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"content": "\u003cp>It was girls-to-the-front when \u003ca href=\"https://www.instagram.com/mxka.mami/\">Mxka\u003c/a> took the stage last month at the \u003ca href=\"https://www.kqed.org/arts/13986591/lovers-lane-mission-san-francisco-valentines-day-festival\">Lovers Lane\u003c/a> block party in San Francisco’s Mission district. At the annual Valentine’s Day celebration of Chicano culture, friends grinned and swayed arm-in-arm as Mxka’s honeyed voice soared over the rapid strum of her band’s acoustic guitars. Rosary necklace glinting in the sun and coquettish red dress billowing, she sang defiantly in Spanglish about a dude who underestimated her: “Las malas no caen tan fácil / come on, bro” (“Baddies don’t fall that easily / come on, bro”).\u003c/p>\n\u003cp>Raised in San Leandro, Mxka (pronounced Moka) is making waves with her distinctly Bay Area take on \u003ca href=\"https://www.kqed.org/news/12034651/k-onda-april\">corridos tumbados\u003c/a>, the regional Mexican music style that hit the U.S. mainstream in recent years with the rise of Peso Pluma and Natanael Cano. While the genre’s largely male listenership tends to gravitate towards artists with hard, macho lyrics, Mxka’s romantic subject matter and R&B-inflected delivery is drawing an audience of women that haven’t seen themselves reflected in the music style they love.\u003c/p>\n\u003cp>“It’s very, very, \u003ca href=\"https://apnews.com/article/mexican-regional-music-women-becky-g-belinda-e4f45e10f12ee5e3706b735dae0e33a3\">very few women\u003c/a> that are in this space, let alone Black women,” Mxka says during a recent interview at EMPIRE’s studios in San Francisco as she’s getting ready for a video shoot for an acoustic version of her song “La Vuelta.” “I’ve been getting a lot of support after I was told that I wouldn’t.”\u003c/p>\n\u003cp>https://youtu.be/Oe6UoP9klno?si=a0-bToxNqdq4-3pU\u003c/p>\n\u003cp>The child of a Mexican mother from Mexico City and a Black American father from Louisiana, Mxka identifies as Blaxican. She grew up immersed in the performing arts, trying out dance and theater before turning her efforts towards singing in Spanish. She eventually moved to LA and linked up with producer Stylolive, a frequent collaborator of fellow Bay Area corrido singer \u003ca href=\"https://www.kqed.org/arts/13953430/oakland-delaciio-regional-mexican-music\">DELACiiO\u003c/a>. She and Stylolive worked together on \u003ca href=\"https://youtu.be/Pdwha8Fetvc?si=ZOtjK8SVrLPJ4PJY\">bilingual house and dance pop\u003c/a> before Mxka decided to go all in on Mexican regional music, with guitarist Zahid Ayala as her ace.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Mxka’s new single, “Cómo Te Va?,” she pleads with an ex as lush strings swell under her yearning vocal runs. “It came obviously from a personal experience,” she says of the song, “where it was definitely like, ‘OK, maybe it was my fault that everything turned out the way it did. But if you are open to it, I’m here.’”\u003c/p>\n\u003cp>https://youtu.be/snTlxetUUVo?si=A5G9t5KqMN3dRuGK\u003c/p>\n\u003cp>Mxka grew up immersed in Mexican culture and would frequently make trips back to her family’s hometown of Los Reyes La Paz. As for singing in Spanish, though, she faced a learning curve — not to mention the stigma of the “\u003ca href=\"https://www.nbcnews.com/news/latino/latino-no-sabo-kids-push-back-spanish-language-shaming-rcna105170\">no sabo kid\u003c/a>” label for children of immigrants who aren’t fluent. But Mxka took heart that one of Latin music’s greatest singers, Selena, also \u003ca href=\"https://www.wbur.org/anythingforselena/2021/02/10/spanglish-english\">struggled with the language\u003c/a> while proudly embracing her bicultural Tejana identity.\u003c/p>\n\u003cp>“She just practiced, and look at her,” Mxka says. “So it’s like, if she can do it, I can do it, too. And so I hope to be the same [inspiration] for other kids that feel like that.”\u003c/p>\n\u003cfigure id=\"attachment_13987486\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-09-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-09-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mxka records a music video with guitarist Zahid Ayala Ramirez at Empire in San Francisco on March 9, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mxka joins a growing wave of California artists helping to shape Mexican regional music, including San Bernadino-raised chart-toppers Fuerza Regida, whose corridos tumbados carry the high-octane energy of trap music, and San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13963789/la-dona-los-altos-de-la-soledad\">La Doña\u003c/a>, whose “\u003ca href=\"https://youtu.be/PasQ1qT6MiQ?si=5vyz_t-vZ1qOnBqn\">Corrido Palestina\u003c/a>” captures the fire of protest movements. With her distinctively soft, soulful take on corridos, which she calls R&B tumbados, Mxka brings her own flavor to the growing scene.\u003c/p>\n\u003cp>“Especially when you’re messing with traditional sounds, people are not always going to be super keen at first,” she says. “But I feel like in order to push the culture forward, we do have to try new things. I feel the California artists have definitely been doing that.”\u003c/p>\n\u003cfigure id=\"attachment_13987485\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-06-BL-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-06-BL-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-06-BL-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-06-BL-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-06-BL-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Mxka poses for a portrait in San Francisco on March 9, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mxka is now back in the Bay and signed to EMPIRE, the powerhouse San Francisco-based record label which now has a regional Mexican music division. She has a 12-song mixtape in the works, blending corridos, pop and Brazilian baile funk, which she expects to release in time for the summer season of beach trips and day parties.\u003c/p>\n\u003cp>After years of having to explain herself and her cultural influences, Mxka says she’s grateful to have the support of a team that gets her vision, and to immerse herself in her hometown’s bubbling creative scene.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I feel like there’s a lot of exciting things happening in Oakland and San Francisco,” she says. “It’s starting to become this place where more things are happening in the industry.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was girls-to-the-front when \u003ca href=\"https://www.instagram.com/mxka.mami/\">Mxka\u003c/a> took the stage last month at the \u003ca href=\"https://www.kqed.org/arts/13986591/lovers-lane-mission-san-francisco-valentines-day-festival\">Lovers Lane\u003c/a> block party in San Francisco’s Mission district. At the annual Valentine’s Day celebration of Chicano culture, friends grinned and swayed arm-in-arm as Mxka’s honeyed voice soared over the rapid strum of her band’s acoustic guitars. Rosary necklace glinting in the sun and coquettish red dress billowing, she sang defiantly in Spanglish about a dude who underestimated her: “Las malas no caen tan fácil / come on, bro” (“Baddies don’t fall that easily / come on, bro”).\u003c/p>\n\u003cp>Raised in San Leandro, Mxka (pronounced Moka) is making waves with her distinctly Bay Area take on \u003ca href=\"https://www.kqed.org/news/12034651/k-onda-april\">corridos tumbados\u003c/a>, the regional Mexican music style that hit the U.S. mainstream in recent years with the rise of Peso Pluma and Natanael Cano. While the genre’s largely male listenership tends to gravitate towards artists with hard, macho lyrics, Mxka’s romantic subject matter and R&B-inflected delivery is drawing an audience of women that haven’t seen themselves reflected in the music style they love.\u003c/p>\n\u003cp>“It’s very, very, \u003ca href=\"https://apnews.com/article/mexican-regional-music-women-becky-g-belinda-e4f45e10f12ee5e3706b735dae0e33a3\">very few women\u003c/a> that are in this space, let alone Black women,” Mxka says during a recent interview at EMPIRE’s studios in San Francisco as she’s getting ready for a video shoot for an acoustic version of her song “La Vuelta.” “I’ve been getting a lot of support after I was told that I wouldn’t.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Oe6UoP9klno'\n title='//www.youtube.com/embed/Oe6UoP9klno'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The child of a Mexican mother from Mexico City and a Black American father from Louisiana, Mxka identifies as Blaxican. She grew up immersed in the performing arts, trying out dance and theater before turning her efforts towards singing in Spanish. She eventually moved to LA and linked up with producer Stylolive, a frequent collaborator of fellow Bay Area corrido singer \u003ca href=\"https://www.kqed.org/arts/13953430/oakland-delaciio-regional-mexican-music\">DELACiiO\u003c/a>. She and Stylolive worked together on \u003ca href=\"https://youtu.be/Pdwha8Fetvc?si=ZOtjK8SVrLPJ4PJY\">bilingual house and dance pop\u003c/a> before Mxka decided to go all in on Mexican regional music, with guitarist Zahid Ayala as her ace.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Mxka’s new single, “Cómo Te Va?,” she pleads with an ex as lush strings swell under her yearning vocal runs. “It came obviously from a personal experience,” she says of the song, “where it was definitely like, ‘OK, maybe it was my fault that everything turned out the way it did. But if you are open to it, I’m here.’”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/snTlxetUUVo'\n title='//www.youtube.com/embed/snTlxetUUVo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mxka grew up immersed in Mexican culture and would frequently make trips back to her family’s hometown of Los Reyes La Paz. As for singing in Spanish, though, she faced a learning curve — not to mention the stigma of the “\u003ca href=\"https://www.nbcnews.com/news/latino/latino-no-sabo-kids-push-back-spanish-language-shaming-rcna105170\">no sabo kid\u003c/a>” label for children of immigrants who aren’t fluent. But Mxka took heart that one of Latin music’s greatest singers, Selena, also \u003ca href=\"https://www.wbur.org/anythingforselena/2021/02/10/spanglish-english\">struggled with the language\u003c/a> while proudly embracing her bicultural Tejana identity.\u003c/p>\n\u003cp>“She just practiced, and look at her,” Mxka says. “So it’s like, if she can do it, I can do it, too. And so I hope to be the same [inspiration] for other kids that feel like that.”\u003c/p>\n\u003cfigure id=\"attachment_13987486\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-09-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-09-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mxka records a music video with guitarist Zahid Ayala Ramirez at Empire in San Francisco on March 9, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mxka joins a growing wave of California artists helping to shape Mexican regional music, including San Bernadino-raised chart-toppers Fuerza Regida, whose corridos tumbados carry the high-octane energy of trap music, and San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13963789/la-dona-los-altos-de-la-soledad\">La Doña\u003c/a>, whose “\u003ca href=\"https://youtu.be/PasQ1qT6MiQ?si=5vyz_t-vZ1qOnBqn\">Corrido Palestina\u003c/a>” captures the fire of protest movements. With her distinctively soft, soulful take on corridos, which she calls R&B tumbados, Mxka brings her own flavor to the growing scene.\u003c/p>\n\u003cp>“Especially when you’re messing with traditional sounds, people are not always going to be super keen at first,” she says. “But I feel like in order to push the culture forward, we do have to try new things. I feel the California artists have definitely been doing that.”\u003c/p>\n\u003cfigure id=\"attachment_13987485\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-06-BL-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-06-BL-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-06-BL-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-06-BL-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260309-MXKA-06-BL-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Mxka poses for a portrait in San Francisco on March 9, 2026. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mxka is now back in the Bay and signed to EMPIRE, the powerhouse San Francisco-based record label which now has a regional Mexican music division. She has a 12-song mixtape in the works, blending corridos, pop and Brazilian baile funk, which she expects to release in time for the summer season of beach trips and day parties.\u003c/p>\n\u003cp>After years of having to explain herself and her cultural influences, Mxka says she’s grateful to have the support of a team that gets her vision, and to immerse herself in her hometown’s bubbling creative scene.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I feel like there’s a lot of exciting things happening in Oakland and San Francisco,” she says. “It’s starting to become this place where more things are happening in the industry.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In the 1970s, Bay Area Lesbians Created Their Own Economy",
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"content": "\u003cp>In the 1970s, Valencia Street in \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a>’s Mission District became a lesbian cultural corridor.\u003c/p>\n\u003cp>Women could openly hold hands at Artemis Cafe, clink glasses at Amelia’s and debate politics at the Old Wives’ Tales bookstore. Lesbian hairstylists and mechanics offered basic goods and services without harassment. Flyers advertised apprenticeships in male-dominated trades and legal help for navigating divorces from men.\u003c/p>\n\u003cp>Now, more than 50 years later, San Francisco boasts only a \u003ca href=\"https://missionlocal.org/2025/08/sf-lesbian-bars-girls-and-gays/\">small handful of lesbian bars\u003c/a>. Nationwide, experts say establishments serving women-loving women are \u003ca href=\"https://www.autostraddle.com/lesbian-bars-disappearing/\">in danger of going extinct\u003c/a>. It’s a drastic change from the vast lesbian ecosystem that once offered a supportive lifeline in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You have to remember that many women who were identifying as lesbians were excluded from mainstream society — they couldn’t get jobs, couldn’t really be in formal education spaces,” says Dr. Kerby Lynch, the interim director of the \u003ca href=\"https://www.bayarealesbianarchives.org/\">Bay Area Lesbian Archives\u003c/a>.\u003c/p>\n\u003cp>At the GLBT Historical Society Museum in the Castro, Bay Area Lesbian Archives presents a new exhibit, \u003cem>\u003ca href=\"https://www.glbthistory.org/dreams\">Directory of Dreams: Bay Area Lesbian Economies and Radical Care, 1970–1995\u003c/a>,\u003c/em> which traces the history of an organized, self-sustaining community.\u003c/p>\n\u003cfigure id=\"attachment_13987662\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kerby Lynch, lead curator of the exhibit ‘Directory of Dreams: Bay Area Lesbian Economies and Radical Care 1970-1995,’ poses for a portrait at the GLBT Historical Society Museum in San Francisco on March 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amid today’s resurgence of \u003ca href=\"https://www.theguardian.com/world/2026/mar/05/gen-z-men-baby-boomers-wives-should-obey-husbands\">conservative gender politics\u003c/a> and \u003ca href=\"https://prismreports.org/2026/02/09/anti-transgender-bills-2026/\">anti-LGBTQ+ legislation\u003c/a>, Lynch wants to provide an example to young queer people on how to thrive in spite of discrimination.\u003c/p>\n\u003cp>“Here we are once again, in the contemporary,” Lynch says, “needing to rely on each other and create these mutual aid networks.”\u003c/p>\n\u003ch2>The women’s liberation movement left lesbians behind\u003c/h2>\n\u003cp>On the walls of the GLBT Historical Society Museum, carefully arranged flyers, maps and business directories offer a glimpse of the lesbian scene that once flourished along Valencia Street.\u003c/p>\n\u003cp>“It was so much about having community. Lesbians had been so invisible for so long, and so harassed,” Carol Seajay says.\u003c/p>\n\u003cp>In 1976, Seajay co-founded the feminist bookstore Old Wives’ Tales, a flyer for which hangs in the exhibit. It was a narrow storefront that carried novels by women authors like Zora Neale Hurston and Toni Morrison.\u003c/p>\n\u003cfigure id=\"attachment_13987697\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987697\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Mahoney (left) and Carol Seajay (right) pose for a portrait at the exhibit ‘Directory of Dreams: Bay Area Lesbian Economies and Radical Care 1970-1995,’ on opening night at the GLBT Historical Society Museum in San Francisco on March 11, 2026. Seajay co-founded Old Wives’ Tales bookstore in 1976. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tucked in the back were shelves of lesbian books where one could browse away from prying eyes. Every weekend, the store would fill up with women who’d stop in between errands at the laundromat and grocery co-op to have spirited discussions.\u003c/p>\n\u003cp>“We needed a place for women to go, to be able to talk with each other about this women’s liberation stuff, gay liberation stuff,” Seajay says.\u003c/p>\n\u003cp>In the 1970s, the women’s liberation movement made many important legal gains. “On paper, we were getting more freedoms,” Lynch says. “But for lesbians, they were largely still feeling excluded.”\u003c/p>\n\u003cfigure id=\"attachment_13987659\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13987659 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“Directory of Dreams,” an archival exhibit of lesbian history in the Bay Area, is installed in the GLBT Historical Society Museum in San Francisco on March 11, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roe v. Wade gave women the right to end unwanted pregnancies, and the Equal Opportunity Credit Act allowed women to acquire loans and credit without male co-signers. Women began to buy homes and start businesses for the first time. Yet many straight women saw lesbians as a threat to the women’s liberation movement, and job and housing discrimination against LGBTQ+ people remained rampant.\u003c/p>\n\u003cp>“In the ’70s, you’re in a time period of, really, lesbians coming together and being like, ‘You know, if we’re gonna be excluded by these dominant societies, let’s create some counterculture,’” Lynch says.\u003c/p>\n\u003cp>A crucial connector for the Bay Area’s lesbian community was Gloria Pell, known to friends simply as Pell. She became active on Valencia Street while working at Old Wives’ Tales. In the early ’80s, she opened Woman Crafts West, a small boutique that carried work by hundreds of female artisans.\u003c/p>\n\u003cfigure id=\"attachment_13987686\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2.jpg\" alt=\"\" width=\"1900\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2-1536x1078.jpg 1536w\" sizes=\"auto, (max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Gloria Pell (right), known to friends simply as Pell, was a crucial connector of the lesbian community on Valencia Street in the 1980s. \u003ccite>(Bay Area Lesbian Archives/Pell Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the GLBT Historical Society, \u003cem>Directory of Dreams\u003c/em> features a display of crafts from Pell’s collection: shapely goddess statues, a flower-like labia sculpture and ceramic earrings in the shape of breasts.\u003c/p>\n\u003cp>Pell didn’t just break barriers so she could succeed; she also helped build the infrastructure that allowed other lesbians to thrive.\u003c/p>\n\u003cp>“She was the central part of organizing different business owners being tenants on that street,” Lynch says. “She was a part of a feminist credit union helping women open up their own bank accounts, coming up with pool funds — like, really, startup funding — for other women.”\u003c/p>\n\u003ch2>Lesbians strengthened the LGBTQ+ community during crisis\u003c/h2>\n\u003cp>In the ’80s, lesbian-owned businesses offered crucial support for gay men during the AIDS epidemic. Featured prominently in the exhibit is the \u003ca href=\"https://www.kqed.org/bayareabites/29308/lgbt-pride-remembering-the-brick-hut-cafe-part-1\">Brick Hut Cafe\u003c/a>, a Berkeley institution that drew lines down the block for coffee and muffins, as well as returning customers like Angela Davis and a free-spirited crew of gay men nicknamed the Shattuck Street Fairies.\u003c/p>\n\u003cp>On the wall of GBLT Historical Society, a 1992 poem by a customer named Cynthia describes the scene: “Flannel shirted wimmin / pierced and tattooed dykes / Bitchin’ dreadlocks, cool shaved heads / Feeding old folks and young tikes.”\u003c/p>\n\u003cfigure id=\"attachment_13987678\" class=\"wp-caption alignleft\" style=\"max-width: 1125px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_8997.jpg\" alt=\"\" width=\"1125\" height=\"676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_8997.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_8997-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_8997-768x461.jpg 768w\" sizes=\"auto, (max-width: 1125px) 100vw, 1125px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Davenport and Joan Antonuccio at The Brick Hut Cafe in the ’90s. \u003ccite>(Courtesy of Ace Morgan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As AIDS began to decimate the gay community, and government officials ignored and stigmatized the disease, queer institutions like the Brick Hut became crucial resources.\u003c/p>\n\u003cp>“We put up information, and we talked to people,” Brick Hut co-founder Sharon Davenport says. “You know, like, ‘Am I going to get AIDS from a toilet seat?’ No. ‘If I sit next to a gay guy, am I gonna get AIDS?’ No.”\u003c/p>\n\u003cp>During this era, lesbians across the country stepped up as advocates. They organized blood drives, protested for better public health policies, and even offered bedside care for gay men with AIDS whose families were afraid to come near them. At the Brick Hut, they also offered social support. “The important part was the personal interaction with people,” Davenport says. “So they wouldn’t be afraid.”\u003c/p>\n\u003cp>For Lynch of the Bay Area Lesbian Archives, it’s stories like these that show that the establishments honored in \u003cem>Directory of Dreams\u003c/em> are much more than just businesses.\u003c/p>\n\u003cp>“We’re sustaining ourselves, providing for ourselves,” she says. “But we’re also at the same time organizing ourselves, collectivizing ourselves.”\u003c/p>\n\u003ch2>Younger generations take notes from lesbian herstory\u003c/h2>\n\u003cp>As it celebrates visionary lesbian activists and community builders, \u003cem>Directory of Dreams\u003c/em> is also honest about where the movement fell short. The exhibition’s wall text notes that racism at times alienated women of color from lesbian spaces.\u003c/p>\n\u003cp>“It was messy,” Lynch says. “I mean, [white women] were coming into consciousness that they’re racist for the first time. Black women are coming into the consciousness that, ‘Oh my god, we’ve been serving Black men and the Black power movement, and we haven’t thought about our needs for ourselves.’”\u003c/p>\n\u003cfigure id=\"attachment_13987665\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guests observe the exhibit, “Directory of Dreams: Bay Area Lesbian Economies and Radical Care 1970-1995,” on opening night at the GLBT Historical Society Museum in San Francisco on March 11, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Absent from the exhibit are the lesbian separatists who discriminated against trans women and wanted to \u003ca href=\"https://www.kqed.org/arts/13977595/sandy-stone-olivia-records-jimi-hendrix-girl-island-documentary\">exclude them\u003c/a>. In the ’70s, many \u003ca href=\"https://www.kqed.org/arts/13976295/1970s-gay-transgender-rights-movement-san-francisco-pride\">gays and lesbians seeking mainstream acceptance\u003c/a> sought to distance themselves from trans people, who faced even worse discrimination. During our interview, Lynch acknowledged that history.\u003c/p>\n\u003cp>“It’s the good, the bad, the ugly, but I love how those women got the conversation started for us to continue today,” she says.\u003c/p>\n\u003cp>By the mid-1990s, as an influx of young artists began to transform the Mission District, long-running women’s spaces like Woman Crafts West and Old Wives’ Tales shut their doors. Many of the reasons were economic: Rising rents on Valencia Street meant that people could no longer afford to run radical spaces. In Berkeley, the Brick Hut shuttered because it was $30,000 in debt.\u003c/p>\n\u003cfigure id=\"attachment_13987663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guests observe the exhibit, “Directory of Dreams: Bay Area Lesbian Economies and Radical Care 1970-1995,” on opening night at the GLBT Historical Society Museum in San Francisco on March 11, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think some of the generations since then are kind of pissed that we let it go,” Seajay of Old Wives’ Tales says. “I am, too. I share that.”\u003c/p>\n\u003cp>Today, she wants this history to inspire young people to carry on that legacy. “You want something, make it happen,” she says. “You can do it.”\u003c/p>\n\u003cp>At the opening reception of \u003cem>Directory of Dreams\u003c/em> on March 11, lesbians and queer people in their 20s, 30s and 40s mingled alongside elders who shaped this golden era. Among those taking in the display of Pell’s goddess-themed jewelry and sculptures were Stephanie and Etecia Burrell, a couple who run The Sanctuary, an eclectic shop in Oakland that offers wellness services rooted in West African spiritual traditions.\u003c/p>\n\u003cfigure id=\"attachment_13987676\" class=\"wp-caption aligncenter\" style=\"max-width: 1974px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival.jpg\" alt=\"\" width=\"1974\" height=\"1559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival.jpg 1974w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival-1536x1213.jpg 1536w\" sizes=\"auto, (max-width: 1974px) 100vw, 1974px\">\u003cfigcaption class=\"wp-caption-text\">Gloria Pell (fourth from right) and friends pose in front of her shop, Woman Crafts West. In the 1980s and ’90s, it was a prominent fixture of the lesbian cultural corridor on Valencia Street in San Francisco. \u003ccite>(Bay Area Lesbian Archives/Pell Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Burrells are both especially inspired by Pell’s legacy as a Black lesbian community builder. “It actually makes me feel like, ‘Wow, I can relax, I can feel more of what I’m doing and the power of it because someone else did it,’” Stephanie says. “And it gives me a sense of relief, a sense of calm. A sense like, ‘You got this.’”\u003c/p>\n\u003cp>The lesbian community in today’s Bay Area looks much different than it did during the second-wave feminist movement. Many millennials and Gen Z-ers opt for terms like “queer” and “sapphic” when throwing parties and events, so as not to exclude trans, nonbinary, bisexual or pansexual people. At queer parties raising money for immigration defense or humanitarian aid in Gaza, there’s a greater mindfulness around the intersections of gender, sexuality, race, class, disability and immigration status.\u003c/p>\n\u003cp>Yet Lynch says it’s crucial to learn from those who paved the way. As conservative legislators continue to attack LGBTQ+ rights and civil liberties more broadly, she wants \u003cem>Directory of Dreams\u003c/em> to spark people’s imaginations for how to thrive, even amid a hostile political climate.\u003c/p>\n\u003cp>“This is not a mausoleum — these are instructions,” Lynch told the crowd at the opening. “Each flyer, each menu, each business card tucked away is a small declaration. ‘We were here, we built this, and you can build it too.’ Because the question is not whether these women were extraordinary. Of course they were. The real question is, what happens when we remember that survival has always been collective?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1970s, Valencia Street in \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a>’s Mission District became a lesbian cultural corridor.\u003c/p>\n\u003cp>Women could openly hold hands at Artemis Cafe, clink glasses at Amelia’s and debate politics at the Old Wives’ Tales bookstore. Lesbian hairstylists and mechanics offered basic goods and services without harassment. Flyers advertised apprenticeships in male-dominated trades and legal help for navigating divorces from men.\u003c/p>\n\u003cp>Now, more than 50 years later, San Francisco boasts only a \u003ca href=\"https://missionlocal.org/2025/08/sf-lesbian-bars-girls-and-gays/\">small handful of lesbian bars\u003c/a>. Nationwide, experts say establishments serving women-loving women are \u003ca href=\"https://www.autostraddle.com/lesbian-bars-disappearing/\">in danger of going extinct\u003c/a>. It’s a drastic change from the vast lesbian ecosystem that once offered a supportive lifeline in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You have to remember that many women who were identifying as lesbians were excluded from mainstream society — they couldn’t get jobs, couldn’t really be in formal education spaces,” says Dr. Kerby Lynch, the interim director of the \u003ca href=\"https://www.bayarealesbianarchives.org/\">Bay Area Lesbian Archives\u003c/a>.\u003c/p>\n\u003cp>At the GLBT Historical Society Museum in the Castro, Bay Area Lesbian Archives presents a new exhibit, \u003cem>\u003ca href=\"https://www.glbthistory.org/dreams\">Directory of Dreams: Bay Area Lesbian Economies and Radical Care, 1970–1995\u003c/a>,\u003c/em> which traces the history of an organized, self-sustaining community.\u003c/p>\n\u003cfigure id=\"attachment_13987662\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00211_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kerby Lynch, lead curator of the exhibit ‘Directory of Dreams: Bay Area Lesbian Economies and Radical Care 1970-1995,’ poses for a portrait at the GLBT Historical Society Museum in San Francisco on March 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Amid today’s resurgence of \u003ca href=\"https://www.theguardian.com/world/2026/mar/05/gen-z-men-baby-boomers-wives-should-obey-husbands\">conservative gender politics\u003c/a> and \u003ca href=\"https://prismreports.org/2026/02/09/anti-transgender-bills-2026/\">anti-LGBTQ+ legislation\u003c/a>, Lynch wants to provide an example to young queer people on how to thrive in spite of discrimination.\u003c/p>\n\u003cp>“Here we are once again, in the contemporary,” Lynch says, “needing to rely on each other and create these mutual aid networks.”\u003c/p>\n\u003ch2>The women’s liberation movement left lesbians behind\u003c/h2>\n\u003cp>On the walls of the GLBT Historical Society Museum, carefully arranged flyers, maps and business directories offer a glimpse of the lesbian scene that once flourished along Valencia Street.\u003c/p>\n\u003cp>“It was so much about having community. Lesbians had been so invisible for so long, and so harassed,” Carol Seajay says.\u003c/p>\n\u003cp>In 1976, Seajay co-founded the feminist bookstore Old Wives’ Tales, a flyer for which hangs in the exhibit. It was a narrow storefront that carried novels by women authors like Zora Neale Hurston and Toni Morrison.\u003c/p>\n\u003cfigure id=\"attachment_13987697\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987697\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-directoryofdreams00367_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ruth Mahoney (left) and Carol Seajay (right) pose for a portrait at the exhibit ‘Directory of Dreams: Bay Area Lesbian Economies and Radical Care 1970-1995,’ on opening night at the GLBT Historical Society Museum in San Francisco on March 11, 2026. Seajay co-founded Old Wives’ Tales bookstore in 1976. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tucked in the back were shelves of lesbian books where one could browse away from prying eyes. Every weekend, the store would fill up with women who’d stop in between errands at the laundromat and grocery co-op to have spirited discussions.\u003c/p>\n\u003cp>“We needed a place for women to go, to be able to talk with each other about this women’s liberation stuff, gay liberation stuff,” Seajay says.\u003c/p>\n\u003cp>In the 1970s, the women’s liberation movement made many important legal gains. “On paper, we were getting more freedoms,” Lynch says. “But for lesbians, they were largely still feeling excluded.”\u003c/p>\n\u003cfigure id=\"attachment_13987659\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13987659 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00012_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“Directory of Dreams,” an archival exhibit of lesbian history in the Bay Area, is installed in the GLBT Historical Society Museum in San Francisco on March 11, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roe v. Wade gave women the right to end unwanted pregnancies, and the Equal Opportunity Credit Act allowed women to acquire loans and credit without male co-signers. Women began to buy homes and start businesses for the first time. Yet many straight women saw lesbians as a threat to the women’s liberation movement, and job and housing discrimination against LGBTQ+ people remained rampant.\u003c/p>\n\u003cp>“In the ’70s, you’re in a time period of, really, lesbians coming together and being like, ‘You know, if we’re gonna be excluded by these dominant societies, let’s create some counterculture,’” Lynch says.\u003c/p>\n\u003cp>A crucial connector for the Bay Area’s lesbian community was Gloria Pell, known to friends simply as Pell. She became active on Valencia Street while working at Old Wives’ Tales. In the early ’80s, she opened Woman Crafts West, a small boutique that carried work by hundreds of female artisans.\u003c/p>\n\u003cfigure id=\"attachment_13987686\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2.jpg\" alt=\"\" width=\"1900\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/pell-archival-2-1536x1078.jpg 1536w\" sizes=\"auto, (max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Gloria Pell (right), known to friends simply as Pell, was a crucial connector of the lesbian community on Valencia Street in the 1980s. \u003ccite>(Bay Area Lesbian Archives/Pell Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the GLBT Historical Society, \u003cem>Directory of Dreams\u003c/em> features a display of crafts from Pell’s collection: shapely goddess statues, a flower-like labia sculpture and ceramic earrings in the shape of breasts.\u003c/p>\n\u003cp>Pell didn’t just break barriers so she could succeed; she also helped build the infrastructure that allowed other lesbians to thrive.\u003c/p>\n\u003cp>“She was the central part of organizing different business owners being tenants on that street,” Lynch says. “She was a part of a feminist credit union helping women open up their own bank accounts, coming up with pool funds — like, really, startup funding — for other women.”\u003c/p>\n\u003ch2>Lesbians strengthened the LGBTQ+ community during crisis\u003c/h2>\n\u003cp>In the ’80s, lesbian-owned businesses offered crucial support for gay men during the AIDS epidemic. Featured prominently in the exhibit is the \u003ca href=\"https://www.kqed.org/bayareabites/29308/lgbt-pride-remembering-the-brick-hut-cafe-part-1\">Brick Hut Cafe\u003c/a>, a Berkeley institution that drew lines down the block for coffee and muffins, as well as returning customers like Angela Davis and a free-spirited crew of gay men nicknamed the Shattuck Street Fairies.\u003c/p>\n\u003cp>On the wall of GBLT Historical Society, a 1992 poem by a customer named Cynthia describes the scene: “Flannel shirted wimmin / pierced and tattooed dykes / Bitchin’ dreadlocks, cool shaved heads / Feeding old folks and young tikes.”\u003c/p>\n\u003cfigure id=\"attachment_13987678\" class=\"wp-caption alignleft\" style=\"max-width: 1125px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_8997.jpg\" alt=\"\" width=\"1125\" height=\"676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_8997.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_8997-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IMG_8997-768x461.jpg 768w\" sizes=\"auto, (max-width: 1125px) 100vw, 1125px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Davenport and Joan Antonuccio at The Brick Hut Cafe in the ’90s. \u003ccite>(Courtesy of Ace Morgan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As AIDS began to decimate the gay community, and government officials ignored and stigmatized the disease, queer institutions like the Brick Hut became crucial resources.\u003c/p>\n\u003cp>“We put up information, and we talked to people,” Brick Hut co-founder Sharon Davenport says. “You know, like, ‘Am I going to get AIDS from a toilet seat?’ No. ‘If I sit next to a gay guy, am I gonna get AIDS?’ No.”\u003c/p>\n\u003cp>During this era, lesbians across the country stepped up as advocates. They organized blood drives, protested for better public health policies, and even offered bedside care for gay men with AIDS whose families were afraid to come near them. At the Brick Hut, they also offered social support. “The important part was the personal interaction with people,” Davenport says. “So they wouldn’t be afraid.”\u003c/p>\n\u003cp>For Lynch of the Bay Area Lesbian Archives, it’s stories like these that show that the establishments honored in \u003cem>Directory of Dreams\u003c/em> are much more than just businesses.\u003c/p>\n\u003cp>“We’re sustaining ourselves, providing for ourselves,” she says. “But we’re also at the same time organizing ourselves, collectivizing ourselves.”\u003c/p>\n\u003ch2>Younger generations take notes from lesbian herstory\u003c/h2>\n\u003cp>As it celebrates visionary lesbian activists and community builders, \u003cem>Directory of Dreams\u003c/em> is also honest about where the movement fell short. The exhibition’s wall text notes that racism at times alienated women of color from lesbian spaces.\u003c/p>\n\u003cp>“It was messy,” Lynch says. “I mean, [white women] were coming into consciousness that they’re racist for the first time. Black women are coming into the consciousness that, ‘Oh my god, we’ve been serving Black men and the Black power movement, and we haven’t thought about our needs for ourselves.’”\u003c/p>\n\u003cfigure id=\"attachment_13987665\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00526_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guests observe the exhibit, “Directory of Dreams: Bay Area Lesbian Economies and Radical Care 1970-1995,” on opening night at the GLBT Historical Society Museum in San Francisco on March 11, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Absent from the exhibit are the lesbian separatists who discriminated against trans women and wanted to \u003ca href=\"https://www.kqed.org/arts/13977595/sandy-stone-olivia-records-jimi-hendrix-girl-island-documentary\">exclude them\u003c/a>. In the ’70s, many \u003ca href=\"https://www.kqed.org/arts/13976295/1970s-gay-transgender-rights-movement-san-francisco-pride\">gays and lesbians seeking mainstream acceptance\u003c/a> sought to distance themselves from trans people, who faced even worse discrimination. During our interview, Lynch acknowledged that history.\u003c/p>\n\u003cp>“It’s the good, the bad, the ugly, but I love how those women got the conversation started for us to continue today,” she says.\u003c/p>\n\u003cp>By the mid-1990s, as an influx of young artists began to transform the Mission District, long-running women’s spaces like Woman Crafts West and Old Wives’ Tales shut their doors. Many of the reasons were economic: Rising rents on Valencia Street meant that people could no longer afford to run radical spaces. In Berkeley, the Brick Hut shuttered because it was $30,000 in debt.\u003c/p>\n\u003cfigure id=\"attachment_13987663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/260311-DIRECTORYOFDREAMS00303_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guests observe the exhibit, “Directory of Dreams: Bay Area Lesbian Economies and Radical Care 1970-1995,” on opening night at the GLBT Historical Society Museum in San Francisco on March 11, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think some of the generations since then are kind of pissed that we let it go,” Seajay of Old Wives’ Tales says. “I am, too. I share that.”\u003c/p>\n\u003cp>Today, she wants this history to inspire young people to carry on that legacy. “You want something, make it happen,” she says. “You can do it.”\u003c/p>\n\u003cp>At the opening reception of \u003cem>Directory of Dreams\u003c/em> on March 11, lesbians and queer people in their 20s, 30s and 40s mingled alongside elders who shaped this golden era. Among those taking in the display of Pell’s goddess-themed jewelry and sculptures were Stephanie and Etecia Burrell, a couple who run The Sanctuary, an eclectic shop in Oakland that offers wellness services rooted in West African spiritual traditions.\u003c/p>\n\u003cfigure id=\"attachment_13987676\" class=\"wp-caption aligncenter\" style=\"max-width: 1974px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival.jpg\" alt=\"\" width=\"1974\" height=\"1559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival.jpg 1974w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/woman-crafts-west-archival-1536x1213.jpg 1536w\" sizes=\"auto, (max-width: 1974px) 100vw, 1974px\">\u003cfigcaption class=\"wp-caption-text\">Gloria Pell (fourth from right) and friends pose in front of her shop, Woman Crafts West. In the 1980s and ’90s, it was a prominent fixture of the lesbian cultural corridor on Valencia Street in San Francisco. \u003ccite>(Bay Area Lesbian Archives/Pell Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Burrells are both especially inspired by Pell’s legacy as a Black lesbian community builder. “It actually makes me feel like, ‘Wow, I can relax, I can feel more of what I’m doing and the power of it because someone else did it,’” Stephanie says. “And it gives me a sense of relief, a sense of calm. A sense like, ‘You got this.’”\u003c/p>\n\u003cp>The lesbian community in today’s Bay Area looks much different than it did during the second-wave feminist movement. Many millennials and Gen Z-ers opt for terms like “queer” and “sapphic” when throwing parties and events, so as not to exclude trans, nonbinary, bisexual or pansexual people. At queer parties raising money for immigration defense or humanitarian aid in Gaza, there’s a greater mindfulness around the intersections of gender, sexuality, race, class, disability and immigration status.\u003c/p>\n\u003cp>Yet Lynch says it’s crucial to learn from those who paved the way. As conservative legislators continue to attack LGBTQ+ rights and civil liberties more broadly, she wants \u003cem>Directory of Dreams\u003c/em> to spark people’s imaginations for how to thrive, even amid a hostile political climate.\u003c/p>\n\u003cp>“This is not a mausoleum — these are instructions,” Lynch told the crowd at the opening. “Each flyer, each menu, each business card tucked away is a small declaration. ‘We were here, we built this, and you can build it too.’ Because the question is not whether these women were extraordinary. Of course they were. The real question is, what happens when we remember that survival has always been collective?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Riveting Graphic Novel of an Armenian Family in San Francisco",
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"content": "\u003cp>In 1999, the year she graduated from art school, Bay Area illustrator Nadine Takvorian wrote in an Armenian magazine that she hoped to someday write a book about her experience in the Armenian diaspora. Now, 27 years later, the first-generation Armenian American has released \u003cem>Armaveni:A Graphic Novel of the Armenian Genocide\u003c/em>, an autobiographical graphic novel named after her grandmother. \u003c/p>\n\u003cp>“It’s taken me over half a lifetime to make that dream a reality,” she says.\u003c/p>\n\u003cp>\u003cem>Armaveni\u003c/em> tells the story of how Takvorian’s family survived the Armenian genocide, became Bolsahye (Armenians who live in Turkey) and eventually made a life in San Francisco, operating a small business. Takvorian’s family ran a specialty food shop founded in 1956 called Haig’s Delicacies, named after her uncle, located a block away from Green Apple Books in the Inner Richmond. It was later operated by her parents before its retail space closed.\u003c/p>\n\u003cp>“It was a very special place for me growing up,” Takvorian says. “It was kind of like a San Francisco foodie destination for a while, a well known place to find delicacies from Europe and the Middle East and India. Now it’s easier to find these kinds of items, but back in the day it was pretty hard.”\u003c/p>\n\u003cp>[aside postID='arts_13987084']In \u003cem>Armaveni\u003c/em>, Nadine works occasionally at the shop, showcasing her industriousness and cultural curiosity. An inquisitive young girl, she pesters her parents to explain why her grandmother’s eyes “are always so sad” until one day they acquiesce and unfold her backstory. The book moves back and forth through time from Nadine’s perspective as a schoolgirl who has a homeland she’s never visited and her grandmother Armaveni’s perspective as a young girl in Hayastan (Armenia) living through the Meds Yeghern or “Great Catastrophe” during WWI. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though she began her career working in the children’s educational market, and has worked on projects like a richly color-saturated Beowulf comic adaptation for kids, Takvorian’s first graphic novel is not in full color. “The subject matter required more restraint,” the author explains. The pages are covered in a lavender wash that gives them an archival feel, in line with the book’s theme of an old family story being dusted off and recounted. \u003c/p>\n\u003cp>Though we follow Nadine in the book as a teen, in reality, Takvorian was in her thirties when she learned Armaveni’s tale. In a note at the end of \u003cem>Armaveni\u003c/em>, she attributes this delay to “old-world habits of the adults shielding children from information that could put them in danger, and my own fear of what I might learn about our family’s history.”\u003c/p>\n\u003cp>Her grandmother’s story takes place in an Armenia that’s under attack from the Ottoman Empire, which is waging a campaign of ethnic cleansing in an attempt to consolidate power and cultural hegemony. It is estimated over one million Armenians were exiled from their land and massacred. Grandma Armaveni’s story panels show Armenians (who were among the earliest adopters of Christianity) forced into religious conversion, trafficked, and, in one harrowing scene, women and children fleeing a schoolhouse they’d been corralled into by soldiers and left to burn.\u003c/p>\n\u003cp>[aside postID='arts_13986735']Though \u003cem>Armaveni\u003c/em> is a memoir of her family’s story, the heart of the novel is Nadine’s discovery of this persecution, which Armenians identify as a genocide, and the frustrations she feels when she realizes her parents do not wish to discuss it. Many deny it ever happened, including one of her American schoolteachers, and the country that perpetrated it, Turkey.\u003c/p>\n\u003cp>“Genocide recognition is so important to the Armenian community,” Takvorian explains, noting that the issue is unfortunately used “as a political football” by politicians. “It’s dangled as, Well, if you do this, then we might recognize the genocide and we don’t want to do that and you don’t want us to do that.” In 2021, on the 106th anniversary of its start, President Biden became the first American president to officially recognize the Armenian genocide — a recognition that the Trump administration has been accused of walking back.\u003c/p>\n\u003cp>At the end of the novel, Takvorian offers a primer on the consequences of cultural erasure. That includes a note on Article 301 of the Turkish Penal Code, which states it is illegal to insult Turkey, and has been used to go after journalists and writers like Turkish Nobel laureate Orhan Pamuk for bringing up the persecution of Armenians. For her and other members of the Armenian community, it is important for there to be “closure and consequences” after years of being denied them.\u003c/p>\n\u003cp>\u003cem>Armaveni\u003c/em> is visually personalized. A typeface is based on Takvorian’s actual handwriting, and the pages that recount her grandmother’s story have a storybook frame inspired by ancient Armenian manuscripts that Takvorian encountered at a library in England, “really lush and full of a lot of decorative elements,” she explains. “It’s one of my favorite Easter eggs in the book.”\u003c/p>\n\u003cp>[aside postID='arts_13985414']The nuances of Nadine’s daily experience help the reader’s understanding of Armenian identity. For example, when a fellow Armenian accuses her of being “Turkified,” Nadine experiences the stigma of being Bolsahye —a word that combines “Bolis,” the Armenian word for Istanbul, with a term that signifies Armenian identity. These interactions reveal purity tests and friction that exist within the Armenian diaspora.\u003c/p>\n\u003cp>Throughout, Takvorian’s book offers readers a cultural education simply by threading in Armenian words and customs. In a subtle one-page seven-panel sequence, Nadine and her family are pulling out of their driveway before a plane trip and her mom splashes water from a pitcher at them and says, “May your journey flow like water.” While the action goes unexplained, it is easily inferred that this is an Armenian custom. Spilling water for luck is in fact a folk tradition in the country and in many of its neighboring countries.\u003c/p>\n\u003cp>\u003cem>Armaveni\u003c/em> is ultimately a very personal story, but one whose themes offer a timely lesson about what it means for a people to be forced to insist on their existence. “This is important for all of us to learn about, because it’s our collective humanity,” Takvorian explains. “This is something that happened to Armenians, but then you see it happening again and again to different groups of people … It’s an Armenian story, but it’s also our story, and it’s really important to share that and help people understand that.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Armaveni:A Graphic Novel of the Armenian Genocide’ is out now. Nadine Takvorian appears March 10 at Green Apple Books in San Francisco; March 14 at Mrs. Dalloway’s in Berkeley; March 15 at the Cartoon Art Museum in San Francisco; and March 21 at Linden Tree Books in Los Altos. \u003ca href=\"https://www.nadinetakvorian.com/events\">Details on author appearances here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1999, the year she graduated from art school, Bay Area illustrator Nadine Takvorian wrote in an Armenian magazine that she hoped to someday write a book about her experience in the Armenian diaspora. Now, 27 years later, the first-generation Armenian American has released \u003cem>Armaveni:A Graphic Novel of the Armenian Genocide\u003c/em>, an autobiographical graphic novel named after her grandmother. \u003c/p>\n\u003cp>“It’s taken me over half a lifetime to make that dream a reality,” she says.\u003c/p>\n\u003cp>\u003cem>Armaveni\u003c/em> tells the story of how Takvorian’s family survived the Armenian genocide, became Bolsahye (Armenians who live in Turkey) and eventually made a life in San Francisco, operating a small business. Takvorian’s family ran a specialty food shop founded in 1956 called Haig’s Delicacies, named after her uncle, located a block away from Green Apple Books in the Inner Richmond. It was later operated by her parents before its retail space closed.\u003c/p>\n\u003cp>“It was a very special place for me growing up,” Takvorian says. “It was kind of like a San Francisco foodie destination for a while, a well known place to find delicacies from Europe and the Middle East and India. Now it’s easier to find these kinds of items, but back in the day it was pretty hard.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Armaveni\u003c/em>, Nadine works occasionally at the shop, showcasing her industriousness and cultural curiosity. An inquisitive young girl, she pesters her parents to explain why her grandmother’s eyes “are always so sad” until one day they acquiesce and unfold her backstory. The book moves back and forth through time from Nadine’s perspective as a schoolgirl who has a homeland she’s never visited and her grandmother Armaveni’s perspective as a young girl in Hayastan (Armenia) living through the Meds Yeghern or “Great Catastrophe” during WWI. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though she began her career working in the children’s educational market, and has worked on projects like a richly color-saturated Beowulf comic adaptation for kids, Takvorian’s first graphic novel is not in full color. “The subject matter required more restraint,” the author explains. The pages are covered in a lavender wash that gives them an archival feel, in line with the book’s theme of an old family story being dusted off and recounted. \u003c/p>\n\u003cp>Though we follow Nadine in the book as a teen, in reality, Takvorian was in her thirties when she learned Armaveni’s tale. In a note at the end of \u003cem>Armaveni\u003c/em>, she attributes this delay to “old-world habits of the adults shielding children from information that could put them in danger, and my own fear of what I might learn about our family’s history.”\u003c/p>\n\u003cp>Her grandmother’s story takes place in an Armenia that’s under attack from the Ottoman Empire, which is waging a campaign of ethnic cleansing in an attempt to consolidate power and cultural hegemony. It is estimated over one million Armenians were exiled from their land and massacred. Grandma Armaveni’s story panels show Armenians (who were among the earliest adopters of Christianity) forced into religious conversion, trafficked, and, in one harrowing scene, women and children fleeing a schoolhouse they’d been corralled into by soldiers and left to burn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though \u003cem>Armaveni\u003c/em> is a memoir of her family’s story, the heart of the novel is Nadine’s discovery of this persecution, which Armenians identify as a genocide, and the frustrations she feels when she realizes her parents do not wish to discuss it. Many deny it ever happened, including one of her American schoolteachers, and the country that perpetrated it, Turkey.\u003c/p>\n\u003cp>“Genocide recognition is so important to the Armenian community,” Takvorian explains, noting that the issue is unfortunately used “as a political football” by politicians. “It’s dangled as, Well, if you do this, then we might recognize the genocide and we don’t want to do that and you don’t want us to do that.” In 2021, on the 106th anniversary of its start, President Biden became the first American president to officially recognize the Armenian genocide — a recognition that the Trump administration has been accused of walking back.\u003c/p>\n\u003cp>At the end of the novel, Takvorian offers a primer on the consequences of cultural erasure. That includes a note on Article 301 of the Turkish Penal Code, which states it is illegal to insult Turkey, and has been used to go after journalists and writers like Turkish Nobel laureate Orhan Pamuk for bringing up the persecution of Armenians. For her and other members of the Armenian community, it is important for there to be “closure and consequences” after years of being denied them.\u003c/p>\n\u003cp>\u003cem>Armaveni\u003c/em> is visually personalized. A typeface is based on Takvorian’s actual handwriting, and the pages that recount her grandmother’s story have a storybook frame inspired by ancient Armenian manuscripts that Takvorian encountered at a library in England, “really lush and full of a lot of decorative elements,” she explains. “It’s one of my favorite Easter eggs in the book.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The nuances of Nadine’s daily experience help the reader’s understanding of Armenian identity. For example, when a fellow Armenian accuses her of being “Turkified,” Nadine experiences the stigma of being Bolsahye —a word that combines “Bolis,” the Armenian word for Istanbul, with a term that signifies Armenian identity. These interactions reveal purity tests and friction that exist within the Armenian diaspora.\u003c/p>\n\u003cp>Throughout, Takvorian’s book offers readers a cultural education simply by threading in Armenian words and customs. In a subtle one-page seven-panel sequence, Nadine and her family are pulling out of their driveway before a plane trip and her mom splashes water from a pitcher at them and says, “May your journey flow like water.” While the action goes unexplained, it is easily inferred that this is an Armenian custom. Spilling water for luck is in fact a folk tradition in the country and in many of its neighboring countries.\u003c/p>\n\u003cp>\u003cem>Armaveni\u003c/em> is ultimately a very personal story, but one whose themes offer a timely lesson about what it means for a people to be forced to insist on their existence. “This is important for all of us to learn about, because it’s our collective humanity,” Takvorian explains. “This is something that happened to Armenians, but then you see it happening again and again to different groups of people … It’s an Armenian story, but it’s also our story, and it’s really important to share that and help people understand that.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Armaveni:A Graphic Novel of the Armenian Genocide’ is out now. Nadine Takvorian appears March 10 at Green Apple Books in San Francisco; March 14 at Mrs. Dalloway’s in Berkeley; March 15 at the Cartoon Art Museum in San Francisco; and March 21 at Linden Tree Books in Los Altos. \u003ca href=\"https://www.nadinetakvorian.com/events\">Details on author appearances here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Saying Goodbye to Thee Parkside, a ‘Safe Haven’ for San Francisco’s Punks and Rebels",
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"headTitle": "Saying Goodbye to Thee Parkside, a ‘Safe Haven’ for San Francisco’s Punks and Rebels | KQED",
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"content": "\u003cp>On a recent Saturday night at Thee Parkside, I stand in the dimly lit bathroom reading the graffiti-covered walls as I try, and fail, to catch a glimpse of my reflection under the film of stickers on the mirror.\u003c/p>\n\u003cp>From the bathroom I can hear East Bay metalcore band The Tower the Fool hyping the crowd.\u003c/p>\n\u003cp>“It’s an honor to be playing here at Thee Parkside,” the frontman says. “It’s going to be one of the last ones here. We used to come here all the time when we were young. Back in our punk days, saw Reagan Youth, Adolescents over here —”\u003c/p>\n\u003cp>“Sneaking in underage!” someone yells from the crowd.\u003c/p>\n\u003cp>“Yeah,” he laughs. “Sneaking in underage. We were having a great time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A little red building on the corner of 17th and Wisconsin Streets, Thee Parkside will soon close its doors for the last time after 26 years as a staple of the punk and underground music scene. An official last day has yet to be set, but live music performances will last throughout the month of March.\u003c/p>\n\u003cp>While details regarding the $1.33 million sale of the property last April have not been made public, graffiti inside Thee Parkside’s patio reads, “This will be condos you can’t afford!” (The slogan is also on T-shirts sold behind the bar.)\u003c/p>\n\u003cfigure id=\"attachment_13987476\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13987476 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Graffiti reading “This will be condos you can’t afford!” is painted on a wall at Thee Parkside on March 6, 2026, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No concrete plans for developing the lot have been filed with the city, but the property’s real estate listing highlights that the site “allows for development up to 48 feet in height” and “presents a rare chance to create a dynamic residential or mixed-use project.”\u003c/p>\n\u003cp>“The community that I serve, they’re losing a lot of things, not just Thee Parkside,” owner Malia Spanyol told KQED. “It’s been a struggle for 15 years, 20 years. Everyone’s moving to Oakland, everyone’s getting pushed out of the city. Everyone can’t afford to live here. Everyone’s working 60-hour weeks. It’s hard for a lot of people right now.”\u003c/p>\n\u003cp>The loss is just one of many for Potrero Hill’s creative scene. Bottom of the Hill, a 35-year-old music venue, announced it’ll close at the end of 2026. The nearby California College of the Arts will also shut its doors in 2027.\u003c/p>\n\u003cfigure id=\"attachment_13987474\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987474\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Owner Malia Spanyol sits inside the office at Thee Parkside on March 6, 2025, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parkside regular Duff Ryan has been coming to Thee Parkside since the early 2000s. He’d initially go to the bar to see a punk show or two. When he later enrolled at CCA just a few blocks away, Thee Parkside became the after-class hotspot to get a fix of tater tots.\u003c/p>\n\u003cp>Over a decade after graduation, Ryan remains a consistent regular for the community he’s forged with employees and fellow regulars alike. He can stop by on any given day and find someone for a chat. [aside postid='arts_13987283']\u003c/p>\n\u003cp>“So many years later it’s been a central part of my life, my friend group, my family,” Ryan said.\u003c/p>\n\u003cp>During pandemic shutdowns, Thee Parkside opened window service, and Ryan went every day.\u003c/p>\n\u003cp>“It was a place to see your friends and to feel a little bit less crazy while stuck in your house,” Ryan said. “What an incredibly important sort of community outlet.”\u003c/p>\n\u003cfigure id=\"attachment_13987473\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A cyclist rides past the entrance to Thee Parkside, a punk dive bar that has operated in San Francisco for 26 years, on March 6, 2025. The venue has long served as a gathering space for the city’s punk and underground music community. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, the small venue has hosted local bands as well as big ones, like when Green Day played as The Coverups in 2018. There have been tricycle races and ladies’ arm wrestling on the Fourth of July — plus weddings, baby showers, memorial services and birthday parties.\u003c/p>\n\u003cp>For Thee Parkside’s most tenured employee Shane Plitt, the closure is even more personal: at one point, Thee Parkside became his literal home. [aside postid='arts_13987466']\u003c/p>\n\u003cp>Between tours with his band M.U.T.T., he got evicted. Spanyol offered the green room atop the bar, and he lived there well into COVID.\u003c/p>\n\u003cp>“I have spent so much time there, I mean, it was literally like my living room,” Plitt said. “I’d wake up, go downstairs and the regulars are all there trying to get me a shot of tequila and I’m like, I just need a coffee.”\u003c/p>\n\u003cfigure id=\"attachment_13987481\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Matt Walker of M.U.T.T. sings into a microphone while playing guitar during a performance at Thee Parkside on March 6, 2025, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plitt and senior colleague Max Wickham recently got tattoos of Spanyol’s name. Inspired by a former coworker who would tag “Malia” inside and outside the bar, they snapped a picture and thought it felt right to get her name permanently inked.\u003c/p>\n\u003cp>“The core [of Thee Parkside] has always been the same,” Wickham said. “Malia has owned the bar for close to 20 years, and you can’t own a place that long without it becoming an extension of yourself. … It was a place where people could be — it sounds so cheesy — but a place where people could be themselves.”\u003c/p>\n\u003cp>Plitt and Wickham emphasize that the community at Thee Parkside — the punks, burners, hippies, techies and businesspeople alike — couldn’t exist without Spanyol’s efforts of inclusivity and acceptance. Some of the staff even call her “mom.”\u003c/p>\n\u003cfigure id=\"attachment_13987477\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987477\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shane Plitt (left) and Max Wickham show their tattoos honoring Malia Spanyol, owner of Thee Parkside, on March 6, 2025, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It really represents a safe haven for any creative person,” Plitt said. “Somebody’s down, bad on their luck, went to jail, got out of jail, can’t find a job — you are welcome.”\u003c/p>\n\u003cp>Since announcing Thee Parkside will be closing sometime this year, community response has been equal parts frustration and disbelief. But there’s also a silver lining: an outpouring of support. Plitt noted that the bar has been as busy as it was before the pandemic, a sign of the community coming together for some of its final nights.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s been an insane 19 years for me,” Spanyol said. “It has been so wild. I appreciate what Thee Parkside has given me for fucking 19 years. It has been so much fun. It has been such hard work, but it has paid off in so many ways.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Saturday night at Thee Parkside, I stand in the dimly lit bathroom reading the graffiti-covered walls as I try, and fail, to catch a glimpse of my reflection under the film of stickers on the mirror.\u003c/p>\n\u003cp>From the bathroom I can hear East Bay metalcore band The Tower the Fool hyping the crowd.\u003c/p>\n\u003cp>“It’s an honor to be playing here at Thee Parkside,” the frontman says. “It’s going to be one of the last ones here. We used to come here all the time when we were young. Back in our punk days, saw Reagan Youth, Adolescents over here —”\u003c/p>\n\u003cp>“Sneaking in underage!” someone yells from the crowd.\u003c/p>\n\u003cp>“Yeah,” he laughs. “Sneaking in underage. We were having a great time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A little red building on the corner of 17th and Wisconsin Streets, Thee Parkside will soon close its doors for the last time after 26 years as a staple of the punk and underground music scene. An official last day has yet to be set, but live music performances will last throughout the month of March.\u003c/p>\n\u003cp>While details regarding the $1.33 million sale of the property last April have not been made public, graffiti inside Thee Parkside’s patio reads, “This will be condos you can’t afford!” (The slogan is also on T-shirts sold behind the bar.)\u003c/p>\n\u003cfigure id=\"attachment_13987476\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13987476 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Graffiti reading “This will be condos you can’t afford!” is painted on a wall at Thee Parkside on March 6, 2026, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No concrete plans for developing the lot have been filed with the city, but the property’s real estate listing highlights that the site “allows for development up to 48 feet in height” and “presents a rare chance to create a dynamic residential or mixed-use project.”\u003c/p>\n\u003cp>“The community that I serve, they’re losing a lot of things, not just Thee Parkside,” owner Malia Spanyol told KQED. “It’s been a struggle for 15 years, 20 years. Everyone’s moving to Oakland, everyone’s getting pushed out of the city. Everyone can’t afford to live here. Everyone’s working 60-hour weeks. It’s hard for a lot of people right now.”\u003c/p>\n\u003cp>The loss is just one of many for Potrero Hill’s creative scene. Bottom of the Hill, a 35-year-old music venue, announced it’ll close at the end of 2026. The nearby California College of the Arts will also shut its doors in 2027.\u003c/p>\n\u003cfigure id=\"attachment_13987474\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987474\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Owner Malia Spanyol sits inside the office at Thee Parkside on March 6, 2025, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parkside regular Duff Ryan has been coming to Thee Parkside since the early 2000s. He’d initially go to the bar to see a punk show or two. When he later enrolled at CCA just a few blocks away, Thee Parkside became the after-class hotspot to get a fix of tater tots.\u003c/p>\n\u003cp>Over a decade after graduation, Ryan remains a consistent regular for the community he’s forged with employees and fellow regulars alike. He can stop by on any given day and find someone for a chat. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So many years later it’s been a central part of my life, my friend group, my family,” Ryan said.\u003c/p>\n\u003cp>During pandemic shutdowns, Thee Parkside opened window service, and Ryan went every day.\u003c/p>\n\u003cp>“It was a place to see your friends and to feel a little bit less crazy while stuck in your house,” Ryan said. “What an incredibly important sort of community outlet.”\u003c/p>\n\u003cfigure id=\"attachment_13987473\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A cyclist rides past the entrance to Thee Parkside, a punk dive bar that has operated in San Francisco for 26 years, on March 6, 2025. The venue has long served as a gathering space for the city’s punk and underground music community. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, the small venue has hosted local bands as well as big ones, like when Green Day played as The Coverups in 2018. There have been tricycle races and ladies’ arm wrestling on the Fourth of July — plus weddings, baby showers, memorial services and birthday parties.\u003c/p>\n\u003cp>For Thee Parkside’s most tenured employee Shane Plitt, the closure is even more personal: at one point, Thee Parkside became his literal home. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Between tours with his band M.U.T.T., he got evicted. Spanyol offered the green room atop the bar, and he lived there well into COVID.\u003c/p>\n\u003cp>“I have spent so much time there, I mean, it was literally like my living room,” Plitt said. “I’d wake up, go downstairs and the regulars are all there trying to get me a shot of tequila and I’m like, I just need a coffee.”\u003c/p>\n\u003cfigure id=\"attachment_13987481\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Matt Walker of M.U.T.T. sings into a microphone while playing guitar during a performance at Thee Parkside on March 6, 2025, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plitt and senior colleague Max Wickham recently got tattoos of Spanyol’s name. Inspired by a former coworker who would tag “Malia” inside and outside the bar, they snapped a picture and thought it felt right to get her name permanently inked.\u003c/p>\n\u003cp>“The core [of Thee Parkside] has always been the same,” Wickham said. “Malia has owned the bar for close to 20 years, and you can’t own a place that long without it becoming an extension of yourself. … It was a place where people could be — it sounds so cheesy — but a place where people could be themselves.”\u003c/p>\n\u003cp>Plitt and Wickham emphasize that the community at Thee Parkside — the punks, burners, hippies, techies and businesspeople alike — couldn’t exist without Spanyol’s efforts of inclusivity and acceptance. Some of the staff even call her “mom.”\u003c/p>\n\u003cfigure id=\"attachment_13987477\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987477\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shane Plitt (left) and Max Wickham show their tattoos honoring Malia Spanyol, owner of Thee Parkside, on March 6, 2025, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It really represents a safe haven for any creative person,” Plitt said. “Somebody’s down, bad on their luck, went to jail, got out of jail, can’t find a job — you are welcome.”\u003c/p>\n\u003cp>Since announcing Thee Parkside will be closing sometime this year, community response has been equal parts frustration and disbelief. But there’s also a silver lining: an outpouring of support. Plitt noted that the bar has been as busy as it was before the pandemic, a sign of the community coming together for some of its final nights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s been an insane 19 years for me,” Spanyol said. “It has been so wild. I appreciate what Thee Parkside has given me for fucking 19 years. It has been so much fun. It has been such hard work, but it has paid off in so many ways.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a> returns to \u003ca href=\"https://sfoutsidelands.com/\">Golden Gate Park Aug. 7–9\u003c/a>, with headlining sets from \u003cem>Brat \u003c/em>hitmaker Charli XCX, dance music giants Rüfüs Du Sol and indie rock greats the Strokes.\u003c/p>\n\u003cp>The extensive lineup of 80-plus acts also features rising rapper (and Kendrick Lamar collaborator) Baby Keem; singer-songwriter Djo, the alter ego of \u003ci>Stranger Things\u003c/i> actor Joseph David Keery; R&B and jazz singer Destin Conrad; hip-hop icons Clipse; English rockers Wet Leg; and R&B vocalist Mariah the Scientist.\u003c/p>\n\u003cp>Other lineup highlights include Lucy Dacus of Boygenius fame; Memphis rap princess Glorilla; rising rock band Geese; British R&B star Kwn; indie rockers the XX; and Aughts electro-pop hitmakers Empire of the Sun.\u003c/p>\n\u003cp>The sprawling festival draws tens of thousands of fans per day to Golden Gate Park, with four main live music stages — plus the open-air SOMA nightclub for electronic acts; Dolores’, for drag and queer programming; and intimate performances among the eucalyptus trees at the Duboce Triangle stage. The festival also features dedicated wine and cannabis sections, a vast array of food vendors and other experiences, including a wedding chapel.\u003c/p>\n\u003cp>Fans looking to secure \u003ca href=\"https://sfoutsidelands.com/news/presale-details/\">tickets\u003c/a> early have a couple options. The loyalty presale, for those who’ve bought festival tickets in the past five years, begins March 3, and fans must \u003ca href=\"https://laylo.com/outsidelands/presale-signup-2026\">register\u003c/a> before 11 a.m. to get access. A second presale begins March 4 at noon, and fans must sign up for it by March 3 at 4 p.m. Chase cardholders also get presale access March 3 at noon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets go on sale to the general public March 5 at 12 p.m., and begin at $509 for a three-day pass.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a> returns to \u003ca href=\"https://sfoutsidelands.com/\">Golden Gate Park Aug. 7–9\u003c/a>, with headlining sets from \u003cem>Brat \u003c/em>hitmaker Charli XCX, dance music giants Rüfüs Du Sol and indie rock greats the Strokes.\u003c/p>\n\u003cp>The extensive lineup of 80-plus acts also features rising rapper (and Kendrick Lamar collaborator) Baby Keem; singer-songwriter Djo, the alter ego of \u003ci>Stranger Things\u003c/i> actor Joseph David Keery; R&B and jazz singer Destin Conrad; hip-hop icons Clipse; English rockers Wet Leg; and R&B vocalist Mariah the Scientist.\u003c/p>\n\u003cp>Other lineup highlights include Lucy Dacus of Boygenius fame; Memphis rap princess Glorilla; rising rock band Geese; British R&B star Kwn; indie rockers the XX; and Aughts electro-pop hitmakers Empire of the Sun.\u003c/p>\n\u003cp>The sprawling festival draws tens of thousands of fans per day to Golden Gate Park, with four main live music stages — plus the open-air SOMA nightclub for electronic acts; Dolores’, for drag and queer programming; and intimate performances among the eucalyptus trees at the Duboce Triangle stage. The festival also features dedicated wine and cannabis sections, a vast array of food vendors and other experiences, including a wedding chapel.\u003c/p>\n\u003cp>Fans looking to secure \u003ca href=\"https://sfoutsidelands.com/news/presale-details/\">tickets\u003c/a> early have a couple options. The loyalty presale, for those who’ve bought festival tickets in the past five years, begins March 3, and fans must \u003ca href=\"https://laylo.com/outsidelands/presale-signup-2026\">register\u003c/a> before 11 a.m. to get access. A second presale begins March 4 at noon, and fans must sign up for it by March 3 at 4 p.m. Chase cardholders also get presale access March 3 at noon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets go on sale to the general public March 5 at 12 p.m., and begin at $509 for a three-day pass.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At the second annual San Francisco Music Week Industry Summit on Feb. 27, Mayor Daniel Lurie was quick to praise independent venues for generating $1.4 billion for the city’s economy. After all, every time someone attends a show at, say, El Rio or the Chapel, they’re also spending additional cash on pre-show drinks, post-show burritos, parking, merch and maybe even a hotel room.\u003c/p>\n\u003cp>Aside from their economic impact, independent venues have shaped San Francisco’s culture and global reputation. Whether it’s the Fillmore’s post–World War II jazz clubs or Haight-Ashbury’s Summer of Love heyday, San Francisco’s music scene has inspired the city’s biggest tourist attractions.\u003c/p>\n\u003cp>Yet at the summit, panelist after panelist spoke about how San Francisco’s independent venues are struggling. Ever-rising rents, costly permits and increasing corporate control of the industry have put a strain on the mom-and-pop shops that serve as crucial proving grounds for new bands, rappers and DJs.\u003c/p>\n\u003cp>“This last year we made by far in revenue the most we’ve ever made, but at the same time the costs were unbelievably higher than they’ve ever been before,” Fred Barnes, talent buyer and general manager at Great American Music Hall, told KQED after stepping off stage at the summit.\u003c/p>\n\u003cfigure id=\"attachment_13987286\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987286\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-2000x1500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-2048x1536.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Gabe Docto of August Hall, Fred Barnes of Great American Music Hall, Daniel Bondi of the Faight and Lynn Schwarz of Bottom of the Hill speak at the San Francisco Music Week Industry Summit on Feb. 27, 2026. \u003ccite>(Courtesy of SF Music Week)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to a recent report from the National Independent Venue Association (NIVA), independent venues generated billions for the nation’s economy in 2024, but only 36% of them were actually profitable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Adding to the list of challenges, venues are no longer just competing against one another for patrons’ dollars. As Daniel Bondi, co-owner of the Faight, put it during the panel, “We’re actually just competing against TikTok and Instagram and social media. We’re competing against your will to get off the couch.”\u003c/p>\n\u003cp>With two historic venues, Thee Parkside and Bottom of the Hill, closing this year, San Francisco Music Week included a timely conversation about the health of the live music ecosystem and how local governments, fans and artists can help.\u003c/p>\n\u003ch2>Fixing a power imbalance\u003c/h2>\n\u003cp>On stage at Swedish American Hall, panelists were quick to point out the power imbalance between independent venues and Live Nation and AEG, the two largest live events companies in the country. Live Nation, which owns Ticketmaster, operates Bay Area venues including August Hall, the Fillmore and the Masonic. Goldenvoice, an AEG subsidiary, controls the Warfield and the Regency Ballroom.\u003c/p>\n\u003cp>Barnes pointed out that independent venues often lose money booking up-and-coming acts; once those acts blow up, they move on to the larger corporate venues, creating a dynamic where the small indies don’t get to profit from the hype they helped build.\u003c/p>\n\u003cp>“There’s much less risk-taking up the corporate ladder,” said Barnes. “They much prefer to just sit and wait for all of that to happen, and then just take it.”\u003c/p>\n\u003cfigure id=\"attachment_13972474\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972474\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glixen, a shoegaze band, performs at Bottom of the Hill in San Francisco on Feb. 25, 2025, as part of the Noise Pop festival. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a possible solution, Lynn Schwarz, co-owner of Bottom of the Hill, pointed to the San Francisco Music and Entertainment Venue Recovery Fund, which was created to help venues stay afloat during pandemic closures. While the grant has already been distributed, Schwarz proposed reviving the fund to meet the current moment. She pitched the idea of putting $1 of every ticket sold at a corporate-backed concert into the fund and dividing it up among smaller venues.\u003c/p>\n\u003cp>“I think that part of it could go to a fund that was specifically earmarked to pay opening bands more, to pay local bands more,” she added. “I’ve been passionate about that.” [aside postid='arts_13987231']\u003c/p>\n\u003ch2>Alcohol sales may no longer be the answer\u003c/h2>\n\u003cp>Another challenge for venues is that \u003ca href=\"https://time.com/7203140/gen-z-drinking-less-alcohol/\">Gen Z drinks less than any previous generation\u003c/a>. “Which is really great for them and really bad for us,” Schwarz said.\u003c/p>\n\u003cp>Several of the panelists lamented that their business model hinges on bar sales when music is the heart of what they do. Katie Rose, the co-owner of Kilowatt, was listening in the audience and passionately agreed. “It sucks that we have to consider art being associated with drinking,” she told KQED after the panel. “If we could find a way to change that, I think a lot of that might come with grants from the city so that music venues don’t have to make decisions based on alcohol sales.”\u003c/p>\n\u003cp>Bondi said the Faight is in the process of starting a nonprofit so that it can apply for grants to fund some of its events, which skew young, D.I.Y. and experimental. “We are first and foremost a community space,” he said. “Our whole mission is to give artists and musicians a platform to grow.”\u003c/p>\n\u003cfigure id=\"attachment_13972462\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972462\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Video Age opens for Gepgrapher at August Hall in San Francisco as part of Noise Pop on Feb. 21, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reducing city costs\u003c/h2>\n\u003cp>Venue operators praised several new programs that have cut down their operating costs in recent years. One is a relatively new Type 90 liquor license for entertainment venues. Liquor licenses used to run clubs upwards of $150,000, but the Faight got their Type 90 license for $25,000, Bondi said.\u003c/p>\n\u003cp>“It’s massive. Wouldn’t have been able to start otherwise,” he added.\u003c/p>\n\u003cp>Off stage in a follow-up conversation, Docto of August Hall gave props to a new parking permit reform in San Francisco that reduces the costs for venues to park tour buses outside their doors. Docto said August Hall anticipates saving $30,000 on parking alone this year. “It’s not breaking the bank anymore,” he said.\u003c/p>\n\u003ch2>How artists and fans can support their favorite small venues\u003c/h2>\n\u003cp>Several panelists pointed to the success of the Castro Theatre, a historic movie palace that Another Planet Entertainment recently reopened as a mixed-use entertainment venue. British hitmaker Sam Smith recently sold out a 20-show residency there.\u003c/p>\n\u003cp>“That gives them a raging start to their financial year,” Bondi said.\u003c/p>\n\u003cp>“I think artists also do have some power here, like maybe push back against the agents” who want them to play bigger clubs, he argued. “Be like, ‘No, I want to play Bottom of the Hill. I want to do a three-night run there, and we’re gonna sell the place.’” [aside postid='arts_13987242']\u003c/p>\n\u003cp>Bottom of the Hill’s Schwarz said booking agents have a part to play as well. She said it’s becoming more and more common for tours to book opening acts rather than allowing independent venues like hers to add a local artist to the bill — something that would help nourish the live music ecosystem.\u003c/p>\n\u003cp>“Every time you see a two-band bill on our calendar I had a fight about it,” she said. “I had a fight and I lost.”\u003c/p>\n\u003cp>The panelists had high praise for San Francisco’s dedicated music fans, who passionately support even the most niche scenes. But Bondi also said that in the post-pandemic era of delivery services and at-home entertainment, event attendance remains inconsistent. He implored the audience: “Just go out.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If you work in tech or have a high, high six-figure salary, buy a couple of your friends tickets,” he added, “and contribute.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the second annual San Francisco Music Week Industry Summit on Feb. 27, Mayor Daniel Lurie was quick to praise independent venues for generating $1.4 billion for the city’s economy. After all, every time someone attends a show at, say, El Rio or the Chapel, they’re also spending additional cash on pre-show drinks, post-show burritos, parking, merch and maybe even a hotel room.\u003c/p>\n\u003cp>Aside from their economic impact, independent venues have shaped San Francisco’s culture and global reputation. Whether it’s the Fillmore’s post–World War II jazz clubs or Haight-Ashbury’s Summer of Love heyday, San Francisco’s music scene has inspired the city’s biggest tourist attractions.\u003c/p>\n\u003cp>Yet at the summit, panelist after panelist spoke about how San Francisco’s independent venues are struggling. Ever-rising rents, costly permits and increasing corporate control of the industry have put a strain on the mom-and-pop shops that serve as crucial proving grounds for new bands, rappers and DJs.\u003c/p>\n\u003cp>“This last year we made by far in revenue the most we’ve ever made, but at the same time the costs were unbelievably higher than they’ve ever been before,” Fred Barnes, talent buyer and general manager at Great American Music Hall, told KQED after stepping off stage at the summit.\u003c/p>\n\u003cfigure id=\"attachment_13987286\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987286\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-2000x1500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/IndependentVenues_Panel2_IndustrySummit_SFMW-2048x1536.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Gabe Docto of August Hall, Fred Barnes of Great American Music Hall, Daniel Bondi of the Faight and Lynn Schwarz of Bottom of the Hill speak at the San Francisco Music Week Industry Summit on Feb. 27, 2026. \u003ccite>(Courtesy of SF Music Week)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to a recent report from the National Independent Venue Association (NIVA), independent venues generated billions for the nation’s economy in 2024, but only 36% of them were actually profitable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adding to the list of challenges, venues are no longer just competing against one another for patrons’ dollars. As Daniel Bondi, co-owner of the Faight, put it during the panel, “We’re actually just competing against TikTok and Instagram and social media. We’re competing against your will to get off the couch.”\u003c/p>\n\u003cp>With two historic venues, Thee Parkside and Bottom of the Hill, closing this year, San Francisco Music Week included a timely conversation about the health of the live music ecosystem and how local governments, fans and artists can help.\u003c/p>\n\u003ch2>Fixing a power imbalance\u003c/h2>\n\u003cp>On stage at Swedish American Hall, panelists were quick to point out the power imbalance between independent venues and Live Nation and AEG, the two largest live events companies in the country. Live Nation, which owns Ticketmaster, operates Bay Area venues including August Hall, the Fillmore and the Masonic. Goldenvoice, an AEG subsidiary, controls the Warfield and the Regency Ballroom.\u003c/p>\n\u003cp>Barnes pointed out that independent venues often lose money booking up-and-coming acts; once those acts blow up, they move on to the larger corporate venues, creating a dynamic where the small indies don’t get to profit from the hype they helped build.\u003c/p>\n\u003cp>“There’s much less risk-taking up the corporate ladder,” said Barnes. “They much prefer to just sit and wait for all of that to happen, and then just take it.”\u003c/p>\n\u003cfigure id=\"attachment_13972474\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972474\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250225-NoisePopGlixen-04-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glixen, a shoegaze band, performs at Bottom of the Hill in San Francisco on Feb. 25, 2025, as part of the Noise Pop festival. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a possible solution, Lynn Schwarz, co-owner of Bottom of the Hill, pointed to the San Francisco Music and Entertainment Venue Recovery Fund, which was created to help venues stay afloat during pandemic closures. While the grant has already been distributed, Schwarz proposed reviving the fund to meet the current moment. She pitched the idea of putting $1 of every ticket sold at a corporate-backed concert into the fund and dividing it up among smaller venues.\u003c/p>\n\u003cp>“I think that part of it could go to a fund that was specifically earmarked to pay opening bands more, to pay local bands more,” she added. “I’ve been passionate about that.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Alcohol sales may no longer be the answer\u003c/h2>\n\u003cp>Another challenge for venues is that \u003ca href=\"https://time.com/7203140/gen-z-drinking-less-alcohol/\">Gen Z drinks less than any previous generation\u003c/a>. “Which is really great for them and really bad for us,” Schwarz said.\u003c/p>\n\u003cp>Several of the panelists lamented that their business model hinges on bar sales when music is the heart of what they do. Katie Rose, the co-owner of Kilowatt, was listening in the audience and passionately agreed. “It sucks that we have to consider art being associated with drinking,” she told KQED after the panel. “If we could find a way to change that, I think a lot of that might come with grants from the city so that music venues don’t have to make decisions based on alcohol sales.”\u003c/p>\n\u003cp>Bondi said the Faight is in the process of starting a nonprofit so that it can apply for grants to fund some of its events, which skew young, D.I.Y. and experimental. “We are first and foremost a community space,” he said. “Our whole mission is to give artists and musicians a platform to grow.”\u003c/p>\n\u003cfigure id=\"attachment_13972462\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972462\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250221-GEOGRAPHER-_-VIDEO-AGE-MD-08-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Video Age opens for Gepgrapher at August Hall in San Francisco as part of Noise Pop on Feb. 21, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reducing city costs\u003c/h2>\n\u003cp>Venue operators praised several new programs that have cut down their operating costs in recent years. One is a relatively new Type 90 liquor license for entertainment venues. Liquor licenses used to run clubs upwards of $150,000, but the Faight got their Type 90 license for $25,000, Bondi said.\u003c/p>\n\u003cp>“It’s massive. Wouldn’t have been able to start otherwise,” he added.\u003c/p>\n\u003cp>Off stage in a follow-up conversation, Docto of August Hall gave props to a new parking permit reform in San Francisco that reduces the costs for venues to park tour buses outside their doors. Docto said August Hall anticipates saving $30,000 on parking alone this year. “It’s not breaking the bank anymore,” he said.\u003c/p>\n\u003ch2>How artists and fans can support their favorite small venues\u003c/h2>\n\u003cp>Several panelists pointed to the success of the Castro Theatre, a historic movie palace that Another Planet Entertainment recently reopened as a mixed-use entertainment venue. British hitmaker Sam Smith recently sold out a 20-show residency there.\u003c/p>\n\u003cp>“That gives them a raging start to their financial year,” Bondi said.\u003c/p>\n\u003cp>“I think artists also do have some power here, like maybe push back against the agents” who want them to play bigger clubs, he argued. “Be like, ‘No, I want to play Bottom of the Hill. I want to do a three-night run there, and we’re gonna sell the place.’” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bottom of the Hill’s Schwarz said booking agents have a part to play as well. She said it’s becoming more and more common for tours to book opening acts rather than allowing independent venues like hers to add a local artist to the bill — something that would help nourish the live music ecosystem.\u003c/p>\n\u003cp>“Every time you see a two-band bill on our calendar I had a fight about it,” she said. “I had a fight and I lost.”\u003c/p>\n\u003cp>The panelists had high praise for San Francisco’s dedicated music fans, who passionately support even the most niche scenes. But Bondi also said that in the post-pandemic era of delivery services and at-home entertainment, event attendance remains inconsistent. He implored the audience: “Just go out.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you work in tech or have a high, high six-figure salary, buy a couple of your friends tickets,” he added, “and contribute.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jessica Chastain takes on one of her most daring roles in\u003cem> Dreams\u003c/em>, a torrid erotic thriller about power, obsession, art and immigration. Re-teaming with filmmaker Michel Franco (\u003cem>Memory\u003c/em>), she plays a San Francisco socialite entangled in a tempestuous affair with a talented Mexican ballet dancer, played by Isaac Hernández. Her character Jennifer, the well-heeled daughter of a powerful man, is like Shiv Roy before she went to the dark side; Or, rather, realized she was there all along.\u003c/p>\n\u003cp>\u003cem>Dreams\u003c/em>, which opens in limited release Friday, creatively explores ideas about U.S. relations with Mexican immigrants through the ever-shifting power dynamics between Fernando and Jennifer. It’s both captivating and bleak, with a series of sexual encounters that can only be described as feral — \u003cem>Wuthering Heights\u003c/em> wishes it could have hit the ravenous peaks of Fernando and Jennifer together.\u003c/p>\n\u003cp>[aside postid='arts_13986907']Franco opens his film not on these two, but on a semitruck in the middle of the night, in the middle of nowhere. All we can hear are chilling screams and pounding from those inside. When the doors are later opened, migrants pour out of the truck including the man who we’ll come to know is Fernando, who simply walks away. He walks and walks and walks: Through the night, through the day, in a machinelike trance until he’s forced to stop for water.\u003c/p>\n\u003cp>Eventually we learn where he’s going with such purpose when we hear him speak for the first time, asking drivers at a gas station, in perfect English, if he can get a ride to San Francisco. When he arrives, he goes straight to a fancy townhouse; After the doorbell goes unanswered, he finds the spare keys, enters and gets himself a snack out of the fridge with all the casualness of someone who has not only been there before, but who’s comfortable there as well. We understand this is not a break in — but what is it? Later that night Jennifer arrives and does not look that surprised to see him in her bed.\u003c/p>\n\u003cp>The film keeps exposition sparse, challenging the audience to figure it out as they go along. These two have a history that seems to have started in Mexico where Jennifer oversees a dance foundation. Her brother (a perfectly smug society brat played by Rupert Friend) makes fun of her interest in Mexico and her frequent trips there, scoffing that their money should go to Americans. She calls him a jerk but laughs too as a Mexican woman cleans up around them in a plush boardroom. Those juxtapositions between the invisible workers and the wealthy are everywhere in \u003cem>Dreams\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7__0V3WHnh4\u003c/p>\n\u003cp>In San Francisco, Fernando is Jennifer’s secret. In private, they’re inseparable. In public, he’s something to be hidden from anyone who knows her or her father. After a little bit of this dance, Fernando decides he’s had enough and disappears. Jennifer goes a bit mad trying to find him; flying to visit his parents in Mexico City (who tell her to leave him alone), hiring a private investigator. Then he reappears one day in front of the San Francisco Ballet. He’s dancing for a ticket to the show and ends up with a job in the company after catching the right eye. Suddenly he’s found not just a place in Jennifer’s rarefied world, but a starring role, purely on talent and without her help at all.\u003c/p>\n\u003cp>[aside postid='arts_13987111']For a brief moment, they find their way back to one another, and she attempts to be more public with their relationship. But still, she defaults to calling him anything but her boyfriend; Then her family gets wind of what’s happening and that fantasy comes crashing down. Not too long after U.S. Immigration and Customs Enforcement come for Fernando while he’s in rehearsal as the ballet company’s lead.\u003c/p>\n\u003cp>Hernández in his film debut is a beguiling presence as an actor and utterly transcendent as a dancer, which we get to see a lot of. The film lets the audience bask in their elegant weightlessness as they rehearse the thematically apt \u003cem>Swan Lake\u003c/em>.\u003c/p>\n\u003cp>The story takes on an even more sinister air when Jennifer and Fernando reunite in Mexico. She wants to keep him there, as her plaything, to visit. All he wants to do is get back into the U.S. And the power balance shifts and shifts again to dizzying, horrific ends.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dreams’ is released nationwide on Feb. 27, 2026.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jessica Chastain takes on one of her most daring roles in\u003cem> Dreams\u003c/em>, a torrid erotic thriller about power, obsession, art and immigration. Re-teaming with filmmaker Michel Franco (\u003cem>Memory\u003c/em>), she plays a San Francisco socialite entangled in a tempestuous affair with a talented Mexican ballet dancer, played by Isaac Hernández. Her character Jennifer, the well-heeled daughter of a powerful man, is like Shiv Roy before she went to the dark side; Or, rather, realized she was there all along.\u003c/p>\n\u003cp>\u003cem>Dreams\u003c/em>, which opens in limited release Friday, creatively explores ideas about U.S. relations with Mexican immigrants through the ever-shifting power dynamics between Fernando and Jennifer. It’s both captivating and bleak, with a series of sexual encounters that can only be described as feral — \u003cem>Wuthering Heights\u003c/em> wishes it could have hit the ravenous peaks of Fernando and Jennifer together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Franco opens his film not on these two, but on a semitruck in the middle of the night, in the middle of nowhere. All we can hear are chilling screams and pounding from those inside. When the doors are later opened, migrants pour out of the truck including the man who we’ll come to know is Fernando, who simply walks away. He walks and walks and walks: Through the night, through the day, in a machinelike trance until he’s forced to stop for water.\u003c/p>\n\u003cp>Eventually we learn where he’s going with such purpose when we hear him speak for the first time, asking drivers at a gas station, in perfect English, if he can get a ride to San Francisco. When he arrives, he goes straight to a fancy townhouse; After the doorbell goes unanswered, he finds the spare keys, enters and gets himself a snack out of the fridge with all the casualness of someone who has not only been there before, but who’s comfortable there as well. We understand this is not a break in — but what is it? Later that night Jennifer arrives and does not look that surprised to see him in her bed.\u003c/p>\n\u003cp>The film keeps exposition sparse, challenging the audience to figure it out as they go along. These two have a history that seems to have started in Mexico where Jennifer oversees a dance foundation. Her brother (a perfectly smug society brat played by Rupert Friend) makes fun of her interest in Mexico and her frequent trips there, scoffing that their money should go to Americans. She calls him a jerk but laughs too as a Mexican woman cleans up around them in a plush boardroom. Those juxtapositions between the invisible workers and the wealthy are everywhere in \u003cem>Dreams\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For a brief moment, they find their way back to one another, and she attempts to be more public with their relationship. But still, she defaults to calling him anything but her boyfriend; Then her family gets wind of what’s happening and that fantasy comes crashing down. Not too long after U.S. Immigration and Customs Enforcement come for Fernando while he’s in rehearsal as the ballet company’s lead.\u003c/p>\n\u003cp>Hernández in his film debut is a beguiling presence as an actor and utterly transcendent as a dancer, which we get to see a lot of. The film lets the audience bask in their elegant weightlessness as they rehearse the thematically apt \u003cem>Swan Lake\u003c/em>.\u003c/p>\n\u003cp>The story takes on an even more sinister air when Jennifer and Fernando reunite in Mexico. She wants to keep him there, as her plaything, to visit. All he wants to do is get back into the U.S. And the power balance shifts and shifts again to dizzying, horrific ends.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dreams’ is released nationwide on Feb. 27, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Naoko Takei Moore has beautiful memories of her mother’s \u003ca href=\"https://www.kqed.org/arts/tag/japanese-food\">Japanese\u003c/a> home cooking. Growing up in Tokyo in the ’80s, she savored those moments when she and her mom stood side by side in the kitchen making fresh onigiri and mochi, and, most of all, when they’d sit around the family table to enjoy a meal of \u003ca href=\"https://www.instagram.com/p/C4ZHSAtvjUG/?hl=en&img_index=1\">yose-nabe\u003c/a>, a kind of hot pot made with simple ingredients like clams, fish and whatever vegetables they had on hand — all cooked in the traditional Japanese clay pot known as donabe.\u003c/p>\n\u003cp>The best part, she says, was when they’d lift the lid of the pot to reveal the finished dish, and all of the steam wafted up. “It’s so special,” she says. “It never gets old.”\u003c/p>\n\u003cp>In the introduction to her new cookbook, \u003ca href=\"https://toirokitchen.com/products/simply-donabe-cookbook\">\u003ci>Simply Donabe\u003c/i>\u003c/a>, Takei Moore recalls how years later, after she’d immigrated to Los Angeles, she found herself wanting to share traditional donabe with her new community in the United States. In 2008, she founded \u003ca href=\"https://toirokitchen.com/\">TOIRO\u003c/a>, a company that sold handmade donabe imported from Iga, Japan, and started hosting donabe-centric Japanese cooking classes in her home.\u003c/p>\n\u003cp>Before she knew it, she’d become donabe culture’s number one evangelist in the Western world, co-authoring her first award-winning cookbook on the topic (\u003ci>Donabe: Classic and Modern Japanese Clay Pot Cooking) \u003c/i>in 2015, and expanding her business to include a brick-and-mortar donabe shop in West Hollywood. She’s also become a minor celebrity on Instagram, where she goes by “\u003ca href=\"https://www.instagram.com/mrsdonabe/\">Mrs. Donabe\u003c/a>” and has more than 47,000 followers who marvel over her \u003ca href=\"https://www.instagram.com/p/DERIT5-PuMw/?hl=en&img_index=1\">gorgeously presented\u003c/a> \u003ca href=\"https://www.instagram.com/p/DNjUQbRSZMj/?hl=en&img_index=1\">one-pot\u003c/a> \u003ca href=\"https://www.instagram.com/p/DRFm3pbkjW0/?hl=en&img_index=1\">dishes\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13987068\" class=\"wp-caption alignnone\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Naoko-1-c-Matt-Russell.jpg\" alt=\"An Asian woman stirs a pot of soup.\" width=\"1334\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Naoko-1-c-Matt-Russell.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Naoko-1-c-Matt-Russell-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Naoko-1-c-Matt-Russell-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Naoko-1-c-Matt-Russell-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Takei Moore stirs a pot of soup cooked in a traditional donabe. \u003ccite>(Matt Russell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days, she says, donabe cooking has become mainstream in ways she never could have imagined when she first started teaching her little grassroots cooking classes, when most of her students couldn’t even pronounce the word. (It’s “doh-nah-bay,” not “doh-nah-bee.”) Now, magazines like \u003ci>Food & Wine \u003c/i>and \u003ci>Bon Appétit\u003c/i> will reference “donabe” in recipes without feeling the need to translate the word as “Japanese clay pot,” and TOIRO routinely gets orders from customers across the U.S. and in Europe, Africa and the Middle East.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Takei Moore says the gospel she’s spreading isn’t really about any particular recipe or cooking technique. Instead, she believes using donabe in day-to-day cooking is a pathway toward a slower, more intentional and more idyllic life — what she calls her “happy donabe life.”\u003c/p>\n\u003cp>On the eve of a book tour visit to San Francisco that will include \u003ca href=\"https://omnivorebooks.myshopify.com/products/naoko-takei-moore-author-event-simply-donabe-japanese-one-pot-recipes\">a talk at Omnivore Books on Food\u003c/a> and a special dinner at \u003ca href=\"https://www.instagram.com/p/DUwLLUBEk3M/?img_index=1\">Rintaro\u003c/a>, I spoke to Takei Moore about the connective power of food and the life-changing, near-magical qualities of her beloved donabe.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Luke Tsai: Can you briefly explain what a donabe \u003c/b>\u003cb>\u003ci>is\u003c/i>\u003c/b>\u003cb> for those who don’t know?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Naoko Takei Moore:\u003c/b> It literally means clay pot — “do” means clay, and “nabe” means pot. It’s the foundation of Japanese cuisine, going back more than 10,000 years during the Jōmon Period. So it’s almost like donabe is a national cookware for Japanese people; it’s so close to everybody’s heart. Almost every household owns at least one. It can be something very inexpensive and mass-produced, or, or you can invest in something a little bit more artisan — the super-premium style can go up to $1,000 or $2,000. But most donabe are very affordable and approachable, and if you use it properly, it can last for a long, long time.\u003c/p>\n\u003cp>\u003cb>In the introduction to your book, you talk about how donabe isn’t just a cooking tool; it’s a “way of life” — and a way for a person to have a happy life. Can you elaborate on how that’s the case?\u003c/b>\u003c/p>\n\u003cp>[aside postID='arts_13986360,arts_13959259,arts_13926203']Ultimately, it’s a lifestyle, and it really symbolizes Japanese communal dining. In Japanese conversation, when we say “nabe,” it refers to a hot pot dish, but it also means “let’s get together.” Instead of saying “let’s get together,” we might say, “Let’s nabe sometime.”\u003c/p>\n\u003cp>When you make hot pot in a donabe, you set up a tabletop burner in the center of the table, put the donabe there, add all the ingredients, and then you cook. Everybody gets to participate: Someone is in charge of the main cooking, but you might ask, “Can you pass that? Can you stir?” It’s really not about the vessel itself or the recipes, but it’s more about how donabe plays a role in communication and connecting people.\u003c/p>\n\u003cp>And because donabe is essentially just a bowl and a lid, there’s always this time when the dish is done, so let’s reveal. That’s when everybody’s eyes just focus on the lid. And the joy when the donabe lid is lifted, that’s really so special.\u003c/p>\n\u003cp>It’s really not about the finished dish, it’s the process of the entire meal.\u003c/p>\n\u003cfigure id=\"attachment_13987070\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987070\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Meat-Group-c-Matt-Russell.jpg\" alt=\"A spread of meat and seafood, ready to be cooked in a donabe for a hot pot meal.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Meat-Group-c-Matt-Russell.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Meat-Group-c-Matt-Russell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Meat-Group-c-Matt-Russell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Meat-Group-c-Matt-Russell-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A display of raw meat and seafood, ready to be cooked in the donabe. \u003ccite>(Matt Russell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>A lot of American home cooks already have too many pots and pans and might feel like it’s too much to buy this kind of specialized cooking vessel. What do you say to those people when convincing them to give donabe cooking a try?\u003c/b>\u003c/p>\n\u003cp>First of all, I completely understand. [laughs] I promote the spirit of donabe cooking — if you want to use different kinds of pots, that’s totally fine. But I have seen so many people who are like that who say, “Ok, I’ll give it a try,” and buy a basic, medium-size donabe. Then they come back and say, your donabe changed my life and changed my family’s life. They talk about how the donabe is so beautiful to look at and how, when it’s at the center of the table, it just connects people. It becomes their Sunday ritual.\u003c/p>\n\u003cp>Also, people comment that when cooking in donabe, somehow the food magically tastes better. And that has been proven scientifically, because donabe is made of porous clay. It takes more time to build the heat, and once it gets hot, it stays hot for a long time. So if you’re making a braised dish or a stew or soup, when the pot cools down very slowly, that’s how you develop multiple layers of flavors.\u003c/p>\n\u003cp>\u003cb>Is there one recipe in particular that you suggest that people try cooking in order to convince them of the “donabe way”?\u003c/b>\u003c/p>\n\u003cp>That’s hard because all the recipes are so personal to me! But probably miso soup or a hot pot dish. Soup is so essential in my life because it calms me and slows me down. Also, rice tastes so good when you cook it in the donabe.\u003c/p>\n\u003cfigure id=\"attachment_13987071\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987071\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Small-Bites-2-c-Matt-Russell.jpg\" alt=\"A woman seated in front of a spread of Japanese small plates.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Small-Bites-2-c-Matt-Russell.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Small-Bites-2-c-Matt-Russell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Small-Bites-2-c-Matt-Russell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Small-Bites-2-c-Matt-Russell-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The cookbook also includes recipes for assorted small bites meant to be eaten as part of a donabe-centric meal. \u003ccite>(Matt Russell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What about the versatility of donabe? Can you use it for cooking dishes that are completely non-Japanese? \u003c/b>\u003c/p>\n\u003cp>I love making curry in the donabe. And orange saffron rice, which is inspired by Persian cuisine.\u003c/p>\n\u003cp>Again, donabe is not about the recipes; it’s really about the spirit of the cooking. Braising is part of every culture. Recently, I made a Mediterranean-style chickpea and lamb stew with tomato sauce that was really brilliant. And one time, a customer in Norway made a reindeer stew in the donabe and sent me a photo. It looked absolutely delicious.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://toirokitchen.com/collections/books/products/simply-donabe-cookbook\">Simply Donabe\u003c/a>\u003ci> is available wherever books are sold. Takei Moore will be in conversation with food journalist Lauren Saria at \u003c/i>\u003ca href=\"https://omnivorebooks.myshopify.com/products/naoko-takei-moore-author-event-simply-donabe-japanese-one-pot-recipes\">\u003ci>Omnivore Books on Food\u003c/i>\u003c/a>\u003ci> (3885a Cesar Chavez St., San Francisco) on Feb. 24 at 6:30 p.m. The event is free to attend, but space is limited. Takei Moore will also help the chefs at \u003c/i>\u003ca href=\"https://resy.com/cities/san-francisco-ca/venues/izakaya-rintaro?date=2026-02-25&seats=2\">\u003ci>Rintaro\u003c/i>\u003c/a>\u003ci> prepare a special a la carte donabe menu based on her recipes on Feb. 25. As of publication time, only a few reservations are still available.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Naoko Takei Moore has beautiful memories of her mother’s \u003ca href=\"https://www.kqed.org/arts/tag/japanese-food\">Japanese\u003c/a> home cooking. Growing up in Tokyo in the ’80s, she savored those moments when she and her mom stood side by side in the kitchen making fresh onigiri and mochi, and, most of all, when they’d sit around the family table to enjoy a meal of \u003ca href=\"https://www.instagram.com/p/C4ZHSAtvjUG/?hl=en&img_index=1\">yose-nabe\u003c/a>, a kind of hot pot made with simple ingredients like clams, fish and whatever vegetables they had on hand — all cooked in the traditional Japanese clay pot known as donabe.\u003c/p>\n\u003cp>The best part, she says, was when they’d lift the lid of the pot to reveal the finished dish, and all of the steam wafted up. “It’s so special,” she says. “It never gets old.”\u003c/p>\n\u003cp>In the introduction to her new cookbook, \u003ca href=\"https://toirokitchen.com/products/simply-donabe-cookbook\">\u003ci>Simply Donabe\u003c/i>\u003c/a>, Takei Moore recalls how years later, after she’d immigrated to Los Angeles, she found herself wanting to share traditional donabe with her new community in the United States. In 2008, she founded \u003ca href=\"https://toirokitchen.com/\">TOIRO\u003c/a>, a company that sold handmade donabe imported from Iga, Japan, and started hosting donabe-centric Japanese cooking classes in her home.\u003c/p>\n\u003cp>Before she knew it, she’d become donabe culture’s number one evangelist in the Western world, co-authoring her first award-winning cookbook on the topic (\u003ci>Donabe: Classic and Modern Japanese Clay Pot Cooking) \u003c/i>in 2015, and expanding her business to include a brick-and-mortar donabe shop in West Hollywood. She’s also become a minor celebrity on Instagram, where she goes by “\u003ca href=\"https://www.instagram.com/mrsdonabe/\">Mrs. Donabe\u003c/a>” and has more than 47,000 followers who marvel over her \u003ca href=\"https://www.instagram.com/p/DERIT5-PuMw/?hl=en&img_index=1\">gorgeously presented\u003c/a> \u003ca href=\"https://www.instagram.com/p/DNjUQbRSZMj/?hl=en&img_index=1\">one-pot\u003c/a> \u003ca href=\"https://www.instagram.com/p/DRFm3pbkjW0/?hl=en&img_index=1\">dishes\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13987068\" class=\"wp-caption alignnone\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Naoko-1-c-Matt-Russell.jpg\" alt=\"An Asian woman stirs a pot of soup.\" width=\"1334\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Naoko-1-c-Matt-Russell.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Naoko-1-c-Matt-Russell-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Naoko-1-c-Matt-Russell-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Naoko-1-c-Matt-Russell-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Takei Moore stirs a pot of soup cooked in a traditional donabe. \u003ccite>(Matt Russell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days, she says, donabe cooking has become mainstream in ways she never could have imagined when she first started teaching her little grassroots cooking classes, when most of her students couldn’t even pronounce the word. (It’s “doh-nah-bay,” not “doh-nah-bee.”) Now, magazines like \u003ci>Food & Wine \u003c/i>and \u003ci>Bon Appétit\u003c/i> will reference “donabe” in recipes without feeling the need to translate the word as “Japanese clay pot,” and TOIRO routinely gets orders from customers across the U.S. and in Europe, Africa and the Middle East.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Takei Moore says the gospel she’s spreading isn’t really about any particular recipe or cooking technique. Instead, she believes using donabe in day-to-day cooking is a pathway toward a slower, more intentional and more idyllic life — what she calls her “happy donabe life.”\u003c/p>\n\u003cp>On the eve of a book tour visit to San Francisco that will include \u003ca href=\"https://omnivorebooks.myshopify.com/products/naoko-takei-moore-author-event-simply-donabe-japanese-one-pot-recipes\">a talk at Omnivore Books on Food\u003c/a> and a special dinner at \u003ca href=\"https://www.instagram.com/p/DUwLLUBEk3M/?img_index=1\">Rintaro\u003c/a>, I spoke to Takei Moore about the connective power of food and the life-changing, near-magical qualities of her beloved donabe.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Luke Tsai: Can you briefly explain what a donabe \u003c/b>\u003cb>\u003ci>is\u003c/i>\u003c/b>\u003cb> for those who don’t know?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Naoko Takei Moore:\u003c/b> It literally means clay pot — “do” means clay, and “nabe” means pot. It’s the foundation of Japanese cuisine, going back more than 10,000 years during the Jōmon Period. So it’s almost like donabe is a national cookware for Japanese people; it’s so close to everybody’s heart. Almost every household owns at least one. It can be something very inexpensive and mass-produced, or, or you can invest in something a little bit more artisan — the super-premium style can go up to $1,000 or $2,000. But most donabe are very affordable and approachable, and if you use it properly, it can last for a long, long time.\u003c/p>\n\u003cp>\u003cb>In the introduction to your book, you talk about how donabe isn’t just a cooking tool; it’s a “way of life” — and a way for a person to have a happy life. Can you elaborate on how that’s the case?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ultimately, it’s a lifestyle, and it really symbolizes Japanese communal dining. In Japanese conversation, when we say “nabe,” it refers to a hot pot dish, but it also means “let’s get together.” Instead of saying “let’s get together,” we might say, “Let’s nabe sometime.”\u003c/p>\n\u003cp>When you make hot pot in a donabe, you set up a tabletop burner in the center of the table, put the donabe there, add all the ingredients, and then you cook. Everybody gets to participate: Someone is in charge of the main cooking, but you might ask, “Can you pass that? Can you stir?” It’s really not about the vessel itself or the recipes, but it’s more about how donabe plays a role in communication and connecting people.\u003c/p>\n\u003cp>And because donabe is essentially just a bowl and a lid, there’s always this time when the dish is done, so let’s reveal. That’s when everybody’s eyes just focus on the lid. And the joy when the donabe lid is lifted, that’s really so special.\u003c/p>\n\u003cp>It’s really not about the finished dish, it’s the process of the entire meal.\u003c/p>\n\u003cfigure id=\"attachment_13987070\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987070\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Meat-Group-c-Matt-Russell.jpg\" alt=\"A spread of meat and seafood, ready to be cooked in a donabe for a hot pot meal.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Meat-Group-c-Matt-Russell.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Meat-Group-c-Matt-Russell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Meat-Group-c-Matt-Russell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Meat-Group-c-Matt-Russell-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A display of raw meat and seafood, ready to be cooked in the donabe. \u003ccite>(Matt Russell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>A lot of American home cooks already have too many pots and pans and might feel like it’s too much to buy this kind of specialized cooking vessel. What do you say to those people when convincing them to give donabe cooking a try?\u003c/b>\u003c/p>\n\u003cp>First of all, I completely understand. [laughs] I promote the spirit of donabe cooking — if you want to use different kinds of pots, that’s totally fine. But I have seen so many people who are like that who say, “Ok, I’ll give it a try,” and buy a basic, medium-size donabe. Then they come back and say, your donabe changed my life and changed my family’s life. They talk about how the donabe is so beautiful to look at and how, when it’s at the center of the table, it just connects people. It becomes their Sunday ritual.\u003c/p>\n\u003cp>Also, people comment that when cooking in donabe, somehow the food magically tastes better. And that has been proven scientifically, because donabe is made of porous clay. It takes more time to build the heat, and once it gets hot, it stays hot for a long time. So if you’re making a braised dish or a stew or soup, when the pot cools down very slowly, that’s how you develop multiple layers of flavors.\u003c/p>\n\u003cp>\u003cb>Is there one recipe in particular that you suggest that people try cooking in order to convince them of the “donabe way”?\u003c/b>\u003c/p>\n\u003cp>That’s hard because all the recipes are so personal to me! But probably miso soup or a hot pot dish. Soup is so essential in my life because it calms me and slows me down. Also, rice tastes so good when you cook it in the donabe.\u003c/p>\n\u003cfigure id=\"attachment_13987071\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987071\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Small-Bites-2-c-Matt-Russell.jpg\" alt=\"A woman seated in front of a spread of Japanese small plates.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Small-Bites-2-c-Matt-Russell.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Small-Bites-2-c-Matt-Russell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Small-Bites-2-c-Matt-Russell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Small-Bites-2-c-Matt-Russell-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The cookbook also includes recipes for assorted small bites meant to be eaten as part of a donabe-centric meal. \u003ccite>(Matt Russell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What about the versatility of donabe? Can you use it for cooking dishes that are completely non-Japanese? \u003c/b>\u003c/p>\n\u003cp>I love making curry in the donabe. And orange saffron rice, which is inspired by Persian cuisine.\u003c/p>\n\u003cp>Again, donabe is not about the recipes; it’s really about the spirit of the cooking. Braising is part of every culture. Recently, I made a Mediterranean-style chickpea and lamb stew with tomato sauce that was really brilliant. And one time, a customer in Norway made a reindeer stew in the donabe and sent me a photo. It looked absolutely delicious.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://toirokitchen.com/collections/books/products/simply-donabe-cookbook\">Simply Donabe\u003c/a>\u003ci> is available wherever books are sold. Takei Moore will be in conversation with food journalist Lauren Saria at \u003c/i>\u003ca href=\"https://omnivorebooks.myshopify.com/products/naoko-takei-moore-author-event-simply-donabe-japanese-one-pot-recipes\">\u003ci>Omnivore Books on Food\u003c/i>\u003c/a>\u003ci> (3885a Cesar Chavez St., San Francisco) on Feb. 24 at 6:30 p.m. The event is free to attend, but space is limited. Takei Moore will also help the chefs at \u003c/i>\u003ca href=\"https://resy.com/cities/san-francisco-ca/venues/izakaya-rintaro?date=2026-02-25&seats=2\">\u003ci>Rintaro\u003c/i>\u003c/a>\u003ci> prepare a special a la carte donabe menu based on her recipes on Feb. 25. As of publication time, only a few reservations are still available.\u003c/i>\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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"jerrybrown": {
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"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"latino-usa": {
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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},
"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "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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"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.",
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"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.",
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"soldout": {
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