>\n\u003cp>The husband and wife duo dress Aliyah, the little mermaid, in silver jewels and colorful pearls from head-to-toe. As she floats under the sea, she plays in her big red flowing hair filled with loose braids, shells, leaves and bright red tulle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Aliyah holds her head high in every shot like the most confident, royal figures. She stares off into the distance and also directly at the camera, as if to say this story was always her own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+husband+and+wife+reimagine+fairy+tales+with+Black+children+in+mind&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13930688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-800x998.jpg\" alt=\"A young Black girl sits on a gold throne, wearing a cream and gold gown, her long hair in perfect red locks. She is holding up a tea cup and saucer, as if poised to drink.\" width=\"800\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-1020x1273.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37.jpg 1197w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A new vision of Goldilocks, sipping tea. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is Goldilocks like you’ve never seen her.\u003c/p>\n\u003cp>Bathed in a golden light, she looks out from a photo resembling a fashion magazine spread with a commanding stare, surrounded by massive teddy bears. Instead of yellow curly hair, she wears thick, afro-textured, honey blonde locs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is the Goldilocks of \u003cem> from the Diaspora\u003c/em> by husband and wife photographers Kahran and Regis Bethencourt. The two have reimagined familiar stories with photographs of Black children and, occasionally, new plot points, in an elaborate book of 141 photos.\u003c/p>\n\u003cp>It’s the sequel to 2021’s \u003cem>GLORY: Magical Visions of Black Beauty.\u003c/em>\u003c/p>\n\u003cp>The book is broken down into three categories: Classic fairy tales, African and African American Folktales and original stories. The couple intentionally casts Black children of different ages, skin tones and hair textures in traditionally white roles, like Cinderella.\u003c/p>\n\u003cfigure id=\"attachment_13930696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-800x1001.png\" alt=\"A young Black girl stands proudly before a regal blue curtain. She is wearing a blue, green and pink gown.\" width=\"800\" height=\"1001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-800x1001.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-1020x1276.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-160x200.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-768x961.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM.png 1036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cinderella becomes Asha in this retelling. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the retelling of Cinderella, “Asha the Little Cinder Girl,” Asha wears an extravagant blue gown with purple tulle shooting from the bottom as Jamal, her Prince Charming, slides on a white high-top sneaker instead of a glass slipper.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps the most striking element in the picture is Asha’s hair, a structure of carefully placed black braids and white pearls piled high on top of her head.\u003c/p>\n\u003cp>“I think it’s important for, specifically, Black and brown kids to be able to see themselves reflected in the stories that they read growing up,” Kahran said.\u003c/p>\n\u003cp>The Bethencourts began their photography careers in Atlanta in 2009. For a while, they worked in the children’s fashion industry, capturing headshots for adolescent actors and shooting campaigns for kids’ brands. But they noticed a specific and unsettling pattern among Black children in the industry.\u003c/p>\n\u003cfigure id=\"attachment_13930697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-800x1003.png\" alt=\"A young Black boy wears a gold crown and read leather top featuring traditional African textile detailing.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-1020x1279.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poisoned Apple, from the book CROWNED, which casts Black children as the central characters in fairy and folk tales. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We realized that a lot of the kids that had natural Afro hair would come in to get their headshots and the parents would have their hair straightened because they thought that’s what they needed to do to get their kids into the industry,” Kahran said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We thought, ‘Gosh, wow! At an early age we’re teaching our kids that they’re not acceptable, that their looks are not good enough.'”\u003c/p>\n\u003cp>The two began doing personal projects where Black children were encouraged to wear their natural hair in fashionable settings. Staying connected to the industry helped them build enough clientele to create their own photography company, CreativeSoul.\u003c/p>\n\u003cfigure id=\"attachment_13930699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-800x1003.png\" alt=\"A young Black girl wears a puffy gown that appears to be made from candy, wrappers and tulle. She is clutching a miniature cake in her hands.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-1020x1279.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Candyland, from the book ‘CROWNED’, which retells familiar stories with Black children. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>CROWNED\u003c/em> is a visual representation of the CreativeSoul original mission: celebrate and embrace natural Black beauty. But the book also showcases Regis and Kahran’s ability to imagine and translate new worlds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Goldi: The Girl with the Golden Locks” was the favorite story for Regis to retell because the original story “didn’t really have a lesson at the end.”\u003c/p>\n\u003cp>“It pretty much was a story about a privileged girl going in and just eating everything and just leaving and going back home,” he said. “No lesson learned.”\u003c/p>\n\u003cp>In \u003cem>CROWNED\u003c/em>, Goldi is still a privileged girl, but she is welcomed into the bears’ home. The bears don’t have much, but they have each other and a once-haughty Goldi leaves the house with three new friends and an appreciation for nurturing her relationships.\u003c/p>\n\u003cp>Changing the ending “was so cool for me because I feel like we’re actually changing history,” Regis said.\u003c/p>\n\u003cfigure id=\"attachment_13930701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930701\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-800x1003.png\" alt=\"A little Black girl, dressed as a mermaid with an exaggeratedly large hairdo stands in a sea scape, looking poised.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-1020x1278.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM.png 1034w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Treasures from the sea nestle in the little mermaid’s rosy hair as she strikes a royal pose. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book was released May 23, three days before the live action film \u003cem>The Little Mermaid\u003c/em> premiered with Halle Bailey, a Black woman with natural locs, as Ariel, a princess and the main character.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like the live-action adaption of \u003cem>The Little Mermaid\u003c/em>, the Bethencourts’ version is setting the standard for Black representation in traditionally white spaces.\u003c/p>\n\u003cp>The husband and wife duo dress Aliyah, the little mermaid, in silver jewels and colorful pearls from head-to-toe. As she floats under the sea, she plays in her big red flowing hair filled with loose braids, shells, leaves and bright red tulle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Aliyah holds her head high in every shot like the most confident, royal figures. She stares off into the distance and also directly at the camera, as if to say this story was always her own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+husband+and+wife+reimagine+fairy+tales+with+Black+children+in+mind&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "heklina-castro-memorial",
"title": "The Castro Honored Heklina with Drag, Music and Cackles",
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"headTitle": "The Castro Honored Heklina with Drag, Music and Cackles | KQED",
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"content": "\u003cp>Heklina first arrived in San Francisco in the early ’90s, “with no real plan,” as she put in a \u003ca href=\"https://www.youtube.com/watch?v=61qbUimYg9g&t=823s\">KQED documentary from 2015\u003c/a>. “Immediately, I fell in love with it, and I felt right at home.” [aside postid='arts_13927233']\u003c/p>\n\u003cp>And on Tuesday evening, San Francisco returned that love to Heklina, who helped transform drag and elevate queer nightlife in the Bay Area over the past three decades. Heklina died unexpectedly on April 3 in London, where she had traveled to star in the drag parody \u003ci>Mommie Queerest\u003c/i> at the Soho Theatre alongside her close friend Peaches Christ.\u003c/p>\n\u003cp>Friends of Heklina organized a memorial at the Castro Theatre, its iconic marquee emblazoned with Heklina’s name. Tickets sold out weeks in advance, so organizers closed down the entire block outside the theater, from Market to 18th Street, to bring in jumbotrons that live-streamed the memorial to a crowd of hundreds of well-wishers and admirers.\u003c/p>\n\u003cfigure id=\"attachment_13929606\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"Two drag artists speak with microphones to a large crowd in front of San Francisco's Castro Theater.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sister Roma (left) and Dulce De Leche (right) speak during a memorial for Heklina outside the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Heklina was not just a talented and versatile performer, she also dedicated herself to making more spaces available for drag in San Francisco. In 1996, she created the long-running show Trannyshack at The Stud (which she later renamed Mother), offering a platform for funny, rebellious and experimental new performers. Heklina also co-founded the popular SoMa club and cabaret Oasis in 2015 alongside D’Arcy Drollinger. Although she sold her ownership stake in 2019, she remained a beloved fixture there. Most recently, she hosted the popular Daytime Realness party at El Rio in the Mission.\u003c/p>\n\u003cfigure id=\"attachment_13929614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"Two drag performers, dressed up in very colorful wigs and puffy dresses, smile at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pippi Lovestocking (left) and Mutha Chucka pose for a photo outside the Castro Theatre in San Francisco on May 23, 2023, before a memorial for Heklina, who died in April. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many remember Heklina for her firecracker personality, which she owned in her drag. “I just feel like I’m living a very, perhaps to most people, abnormal life. I make a living doing something that is … not considered normal,” Heklina said in 2015. “When you’re walking down the street in makeup and a dress and high heels and all that stuff, you do get an attitude change. You become much more bold, [because] people yell things at you and you just have to be ready to take everything on.”\u003c/p>\n\u003cfigure id=\"attachment_13929627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">During a memorial for Heklina, photos of her play onscreen outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the memorial hosted by LOL McFiercen and Dulce De Leche, Heklina’s longtime friend Nancy French took the stage to lead a moment of silence, but quickly changed her mind. “A basic moment of silence is not going to work,” French said. “It’s so basic, she would have hated it.”\u003c/p>\n\u003cp>French asked the crowd to join her in a “community cackle,” referring to Heklina’s loud and distinct laugh. With that, Castro Street filled with hundreds of cackles.\u003c/p>\n\u003cfigure id=\"attachment_13929607\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929607\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A crowd of hundreds, of all ages, stands outside on San Francisco's Castro Street and laughs, many with smiles on their faces. In the background, there are balloons in the shape of the letters that spell out "Heklina."\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds join Heklina’s friend Nancy French in a ‘community cackle’ outside the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jennifer Hofmann, 53, of San Francisco, stood outside the Castro Theatre to pay her respects for Heklina. “[Heklina] helped me grow up to figure out who I was in San Francisco,” she said, noting how meaningful it was for her to see Heklina perform at Trannyshack in the ’90s.\u003c/p>\n\u003cp>“She made it OK that drag wasn’t perfect. She made it OK that you could make ugly drag and people would love that and throw dollars at you, too,” Hoffman said. “As long as you had something to say and were willing to get up on stage and do it, you were always welcome.”\u003c/p>\n\u003cp>“She welcomed everyone,” Hoffman continued. “She sassed everyone. If you got sassed by Heklina, you felt like you’ve made it.”\u003c/p>\n\u003cfigure id=\"attachment_13929611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A drag performer holds a microphone in one hand, and with the other, holds a marker and draws a beauty mark on the face of a woman standing in the crowd outside the Castro Theater.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Co-host LOL McFiercen paints a beauty mark on Linda Lee’s face in honor of Heklina during a memorial outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darwin Bell, 57, moved to San Francisco in 1987, and Heklina was first drag queen he ever saw perform. “It was very punk rock,” he said of that first show.\u003c/p>\n\u003cp>Heklina embraced more transgressive forms of drag, he recalled, adding that he hopes that San Francisco doesn’t lose that edge without her around. Bell and his friends went to so many shows featuring or organized by Heklina that they would joke among themselves, “At the end of the world, there’s going to be Cher, roaches and Heklina.”\u003c/p>\n\u003cp>“I never even thought there would be world without Heklina,” he said. “She was always kind of bitter and funny and mean, and I just never thought there would be a world without her.”\u003c/p>\n\u003cfigure id=\"attachment_13929613\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929613\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A large crowd stands on Castro Street in front of Castro Theater, and in the middle of the crowed, a young couple hugs and kisses.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Despite the strong winds, a crowd of hundreds gathers outside of the Castro Theatre to watch drag performances in honor of Heklina. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside, the Castro Theatre’s 1,407 seats filled up. Close friends of Heklina, including D’Arcy Drollinger and Peaches Christ, took the stage to share some of their fondest memories — infused with Heklina’s relentless humor and love for San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13929618\" class=\"wp-caption aligncenter\" style=\"max-width: 2392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2.jpg\" alt=\"Three drag artists stand on a stage. All are wearing very elaborate dresses and big wigs.\" width=\"2392\" height=\"1594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2.jpg 2392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1920x1279.jpg 1920w\" sizes=\"(max-width: 2392px) 100vw, 2392px\">\u003cfigcaption class=\"wp-caption-text\">Dozens of Heklina’s closest friends and collaborators spoke and performed inside the Castro Theatre, including D’Arcy Drollinger, Sister Roma and Peaches Christ (left to right). \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13929617\" class=\"wp-caption aligncenter\" style=\"max-width: 2446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Fauxique-1.jpg\" alt='A large group of drag performers dance and sing on a stage. In the middle of them is a drag queen with a very large wig and a ribbon that reads \"Fauxnique.\"' width=\"2446\" height=\"1631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1.jpg 2446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2446px) 100vw, 2446px\">\u003cfigcaption class=\"wp-caption-text\">During her performance, Fauxnique brought out many other drag performers who collaborated with Heklina. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the memorial, Margey DeCuir, a San Francisco resident who watched the livestream on Castro Street, wrote to KQED to share that for her, Heklina’s memorial not only honored her life, but represented “the strength and loyalty of the queer community, to come and gather in grief.”\u003c/p>\n\u003cp>“Heklina touched lives globally,” she wrote, “and her memorial was a much needed embrace within the community.”\u003c/p>\n\u003cfigure id=\"attachment_13929605\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929605\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023.jpg\" alt=\"Two people share a deep hug and smile while they stand outdoors in San Francisco's Castro Street, surrounded by a large crowd.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Tom hugs friend Margey DeCuir (left) during a memorial for Heklina outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This article includes reporting from KQED’s \u003ca href=\"https://www.kqed.org/author/nvoynovskaya\">Nastia Voynovskaya\u003c/a>.\u003c/em>\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Hundreds spilled out of the sold-out Castro Theatre for a street party in homage to the beloved drag queen.",
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"title": "The Castro Honored Heklina with Drag, Music and Cackles | KQED",
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"headline": "The Castro Honored Heklina with Drag, Music and Cackles",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Heklina first arrived in San Francisco in the early ’90s, “with no real plan,” as she put in a \u003ca href=\"https://www.youtube.com/watch?v=61qbUimYg9g&t=823s\">KQED documentary from 2015\u003c/a>. “Immediately, I fell in love with it, and I felt right at home.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And on Tuesday evening, San Francisco returned that love to Heklina, who helped transform drag and elevate queer nightlife in the Bay Area over the past three decades. Heklina died unexpectedly on April 3 in London, where she had traveled to star in the drag parody \u003ci>Mommie Queerest\u003c/i> at the Soho Theatre alongside her close friend Peaches Christ.\u003c/p>\n\u003cp>Friends of Heklina organized a memorial at the Castro Theatre, its iconic marquee emblazoned with Heklina’s name. Tickets sold out weeks in advance, so organizers closed down the entire block outside the theater, from Market to 18th Street, to bring in jumbotrons that live-streamed the memorial to a crowd of hundreds of well-wishers and admirers.\u003c/p>\n\u003cfigure id=\"attachment_13929606\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"Two drag artists speak with microphones to a large crowd in front of San Francisco's Castro Theater.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sister Roma (left) and Dulce De Leche (right) speak during a memorial for Heklina outside the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Heklina was not just a talented and versatile performer, she also dedicated herself to making more spaces available for drag in San Francisco. In 1996, she created the long-running show Trannyshack at The Stud (which she later renamed Mother), offering a platform for funny, rebellious and experimental new performers. Heklina also co-founded the popular SoMa club and cabaret Oasis in 2015 alongside D’Arcy Drollinger. Although she sold her ownership stake in 2019, she remained a beloved fixture there. Most recently, she hosted the popular Daytime Realness party at El Rio in the Mission.\u003c/p>\n\u003cfigure id=\"attachment_13929614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"Two drag performers, dressed up in very colorful wigs and puffy dresses, smile at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pippi Lovestocking (left) and Mutha Chucka pose for a photo outside the Castro Theatre in San Francisco on May 23, 2023, before a memorial for Heklina, who died in April. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many remember Heklina for her firecracker personality, which she owned in her drag. “I just feel like I’m living a very, perhaps to most people, abnormal life. I make a living doing something that is … not considered normal,” Heklina said in 2015. “When you’re walking down the street in makeup and a dress and high heels and all that stuff, you do get an attitude change. You become much more bold, [because] people yell things at you and you just have to be ready to take everything on.”\u003c/p>\n\u003cfigure id=\"attachment_13929627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">During a memorial for Heklina, photos of her play onscreen outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the memorial hosted by LOL McFiercen and Dulce De Leche, Heklina’s longtime friend Nancy French took the stage to lead a moment of silence, but quickly changed her mind. “A basic moment of silence is not going to work,” French said. “It’s so basic, she would have hated it.”\u003c/p>\n\u003cp>French asked the crowd to join her in a “community cackle,” referring to Heklina’s loud and distinct laugh. With that, Castro Street filled with hundreds of cackles.\u003c/p>\n\u003cfigure id=\"attachment_13929607\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929607\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A crowd of hundreds, of all ages, stands outside on San Francisco's Castro Street and laughs, many with smiles on their faces. In the background, there are balloons in the shape of the letters that spell out "Heklina."\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds join Heklina’s friend Nancy French in a ‘community cackle’ outside the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jennifer Hofmann, 53, of San Francisco, stood outside the Castro Theatre to pay her respects for Heklina. “[Heklina] helped me grow up to figure out who I was in San Francisco,” she said, noting how meaningful it was for her to see Heklina perform at Trannyshack in the ’90s.\u003c/p>\n\u003cp>“She made it OK that drag wasn’t perfect. She made it OK that you could make ugly drag and people would love that and throw dollars at you, too,” Hoffman said. “As long as you had something to say and were willing to get up on stage and do it, you were always welcome.”\u003c/p>\n\u003cp>“She welcomed everyone,” Hoffman continued. “She sassed everyone. If you got sassed by Heklina, you felt like you’ve made it.”\u003c/p>\n\u003cfigure id=\"attachment_13929611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A drag performer holds a microphone in one hand, and with the other, holds a marker and draws a beauty mark on the face of a woman standing in the crowd outside the Castro Theater.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Co-host LOL McFiercen paints a beauty mark on Linda Lee’s face in honor of Heklina during a memorial outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darwin Bell, 57, moved to San Francisco in 1987, and Heklina was first drag queen he ever saw perform. “It was very punk rock,” he said of that first show.\u003c/p>\n\u003cp>Heklina embraced more transgressive forms of drag, he recalled, adding that he hopes that San Francisco doesn’t lose that edge without her around. Bell and his friends went to so many shows featuring or organized by Heklina that they would joke among themselves, “At the end of the world, there’s going to be Cher, roaches and Heklina.”\u003c/p>\n\u003cp>“I never even thought there would be world without Heklina,” he said. “She was always kind of bitter and funny and mean, and I just never thought there would be a world without her.”\u003c/p>\n\u003cfigure id=\"attachment_13929613\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929613\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A large crowd stands on Castro Street in front of Castro Theater, and in the middle of the crowed, a young couple hugs and kisses.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Despite the strong winds, a crowd of hundreds gathers outside of the Castro Theatre to watch drag performances in honor of Heklina. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside, the Castro Theatre’s 1,407 seats filled up. Close friends of Heklina, including D’Arcy Drollinger and Peaches Christ, took the stage to share some of their fondest memories — infused with Heklina’s relentless humor and love for San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13929618\" class=\"wp-caption aligncenter\" style=\"max-width: 2392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2.jpg\" alt=\"Three drag artists stand on a stage. All are wearing very elaborate dresses and big wigs.\" width=\"2392\" height=\"1594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2.jpg 2392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1920x1279.jpg 1920w\" sizes=\"(max-width: 2392px) 100vw, 2392px\">\u003cfigcaption class=\"wp-caption-text\">Dozens of Heklina’s closest friends and collaborators spoke and performed inside the Castro Theatre, including D’Arcy Drollinger, Sister Roma and Peaches Christ (left to right). \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13929617\" class=\"wp-caption aligncenter\" style=\"max-width: 2446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Fauxique-1.jpg\" alt='A large group of drag performers dance and sing on a stage. In the middle of them is a drag queen with a very large wig and a ribbon that reads \"Fauxnique.\"' width=\"2446\" height=\"1631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1.jpg 2446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2446px) 100vw, 2446px\">\u003cfigcaption class=\"wp-caption-text\">During her performance, Fauxnique brought out many other drag performers who collaborated with Heklina. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the memorial, Margey DeCuir, a San Francisco resident who watched the livestream on Castro Street, wrote to KQED to share that for her, Heklina’s memorial not only honored her life, but represented “the strength and loyalty of the queer community, to come and gather in grief.”\u003c/p>\n\u003cp>“Heklina touched lives globally,” she wrote, “and her memorial was a much needed embrace within the community.”\u003c/p>\n\u003cfigure id=\"attachment_13929605\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929605\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023.jpg\" alt=\"Two people share a deep hug and smile while they stand outdoors in San Francisco's Castro Street, surrounded by a large crowd.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Tom hugs friend Margey DeCuir (left) during a memorial for Heklina outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This article includes reporting from KQED’s \u003ca href=\"https://www.kqed.org/author/nvoynovskaya\">Nastia Voynovskaya\u003c/a>.\u003c/em>\u003cbr>\n\u003c/p>\u003c/div>",
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"title": "At the de Young, an Ansel Adams Exhibition Looks Beyond the Iconic",
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"content": "\u003cp>For many people, the images they hold in their minds of Yosemite or other Western U.S. landscapes probably overlap quite a bit with photographs by San Francisco–born photographer Ansel Adams (1902–1984). As one of the most prominent artists in the history of photography, and certainly within landscape photography, Adams’ work has both circulated widely around the world and influenced how generations of photographers have represented land. As an active member of the Sierra Club, Adams and his photography have also been linked closely with environmental and conservationist movements.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/ansel-adams-in-our-time\">Ansel Adams in Our Time\u003c/a>\u003c/i>, a major exhibition at the de Young Museum, takes a look at Adams’ extensive career, but the exhibition also resists canonization or the impulse to depict Adams as a unique genius. In fact, while the exhibition is not overly critical of Adams, it creates the space to examine his art, and its relationship to environmentalism, with nuance and art historical context.\u003c/p>\n\u003cp>[aside postID='arts_11149633']Many of Adams’ most iconic photographs feature soaring towers of rock isolated from their surroundings or expansive landscapes often devoid of human presence — see \u003ci>Moon and Half Dome, Yosemite National Park\u003c/i> (1960) and \u003ci>The Tetons and Snake River, Grand Teton National Park, Wyoming\u003c/i> (1942), respectively. Though these may seem like natural ways of depicting mountains, valleys and rock formations, Adams’ approaches have their own histories.\u003c/p>\n\u003cfigure id=\"attachment_13928866\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SC172059.jpeg\" alt=\"Sepia toned photograph of rushing river between two high mountainous walls\" width=\"2000\" height=\"1539\" class=\"size-full wp-image-13928866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-800x616.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1020x785.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-160x123.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-768x591.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1536x1182.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1920x1477.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Frank Jay Haynes, ‘Grand Canyon of Yellowstone and Falls’, circa 1887. \u003ccite>(Courtesy Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The de Young show includes work by several of Adams’ 19th-century influences: \u003ca href=\"https://en.wikipedia.org/wiki/Carleton_Watkins\">Carleton E. Watkins\u003c/a> (1829–1916), \u003ca href=\"https://en.wikipedia.org/wiki/John_Karl_Hillers\">John K. Hillers\u003c/a> (1843–1925), and \u003ca href=\"https://en.wikipedia.org/wiki/Frank_Jay_Haynes\">Frank Jay Haynes\u003c/a> (1853–1921), among others. These three artists share a common history of making photographs for colonial or industrial projects. Their clients included the US Geological Survey, the California Geological Survey (CGS), mining companies and railroad operators. \u003c/p>\n\u003cp>As a result, their photographic projects had a special interest in representing the lands of the Western U.S. as emptied of people and full of natural resources. We can see similarities to Adams in Haynes’ \u003ci>Grand Canyon of Yellowstone Falls\u003c/i> (c. 1887) and Watkins’ \u003ci>Mount Starr King and Glacier Point, Yosemite, No. 69\u003c/i> (1865-1866), which was made while working for the CGS.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What does it mean to borrow a form of representation that itself is steeped in the history of manifest destiny, conquest and extraction? Adams’ photographs can be seen as celebrations of and warnings against what might be lost due to human activities. But what we don’t see in Adams’ most famous photographs are the causes and culprits of these activities — or the people who live or once lived in these places.\u003c/p>\n\u003cfigure id=\"attachment_13928956\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13928956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Ansel Adams in Our Time,’ at the de Young with color photographs by Abelardo Morell. \u003ccite>(Photo by Gary Sexton; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This becomes clear in \u003ci>Ansel Adams in Our Time\u003c/i> with the inclusion of nearly two dozen contemporary photographers who have been influenced by Adams but also push landscape photography in different directions. \u003ca href=\"https://galleryluisotti.com/artists/mark-ruwedel/images/\">Mark Ruwedel\u003c/a>’s \u003ci>Westward the Course of Empire\u003c/i> series (1994–2006), for example, borrows a visual language from Adams and 19th-century surveyors, documenting rural landscapes devoid of people and bisected by deep chasms. However, these chasms represent land that was carved up and blown up for now-abandoned railroads across the Western U.S. \u003c/p>\n\u003cp>Ruwedel reminds us that survey photography saw land not for its inherent value but for its potential use, and in his work we see one of those uses. The series title recalls several similarly named 19th-century paintings that championed manifest destiny, often with railroads serving as symbols of progress and civilization.\u003c/p>\n\u003cp>\u003ca href=\"https://www.bryanschutmaat.co/\">Bryan Schutmaat\u003c/a> explores the legacy of manifest destiny through the contemporary lives and landscapes of former mining communities. In one photograph, we see the outskirts of Tonopah, Nevada, with debris, a rusted car, ramshackle buildings and scattered trailers occupying the foreground, with the historic Mizpah Hotel and nearby mountains looming in the background.\u003c/p>\n\u003cp>With subjects ranging from suburban sprawl to industrial development, \u003ca href=\"https://mitchepstein.net/\">Mitch Epstein\u003c/a> and \u003ca href=\"https://www.victoriasambunaris.com/\">Victoria Sambunaris\u003c/a> similarly turn their cameras to the human imprint made on the landscape. Adams, too, explored this in lesser-known photographs on view, such as one showing a housing development zig-zagging up San Bruno Mountain in San Mateo County.\u003c/p>\n\u003cfigure id=\"attachment_13928867\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/WatkinsOpie-scaled.jpg\" alt=\"Composite images of two vertical of Yosemite, left in focus, right out of focus\" width=\"2560\" height=\"1705\" class=\"size-full wp-image-13928867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Carleton E. Watkins, ‘Mount Starr King and Glacier Point, Yosemite, No. 69,’ 1865–66; Catherine Opie, ‘Untitled #1 (Yosemite Valley), 2015. \u003ccite>(Both images courtesy Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://art21.org/artist/catherine-opie/\">Catherine Opie\u003c/a> takes an entirely different approach in her photographs of Yosemite by embracing the park’s iconic status while trying to reimagine the dominant landscape iconography. “With Watkins and Adams,” she has said, “there’s no doubt what you’re looking at.” But in her ethereal and abstracted photographs of Yosemite, clarity is elusive. One is meant to question what they are looking at. \u003c/p>\n\u003cp>For Opie, these photographs offer a feminist perspective on the landscape; they are reminders that, from Adams to Opie, all representations of land are shaped by tradition, values, ideology, and aesthetics. This nuance can be lost while viewing a single, well-known photograph, but it’s brought to the foreground while looking at the true expanse of Adams’ work — and the artists with whom he shares a place in the history of photography.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Ansel Adams in Our Time’ is on view at the de Young Museum in San Francisco through Aug. 6, 2023. \u003ca href=\"https://www.famsf.org/exhibitions/ansel-adams-in-our-time\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Many of Adams’ most iconic photographs feature soaring towers of rock isolated from their surroundings or expansive landscapes often devoid of human presence — see \u003ci>Moon and Half Dome, Yosemite National Park\u003c/i> (1960) and \u003ci>The Tetons and Snake River, Grand Teton National Park, Wyoming\u003c/i> (1942), respectively. Though these may seem like natural ways of depicting mountains, valleys and rock formations, Adams’ approaches have their own histories.\u003c/p>\n\u003cfigure id=\"attachment_13928866\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SC172059.jpeg\" alt=\"Sepia toned photograph of rushing river between two high mountainous walls\" width=\"2000\" height=\"1539\" class=\"size-full wp-image-13928866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-800x616.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1020x785.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-160x123.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-768x591.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1536x1182.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1920x1477.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Frank Jay Haynes, ‘Grand Canyon of Yellowstone and Falls’, circa 1887. \u003ccite>(Courtesy Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The de Young show includes work by several of Adams’ 19th-century influences: \u003ca href=\"https://en.wikipedia.org/wiki/Carleton_Watkins\">Carleton E. Watkins\u003c/a> (1829–1916), \u003ca href=\"https://en.wikipedia.org/wiki/John_Karl_Hillers\">John K. Hillers\u003c/a> (1843–1925), and \u003ca href=\"https://en.wikipedia.org/wiki/Frank_Jay_Haynes\">Frank Jay Haynes\u003c/a> (1853–1921), among others. These three artists share a common history of making photographs for colonial or industrial projects. Their clients included the US Geological Survey, the California Geological Survey (CGS), mining companies and railroad operators. \u003c/p>\n\u003cp>As a result, their photographic projects had a special interest in representing the lands of the Western U.S. as emptied of people and full of natural resources. We can see similarities to Adams in Haynes’ \u003ci>Grand Canyon of Yellowstone Falls\u003c/i> (c. 1887) and Watkins’ \u003ci>Mount Starr King and Glacier Point, Yosemite, No. 69\u003c/i> (1865-1866), which was made while working for the CGS.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What does it mean to borrow a form of representation that itself is steeped in the history of manifest destiny, conquest and extraction? Adams’ photographs can be seen as celebrations of and warnings against what might be lost due to human activities. But what we don’t see in Adams’ most famous photographs are the causes and culprits of these activities — or the people who live or once lived in these places.\u003c/p>\n\u003cfigure id=\"attachment_13928956\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13928956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Ansel Adams in Our Time,’ at the de Young with color photographs by Abelardo Morell. \u003ccite>(Photo by Gary Sexton; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This becomes clear in \u003ci>Ansel Adams in Our Time\u003c/i> with the inclusion of nearly two dozen contemporary photographers who have been influenced by Adams but also push landscape photography in different directions. \u003ca href=\"https://galleryluisotti.com/artists/mark-ruwedel/images/\">Mark Ruwedel\u003c/a>’s \u003ci>Westward the Course of Empire\u003c/i> series (1994–2006), for example, borrows a visual language from Adams and 19th-century surveyors, documenting rural landscapes devoid of people and bisected by deep chasms. However, these chasms represent land that was carved up and blown up for now-abandoned railroads across the Western U.S. \u003c/p>\n\u003cp>Ruwedel reminds us that survey photography saw land not for its inherent value but for its potential use, and in his work we see one of those uses. The series title recalls several similarly named 19th-century paintings that championed manifest destiny, often with railroads serving as symbols of progress and civilization.\u003c/p>\n\u003cp>\u003ca href=\"https://www.bryanschutmaat.co/\">Bryan Schutmaat\u003c/a> explores the legacy of manifest destiny through the contemporary lives and landscapes of former mining communities. In one photograph, we see the outskirts of Tonopah, Nevada, with debris, a rusted car, ramshackle buildings and scattered trailers occupying the foreground, with the historic Mizpah Hotel and nearby mountains looming in the background.\u003c/p>\n\u003cp>With subjects ranging from suburban sprawl to industrial development, \u003ca href=\"https://mitchepstein.net/\">Mitch Epstein\u003c/a> and \u003ca href=\"https://www.victoriasambunaris.com/\">Victoria Sambunaris\u003c/a> similarly turn their cameras to the human imprint made on the landscape. Adams, too, explored this in lesser-known photographs on view, such as one showing a housing development zig-zagging up San Bruno Mountain in San Mateo County.\u003c/p>\n\u003cfigure id=\"attachment_13928867\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/WatkinsOpie-scaled.jpg\" alt=\"Composite images of two vertical of Yosemite, left in focus, right out of focus\" width=\"2560\" height=\"1705\" class=\"size-full wp-image-13928867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Carleton E. Watkins, ‘Mount Starr King and Glacier Point, Yosemite, No. 69,’ 1865–66; Catherine Opie, ‘Untitled #1 (Yosemite Valley), 2015. \u003ccite>(Both images courtesy Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://art21.org/artist/catherine-opie/\">Catherine Opie\u003c/a> takes an entirely different approach in her photographs of Yosemite by embracing the park’s iconic status while trying to reimagine the dominant landscape iconography. “With Watkins and Adams,” she has said, “there’s no doubt what you’re looking at.” But in her ethereal and abstracted photographs of Yosemite, clarity is elusive. One is meant to question what they are looking at. \u003c/p>\n\u003cp>For Opie, these photographs offer a feminist perspective on the landscape; they are reminders that, from Adams to Opie, all representations of land are shaped by tradition, values, ideology, and aesthetics. This nuance can be lost while viewing a single, well-known photograph, but it’s brought to the foreground while looking at the true expanse of Adams’ work — and the artists with whom he shares a place in the history of photography.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Ansel Adams in Our Time’ is on view at the de Young Museum in San Francisco through Aug. 6, 2023. \u003ca href=\"https://www.famsf.org/exhibitions/ansel-adams-in-our-time\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pen's Pals: A Journey to Heal in Mexico City",
"headTitle": "Pen’s Pals: A Journey to Heal in Mexico City | KQED",
"content": "\u003cp>Richmond-raised photographer \u003ca href=\"https://www.instagram.com/chris_nec/\">\u003cb>Christopher Nechodom\u003c/b>\u003c/a> retraced his family’s roots to a small town in Mexico. In doing so, he left behind the pricey Bay Area — a place that he loves dearly but was costing him more than money; peace of mind was at stake.\u003c/p>\n\u003cp>After experiencing a series of traumatic events: a victim of armed robbery as a kid, losing a close friend to homicide as a young adult, and then narrowly escaping the tragic Ghost Ship Fire that took the lives of 36 people in 2016, Nechodom says he’s now on the path toward healing. “I think the fire just opened the floodgates,” Nechodom tells me. “And it also forced me to finally get in touch with my own vulnerability and really address that trauma.”\u003c/p>\n\u003cfigure id=\"attachment_13927462\" class=\"wp-caption aligncenter\" style=\"max-width: 533px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC_9160-Edit.jpg\" alt=\"Christopher Nechodom poses for a photo while wearing a beanie hat on his head, and a mid-90s Warriors jersey under a jean jacket.\" width=\"533\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC_9160-Edit.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC_9160-Edit-160x240.jpg 160w\" sizes=\"(max-width: 533px) 100vw, 533px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nechodom poses for a photo while wearing a beanie hat on his head, and a mid-90s Warriors jersey under a jean jacket. \u003ccite>(KOLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now a resident of Mexico City, Nechodom spends his time between the capital city and the state of Michoacán, where his mother’s side of the family is from. The time spent in the state where he has roots allows for reflection and connection, while in Mexico City he has access to business opportunities and artist circles.\u003c/p>\n\u003cp>The downside to what he’s seeing in Mexico City? Post-pandemic regulations in the U.S. have allowed for more people to work remotely, and a large number of people are choosing to work from Mexico. This adds to the already altered face of Mexico City, but now Nechodom is seeing rapid changes that are reflective of the same gentrification he saw in San Francisco.\u003c/p>\n\u003cp>When we talk, he tells me that part of his work is to inform people on how to immigrate to Mexico in a socially responsible manner. This is in addition to working on his personal growth and healing, and his photography portfolio.\u003c/p>\n\u003cp>This is the first episode in the Pen’s Pals series, for more info on this project click \u003ca href=\"https://www.kqed.org/arts/13927453/rightnowish-presents-pens-pals\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2927444428&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"http://bit.ly/3KYk1Vi\">Read the transcript\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Christopher Nechodom.\u003c/strong>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\"> I’ve seen you in many iterations. I’ve seen you do photo exhibitions in downtown Oakland. I’ve seen you in Brooklyn. But now, where are you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>NECHODOM:\u003c/b>\u003cspan style=\"font-weight: 400\"> So now I’m in Mexico City. I finally decided to move down here to Mexico. And being a dual citizen, knowing the language, I just really felt like I was returning to the motherland. Within Mexico City, I live in a small colonia called San Miguel Chapultepec, which is a very residential area. But I have my apartment and my studio here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\"> What about your day to day, what does it look like to you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>NECHODOM: \u003c/b>\u003cspan style=\"font-weight: 400\">Most of my days I come here to the studio, which triples as my office, darkroom and workspace, because I’m just not a work from home kind of guy. So I’m here at the studio, and then I head back home later. Me and my partner, we cook a lot, so we’re just at the house. We’re pretty low key these days. I think the pandemic definitely shifted that. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I first got here five years ago, I was definitely much more out and about, you know, networking a lot more at all the art events and all that and I still make time for that but I’m definitely transitioning to an era of my life where I’m much more self-centered, but rightfully so. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW:\u003c/b>\u003cspan style=\"font-weight: 400\"> You mentioned to me before that there’s \u003c/span>\u003cspan style=\"font-weight: 400\">a\u003c/span>\u003cspan style=\"font-weight: 400\"> whole communities of expats. Have you noticed any signs or menus in English or things that cater to folks from the United States? \u003c/span>\u003c/p>\n\u003cp>\u003cb>NECHODOM:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’ve met people that have lived here multiple years and still only have a very basic understanding of Spanish because they can get by without it. And this is honestly out of every other country I’ve been to, I’ve never seen so much English being spoken, just in general. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s one thing if you’re a tourist and you got a little book and you just learn how to say bathroom and like, excuse me. Okay, you’re just trying to get by. But if you want to live here, if you want to dwell and integrate and interact with actual local Mexicans, you need to learn Spanish. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you miss home? \u003c/span>\u003c/p>\n\u003cp>\u003cb>NECHODOM:\u003c/b>\u003cspan style=\"font-weight: 400\"> I miss two things about home. I miss the access to nature and I miss my people, my friends and my family. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">If there was one thing you’d write home about, from your time in Mexico, what would it be\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>NECHODOM:\u003c/b>\u003cspan style=\"font-weight: 400\"> When you say write home about, I’m thinking about what would I write my mom like writing a letter to my mom, like how it’s been for me. I think she would be really proud of me just telling her that this place has definitely helped me heal, has inspired me creatively.\u003c/span>\u003cspan style=\"font-weight: 400\"> She was definitely a little bit sad to see me go far away again, especially after being in New York for four years. Me leaving again was hard on my mom at first. \u003c/span>\u003cspan style=\"font-weight: 400\">But I remember when I was doing it, I was like ‘Mom, I need to do this. I need to do this for myself,’ and I’m really glad I made that decision as hard as it was. \u003c/span>\u003cspan style=\"font-weight: 400\">Now moving here, I’ve created a whole community here and we just gotta keep it going. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Richmond-raised photographer \u003ca href=\"https://www.instagram.com/chris_nec/\">\u003cb>Christopher Nechodom\u003c/b>\u003c/a> retraced his family’s roots to a small town in Mexico. In doing so, he left behind the pricey Bay Area — a place that he loves dearly but was costing him more than money; peace of mind was at stake.\u003c/p>\n\u003cp>After experiencing a series of traumatic events: a victim of armed robbery as a kid, losing a close friend to homicide as a young adult, and then narrowly escaping the tragic Ghost Ship Fire that took the lives of 36 people in 2016, Nechodom says he’s now on the path toward healing. “I think the fire just opened the floodgates,” Nechodom tells me. “And it also forced me to finally get in touch with my own vulnerability and really address that trauma.”\u003c/p>\n\u003cfigure id=\"attachment_13927462\" class=\"wp-caption aligncenter\" style=\"max-width: 533px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC_9160-Edit.jpg\" alt=\"Christopher Nechodom poses for a photo while wearing a beanie hat on his head, and a mid-90s Warriors jersey under a jean jacket.\" width=\"533\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC_9160-Edit.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC_9160-Edit-160x240.jpg 160w\" sizes=\"(max-width: 533px) 100vw, 533px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nechodom poses for a photo while wearing a beanie hat on his head, and a mid-90s Warriors jersey under a jean jacket. \u003ccite>(KOLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now a resident of Mexico City, Nechodom spends his time between the capital city and the state of Michoacán, where his mother’s side of the family is from. The time spent in the state where he has roots allows for reflection and connection, while in Mexico City he has access to business opportunities and artist circles.\u003c/p>\n\u003cp>The downside to what he’s seeing in Mexico City? Post-pandemic regulations in the U.S. have allowed for more people to work remotely, and a large number of people are choosing to work from Mexico. This adds to the already altered face of Mexico City, but now Nechodom is seeing rapid changes that are reflective of the same gentrification he saw in San Francisco.\u003c/p>\n\u003cp>When we talk, he tells me that part of his work is to inform people on how to immigrate to Mexico in a socially responsible manner. This is in addition to working on his personal growth and healing, and his photography portfolio.\u003c/p>\n\u003cp>This is the first episode in the Pen’s Pals series, for more info on this project click \u003ca href=\"https://www.kqed.org/arts/13927453/rightnowish-presents-pens-pals\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2927444428&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"http://bit.ly/3KYk1Vi\">Read the transcript\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Christopher Nechodom.\u003c/strong>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\"> I’ve seen you in many iterations. I’ve seen you do photo exhibitions in downtown Oakland. I’ve seen you in Brooklyn. But now, where are you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>NECHODOM:\u003c/b>\u003cspan style=\"font-weight: 400\"> So now I’m in Mexico City. I finally decided to move down here to Mexico. And being a dual citizen, knowing the language, I just really felt like I was returning to the motherland. Within Mexico City, I live in a small colonia called San Miguel Chapultepec, which is a very residential area. But I have my apartment and my studio here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\"> What about your day to day, what does it look like to you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>NECHODOM: \u003c/b>\u003cspan style=\"font-weight: 400\">Most of my days I come here to the studio, which triples as my office, darkroom and workspace, because I’m just not a work from home kind of guy. So I’m here at the studio, and then I head back home later. Me and my partner, we cook a lot, so we’re just at the house. We’re pretty low key these days. I think the pandemic definitely shifted that. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I first got here five years ago, I was definitely much more out and about, you know, networking a lot more at all the art events and all that and I still make time for that but I’m definitely transitioning to an era of my life where I’m much more self-centered, but rightfully so. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW:\u003c/b>\u003cspan style=\"font-weight: 400\"> You mentioned to me before that there’s \u003c/span>\u003cspan style=\"font-weight: 400\">a\u003c/span>\u003cspan style=\"font-weight: 400\"> whole communities of expats. Have you noticed any signs or menus in English or things that cater to folks from the United States? \u003c/span>\u003c/p>\n\u003cp>\u003cb>NECHODOM:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’ve met people that have lived here multiple years and still only have a very basic understanding of Spanish because they can get by without it. And this is honestly out of every other country I’ve been to, I’ve never seen so much English being spoken, just in general. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s one thing if you’re a tourist and you got a little book and you just learn how to say bathroom and like, excuse me. Okay, you’re just trying to get by. But if you want to live here, if you want to dwell and integrate and interact with actual local Mexicans, you need to learn Spanish. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you miss home? \u003c/span>\u003c/p>\n\u003cp>\u003cb>NECHODOM:\u003c/b>\u003cspan style=\"font-weight: 400\"> I miss two things about home. I miss the access to nature and I miss my people, my friends and my family. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">If there was one thing you’d write home about, from your time in Mexico, what would it be\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>NECHODOM:\u003c/b>\u003cspan style=\"font-weight: 400\"> When you say write home about, I’m thinking about what would I write my mom like writing a letter to my mom, like how it’s been for me. I think she would be really proud of me just telling her that this place has definitely helped me heal, has inspired me creatively.\u003c/span>\u003cspan style=\"font-weight: 400\"> She was definitely a little bit sad to see me go far away again, especially after being in New York for four years. Me leaving again was hard on my mom at first. \u003c/span>\u003cspan style=\"font-weight: 400\">But I remember when I was doing it, I was like ‘Mom, I need to do this. I need to do this for myself,’ and I’m really glad I made that decision as hard as it was. \u003c/span>\u003cspan style=\"font-weight: 400\">Now moving here, I’ve created a whole community here and we just gotta keep it going. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Two SFPL Shows Look for Humanity in City Mugshots and Official IDs",
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"content": "\u003cp>On the sixth floor of San Francisco’s main public library, there are two large antique cabinets currently serving as holding cells. Inside them are century-old mugshots from the city’s past. The cabinets are split by gender, like jails — six men in one, six women in the other. The subjects’ faces are depicted face-forward and in profile, as the cops would have directed. But these are no ordinary mugshots.\u003c/p>\n\u003cp>Their faces are alive with expression and color, painted out of their respective black-and-white corners from history and back into vibrant existence.\u003c/p>\n\u003cp>These oil paintings are the work of \u003ca href=\"http://penelopehouston.com/\">Penelope Houston\u003c/a>, one-time vocalist for the legendary San Francisco punk band \u003ca href=\"https://www.youtube.com/watch?v=zUmBCPbCNdg\">The Avengers\u003c/a> and current-day artist and \u003ca href=\"https://www.youtube.com/watch?v=oh2CRYn2qSQ\">solo singer-songwriter\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13926416\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926416\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/William700_comp.jpg\" alt=\"Two paintings of mugshots of The bottom row shows a Black man with chiseled features looking defiant\" width=\"1440\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-800x389.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-1020x496.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-768x373.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Penelope Houston’s painting of William Williams, arrested in 1919. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Houston’s paintings of alleged criminals from San Francisco history bring humanity back to the individuals who were photographed in the middle of what was probably a thoroughly dehumanizing experience. Houston effectively relays their expressions, which vacillate between resigned indifference and barely contained contempt. One man arrested on charges related to homosexuality, William Williams, holds his head high and unrepentant. He was photographed in 1919.\u003c/p>\n\u003cp>Houston’s series, titled \u003cem>The Accused\u003c/em>, is on display as part of \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2023/03/11/artists-archive\">Artists in the Archive\u003c/a>\u003c/em>, a two-person show with \u003ca href=\"https://www.xandraibarra.com/about/\">Xandra Ibarra\u003c/a>, whose work transforms SFPD mugshots into large-scale photo collages. Ibarra’s images, the result of a \u003ca href=\"https://www.sfartscommission.org/content/artist-residence-program\">San Francisco Arts Commission residency\u003c/a> at the SFPL, invite the viewer to focus particularly on the eyes of the accused. In one piece, \u003cem>Keeping a Disorderly House of Prostitution\u003c/em>, a plump white woman with rail-thin eyebrows wears a hardened expression — but her eyes look close to tears.\u003c/p>\n\u003cfigure id=\"attachment_13926423\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution.jpg\" alt=\"Mugshot of woman on cream paper with information on her arrest\" width=\"2000\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1020x408.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1536x614.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1920x768.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, ‘Keeping a Disorderly House of Prostitution.’ \u003ccite>(Courtesy of SFPL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Accompanying Houston and Ibarra’s work is a video screen showing page after page of mugshots taken between December 1918 and June 1919, as well as a seven-month period of 1938. The scans are from the SFPD Records held at the San Francisco History Center, also \u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A204847?solr_nav%5Bid%5D=6cdfe4bd235a376eb26e&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=1#page/4/mode/2up\">available online\u003c/a>. The men featured are accused of a variety of sex crimes, including pimping. The women are all accused of sex work. The faces of the more mature women speak volumes about the toughness of their alleged profession.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In tandem with the \u003cem>Artists in the Archive\u003c/em> show is \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2023/03/11/san-francisco-identities\">San Francisco IDentities\u003c/a>\u003c/em>, also on display on the library’s sixth floor. This exhibit is a mishmash of identification documents from the History Center’s collections that are mostly interesting in their own right but don’t always make a lot of sense together.\u003c/p>\n\u003cp>There are joyous little nuggets from the city’s past, like ticket books for 1915’s Panama-Pacific International Exposition, complete with the photo IDs of official vendors. There are fascinating mugshot books and headshots of enlisted men serving in World War II. There is even, shamefully, the paperwork of German citizens residing in California who were forced to register as “Alien Enemies” in 1917.\u003c/p>\n\u003cfigure id=\"attachment_13926427\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/sfid-title-collage-220316.jpg\" alt=\"Various forms of identification overlaid\" width=\"1500\" height=\"973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-768x498.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Materials included in the ‘San Francisco IDentities’ exhibition. \u003ccite>(Courtesy of SFPL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are less compelling artifacts on display too. Random drivers’ licenses, school photos, festival laminate passes that are less than 20 years old, and a head-scratching collection of passports. (Even as a fan of \u003ca href=\"https://en.wikipedia.org/wiki/Gay_American_Indians\">Gay American Indians\u003c/a> founder \u003ca href=\"https://www.kqed.org/arts/13889944/the-indigenous-activist-who-demanded-inclusion-for-all-lgbtq-people\">Barbara May Cameron\u003c/a>, I remain perplexed about how to receive seeing a copy of her passport.)\u003c/p>\n\u003cp>Had \u003cem>San Francisco IDentities\u003c/em> stuck solely to issues relating to criminal justice — as \u003cem>Artists in the Archive\u003c/em> does — a more cohesive pairing would have resulted. Still, there is much to enjoy in these companion exhibits and a mountain of food for thought. In particular, years from now, how would you best like to be remembered? For anyone who has ever been accused of a crime, you might not have much say in the matter.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Artists in the Archive’ and ‘San Francisco IDentities’ are on display outside the San Francisco History Center, on the sixth floor of the San Francisco Public Library (100 Larkin St.), through June 8, 2023. \u003ca href=\"https://sfpl.org/exhibits/2023/03/11/artists-archive\">Details here\u003c/a>. Houston and Ibarra will be discussing their work there on Saturday, March 18 at 1 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the sixth floor of San Francisco’s main public library, there are two large antique cabinets currently serving as holding cells. Inside them are century-old mugshots from the city’s past. The cabinets are split by gender, like jails — six men in one, six women in the other. The subjects’ faces are depicted face-forward and in profile, as the cops would have directed. But these are no ordinary mugshots.\u003c/p>\n\u003cp>Their faces are alive with expression and color, painted out of their respective black-and-white corners from history and back into vibrant existence.\u003c/p>\n\u003cp>These oil paintings are the work of \u003ca href=\"http://penelopehouston.com/\">Penelope Houston\u003c/a>, one-time vocalist for the legendary San Francisco punk band \u003ca href=\"https://www.youtube.com/watch?v=zUmBCPbCNdg\">The Avengers\u003c/a> and current-day artist and \u003ca href=\"https://www.youtube.com/watch?v=oh2CRYn2qSQ\">solo singer-songwriter\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13926416\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926416\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/William700_comp.jpg\" alt=\"Two paintings of mugshots of The bottom row shows a Black man with chiseled features looking defiant\" width=\"1440\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-800x389.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-1020x496.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-768x373.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Penelope Houston’s painting of William Williams, arrested in 1919. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Houston’s paintings of alleged criminals from San Francisco history bring humanity back to the individuals who were photographed in the middle of what was probably a thoroughly dehumanizing experience. Houston effectively relays their expressions, which vacillate between resigned indifference and barely contained contempt. One man arrested on charges related to homosexuality, William Williams, holds his head high and unrepentant. He was photographed in 1919.\u003c/p>\n\u003cp>Houston’s series, titled \u003cem>The Accused\u003c/em>, is on display as part of \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2023/03/11/artists-archive\">Artists in the Archive\u003c/a>\u003c/em>, a two-person show with \u003ca href=\"https://www.xandraibarra.com/about/\">Xandra Ibarra\u003c/a>, whose work transforms SFPD mugshots into large-scale photo collages. Ibarra’s images, the result of a \u003ca href=\"https://www.sfartscommission.org/content/artist-residence-program\">San Francisco Arts Commission residency\u003c/a> at the SFPL, invite the viewer to focus particularly on the eyes of the accused. In one piece, \u003cem>Keeping a Disorderly House of Prostitution\u003c/em>, a plump white woman with rail-thin eyebrows wears a hardened expression — but her eyes look close to tears.\u003c/p>\n\u003cfigure id=\"attachment_13926423\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution.jpg\" alt=\"Mugshot of woman on cream paper with information on her arrest\" width=\"2000\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1020x408.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1536x614.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1920x768.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, ‘Keeping a Disorderly House of Prostitution.’ \u003ccite>(Courtesy of SFPL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Accompanying Houston and Ibarra’s work is a video screen showing page after page of mugshots taken between December 1918 and June 1919, as well as a seven-month period of 1938. The scans are from the SFPD Records held at the San Francisco History Center, also \u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A204847?solr_nav%5Bid%5D=6cdfe4bd235a376eb26e&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=1#page/4/mode/2up\">available online\u003c/a>. The men featured are accused of a variety of sex crimes, including pimping. The women are all accused of sex work. The faces of the more mature women speak volumes about the toughness of their alleged profession.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In tandem with the \u003cem>Artists in the Archive\u003c/em> show is \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2023/03/11/san-francisco-identities\">San Francisco IDentities\u003c/a>\u003c/em>, also on display on the library’s sixth floor. This exhibit is a mishmash of identification documents from the History Center’s collections that are mostly interesting in their own right but don’t always make a lot of sense together.\u003c/p>\n\u003cp>There are joyous little nuggets from the city’s past, like ticket books for 1915’s Panama-Pacific International Exposition, complete with the photo IDs of official vendors. There are fascinating mugshot books and headshots of enlisted men serving in World War II. There is even, shamefully, the paperwork of German citizens residing in California who were forced to register as “Alien Enemies” in 1917.\u003c/p>\n\u003cfigure id=\"attachment_13926427\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/sfid-title-collage-220316.jpg\" alt=\"Various forms of identification overlaid\" width=\"1500\" height=\"973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-768x498.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Materials included in the ‘San Francisco IDentities’ exhibition. \u003ccite>(Courtesy of SFPL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are less compelling artifacts on display too. Random drivers’ licenses, school photos, festival laminate passes that are less than 20 years old, and a head-scratching collection of passports. (Even as a fan of \u003ca href=\"https://en.wikipedia.org/wiki/Gay_American_Indians\">Gay American Indians\u003c/a> founder \u003ca href=\"https://www.kqed.org/arts/13889944/the-indigenous-activist-who-demanded-inclusion-for-all-lgbtq-people\">Barbara May Cameron\u003c/a>, I remain perplexed about how to receive seeing a copy of her passport.)\u003c/p>\n\u003cp>Had \u003cem>San Francisco IDentities\u003c/em> stuck solely to issues relating to criminal justice — as \u003cem>Artists in the Archive\u003c/em> does — a more cohesive pairing would have resulted. Still, there is much to enjoy in these companion exhibits and a mountain of food for thought. In particular, years from now, how would you best like to be remembered? For anyone who has ever been accused of a crime, you might not have much say in the matter.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Artists in the Archive’ and ‘San Francisco IDentities’ are on display outside the San Francisco History Center, on the sixth floor of the San Francisco Public Library (100 Larkin St.), through June 8, 2023. \u003ca href=\"https://sfpl.org/exhibits/2023/03/11/artists-archive\">Details here\u003c/a>. Houston and Ibarra will be discussing their work there on Saturday, March 18 at 1 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Herb Greene’s Photography Offers Much More Than Music Icons",
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"content": "\u003cp>I couldn’t give a tiny rat’s ass about the Grateful Dead. There. I said it. Ordinarily, I’d shy away from announcing such a thing publicly, at the risk of awakening an army of pitchfork-wielding Deadheads. (Not the most measured of fanbases.) However, it would be wrong not to mention it before I start talking about a new exhibit of photography by Herb Greene given that Herb Greene is primarily remembered for his Grateful Dead portraits.\u003c/p>\n\u003cp>If you are indeed a Deadhead, or someone who is still reveling in a musical moment that existed over half a century ago, you don’t need me to explain the selling points of \u003cem>The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene\u003c/em>. You will go for the perfectly lovely photographs of the Grateful Dead, their former outfit The Warlocks and Janis Joplin. You might also go for the expertly composed portraits of Jefferson Airplane, Led Zeppelin, The Jeff Beck Group and The Charlatans.\u003c/p>\n\u003cfigure id=\"attachment_13925411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg\" alt=\"A pretty young woman kneels on a green and purple couch, twisting her head up towards the camera.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grace Slick in her Jefferson Airplane heyday. \u003ccite>(Herb Greene/ Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you are under the age of 60 or wondering why on God’s green earth San Francisco needs \u003ca href=\"https://www.kqed.org/arts/13039627/de-young-summer-of-love-50th-anniversary\">yet another exhibition glorifying the Summer of Love\u003c/a>, I have some news that might pleasantly surprise you.\u003c/p>\n\u003cp>[aside postid='arts_13039627']First and foremost, in addition to his rock photography, Greene also made a habit of immortalizing the street life in the Haight when it was just another San Francisco neighborhood. He photographed the small businesses, local children, families and elderly residents already there when the hippie invasion first began.\u003c/p>\n\u003cp>These images present the neighborhood before it was a tie-dye-soaked tourist attraction and, crucially, capture the exact moment the first wave of disaffected youth arrived and changed the area forever. Though there is an entire wall of this kind of street photography at \u003cem>The Photography of Herb Greene\u003c/em>, I found myself wishing they inhabited the whole space.\u003c/p>\n\u003cfigure id=\"attachment_13925638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg\" alt=\"A flute-playing hippie and a bohemian friend, both male, walk along a tree lined street. Behind them a man in a suit and hat walks under a sign that reads 'Sher Real Estate INCOME TAX.’\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-160x162.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-768x775.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Income tax with a side of street flautist. Haight Street in the ’60s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This exhibit also deserves kudos for painting a picture of the bohemian community of kids who were hanging around the Haight at the time. Yes, there are the requisite shots here of naked young people dancing and children clutching flowers at The Human Be-In. But Greene’s photographs also introduce us to the hitchhikers, street musicians and young optimists who migrated to San Francisco in the late 1960s and reveled in the new freedoms it offered. I am indefatigable when it comes to looking at subculture-immersed young people, no matter what era they’re from, and Greene’s photos more than do the Summer of Love kids justice.\u003c/p>\n\u003cfigure id=\"attachment_13925639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925639\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/82548-4-800x822.jpeg\" alt=\"Three teenagers, two females wearing embroidered shawls and long dresses and one young man wearing slacks and a jacket stand on a street corner huddled together. The word ASHBURY is carved into the sidewalk.\" width=\"800\" height=\"822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-800x822.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-768x789.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4.jpeg 961w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three teens hanging in the Haight, 1960s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Greene’s favorite places to photograph these young people was in front of the distinctive hieroglyph-covered wall in his studio, where he also shot famous musicians. \u003cem>The Photography of Herb Greene\u003c/em> condenses many of these portraits down onto a single collage board of images. The format hammers home that the hieroglyph wall itself was a great leveler. Famous or not, Greene treated all of his subjects the same in front of it — they became individual characters, each as important as the last.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13920973']Viewed as a collection now, it also reflects the monoculture of that scene. Though Greene himself was Chicano, every single person featured in the wall collage appears to be white.\u003c/p>\n\u003cp>That lack of diversity runs through much of Greene’s 1960s photography, a reflection of the Bay Area rock ’n’ roll scene of the time. (A portrait of Taj Mahal and his dog offers a particularly beautiful exception.) As such, Greene’s 1970s-era portraits of Sly and the Family Stone and the Pointer Sisters reflect how the mainstream music world began to open up once the Summer of Love ended. These images, shot in color, inject some vibrancy into \u003cem>The Photography of Herb Greene\u003c/em>. The original photo that Sly Stone used for the cover of 1975’s \u003ca href=\"https://www.discogs.com/release/1071382-Sly-Stone-High-On-You\" target=\"_blank\" rel=\"noopener\">\u003cem>High on You\u003c/em>\u003c/a> is a genuine joy to behold in real life.\u003c/p>\n\u003cfigure id=\"attachment_13925643\" class=\"wp-caption aligncenter\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Taj-Majal.jpg\" alt=\"A Black man with cornrows sits in a wooden chair wearing a tie-dye shirt and slacks. He is leaning forward as if in conversation. At his side is a shaggy white dog.\" width=\"496\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal-160x159.jpg 160w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Taj Majal and his dog. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greene also documented the artists (including Rick Griffin, Stanley Mouse, Victor Moscoso and Alton Kelley), writers (like Neal Cassady), concert promoters (Bill Graham and Chet Helms) and roadies who helped turn what was going on in the Haight into a national moment. Their inclusion here offers a glimpse behind the scenes — and an essential reminder that the bands didn’t do it all on their own.\u003c/p>\n\u003cp>\u003cem>The Photography of Herb Greene\u003c/em>, then, is about much more than the musicians still eulogized on Haight Street today. It’s about the larger community that made the scene what it was. It’s about how music changes and evolves over time. And it’s about a neighborhood of regular people who inadvertently got caught up in a movement. \u003ci>That’s\u003c/i> worth giving a rat’s ass about, even if you don’t care for the Grateful Dead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene’ is on view at the Haight Street Art Center (215 Haight St.) through May 29, 2023. \u003ca href=\"https://haightstreetart.org/pages/the-haight-ashbury-experience-and-the-pursuit-of-happiness-the-photography-of-herb-greene\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I couldn’t give a tiny rat’s ass about the Grateful Dead. There. I said it. Ordinarily, I’d shy away from announcing such a thing publicly, at the risk of awakening an army of pitchfork-wielding Deadheads. (Not the most measured of fanbases.) However, it would be wrong not to mention it before I start talking about a new exhibit of photography by Herb Greene given that Herb Greene is primarily remembered for his Grateful Dead portraits.\u003c/p>\n\u003cp>If you are indeed a Deadhead, or someone who is still reveling in a musical moment that existed over half a century ago, you don’t need me to explain the selling points of \u003cem>The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene\u003c/em>. You will go for the perfectly lovely photographs of the Grateful Dead, their former outfit The Warlocks and Janis Joplin. You might also go for the expertly composed portraits of Jefferson Airplane, Led Zeppelin, The Jeff Beck Group and The Charlatans.\u003c/p>\n\u003cfigure id=\"attachment_13925411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg\" alt=\"A pretty young woman kneels on a green and purple couch, twisting her head up towards the camera.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grace Slick in her Jefferson Airplane heyday. \u003ccite>(Herb Greene/ Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you are under the age of 60 or wondering why on God’s green earth San Francisco needs \u003ca href=\"https://www.kqed.org/arts/13039627/de-young-summer-of-love-50th-anniversary\">yet another exhibition glorifying the Summer of Love\u003c/a>, I have some news that might pleasantly surprise you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>First and foremost, in addition to his rock photography, Greene also made a habit of immortalizing the street life in the Haight when it was just another San Francisco neighborhood. He photographed the small businesses, local children, families and elderly residents already there when the hippie invasion first began.\u003c/p>\n\u003cp>These images present the neighborhood before it was a tie-dye-soaked tourist attraction and, crucially, capture the exact moment the first wave of disaffected youth arrived and changed the area forever. Though there is an entire wall of this kind of street photography at \u003cem>The Photography of Herb Greene\u003c/em>, I found myself wishing they inhabited the whole space.\u003c/p>\n\u003cfigure id=\"attachment_13925638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg\" alt=\"A flute-playing hippie and a bohemian friend, both male, walk along a tree lined street. Behind them a man in a suit and hat walks under a sign that reads 'Sher Real Estate INCOME TAX.’\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-160x162.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-768x775.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Income tax with a side of street flautist. Haight Street in the ’60s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This exhibit also deserves kudos for painting a picture of the bohemian community of kids who were hanging around the Haight at the time. Yes, there are the requisite shots here of naked young people dancing and children clutching flowers at The Human Be-In. But Greene’s photographs also introduce us to the hitchhikers, street musicians and young optimists who migrated to San Francisco in the late 1960s and reveled in the new freedoms it offered. I am indefatigable when it comes to looking at subculture-immersed young people, no matter what era they’re from, and Greene’s photos more than do the Summer of Love kids justice.\u003c/p>\n\u003cfigure id=\"attachment_13925639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925639\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/82548-4-800x822.jpeg\" alt=\"Three teenagers, two females wearing embroidered shawls and long dresses and one young man wearing slacks and a jacket stand on a street corner huddled together. The word ASHBURY is carved into the sidewalk.\" width=\"800\" height=\"822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-800x822.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-768x789.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4.jpeg 961w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three teens hanging in the Haight, 1960s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Greene’s favorite places to photograph these young people was in front of the distinctive hieroglyph-covered wall in his studio, where he also shot famous musicians. \u003cem>The Photography of Herb Greene\u003c/em> condenses many of these portraits down onto a single collage board of images. The format hammers home that the hieroglyph wall itself was a great leveler. Famous or not, Greene treated all of his subjects the same in front of it — they became individual characters, each as important as the last.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Viewed as a collection now, it also reflects the monoculture of that scene. Though Greene himself was Chicano, every single person featured in the wall collage appears to be white.\u003c/p>\n\u003cp>That lack of diversity runs through much of Greene’s 1960s photography, a reflection of the Bay Area rock ’n’ roll scene of the time. (A portrait of Taj Mahal and his dog offers a particularly beautiful exception.) As such, Greene’s 1970s-era portraits of Sly and the Family Stone and the Pointer Sisters reflect how the mainstream music world began to open up once the Summer of Love ended. These images, shot in color, inject some vibrancy into \u003cem>The Photography of Herb Greene\u003c/em>. The original photo that Sly Stone used for the cover of 1975’s \u003ca href=\"https://www.discogs.com/release/1071382-Sly-Stone-High-On-You\" target=\"_blank\" rel=\"noopener\">\u003cem>High on You\u003c/em>\u003c/a> is a genuine joy to behold in real life.\u003c/p>\n\u003cfigure id=\"attachment_13925643\" class=\"wp-caption aligncenter\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Taj-Majal.jpg\" alt=\"A Black man with cornrows sits in a wooden chair wearing a tie-dye shirt and slacks. He is leaning forward as if in conversation. At his side is a shaggy white dog.\" width=\"496\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal-160x159.jpg 160w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Taj Majal and his dog. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greene also documented the artists (including Rick Griffin, Stanley Mouse, Victor Moscoso and Alton Kelley), writers (like Neal Cassady), concert promoters (Bill Graham and Chet Helms) and roadies who helped turn what was going on in the Haight into a national moment. Their inclusion here offers a glimpse behind the scenes — and an essential reminder that the bands didn’t do it all on their own.\u003c/p>\n\u003cp>\u003cem>The Photography of Herb Greene\u003c/em>, then, is about much more than the musicians still eulogized on Haight Street today. It’s about the larger community that made the scene what it was. It’s about how music changes and evolves over time. And it’s about a neighborhood of regular people who inadvertently got caught up in a movement. \u003ci>That’s\u003c/i> worth giving a rat’s ass about, even if you don’t care for the Grateful Dead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene’ is on view at the Haight Street Art Center (215 Haight St.) through May 29, 2023. \u003ca href=\"https://haightstreetart.org/pages/the-haight-ashbury-experience-and-the-pursuit-of-happiness-the-photography-of-herb-greene\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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