Sorting Through the Wreckage of an Immigrant Father’s Death
‘Ask E. Jean’ Reframes a Tabloid Figure in Feminist History
San Francisco’s First Serial Killer Was a Doctor Named J. Milton Bowers ... Probably
A New York Graffiti Legend Is in Clarion Alley This Week
The Deluxe Brings Jazz Back to San Francisco’s Haight Street
SF Theater Troupe Faces Reality of City’s New Demographics
Bars, Pubs and Dives: Where to Watch World Cup Matches in the Bay Area
San Francisco’s Most Affordable Art Supply Store Is Moving
There Will Be Blood: ‘Elektra’ Unfolds Like a Horror Movie at SF Opera
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"content": "\u003cp>Yusuf is a recovering addict who presents as a lovable yet unserious schlub. Warm and playful, he’s always ready to chop it up with his more stoic big sister, Dina. Their playfulness extends even to hair noogies and wet willies while wrasslin’ on the floor of their late, estranged dad’s house in Houston.\u003c/p>\n\n\n\n\u003cp>Amid all this is the question: How are they going to plan a traditional Islamic burial that they barely understand — and for a man they hardly knew? \u003c/p>\n\n\n\n\u003cp>This quandary forms the core of Denmo Ibrahim’s world premiere, \u003cem>Arab Spring\u003c/em>, a co-production between Golden Thread Productions and SFBATCO. Set on the eve of the Fourth of July, the show ponders legacy, and how to focus a parent’s loss, offering answers while giving space to the audience for their own hypotheses. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-01-Photo-by-Jared-Randolph.jpg\" alt=\"\" class=\"wp-image-13991104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-01-Photo-by-Jared-Randolph.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-01-Photo-by-Jared-Randolph-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-01-Photo-by-Jared-Randolph-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-01-Photo-by-Jared-Randolph-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Yusef (Salim Razawi) and Dina (Arti Ishak) roughhouse in their late father’s home in ‘Arab Spring.’ (Jared Randolph)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Yusuf (Salim Razawi) is introduced standing in front of the house of his father, Samir, asking facile questions to Siri regarding the anxiety-healing powers of gum. Soon, Dina (Arti Ishak) approaches the house, a total professional, highly educated and serious. Their odd-couple nature manifests in some strained dialogue between the siblings, these two Egyptian American children of immigrants who know they have to get this right, with few avenues as to how.\u003c/p>\n\n\n\n\u003cp>Their dad’s small, semi-hoarding habitat is a time capsule for 1980s technology and pop culture. (The fabulous scenic design is by Mikiko Uesugi.) Entire box sets of \u003cem>Star Wars\u003c/em> rest in the corner. A large silver boombox awaits a cassette and D batteries. Clothes are strewn everywhere. \u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each sibling gets swallowed by memories inside this tightly inhabited wasteland. Strawberry Shortcake radios are a direct link for Dina to her dad, and cassette tapes contain the recorded voice of the man the siblings must now live without (with Khaled Abol Naga providing the beautiful voiceovers of Samir). \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-05-Photo-by-Jared-Randolph.jpg\" alt=\"\" class=\"wp-image-13991102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-05-Photo-by-Jared-Randolph.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-05-Photo-by-Jared-Randolph-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-05-Photo-by-Jared-Randolph-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-05-Photo-by-Jared-Randolph-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Dina (Arti Ishak) listens to cassette tapes of her estranged father’s voice (Khaled Abol Naga, in voiceover) before his funeral in the world premiere of ‘Arab Spring.’ (Jared Randolph)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The power of Ibrahim’s play is in the richness of her dialogue, staged with strong and pensive strokes by director Nailah Unole Didanas’ea Harper-Malveaux. Ibrahim’s words carry weight. Natural and flowing, they’re snappy when necessary, and thoughtful, when not leaning into unnecessary schtick. \u003c/p>\n\n\n\n\u003cp>Any two-hander structure relies on a close connection between the talent, which Razawi and Ishak often find. They share absurdly delightful explanations for why their Arab-American family celebrates Easter; the hilarious chaos of their last Eid as a family before their parents split; and their clunky abilities, in both a logistical and spiritual sense, to plan their dad’s funeral. \u003c/p>\n\n\n\n\u003cp>Other aspects are simply stunning. That starts with Lev Collins’ technical direction; small televisions screen opaque home movies that were the benchmark of 1980s memory-capturing. Michael Kelly’s sound design is fantastic, namely when Samir’s decadent and regal voice appears, forcing both Yusuf and Dina to stare down the barrel of time. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-07-Photo-by-Jared-Randolph.jpg\" alt=\"\" class=\"wp-image-13991103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-07-Photo-by-Jared-Randolph.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-07-Photo-by-Jared-Randolph-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-07-Photo-by-Jared-Randolph-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-07-Photo-by-Jared-Randolph-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Yusef (Salim Razawi) in the world premiere of ‘Arab Spring’ by Denmo Ibrahim. (Jared Randolph)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Family secrets arise, forcing questions about where Samir’s loyalties were placed. It’s one of several nuances in Ibrahim’s script, exploring the familiar dynamic of a family unit that, after a parent’s death, becomes a rudderless ship lacking parental structure. In this, a eulogy for this father immediately becomes the most daunting essay in Yusuf’s life. \u003c/p>\n\n\n\n\u003cp>On the downside, the writing doesn’t always steward a consistent flow. Instead, it acts as a series of vignettes, each asking its characters to lock into heavy emotional demands, only to dismiss those demands and reset on a dime. This deprives the audience of processing the gravity of any situation.\u003c/p>\n\n\n\n\u003cp>When brutal discoveries are made, forcing both Yusuf and Dina to expel so much emotional capital, how does it affect them moving forward? Rapid shifts in the storytelling mean that the payoffs in certain moments (the cliched slow hug after heapings of shared trauma, for example) don’t always feel earned. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-03-Photo-by-Jared-Randolph.jpg\" alt=\"\" class=\"wp-image-13991105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-03-Photo-by-Jared-Randolph.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-03-Photo-by-Jared-Randolph-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-03-Photo-by-Jared-Randolph-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-03-Photo-by-Jared-Randolph-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Yusef (Salim Razawi) and Dina (Arti Ishak) in ‘Arab Spring.’ (Jared Randolph)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>But the structural challenges here don’t diminish the fact that Ibrahim is a writer with oodles of talent, and a knack for understanding how tension can fill a room. Her writing feels personal, with strong fingerprints, allowing those of any culture to see themselves and their family in this story. That’s all the more reason to narrow the scope of the story, and tightly focus on fewer issues, with deeper and fuller interrogation.\u003c/p>\n\n\n\n\u003cp>\u003cem>Arab Spring\u003c/em> is a fierce reminder that our parents, and whatever legacy they may be building, will not physically be with us forever. The messiness of their imperfections, however, aren’t going anywhere, forcing those of us left behind to try and figure out our next move.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Arab Spring’ runs through Sunday, July 12 at Potrero Stage in San Francisco. \u003c/em>\u003ca href=\"https://goldenthread.org/productions/arab-spring/\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Other aspects are simply stunning. That starts with Lev Collins’ technical direction; small televisions screen opaque home movies that were the benchmark of 1980s memory-capturing. Michael Kelly’s sound design is fantastic, namely when Samir’s decadent and regal voice appears, forcing both Yusuf and Dina to stare down the barrel of time. \u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>Arab Spring\u003c/em> is a fierce reminder that our parents, and whatever legacy they may be building, will not physically be with us forever. The messiness of their imperfections, however, aren’t going anywhere, forcing those of us left behind to try and figure out our next move.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>‘Arab Spring’ runs through Sunday, July 12 at Potrero Stage in San Francisco. \u003c/em>\u003ca href=\"https://goldenthread.org/productions/arab-spring/\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yusuf is a recovering addict who presents as a lovable yet unserious schlub. Warm and playful, he’s always ready to chop it up with his more stoic big sister, Dina. Their playfulness extends even to hair noogies and wet willies while wrasslin’ on the floor of their late, estranged dad’s house in Houston.\u003c/p>\n\n\n\n\u003cp>Amid all this is the question: How are they going to plan a traditional Islamic burial that they barely understand — and for a man they hardly knew? \u003c/p>\n\n\n\n\u003cp>This quandary forms the core of Denmo Ibrahim’s world premiere, \u003cem>Arab Spring\u003c/em>, a co-production between Golden Thread Productions and SFBATCO. Set on the eve of the Fourth of July, the show ponders legacy, and how to focus a parent’s loss, offering answers while giving space to the audience for their own hypotheses. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-01-Photo-by-Jared-Randolph.jpg\" alt=\"\" class=\"wp-image-13991104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-01-Photo-by-Jared-Randolph.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-01-Photo-by-Jared-Randolph-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-01-Photo-by-Jared-Randolph-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-01-Photo-by-Jared-Randolph-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Yusef (Salim Razawi) and Dina (Arti Ishak) roughhouse in their late father’s home in ‘Arab Spring.’ (Jared Randolph)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Yusuf (Salim Razawi) is introduced standing in front of the house of his father, Samir, asking facile questions to Siri regarding the anxiety-healing powers of gum. Soon, Dina (Arti Ishak) approaches the house, a total professional, highly educated and serious. Their odd-couple nature manifests in some strained dialogue between the siblings, these two Egyptian American children of immigrants who know they have to get this right, with few avenues as to how.\u003c/p>\n\n\n\n\u003cp>Their dad’s small, semi-hoarding habitat is a time capsule for 1980s technology and pop culture. (The fabulous scenic design is by Mikiko Uesugi.) Entire box sets of \u003cem>Star Wars\u003c/em> rest in the corner. A large silver boombox awaits a cassette and D batteries. Clothes are strewn everywhere. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each sibling gets swallowed by memories inside this tightly inhabited wasteland. Strawberry Shortcake radios are a direct link for Dina to her dad, and cassette tapes contain the recorded voice of the man the siblings must now live without (with Khaled Abol Naga providing the beautiful voiceovers of Samir). \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-05-Photo-by-Jared-Randolph.jpg\" alt=\"\" class=\"wp-image-13991102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-05-Photo-by-Jared-Randolph.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-05-Photo-by-Jared-Randolph-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-05-Photo-by-Jared-Randolph-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-05-Photo-by-Jared-Randolph-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Dina (Arti Ishak) listens to cassette tapes of her estranged father’s voice (Khaled Abol Naga, in voiceover) before his funeral in the world premiere of ‘Arab Spring.’ (Jared Randolph)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The power of Ibrahim’s play is in the richness of her dialogue, staged with strong and pensive strokes by director Nailah Unole Didanas’ea Harper-Malveaux. Ibrahim’s words carry weight. Natural and flowing, they’re snappy when necessary, and thoughtful, when not leaning into unnecessary schtick. \u003c/p>\n\n\n\n\u003cp>Any two-hander structure relies on a close connection between the talent, which Razawi and Ishak often find. They share absurdly delightful explanations for why their Arab-American family celebrates Easter; the hilarious chaos of their last Eid as a family before their parents split; and their clunky abilities, in both a logistical and spiritual sense, to plan their dad’s funeral. \u003c/p>\n\n\n\n\u003cp>Other aspects are simply stunning. That starts with Lev Collins’ technical direction; small televisions screen opaque home movies that were the benchmark of 1980s memory-capturing. Michael Kelly’s sound design is fantastic, namely when Samir’s decadent and regal voice appears, forcing both Yusuf and Dina to stare down the barrel of time. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-07-Photo-by-Jared-Randolph.jpg\" alt=\"\" class=\"wp-image-13991103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-07-Photo-by-Jared-Randolph.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-07-Photo-by-Jared-Randolph-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-07-Photo-by-Jared-Randolph-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-07-Photo-by-Jared-Randolph-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Yusef (Salim Razawi) in the world premiere of ‘Arab Spring’ by Denmo Ibrahim. (Jared Randolph)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Family secrets arise, forcing questions about where Samir’s loyalties were placed. It’s one of several nuances in Ibrahim’s script, exploring the familiar dynamic of a family unit that, after a parent’s death, becomes a rudderless ship lacking parental structure. In this, a eulogy for this father immediately becomes the most daunting essay in Yusuf’s life. \u003c/p>\n\n\n\n\u003cp>On the downside, the writing doesn’t always steward a consistent flow. Instead, it acts as a series of vignettes, each asking its characters to lock into heavy emotional demands, only to dismiss those demands and reset on a dime. This deprives the audience of processing the gravity of any situation.\u003c/p>\n\n\n\n\u003cp>When brutal discoveries are made, forcing both Yusuf and Dina to expel so much emotional capital, how does it affect them moving forward? Rapid shifts in the storytelling mean that the payoffs in certain moments (the cliched slow hug after heapings of shared trauma, for example) don’t always feel earned. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-03-Photo-by-Jared-Randolph.jpg\" alt=\"\" class=\"wp-image-13991105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-03-Photo-by-Jared-Randolph.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-03-Photo-by-Jared-Randolph-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-03-Photo-by-Jared-Randolph-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Arab-Spring-Press-03-Photo-by-Jared-Randolph-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Yusef (Salim Razawi) and Dina (Arti Ishak) in ‘Arab Spring.’ (Jared Randolph)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>But the structural challenges here don’t diminish the fact that Ibrahim is a writer with oodles of talent, and a knack for understanding how tension can fill a room. Her writing feels personal, with strong fingerprints, allowing those of any culture to see themselves and their family in this story. That’s all the more reason to narrow the scope of the story, and tightly focus on fewer issues, with deeper and fuller interrogation.\u003c/p>\n\n\n\n\u003cp>\u003cem>Arab Spring\u003c/em> is a fierce reminder that our parents, and whatever legacy they may be building, will not physically be with us forever. The messiness of their imperfections, however, aren’t going anywhere, forcing those of us left behind to try and figure out our next move.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Arab Spring’ runs through Sunday, July 12 at Potrero Stage in San Francisco. \u003c/em>\u003ca href=\"https://goldenthread.org/productions/arab-spring/\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The name E. Jean Carroll may ring a faint bell, a snowflake in the blizzard of offensive behavior that has comprised the “news” in the last decade. The protagonist and focus of the involving documentary \u003cem>\u003ca href=\"https://www.askejeanfilm.com/\">Ask E. Jean\u003c/a>\u003c/em>, however, is neither an offender nor a snowflake.\u003c/p>\n\n\n\n\u003cp>Carroll is the New York journalist and longtime \u003cem>Elle\u003c/em> advice columnist who, inspired by the women who spoke up during the \u003ca href=\"https://www.kqed.org/arts/tag/metoo\">#MeToo movement\u003c/a>, accused Donald Trump in 2019 of sexually assaulting her in a Manhattan department store more than 20 years earlier. Carroll won a civil suit and, after Trump called her a liar on CNN and on social media, sued him for defamation and prevailed a second time, with the jury awarding damages of $83.3 million.\u003c/p>\n\n\n\n\u003cp>\u003cem>Ask E. Jean\u003c/em> devotes ample time to the trials, but don’t be distracted by their innate political and sensationalist allure. America’s most popular 34-time felon is a minor figure in Carroll’s saga.\u003c/p>\n\n\n\n\u003cp>Ivy Meeropol (\u003cem>\u003ca href=\"https://www.hbomax.com/movies/bully-coward-victim-the-story-of-roy-cohn/ed29cd0a-819e-4af9-aa88-c2b7dd71e23a\">Bully. Coward. Victim. The Story of Roy Cohn\u003c/a>\u003c/em>), greatly assisted by Ferne Pearlstein, another veteran documentary maker credited here as editor and story producer, has fashioned a later-in-life coming-of-age story that simultaneously plays as a pop-culture social history of feminism. \u003cem>Ask E. Jean\u003c/em> fits nicely on the shelf with the recent post-sexual revolution docs \u003cem>The Disappearance of Shere Hite\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">Carol Doda Topless at the Condor\u003c/a>\u003c/em>, alongside the DVD box set of \u003cem>Sex and the City\u003c/em>.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2.jpeg\" alt=\"white woman with blonde bob leans forward in magazine image\" class=\"wp-image-13991090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-element-caption\">A young E. Jean Carroll. (Roxie Theater)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A Midwestern girl who parlayed the personality and panache that earned her Miss Cheerleader USA of 1964, Carroll moved to New York some years later, after she started writing for major magazines and her first marriage ended. Amusingly, her assignments included a camping trip with urban icon Fran Lebowitz.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carroll had the confidence and talent not only to assert her distinctive voice in print, but to insert herself in her stories. Ambitious and driven, she was in prime position to witness and applaud the generation of women breaking into the corporate ranks in the ’80s and competing with men. Carroll became the trusted confidant for many of them in the 1990s, with her “Ask E. Jean” sex-and-advice column in \u003cem>Elle\u003c/em> and a short-lived cable TV call-in show with the same name.\u003c/p>\n\n\n\n\u003cp>The documentary uses clips from the television show as a throughline, and throwback, in a kind of call-and-response to the contemporary court proceedings. Carroll’s screen persona is flirty, dishy and inviting, like the big-city older sister you wished you had. But her empathy for her guests’ and callers’ plights is limited — she’s adamant that they stop wasting time, pursue their goals and get out of unhelpful relationships.\u003c/p>\n\n\n\n\u003cp>It’s standard modern romance fare, but not all of Carroll’s female-empowerment gospel has aged well. There’s a remarkable clip of Carroll on Geraldo Rivera’s show discussing Anita Hill and Paula Jones, who had accused Supreme Court nominee Clarence Thomas and President Bill Clinton, respectively, of sexual harassment. Carroll lambastes the women for being “wimps,” for not standing up for themselves and simply telling the men to shut up and scram.\u003c/p>\n\n\n\n\u003cp>These vintage clips erase some of Carroll’s halo accrued from bravely speaking the truth about a powerful man (who was re-elected President of the United States, can you believe) and wrench the film from the clutches of hagiography. More importantly, they convey the evolution of Carroll’s thinking about the ways our society treats women.\u003c/p>\n\n\n\n\u003cp>At the height of her success, Carroll embodied the old Virginia Slims slogan, “You’ve come a long way, baby!” She was, after all, the first female contributing editor of \u003cem>Playboy\u003c/em>. If a woman had the ability, she could succeed on her own terms. The playing field was level, and nothing was stopping her. Equality between the sexes had been achieved.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1.jpeg\" alt=\"older white woman in suit jacket and string tie\" class=\"wp-image-13991089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-element-caption\">A still from ‘Ask E. Jean.’ (Roxie Theater)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The day Trump assaulted Carroll in 1996, she was a savvy woman who thought she knew it all, and was victimized anyway. And she blamed herself, like many people who’ve been sexually assaulted. As Carroll relates in a recorded deposition, she changed afterward. (\u003cem>Ask E. Jean\u003c/em> notes that most sexually assaulted women don’t come forward because they are “rewarded” with intrusive, insulting interrogations, a miniscule conviction rate for rape, and hate mail.)\u003c/p>\n\n\n\n\u003cp>\u003cem>Ask E. Jean\u003c/em> concludes by holding up Carroll as a heroine, and a role model. That’s a strategy for delivering a satisfying movie experience and generating good word of mouth, but I think most viewers will see past it. Particularly since the issues raised by the film are independent from, and not dependent on, whether you like or agree with or empathize with its protagonist.\u003c/p>\n\n\n\n\u003cp>\u003cem>Ask E. Jean\u003c/em>’s contribution is that it naturally provokes the viewer into surfacing and revisiting their own experiences — including the forgotten and suppressed ones — and attitudes. From a big-picture standpoint, the film invites a deep discussion of the historical and current benefits of feminism. And, just maybe, the costs of our society’s limitations on women.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://roxie.com/film/ask-e-jean/\">Ask E. Jean\u003c/a>’ screens June 26–29, 2026 at the Roxie Theater (3125 16th St., San Francisco). Filmmaker Ivy Meeropol appears in person after the Saturday, June 27 show.\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>The name E. Jean Carroll may ring a faint bell, a snowflake in the blizzard of offensive behavior that has comprised the “news” in the last decade. The protagonist and focus of the involving documentary \u003cem>\u003ca href=\"https://www.askejeanfilm.com/\">Ask E. Jean\u003c/a>\u003c/em>, however, is neither an offender nor a snowflake.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Carroll is the New York journalist and longtime \u003cem>Elle\u003c/em> advice columnist who, inspired by the women who spoke up during the \u003ca href=\"https://www.kqed.org/arts/tag/metoo\">#MeToo movement\u003c/a>, accused Donald Trump in 2019 of sexually assaulting her in a Manhattan department store more than 20 years earlier. Carroll won a civil suit and, after Trump called her a liar on CNN and on social media, sued him for defamation and prevailed a second time, with the jury awarding damages of $83.3 million.\u003c/p>\n",
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"\n\u003cp>Carroll is the New York journalist and longtime \u003cem>Elle\u003c/em> advice columnist who, inspired by the women who spoke up during the \u003ca href=\"https://www.kqed.org/arts/tag/metoo\">#MeToo movement\u003c/a>, accused Donald Trump in 2019 of sexually assaulting her in a Manhattan department store more than 20 years earlier. Carroll won a civil suit and, after Trump called her a liar on CNN and on social media, sued him for defamation and prevailed a second time, with the jury awarding damages of $83.3 million.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>Ask E. Jean\u003c/em> devotes ample time to the trials, but don’t be distracted by their innate political and sensationalist allure. America’s most popular 34-time felon is a minor figure in Carroll’s saga.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Ivy Meeropol (\u003cem>\u003ca href=\"https://www.hbomax.com/movies/bully-coward-victim-the-story-of-roy-cohn/ed29cd0a-819e-4af9-aa88-c2b7dd71e23a\">Bully. Coward. Victim. The Story of Roy Cohn\u003c/a>\u003c/em>), greatly assisted by Ferne Pearlstein, another veteran documentary maker credited here as editor and story producer, has fashioned a later-in-life coming-of-age story that simultaneously plays as a pop-culture social history of feminism. \u003cem>Ask E. Jean\u003c/em> fits nicely on the shelf with the recent post-sexual revolution docs \u003cem>The Disappearance of Shere Hite\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">Carol Doda Topless at the Condor\u003c/a>\u003c/em>, alongside the DVD box set of \u003cem>Sex and the City\u003c/em>.\u003c/p>\n",
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"\n\u003cp>Ivy Meeropol (\u003cem>\u003ca href=\"https://www.hbomax.com/movies/bully-coward-victim-the-story-of-roy-cohn/ed29cd0a-819e-4af9-aa88-c2b7dd71e23a\">Bully. Coward. Victim. The Story of Roy Cohn\u003c/a>\u003c/em>), greatly assisted by Ferne Pearlstein, another veteran documentary maker credited here as editor and story producer, has fashioned a later-in-life coming-of-age story that simultaneously plays as a pop-culture social history of feminism. \u003cem>Ask E. Jean\u003c/em> fits nicely on the shelf with the recent post-sexual revolution docs \u003cem>The Disappearance of Shere Hite\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">Carol Doda Topless at the Condor\u003c/a>\u003c/em>, alongside the DVD box set of \u003cem>Sex and the City\u003c/em>.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2.jpeg\" alt=\"white woman with blonde bob leans forward in magazine image\" class=\"wp-image-13991090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2-1200x675.jpeg 1200w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">A young E. Jean Carroll.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>A Midwestern girl who parlayed the personality and panache that earned her Miss Cheerleader USA of 1964, Carroll moved to New York some years later, after she started writing for major magazines and her first marriage ended. Amusingly, her assignments included a camping trip with urban icon Fran Lebowitz.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Carroll had the confidence and talent not only to assert her distinctive voice in print, but to insert herself in her stories. Ambitious and driven, she was in prime position to witness and applaud the generation of women breaking into the corporate ranks in the ’80s and competing with men. Carroll became the trusted confidant for many of them in the 1990s, with her “Ask E. Jean” sex-and-advice column in \u003cem>Elle\u003c/em> and a short-lived cable TV call-in show with the same name.\u003c/p>\n",
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"\n\u003cp>Carroll had the confidence and talent not only to assert her distinctive voice in print, but to insert herself in her stories. Ambitious and driven, she was in prime position to witness and applaud the generation of women breaking into the corporate ranks in the ’80s and competing with men. Carroll became the trusted confidant for many of them in the 1990s, with her “Ask E. Jean” sex-and-advice column in \u003cem>Elle\u003c/em> and a short-lived cable TV call-in show with the same name.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The documentary uses clips from the television show as a throughline, and throwback, in a kind of call-and-response to the contemporary court proceedings. Carroll’s screen persona is flirty, dishy and inviting, like the big-city older sister you wished you had. But her empathy for her guests’ and callers’ plights is limited — she’s adamant that they stop wasting time, pursue their goals and get out of unhelpful relationships.\u003c/p>\n",
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"\n\u003cp>The documentary uses clips from the television show as a throughline, and throwback, in a kind of call-and-response to the contemporary court proceedings. Carroll’s screen persona is flirty, dishy and inviting, like the big-city older sister you wished you had. But her empathy for her guests’ and callers’ plights is limited — she’s adamant that they stop wasting time, pursue their goals and get out of unhelpful relationships.\u003c/p>\n"
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"innerHTML": "\n\u003cp>It’s standard modern romance fare, but not all of Carroll’s female-empowerment gospel has aged well. There’s a remarkable clip of Carroll on Geraldo Rivera’s show discussing Anita Hill and Paula Jones, who had accused Supreme Court nominee Clarence Thomas and President Bill Clinton, respectively, of sexual harassment. Carroll lambastes the women for being “wimps,” for not standing up for themselves and simply telling the men to shut up and scram.\u003c/p>\n",
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"\n\u003cp>It’s standard modern romance fare, but not all of Carroll’s female-empowerment gospel has aged well. There’s a remarkable clip of Carroll on Geraldo Rivera’s show discussing Anita Hill and Paula Jones, who had accused Supreme Court nominee Clarence Thomas and President Bill Clinton, respectively, of sexual harassment. Carroll lambastes the women for being “wimps,” for not standing up for themselves and simply telling the men to shut up and scram.\u003c/p>\n"
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"innerHTML": "\n\u003cp>These vintage clips erase some of Carroll’s halo accrued from bravely speaking the truth about a powerful man (who was re-elected President of the United States, can you believe) and wrench the film from the clutches of hagiography. More importantly, they convey the evolution of Carroll’s thinking about the ways our society treats women.\u003c/p>\n",
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"\n\u003cp>These vintage clips erase some of Carroll’s halo accrued from bravely speaking the truth about a powerful man (who was re-elected President of the United States, can you believe) and wrench the film from the clutches of hagiography. More importantly, they convey the evolution of Carroll’s thinking about the ways our society treats women.\u003c/p>\n"
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"innerHTML": "\n\u003cp>At the height of her success, Carroll embodied the old Virginia Slims slogan, “You’ve come a long way, baby!” She was, after all, the first female contributing editor of \u003cem>Playboy\u003c/em>. If a woman had the ability, she could succeed on her own terms. The playing field was level, and nothing was stopping her. Equality between the sexes had been achieved.\u003c/p>\n",
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"\n\u003cp>At the height of her success, Carroll embodied the old Virginia Slims slogan, “You’ve come a long way, baby!” She was, after all, the first female contributing editor of \u003cem>Playboy\u003c/em>. If a woman had the ability, she could succeed on her own terms. The playing field was level, and nothing was stopping her. Equality between the sexes had been achieved.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1.jpeg\" alt=\"older white woman in suit jacket and string tie\" class=\"wp-image-13991089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1-1200x675.jpeg 1200w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">A still from ‘Ask E. Jean.’\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>The day Trump assaulted Carroll in 1996, she was a savvy woman who thought she knew it all, and was victimized anyway. And she blamed herself, like many people who’ve been sexually assaulted. As Carroll relates in a recorded deposition, she changed afterward. (\u003cem>Ask E. Jean\u003c/em> notes that most sexually assaulted women don’t come forward because they are “rewarded” with intrusive, insulting interrogations, a miniscule conviction rate for rape, and hate mail.)\u003c/p>\n",
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"\n\u003cp>The day Trump assaulted Carroll in 1996, she was a savvy woman who thought she knew it all, and was victimized anyway. And she blamed herself, like many people who’ve been sexually assaulted. As Carroll relates in a recorded deposition, she changed afterward. (\u003cem>Ask E. Jean\u003c/em> notes that most sexually assaulted women don’t come forward because they are “rewarded” with intrusive, insulting interrogations, a miniscule conviction rate for rape, and hate mail.)\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>Ask E. Jean\u003c/em> concludes by holding up Carroll as a heroine, and a role model. That’s a strategy for delivering a satisfying movie experience and generating good word of mouth, but I think most viewers will see past it. Particularly since the issues raised by the film are independent from, and not dependent on, whether you like or agree with or empathize with its protagonist.\u003c/p>\n",
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"\n\u003cp>\u003cem>Ask E. Jean\u003c/em> concludes by holding up Carroll as a heroine, and a role model. That’s a strategy for delivering a satisfying movie experience and generating good word of mouth, but I think most viewers will see past it. Particularly since the issues raised by the film are independent from, and not dependent on, whether you like or agree with or empathize with its protagonist.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>Ask E. Jean\u003c/em>’s contribution is that it naturally provokes the viewer into surfacing and revisiting their own experiences — including the forgotten and suppressed ones — and attitudes. From a big-picture standpoint, the film invites a deep discussion of the historical and current benefits of feminism. And, just maybe, the costs of our society’s limitations on women.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>‘\u003ca href=\"https://roxie.com/film/ask-e-jean/\">Ask E. Jean\u003c/a>’ screens June 26–29, 2026 at the Roxie Theater (3125 16th St., San Francisco). Filmmaker Ivy Meeropol appears in person after the Saturday, June 27 show.\u003c/em>\u003c/p>\n",
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"subhead": "Ivy Meeropol's portrait of NYC writer E. Jean Carroll goes beyond sexual assault.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The name E. Jean Carroll may ring a faint bell, a snowflake in the blizzard of offensive behavior that has comprised the “news” in the last decade. The protagonist and focus of the involving documentary \u003cem>\u003ca href=\"https://www.askejeanfilm.com/\">Ask E. Jean\u003c/a>\u003c/em>, however, is neither an offender nor a snowflake.\u003c/p>\n\n\n\n\u003cp>Carroll is the New York journalist and longtime \u003cem>Elle\u003c/em> advice columnist who, inspired by the women who spoke up during the \u003ca href=\"https://www.kqed.org/arts/tag/metoo\">#MeToo movement\u003c/a>, accused Donald Trump in 2019 of sexually assaulting her in a Manhattan department store more than 20 years earlier. Carroll won a civil suit and, after Trump called her a liar on CNN and on social media, sued him for defamation and prevailed a second time, with the jury awarding damages of $83.3 million.\u003c/p>\n\n\n\n\u003cp>\u003cem>Ask E. Jean\u003c/em> devotes ample time to the trials, but don’t be distracted by their innate political and sensationalist allure. America’s most popular 34-time felon is a minor figure in Carroll’s saga.\u003c/p>\n\n\n\n\u003cp>Ivy Meeropol (\u003cem>\u003ca href=\"https://www.hbomax.com/movies/bully-coward-victim-the-story-of-roy-cohn/ed29cd0a-819e-4af9-aa88-c2b7dd71e23a\">Bully. Coward. Victim. The Story of Roy Cohn\u003c/a>\u003c/em>), greatly assisted by Ferne Pearlstein, another veteran documentary maker credited here as editor and story producer, has fashioned a later-in-life coming-of-age story that simultaneously plays as a pop-culture social history of feminism. \u003cem>Ask E. Jean\u003c/em> fits nicely on the shelf with the recent post-sexual revolution docs \u003cem>The Disappearance of Shere Hite\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">Carol Doda Topless at the Condor\u003c/a>\u003c/em>, alongside the DVD box set of \u003cem>Sex and the City\u003c/em>.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2.jpeg\" alt=\"white woman with blonde bob leans forward in magazine image\" class=\"wp-image-13991090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-2-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-element-caption\">A young E. Jean Carroll. (Roxie Theater)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>A Midwestern girl who parlayed the personality and panache that earned her Miss Cheerleader USA of 1964, Carroll moved to New York some years later, after she started writing for major magazines and her first marriage ended. Amusingly, her assignments included a camping trip with urban icon Fran Lebowitz.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carroll had the confidence and talent not only to assert her distinctive voice in print, but to insert herself in her stories. Ambitious and driven, she was in prime position to witness and applaud the generation of women breaking into the corporate ranks in the ’80s and competing with men. Carroll became the trusted confidant for many of them in the 1990s, with her “Ask E. Jean” sex-and-advice column in \u003cem>Elle\u003c/em> and a short-lived cable TV call-in show with the same name.\u003c/p>\n\n\n\n\u003cp>The documentary uses clips from the television show as a throughline, and throwback, in a kind of call-and-response to the contemporary court proceedings. Carroll’s screen persona is flirty, dishy and inviting, like the big-city older sister you wished you had. But her empathy for her guests’ and callers’ plights is limited — she’s adamant that they stop wasting time, pursue their goals and get out of unhelpful relationships.\u003c/p>\n\n\n\n\u003cp>It’s standard modern romance fare, but not all of Carroll’s female-empowerment gospel has aged well. There’s a remarkable clip of Carroll on Geraldo Rivera’s show discussing Anita Hill and Paula Jones, who had accused Supreme Court nominee Clarence Thomas and President Bill Clinton, respectively, of sexual harassment. Carroll lambastes the women for being “wimps,” for not standing up for themselves and simply telling the men to shut up and scram.\u003c/p>\n\n\n\n\u003cp>These vintage clips erase some of Carroll’s halo accrued from bravely speaking the truth about a powerful man (who was re-elected President of the United States, can you believe) and wrench the film from the clutches of hagiography. More importantly, they convey the evolution of Carroll’s thinking about the ways our society treats women.\u003c/p>\n\n\n\n\u003cp>At the height of her success, Carroll embodied the old Virginia Slims slogan, “You’ve come a long way, baby!” She was, after all, the first female contributing editor of \u003cem>Playboy\u003c/em>. If a woman had the ability, she could succeed on her own terms. The playing field was level, and nothing was stopping her. Equality between the sexes had been achieved.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1.jpeg\" alt=\"older white woman in suit jacket and string tie\" class=\"wp-image-13991089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ask-E.-Jean-1-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-element-caption\">A still from ‘Ask E. Jean.’ (Roxie Theater)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The day Trump assaulted Carroll in 1996, she was a savvy woman who thought she knew it all, and was victimized anyway. And she blamed herself, like many people who’ve been sexually assaulted. As Carroll relates in a recorded deposition, she changed afterward. (\u003cem>Ask E. Jean\u003c/em> notes that most sexually assaulted women don’t come forward because they are “rewarded” with intrusive, insulting interrogations, a miniscule conviction rate for rape, and hate mail.)\u003c/p>\n\n\n\n\u003cp>\u003cem>Ask E. Jean\u003c/em> concludes by holding up Carroll as a heroine, and a role model. That’s a strategy for delivering a satisfying movie experience and generating good word of mouth, but I think most viewers will see past it. Particularly since the issues raised by the film are independent from, and not dependent on, whether you like or agree with or empathize with its protagonist.\u003c/p>\n\n\n\n\u003cp>\u003cem>Ask E. Jean\u003c/em>’s contribution is that it naturally provokes the viewer into surfacing and revisiting their own experiences — including the forgotten and suppressed ones — and attitudes. From a big-picture standpoint, the film invites a deep discussion of the historical and current benefits of feminism. And, just maybe, the costs of our society’s limitations on women.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://roxie.com/film/ask-e-jean/\">Ask E. Jean\u003c/a>’ screens June 26–29, 2026 at the Roxie Theater (3125 16th St., San Francisco). Filmmaker Ivy Meeropol appears in person after the Saturday, June 27 show.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco’s First Serial Killer Was a Doctor Named J. Milton Bowers ... Probably",
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"content": "\u003cp>If you’re a Bay Area true crime nerd with an extensive knowledge of the region’s most notorious serial killers, you might be wondering why you’ve never heard of San Francisco’s very first serial killer, Dr. J. Milton Bowers. The answer is that nobody ever conclusively proved it. (Okay, fine, then: \u003cem>alleged\u003c/em> serial killer.) If you were a San Franciscan in the 1880s, however, you’d know all about Dr. Bowers. You’d certainly know enough not to marry the bearded weirdo.\u003c/p>\n\n\n\n\u003cp>Bowers was a physician whose medical specialty was, according to newspaper ads of the era, “diseases of women and children.” Which is unfortunate given that his first three wives ended up dead under suspicious circumstances while under his care. The first, Fannie Hammond, died in 1874 of “undetermined causes” and the couple’s Chicago home burned down shortly after her death. Not suspicious at all!\u003c/p>\n\n\n\n\u003cp>Bowers immediately moved to New York and married a popular actress and writer named Theresa Sherek, who was 15 years his junior. Together, the couple relocated to San Francisco, but marital bliss was short-lived. Sherek died on Jan. 28, 1881, aged 24, and was buried the very same day. The presumed cause of death was an abscess of the liver.\u003c/p>\n\n\n\n\n\n\u003cp>Within a year, Bowers was married yet again. This time to 29-year-old Cecelia Benhayon, who was a beloved San Francisco socialite. After a sudden and excruciating illness, Cecelia died on Nov. 3, 1885. And — wouldn’t you know it? — her initial death certificate suggested the cause was an abscess of the liver, just like the second Mrs. Bowers.\u003c/p>\n\n\n\n\u003cp>After Cecelia’s death, San Francisco coroner C. C. O’Donnell was quickly tipped off, via anonymous note, that there was cause to perform an autopsy. When O’Donnell rushed to the Bowers home on Market Street and demanded one, Bowers did everything in his power to prevent the procedure. This included burying Cecelia’s body before the city physician, Dr. Black, could get to it. After some legal wrangling, O’Donnell managed to get poor Cecelia disinterred. One of his arguments for it: Bowers had recently taken out a $17,000 life insurance policy on his wife.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Dr. Black finally got his scalpel on Cecelia’s remains, lo and behold he found zero evidence of a liver abscess. What he \u003cem>did\u003c/em> find was an abnormal-looking stomach, which he promptly placed in a jar and sent to a chemist named Dr. William Johnson. (Pity the delivery boy…) Johnson later testified that he could smell phosphorus on the organ before he’d even tested it for chemicals. His findings were backed by several other doctors and they were conclusive: Cecelia had been poisoned.\u003c/p>\n\n\n\n\u003cp>At the Nov. 10 inquest, when Bowers was asked to account for the phosphorus in Cecelia’s stomach, he stumbled incredulously for a while, before stating: “I did not give it to her. She must have taken it herself!” When the inquest also raised the fact that the coroner had found evidence of a recent abortion, Bowers replied, “Yes [but] I did not perform it. She did it herself!”\u003c/p>\n\n\n\n\u003cp>Faced with this level of buffoonery, nine inquest jurors decided that Bowers needed to be placed under arrest immediately. Once in the county jail, Bowers talked to the local press at every opportunity. He complained to the \u003cem>San Francisco Call\u003c/em> that he was “unused to close confinement,” but found the strength to insist that if was going to poison his wife, he would have used something less traceable than phosphorus.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"650\" height=\"950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png\" alt=\"A grainy black and white portrait of a white man with coiffed hair and a long white beard, accompanied by two courtroom illustrations.\" class=\"wp-image-13990863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904-160x234.png 160w\" sizes=\"auto, (max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-element-caption\">Dr. J. Milton Bower as depicted in the San Francisco Chronicle on March 8, 1904. (Archival image)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Bowers’ six-week trial — the longest in San Francisco history at the time — began on March 9, 1886 and saw 130 witnesses testify. Cecelia’s loved ones said they had been denied access to her in her final days, and claimed repeatedly that Bowers was a chronically unfaithful man who treated his wife terribly. Cecelia’s brother Henry Benhayon said Bowers once forced Cecelia to share a bed with one of Bowers’ mistresses. More explicit details were shared in court that the \u003cem>San Francisco Chronicle\u003c/em> deemed “unfit for publication, even in technical terms.”\u003c/p>\n\n\n\n\u003cp>Additionally, Henry testified that he found two pills in Cecelia’s deathbed that contained phosphorus. He also said he’d witnessed Cecelia sobbing to Bowers, “You are torturing me to death with medicine.”\u003c/p>\n\n\n\n\u003cp>In contrast, Bowers’ associates testified that the marriage had been a happy one, and Bowers himself denied all accusations in a day-long testimony. It didn’t work. After a 35-minute deliberation, the jury found Bowers guilty of murder in the first degree. He was sentenced to death by hanging.\u003c/p>\n\n\n\n\u003cp>All’s well that ends well, right? Well, no. This is actually where things get even stranger…\u003c/p>\n\n\n\n\u003cp>Eighteen months after the end of Bowers’ trial, Henry Benhayon (yes, Cecelia’s brother again) was found dead in a Geary Street rooming house that was next door to Bowers’ former medical office. Near Henry’s lifeless body (which was found in an odd, face-down position) were three bottles: whiskey, chloroform and a tightly capped bottle of cyanide. Close to those were three letters signed with Henry’s name, one of which stated that he’d planned to murder both his sister and Bowers so he could become guardian to his niece and inherit the insurance money. The letter also stated that Henry had bought the phosphorus used to kill his sister from a unnamed man who had later committed suicide. (How convenient!)\u003c/p>\n\n\n\n\u003cp>When reporters told Bowers about the confession letter, the doctor said, rather smugly, “Strange that with all my watchfulness, and despite the fact that I was continually at her bedside, that [Henry] should be able to get in and poison her in such a mysterious manner.”\u003c/p>\n\n\n\n\n\n\u003cp>Now, if you’re thinking, “Sounds like Dr. Bowers had his brother-in-law murdered,” you’re not the first. Investigators quickly jumped on the case, and after following some boulder-sized breadcrumbs, arrested a friend of Bowers’ named John Dimmig. Not only was Dimmig a frequent visitor to Bowers in prison, he’d also recently rented the room that Henry’s body was found in. (Dimmig claimed that Henry must have stolen his key.)\u003c/p>\n\n\n\n\u003cp>Despite Dimmig making several preposterous assertions (like admitting he’d recently bought cyanide, yes, but that it was just for a doctor friend), Dimmig’s murder trial was complicated by confusing witness testimony and conflicting handwriting analysis. (One expert said the confession letter was definitely fake, the other said it absolutely matched Henry’s penmanship.) The trial ended in a hung jury. A second trial six months later also resulted in a deadlock, but this time the judge refused to let the jury give up and go home. The end result? Dimmig was found not guilty.\u003c/p>\n\n\n\n\u003cp>As a result of Dimmig being acquitted — and brace yourself for this nonsense — the California Supreme Court decided that the confession letter with Henry’s name on it was enough grounds for Bowers to be released. The doctor got out after just four years in the clink. He quickly opened a medical practice in San Francisco that no one wanted to go to. Then he tried again in Oakland, another location where he was a pariah. Finally, he limped on down to San José, where he was less well-known, and opened an office there.\u003c/p>\n\n\n\n\u003cp>Dr. Bowers died of a stroke in 1904, after battling health problems for two years. The \u003cem>San Francisco\u003c/em> \u003cem>Call\u003c/em>’s report of his death kindly noted that his fourth wife — a schoolteacher named Mary Bird who married him in 1895 — “fortunately survives him.” The article also quoted one detective, Robert Hogan, who had never forgotten the details of Cecelia Benhayon’s agonizing death. \u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Dr. Bowers should have broken his neck from a trap,” Hogan asserted, “instead of dying peaceably from paralysis.”\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Within a year, Bowers was married yet again. This time to 29-year-old Cecelia Benhayon, who was a beloved San Francisco socialite. After a sudden and excruciating illness, Cecelia died on Nov. 3, 1885. And — wouldn’t you know it? — her initial death certificate suggested the cause was an abscess of the liver, just like the second Mrs. Bowers.\u003c/p>\n",
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"innerHTML": "\n\u003cp>After Cecelia’s death, San Francisco coroner C. C. O’Donnell was quickly tipped off, via anonymous note, that there was cause to perform an autopsy. When O’Donnell rushed to the Bowers home on Market Street and demanded one, Bowers did everything in his power to prevent the procedure. This included burying Cecelia’s body before the city physician, Dr. Black, could get to it. After some legal wrangling, O’Donnell managed to get poor Cecelia disinterred. One of his arguments for it: Bowers had recently taken out a $17,000 life insurance policy on his wife.\u003c/p>\n",
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"\n\u003cp>After Cecelia’s death, San Francisco coroner C. C. O’Donnell was quickly tipped off, via anonymous note, that there was cause to perform an autopsy. When O’Donnell rushed to the Bowers home on Market Street and demanded one, Bowers did everything in his power to prevent the procedure. This included burying Cecelia’s body before the city physician, Dr. Black, could get to it. After some legal wrangling, O’Donnell managed to get poor Cecelia disinterred. One of his arguments for it: Bowers had recently taken out a $17,000 life insurance policy on his wife.\u003c/p>\n"
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"innerHTML": "\n\u003cp>When Dr. Black finally got his scalpel on Cecelia’s remains, lo and behold he found zero evidence of a liver abscess. What he \u003cem>did\u003c/em> find was an abnormal-looking stomach, which he promptly placed in a jar and sent to a chemist named Dr. William Johnson. (Pity the delivery boy…) Johnson later testified that he could smell phosphorus on the organ before he’d even tested it for chemicals. His findings were backed by several other doctors and they were conclusive: Cecelia had been poisoned.\u003c/p>\n",
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"\n\u003cp>When Dr. Black finally got his scalpel on Cecelia’s remains, lo and behold he found zero evidence of a liver abscess. What he \u003cem>did\u003c/em> find was an abnormal-looking stomach, which he promptly placed in a jar and sent to a chemist named Dr. William Johnson. (Pity the delivery boy…) Johnson later testified that he could smell phosphorus on the organ before he’d even tested it for chemicals. His findings were backed by several other doctors and they were conclusive: Cecelia had been poisoned.\u003c/p>\n"
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"innerHTML": "\n\u003cp>At the Nov. 10 inquest, when Bowers was asked to account for the phosphorus in Cecelia’s stomach, he stumbled incredulously for a while, before stating: “I did not give it to her. She must have taken it herself!” When the inquest also raised the fact that the coroner had found evidence of a recent abortion, Bowers replied, “Yes [but] I did not perform it. She did it herself!”\u003c/p>\n",
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"\n\u003cp>At the Nov. 10 inquest, when Bowers was asked to account for the phosphorus in Cecelia’s stomach, he stumbled incredulously for a while, before stating: “I did not give it to her. She must have taken it herself!” When the inquest also raised the fact that the coroner had found evidence of a recent abortion, Bowers replied, “Yes [but] I did not perform it. She did it herself!”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Faced with this level of buffoonery, nine inquest jurors decided that Bowers needed to be placed under arrest immediately. Once in the county jail, Bowers talked to the local press at every opportunity. He complained to the \u003cem>San Francisco Call\u003c/em> that he was “unused to close confinement,” but found the strength to insist that if was going to poison his wife, he would have used something less traceable than phosphorus.\u003c/p>\n",
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"\n\u003cp>Faced with this level of buffoonery, nine inquest jurors decided that Bowers needed to be placed under arrest immediately. Once in the county jail, Bowers talked to the local press at every opportunity. He complained to the \u003cem>San Francisco Call\u003c/em> that he was “unused to close confinement,” but found the strength to insist that if was going to poison his wife, he would have used something less traceable than phosphorus.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png\" alt=\"A grainy black and white portrait of a white man with coiffed hair and a long white beard, accompanied by two courtroom illustrations.\" class=\"wp-image-13990863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904-160x234.png 160w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Dr. J. Milton Bower as depicted in the San Francisco Chronicle on March 8, 1904.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png\" alt=\"A grainy black and white portrait of a white man with coiffed hair and a long white beard, accompanied by two courtroom illustrations.\" class=\"wp-image-13990863\"/>\u003cfigcaption class=\"wp-element-caption\">Dr. J. Milton Bower as depicted in the San Francisco Chronicle on March 8, 1904.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Bowers’ six-week trial — the longest in San Francisco history at the time — began on March 9, 1886 and saw 130 witnesses testify. Cecelia’s loved ones said they had been denied access to her in her final days, and claimed repeatedly that Bowers was a chronically unfaithful man who treated his wife terribly. Cecelia’s brother Henry Benhayon said Bowers once forced Cecelia to share a bed with one of Bowers’ mistresses. More explicit details were shared in court that the \u003cem>San Francisco Chronicle\u003c/em> deemed “unfit for publication, even in technical terms.”\u003c/p>\n",
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"\n\u003cp>Bowers’ six-week trial — the longest in San Francisco history at the time — began on March 9, 1886 and saw 130 witnesses testify. Cecelia’s loved ones said they had been denied access to her in her final days, and claimed repeatedly that Bowers was a chronically unfaithful man who treated his wife terribly. Cecelia’s brother Henry Benhayon said Bowers once forced Cecelia to share a bed with one of Bowers’ mistresses. More explicit details were shared in court that the \u003cem>San Francisco Chronicle\u003c/em> deemed “unfit for publication, even in technical terms.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Additionally, Henry testified that he found two pills in Cecelia’s deathbed that contained phosphorus. He also said he’d witnessed Cecelia sobbing to Bowers, “You are torturing me to death with medicine.”\u003c/p>\n",
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"\n\u003cp>Additionally, Henry testified that he found two pills in Cecelia’s deathbed that contained phosphorus. He also said he’d witnessed Cecelia sobbing to Bowers, “You are torturing me to death with medicine.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>In contrast, Bowers’ associates testified that the marriage had been a happy one, and Bowers himself denied all accusations in a day-long testimony. It didn’t work. After a 35-minute deliberation, the jury found Bowers guilty of murder in the first degree. He was sentenced to death by hanging.\u003c/p>\n",
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"\n\u003cp>In contrast, Bowers’ associates testified that the marriage had been a happy one, and Bowers himself denied all accusations in a day-long testimony. It didn’t work. After a 35-minute deliberation, the jury found Bowers guilty of murder in the first degree. He was sentenced to death by hanging.\u003c/p>\n"
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"innerHTML": "\n\u003cp>All’s well that ends well, right? Well, no. This is actually where things get even stranger…\u003c/p>\n",
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"innerHTML": "\n\u003cp>Eighteen months after the end of Bowers’ trial, Henry Benhayon (yes, Cecelia’s brother again) was found dead in a Geary Street rooming house that was next door to Bowers’ former medical office. Near Henry’s lifeless body (which was found in an odd, face-down position) were three bottles: whiskey, chloroform and a tightly capped bottle of cyanide. Close to those were three letters signed with Henry’s name, one of which stated that he’d planned to murder both his sister and Bowers so he could become guardian to his niece and inherit the insurance money. The letter also stated that Henry had bought the phosphorus used to kill his sister from a unnamed man who had later committed suicide. (How convenient!)\u003c/p>\n",
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"\n\u003cp>Eighteen months after the end of Bowers’ trial, Henry Benhayon (yes, Cecelia’s brother again) was found dead in a Geary Street rooming house that was next door to Bowers’ former medical office. Near Henry’s lifeless body (which was found in an odd, face-down position) were three bottles: whiskey, chloroform and a tightly capped bottle of cyanide. Close to those were three letters signed with Henry’s name, one of which stated that he’d planned to murder both his sister and Bowers so he could become guardian to his niece and inherit the insurance money. The letter also stated that Henry had bought the phosphorus used to kill his sister from a unnamed man who had later committed suicide. (How convenient!)\u003c/p>\n"
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"innerHTML": "\n\u003cp>When reporters told Bowers about the confession letter, the doctor said, rather smugly, “Strange that with all my watchfulness, and despite the fact that I was continually at her bedside, that [Henry] should be able to get in and poison her in such a mysterious manner.”\u003c/p>\n",
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"\n\u003cp>When reporters told Bowers about the confession letter, the doctor said, rather smugly, “Strange that with all my watchfulness, and despite the fact that I was continually at her bedside, that [Henry] should be able to get in and poison her in such a mysterious manner.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Now, if you’re thinking, “Sounds like Dr. Bowers had his brother-in-law murdered,” you’re not the first. Investigators quickly jumped on the case, and after following some boulder-sized breadcrumbs, arrested a friend of Bowers’ named John Dimmig. Not only was Dimmig a frequent visitor to Bowers in prison, he’d also recently rented the room that Henry’s body was found in. (Dimmig claimed that Henry must have stolen his key.)\u003c/p>\n",
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"\n\u003cp>Now, if you’re thinking, “Sounds like Dr. Bowers had his brother-in-law murdered,” you’re not the first. Investigators quickly jumped on the case, and after following some boulder-sized breadcrumbs, arrested a friend of Bowers’ named John Dimmig. Not only was Dimmig a frequent visitor to Bowers in prison, he’d also recently rented the room that Henry’s body was found in. (Dimmig claimed that Henry must have stolen his key.)\u003c/p>\n"
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"innerHTML": "\n\u003cp>Despite Dimmig making several preposterous assertions (like admitting he’d recently bought cyanide, yes, but that it was just for a doctor friend), Dimmig’s murder trial was complicated by confusing witness testimony and conflicting handwriting analysis. (One expert said the confession letter was definitely fake, the other said it absolutely matched Henry’s penmanship.) The trial ended in a hung jury. A second trial six months later also resulted in a deadlock, but this time the judge refused to let the jury give up and go home. The end result? Dimmig was found not guilty.\u003c/p>\n",
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"\n\u003cp>Despite Dimmig making several preposterous assertions (like admitting he’d recently bought cyanide, yes, but that it was just for a doctor friend), Dimmig’s murder trial was complicated by confusing witness testimony and conflicting handwriting analysis. (One expert said the confession letter was definitely fake, the other said it absolutely matched Henry’s penmanship.) The trial ended in a hung jury. A second trial six months later also resulted in a deadlock, but this time the judge refused to let the jury give up and go home. The end result? Dimmig was found not guilty.\u003c/p>\n"
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"innerHTML": "\n\u003cp>As a result of Dimmig being acquitted — and brace yourself for this nonsense — the California Supreme Court decided that the confession letter with Henry’s name on it was enough grounds for Bowers to be released. The doctor got out after just four years in the clink. He quickly opened a medical practice in San Francisco that no one wanted to go to. Then he tried again in Oakland, another location where he was a pariah. Finally, he limped on down to San José, where he was less well-known, and opened an office there.\u003c/p>\n",
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"\n\u003cp>As a result of Dimmig being acquitted — and brace yourself for this nonsense — the California Supreme Court decided that the confession letter with Henry’s name on it was enough grounds for Bowers to be released. The doctor got out after just four years in the clink. He quickly opened a medical practice in San Francisco that no one wanted to go to. Then he tried again in Oakland, another location where he was a pariah. Finally, he limped on down to San José, where he was less well-known, and opened an office there.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Dr. Bowers died of a stroke in 1904, after battling health problems for two years. The \u003cem>San Francisco\u003c/em> \u003cem>Call\u003c/em>’s report of his death kindly noted that his fourth wife — a schoolteacher named Mary Bird who married him in 1895 — “fortunately survives him.” The article also quoted one detective, Robert Hogan, who had never forgotten the details of Cecelia Benhayon’s agonizing death. \u003c/p>\n",
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"\n\u003cp>Dr. Bowers died of a stroke in 1904, after battling health problems for two years. The \u003cem>San Francisco\u003c/em> \u003cem>Call\u003c/em>’s report of his death kindly noted that his fourth wife — a schoolteacher named Mary Bird who married him in 1895 — “fortunately survives him.” The article also quoted one detective, Robert Hogan, who had never forgotten the details of Cecelia Benhayon’s agonizing death. \u003c/p>\n"
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re a Bay Area true crime nerd with an extensive knowledge of the region’s most notorious serial killers, you might be wondering why you’ve never heard of San Francisco’s very first serial killer, Dr. J. Milton Bowers. The answer is that nobody ever conclusively proved it. (Okay, fine, then: \u003cem>alleged\u003c/em> serial killer.) If you were a San Franciscan in the 1880s, however, you’d know all about Dr. Bowers. You’d certainly know enough not to marry the bearded weirdo.\u003c/p>\n\n\n\n\u003cp>Bowers was a physician whose medical specialty was, according to newspaper ads of the era, “diseases of women and children.” Which is unfortunate given that his first three wives ended up dead under suspicious circumstances while under his care. The first, Fannie Hammond, died in 1874 of “undetermined causes” and the couple’s Chicago home burned down shortly after her death. Not suspicious at all!\u003c/p>\n\n\n\n\u003cp>Bowers immediately moved to New York and married a popular actress and writer named Theresa Sherek, who was 15 years his junior. Together, the couple relocated to San Francisco, but marital bliss was short-lived. Sherek died on Jan. 28, 1881, aged 24, and was buried the very same day. The presumed cause of death was an abscess of the liver.\u003c/p>\n\n\n\n\n\n\u003cp>Within a year, Bowers was married yet again. This time to 29-year-old Cecelia Benhayon, who was a beloved San Francisco socialite. After a sudden and excruciating illness, Cecelia died on Nov. 3, 1885. And — wouldn’t you know it? — her initial death certificate suggested the cause was an abscess of the liver, just like the second Mrs. Bowers.\u003c/p>\n\n\n\n\u003cp>After Cecelia’s death, San Francisco coroner C. C. O’Donnell was quickly tipped off, via anonymous note, that there was cause to perform an autopsy. When O’Donnell rushed to the Bowers home on Market Street and demanded one, Bowers did everything in his power to prevent the procedure. This included burying Cecelia’s body before the city physician, Dr. Black, could get to it. After some legal wrangling, O’Donnell managed to get poor Cecelia disinterred. One of his arguments for it: Bowers had recently taken out a $17,000 life insurance policy on his wife.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Dr. Black finally got his scalpel on Cecelia’s remains, lo and behold he found zero evidence of a liver abscess. What he \u003cem>did\u003c/em> find was an abnormal-looking stomach, which he promptly placed in a jar and sent to a chemist named Dr. William Johnson. (Pity the delivery boy…) Johnson later testified that he could smell phosphorus on the organ before he’d even tested it for chemicals. His findings were backed by several other doctors and they were conclusive: Cecelia had been poisoned.\u003c/p>\n\n\n\n\u003cp>At the Nov. 10 inquest, when Bowers was asked to account for the phosphorus in Cecelia’s stomach, he stumbled incredulously for a while, before stating: “I did not give it to her. She must have taken it herself!” When the inquest also raised the fact that the coroner had found evidence of a recent abortion, Bowers replied, “Yes [but] I did not perform it. She did it herself!”\u003c/p>\n\n\n\n\u003cp>Faced with this level of buffoonery, nine inquest jurors decided that Bowers needed to be placed under arrest immediately. Once in the county jail, Bowers talked to the local press at every opportunity. He complained to the \u003cem>San Francisco Call\u003c/em> that he was “unused to close confinement,” but found the strength to insist that if was going to poison his wife, he would have used something less traceable than phosphorus.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"650\" height=\"950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png\" alt=\"A grainy black and white portrait of a white man with coiffed hair and a long white beard, accompanied by two courtroom illustrations.\" class=\"wp-image-13990863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904-160x234.png 160w\" sizes=\"auto, (max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-element-caption\">Dr. J. Milton Bower as depicted in the San Francisco Chronicle on March 8, 1904. (Archival image)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Bowers’ six-week trial — the longest in San Francisco history at the time — began on March 9, 1886 and saw 130 witnesses testify. Cecelia’s loved ones said they had been denied access to her in her final days, and claimed repeatedly that Bowers was a chronically unfaithful man who treated his wife terribly. Cecelia’s brother Henry Benhayon said Bowers once forced Cecelia to share a bed with one of Bowers’ mistresses. More explicit details were shared in court that the \u003cem>San Francisco Chronicle\u003c/em> deemed “unfit for publication, even in technical terms.”\u003c/p>\n\n\n\n\u003cp>Additionally, Henry testified that he found two pills in Cecelia’s deathbed that contained phosphorus. He also said he’d witnessed Cecelia sobbing to Bowers, “You are torturing me to death with medicine.”\u003c/p>\n\n\n\n\u003cp>In contrast, Bowers’ associates testified that the marriage had been a happy one, and Bowers himself denied all accusations in a day-long testimony. It didn’t work. After a 35-minute deliberation, the jury found Bowers guilty of murder in the first degree. He was sentenced to death by hanging.\u003c/p>\n\n\n\n\u003cp>All’s well that ends well, right? Well, no. This is actually where things get even stranger…\u003c/p>\n\n\n\n\u003cp>Eighteen months after the end of Bowers’ trial, Henry Benhayon (yes, Cecelia’s brother again) was found dead in a Geary Street rooming house that was next door to Bowers’ former medical office. Near Henry’s lifeless body (which was found in an odd, face-down position) were three bottles: whiskey, chloroform and a tightly capped bottle of cyanide. Close to those were three letters signed with Henry’s name, one of which stated that he’d planned to murder both his sister and Bowers so he could become guardian to his niece and inherit the insurance money. The letter also stated that Henry had bought the phosphorus used to kill his sister from a unnamed man who had later committed suicide. (How convenient!)\u003c/p>\n\n\n\n\u003cp>When reporters told Bowers about the confession letter, the doctor said, rather smugly, “Strange that with all my watchfulness, and despite the fact that I was continually at her bedside, that [Henry] should be able to get in and poison her in such a mysterious manner.”\u003c/p>\n\n\n\n\n\n\u003cp>Now, if you’re thinking, “Sounds like Dr. Bowers had his brother-in-law murdered,” you’re not the first. Investigators quickly jumped on the case, and after following some boulder-sized breadcrumbs, arrested a friend of Bowers’ named John Dimmig. Not only was Dimmig a frequent visitor to Bowers in prison, he’d also recently rented the room that Henry’s body was found in. (Dimmig claimed that Henry must have stolen his key.)\u003c/p>\n\n\n\n\u003cp>Despite Dimmig making several preposterous assertions (like admitting he’d recently bought cyanide, yes, but that it was just for a doctor friend), Dimmig’s murder trial was complicated by confusing witness testimony and conflicting handwriting analysis. (One expert said the confession letter was definitely fake, the other said it absolutely matched Henry’s penmanship.) The trial ended in a hung jury. A second trial six months later also resulted in a deadlock, but this time the judge refused to let the jury give up and go home. The end result? Dimmig was found not guilty.\u003c/p>\n\n\n\n\u003cp>As a result of Dimmig being acquitted — and brace yourself for this nonsense — the California Supreme Court decided that the confession letter with Henry’s name on it was enough grounds for Bowers to be released. The doctor got out after just four years in the clink. He quickly opened a medical practice in San Francisco that no one wanted to go to. Then he tried again in Oakland, another location where he was a pariah. Finally, he limped on down to San José, where he was less well-known, and opened an office there.\u003c/p>\n\n\n\n\u003cp>Dr. Bowers died of a stroke in 1904, after battling health problems for two years. The \u003cem>San Francisco\u003c/em> \u003cem>Call\u003c/em>’s report of his death kindly noted that his fourth wife — a schoolteacher named Mary Bird who married him in 1895 — “fortunately survives him.” The article also quoted one detective, Robert Hogan, who had never forgotten the details of Cecelia Benhayon’s agonizing death. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s Wednesday afternoon in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>’s Clarion Alley, and eight girls are hovering over a folding table scattered with paint pens. Discussing a mural design for an adjacent wall, they hatch a plan to paint “San Francisco,” surrounded by symbols that represent the city.\u003c/p>\n\n\n\n\u003cp>Nearby stands Lady Pink, a legend in the New York \u003ca href=\"https://www.kqed.org/arts/tag/graffiti\">graffiti\u003c/a> and street art scene, who’s here to mentor the young girls on the mural. In the 1970s and 1980s, Lady Pink was the first woman in graffiti to make a national name for herself, and in the process carved out space for other women in the male-dominated field.\u003c/p>\n\n\n\n\u003cp>Today, she’s lending her skills and expertise to the students of \u003ca href=\"https://www.instagram.com/graffiticampforgirls/?hl=en\">Graffiti Camp for Girls\u003c/a> as they take on their first mural-sized project.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13990889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Graffiti artist Lady Pink poses for a portrait on Clarion Alley in San Francisco on June 17, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“It’s important to hand down our craft to the youth,” Lady Pink tells KQED in the alley, during a break “They don’t teach mural painting in schools so much. They teach painting, but they don’t teach mural painting. So, we’ll get a big wall and we’ll let the kids express themselves in a giant size.”\u003c/p>\n\n\n\n\u003cp>Once the mural is completed, it will be unveiled at an event on Friday, June 19, from 4–5 p.m. in Clarion Alley. Lady Pink, who starred in the groundbreaking 1982 hip-hop film \u003cem>Wild Style\u003c/em>, will be present for a meet and greet.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now in its 10th year, Graffiti Camp for Girls is led and founded by Nina Wright, known as local artist \u003ca href=\"https://www.instagram.com/girlmobb/?hl=en\">Girl Mobb\u003c/a>. Her goal is to equip young girls with street art skills and the basics of spray painting safely, with respirator masks, while giving them the space to create public art.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13990888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Nina Wright (center) laughs with the students from the Graffiti Camp for Girls on Clarion Alley in San Francisco on June 17, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For 16-year-old participant Aaliyah Garcia, the camp offers her a crucial outlet as she continues to “expand her creativity.” Though she has been drawing and painting for as long as she can remember, she had no experience with spray painting prior to this week’s session.\u003c/p>\n\n\n\n\u003cp>“I’m excited to have my art up in the world for everyone to see,” Garcia says. (The mural is scheduled to stay up in Clarion Alley for at least five years.)\u003c/p>\n\n\n\n\n\n\u003cp>After a few days of participants getting the hang of graffiti basics and learning new skills with lettering, Lady Pink arrived Wednesday to offer insight on large-scale painting. Her role, she emphasizes, is to push young people in the right direction rather than influencing their art. \u003c/p>\n\n\n\n\u003cp>“Kids love to paint big, they love to paint in the street,” Lady Pink says. “They don’t like to run from the police nearly as much as we did.”\u003cbr>\u003cbr>While Lady Pink came up in an outlaw era of unsanctioned graffiti, the opportunity for today’s youth to utilize “permission walls” and learn to express themselves is “absolutely priceless,” she says.\u003c/p>\n\n\n\n\u003cp>“I love to see the confidence and the growth in the kids when they do something,” she adds.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13990887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Lady Pink, a graffiti artist, helps young girls develop their mural design at the Graffiti Camp for Girls on Clarion Alley in San Francisco on June 17, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>After just a few hours under Lady Pink’s guidance, 13-year-old Carey Deeter felt that confidence developing.\u003c/p>\n\n\n\n\u003cp>Deeter had joined the camp because of her admiration for street art across the city, and while at first she’d been slower and more controlled with the spray paint, she learned to follow Lady Pink’s advice to “just get it done, don’t overthink it.”\u003c/p>\n\n\n\n\u003cp>“Once you get the hang of it, you can basically do whatever you want,” Deeter says. “It’s very easy to control and stuff. It’s very freeing.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A mural unveiling and meet-and-greet with Lady Pink takes place on Friday, June 19, from 4-5 p.m. in Clarion Alley in San Francisco. \u003c/em>\u003ca href=\"https://www.instagram.com/p/DZGj4OLTPB6/?hl=en\">\u003cem>Details and more information here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>After a few days of participants getting the hang of graffiti basics and learning new skills with lettering, Lady Pink arrived Wednesday to offer insight on large-scale painting. Her role, she emphasizes, is to push young people in the right direction rather than influencing their art. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“Kids love to paint big, they love to paint in the street,” Lady Pink says. “They don’t like to run from the police nearly as much as we did.”\u003cbr>\u003cbr>While Lady Pink came up in an outlaw era of unsanctioned graffiti, the opportunity for today’s youth to utilize “permission walls” and learn to express themselves is “absolutely priceless,” she says.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I love to see the confidence and the growth in the kids when they do something,” she adds.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Deeter had joined the camp because of her admiration for street art across the city, and while at first she’d been slower and more controlled with the spray paint, she learned to follow Lady Pink’s advice to “just get it done, don’t overthink it.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>A mural unveiling and meet-and-greet with Lady Pink takes place on Friday, June 19, from 4-5 p.m. in Clarion Alley in San Francisco. \u003c/em>\u003ca href=\"https://www.instagram.com/p/DZGj4OLTPB6/?hl=en\">\u003cem>Details and more information here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s Wednesday afternoon in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>’s Clarion Alley, and eight girls are hovering over a folding table scattered with paint pens. Discussing a mural design for an adjacent wall, they hatch a plan to paint “San Francisco,” surrounded by symbols that represent the city.\u003c/p>\n\n\n\n\u003cp>Nearby stands Lady Pink, a legend in the New York \u003ca href=\"https://www.kqed.org/arts/tag/graffiti\">graffiti\u003c/a> and street art scene, who’s here to mentor the young girls on the mural. In the 1970s and 1980s, Lady Pink was the first woman in graffiti to make a national name for herself, and in the process carved out space for other women in the male-dominated field.\u003c/p>\n\n\n\n\u003cp>Today, she’s lending her skills and expertise to the students of \u003ca href=\"https://www.instagram.com/graffiticampforgirls/?hl=en\">Graffiti Camp for Girls\u003c/a> as they take on their first mural-sized project.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13990889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00582_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Graffiti artist Lady Pink poses for a portrait on Clarion Alley in San Francisco on June 17, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“It’s important to hand down our craft to the youth,” Lady Pink tells KQED in the alley, during a break “They don’t teach mural painting in schools so much. They teach painting, but they don’t teach mural painting. So, we’ll get a big wall and we’ll let the kids express themselves in a giant size.”\u003c/p>\n\n\n\n\u003cp>Once the mural is completed, it will be unveiled at an event on Friday, June 19, from 4–5 p.m. in Clarion Alley. Lady Pink, who starred in the groundbreaking 1982 hip-hop film \u003cem>Wild Style\u003c/em>, will be present for a meet and greet.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now in its 10th year, Graffiti Camp for Girls is led and founded by Nina Wright, known as local artist \u003ca href=\"https://www.instagram.com/girlmobb/?hl=en\">Girl Mobb\u003c/a>. Her goal is to equip young girls with street art skills and the basics of spray painting safely, with respirator masks, while giving them the space to create public art.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13990888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00545_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Nina Wright (center) laughs with the students from the Graffiti Camp for Girls on Clarion Alley in San Francisco on June 17, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For 16-year-old participant Aaliyah Garcia, the camp offers her a crucial outlet as she continues to “expand her creativity.” Though she has been drawing and painting for as long as she can remember, she had no experience with spray painting prior to this week’s session.\u003c/p>\n\n\n\n\u003cp>“I’m excited to have my art up in the world for everyone to see,” Garcia says. (The mural is scheduled to stay up in Clarion Alley for at least five years.)\u003c/p>\n\n\n\n\n\n\u003cp>After a few days of participants getting the hang of graffiti basics and learning new skills with lettering, Lady Pink arrived Wednesday to offer insight on large-scale painting. Her role, she emphasizes, is to push young people in the right direction rather than influencing their art. \u003c/p>\n\n\n\n\u003cp>“Kids love to paint big, they love to paint in the street,” Lady Pink says. “They don’t like to run from the police nearly as much as we did.”\u003cbr>\u003cbr>While Lady Pink came up in an outlaw era of unsanctioned graffiti, the opportunity for today’s youth to utilize “permission walls” and learn to express themselves is “absolutely priceless,” she says.\u003c/p>\n\n\n\n\u003cp>“I love to see the confidence and the growth in the kids when they do something,” she adds.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED.jpg\" alt=\"\" class=\"wp-image-13990887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/260617-LADYPINKCLARIONALLEY00487_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Lady Pink, a graffiti artist, helps young girls develop their mural design at the Graffiti Camp for Girls on Clarion Alley in San Francisco on June 17, 2026. (Tâm Vũ/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>After just a few hours under Lady Pink’s guidance, 13-year-old Carey Deeter felt that confidence developing.\u003c/p>\n\n\n\n\u003cp>Deeter had joined the camp because of her admiration for street art across the city, and while at first she’d been slower and more controlled with the spray paint, she learned to follow Lady Pink’s advice to “just get it done, don’t overthink it.”\u003c/p>\n\n\n\n\u003cp>“Once you get the hang of it, you can basically do whatever you want,” Deeter says. “It’s very easy to control and stuff. It’s very freeing.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A mural unveiling and meet-and-greet with Lady Pink takes place on Friday, June 19, from 4-5 p.m. in Clarion Alley in San Francisco. \u003c/em>\u003ca href=\"https://www.instagram.com/p/DZGj4OLTPB6/?hl=en\">\u003cem>Details and more information here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "club-deluxe-jazz-mr-tipples-san-francisco-haight-street",
"title": "The Deluxe Brings Jazz Back to San Francisco’s Haight Street",
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"headTitle": "The Deluxe Brings Jazz Back to San Francisco’s Haight Street | KQED",
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"content": "\u003cp>As Jay Bordeleau tells the story, the resurrection of Club Deluxe was more than kismet. It was an act of will by the jazz scene itself that paved the way to the venue’s official reopening Thursday, June 18, rechristened as \u003ca href=\"https://thedeluxesf.com/\">The Deluxe\u003c/a>.\u003c/p>\n\n\n\n\u003cp>For more than three decades, the Haight-Ashbury club thrived as one of the city’s most welcoming jazz spots. It provided regular gigs for a disparate roster of hot-club and jump-blues bands, hard-bop outfits, swing combos and sultry singers. A messy public dispute between the landlord and Deluxe proprietor Sarah Wilde eventually led to its closure in April 2023, a loss that many musicians refused to accept.\u003c/p>\n\n\n\n\u003cp>Within months, persistent efforts by Deluxe regulars connected Bordeleau, who owns the Hayes Valley jazz supper club Mr. Tipple’s, with Christian Beaulieu, a musician and Deluxe bartender who was one of the venue’s presiding spirits during its last incarnation. After several musicians implored him to meet with Beaulieu, Bordeleau relented.\u003c/p>\n\n\n\n\u003cp>“OK, jeez, I guess I’ve got to have coffee with this guy,” he said. “These were all musicians I trusted to take care of me, so it wasn’t so much a business referral as it felt like, this might be your soulmate.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"1000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/L1350458.jpeg\" alt=\"man with shaved sides of head bartends beside coworker in cozy bar\" class=\"wp-image-13990831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/L1350458.jpeg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/L1350458-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/L1350458-768x512.jpeg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-element-caption\">Christian Beaulieu bartends at The Deluxe on June 13, 2026. (Dennis Hearne)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The first date went well, followed by further discussions and more lobbying by musicians. As so often happens in San Francisco, the path to reviving Deluxe was strewn with obstacles. The reopening date was pushed back several times as they refurbished the Art Deco interior, maintaining its intimate speakeasy vibe. Beaulieu ended up managing Mr. Tipple’s for about two years, a working courtship that confirmed they were ready to take the plunge together.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of the musicians who perform at Mr. Tipple’s will be in the Deluxe mix, but Beaulieu wants to make sure that the former Haight cast is also well represented. He hasn’t shed his identity as a musician known for his work in raucous bands like Triclops! (“I’m writing a book about my experiences, a self-help book for artists who have lost their way,” he said), but he found that Deluxe seemed to follow him wherever he went.\u003c/p>\n\n\n\n\u003cp>“I was bartending at a few different places and I couldn’t stop hearing about Deluxe,” Beaulieu said. “Half the time people who had no idea I’d worked there brought it up randomly. Every shift I worked someone would mention that place. We all felt a profound loss when it closed but I had no way to gauge how special it was until I was working around the city.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"1000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/L1350446.jpeg\" alt=\"four people face each other over bar, chatting, happy\" class=\"wp-image-13990834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/L1350446.jpeg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/L1350446-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/L1350446-768x512.jpeg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-element-caption\">Christian Beaulieu chats with The Deluxe patrons Steve Heilig, Oran Scott and Aimee Duddridge-Picard. (Dennis Hearne)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For at least two generations of jazz musicians, coming of age in the Bay Area meant landing a gig at Deluxe. Multi-reed player Steven Lugerner, whose band JACKNIFE plays the club June 20, was the first musician to connect Bordeleau with Beaulieu. Growing up on the Peninsula, he’d made numerous forays into the Haight and ended up loitering near to door, listening to music pouring out of the club.\u003c/p>\n\n\n\n\u003cp>He started frequenting Deluxe on trips home while studying jazz in New York City, and when he moved back to the Bay Area it was one of the first places he looked for work.\u003c/p>\n\n\n\n\u003cp>“I sent an email to Sarah and she offered me the first Wednesday of every month,” he recalled. “I immediately pitched her on the JACKNIFE band,” which focuses on music by alto sax great Jackie McLean. It was a perch that helped Lugerner become a widely influential force who launched a popular weekly jam session at \u003ca href=\"https://www.stookeysblueroom.com/musicandevents\">Stookey’s Blue Room\u003c/a> and helps run the Stanford Jazz Workshop as director of educational and festival programming.\u003c/p>\n\n\n\n\u003cp>Vocalist Emily Day can’t remember exactly when she made the transition from ardent patron to Deluxe headliner, but she treasured both sides of the finely calibrated equation. “As a patron, there was something transformative when you’d enter the space,” she says. “You didn’t have to look up who was playing there. No matter the type of music, the crowd was all for it.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"1000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/DELUXE-VENUE-2.jpeg\" alt=\"jazz band in small venue with seated audience under Art Deco murals\" class=\"wp-image-13990835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/DELUXE-VENUE-2.jpeg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/DELUXE-VENUE-2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/DELUXE-VENUE-2-768x512.jpeg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-element-caption\">Barrio Manouche performs for an audience at The Deluxe on June 13, 2026. (Dennis Hearne)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Bordeleau and Beaulieu have maintained the essential geography that sparks the room’s center-of-the-action feel, which contains a side for engaged, interactive listening and a convivial bar-top environment for socializing. Emily Day and the Cosmo Alleycats started playing at Deluxe around 2018, filling in at first for Lavay Smith & Her Red Hot Skillet Lickers.\u003c/p>\n\n\n\n\u003cp>“When we finally did land a regular gig, third Fridays, it quickly became our favorite,” Day said. “Not to say we made a lot of money, but we’d turn away private performances for those gigs. As a performer, one of the greatest things was the blur between the band and audience. It felt like the most amazing house party and you’re all on the same team. You want everything about this night to be a success.”\u003c/p>\n\n\n\n\u003cp>Coming amid news that some of San Francisco’s beloved venues and dive bars are closing or up for sale, including the \u003ca href=\"https://www.sfgate.com/sf-culture/article/sf-dive-bars-sale-22299738.php\">Make Out Room and the Latin American Club\u003c/a>, the Deluxe revival is a welcome sign that that the city hasn’t lost all its swing.\u003c/p>\n\n\n\n\u003cp>“I would not be doing it if I was not confident in the scene,” Bordeleau said. “Intimate live music with a community audience is really special and valued, and people didn’t want to let it go.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Deluxe’s (1511 Haight St., San Francisco) soft opening takes place June 18 with a performance by string player and vocalist Mitch Polzak. On Friday, June 19, saxophonist James Mahone performs at 6 p.m., followed by drummer Miles Turk at 8 p.m\u003c/em>.\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>As Jay Bordeleau tells the story, the resurrection of Club Deluxe was more than kismet. It was an act of will by the jazz scene itself that paved the way to the venue’s official reopening Thursday, June 18, rechristened as \u003ca href=\"https://thedeluxesf.com/\">The Deluxe\u003c/a>.\u003c/p>\n",
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"innerHTML": "\n\u003cp>For more than three decades, the Haight-Ashbury club thrived as one of the city’s most welcoming jazz spots. It provided regular gigs for a disparate roster of hot-club and jump-blues bands, hard-bop outfits, swing combos and sultry singers. A messy public dispute between the landlord and Deluxe proprietor Sarah Wilde eventually led to its closure in April 2023, a loss that many musicians refused to accept.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Within months, persistent efforts by Deluxe regulars connected Bordeleau, who owns the Hayes Valley jazz supper club Mr. Tipple’s, with Christian Beaulieu, a musician and Deluxe bartender who was one of the venue’s presiding spirits during its last incarnation. After several musicians implored him to meet with Beaulieu, Bordeleau relented.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“OK, jeez, I guess I’ve got to have coffee with this guy,” he said. “These were all musicians I trusted to take care of me, so it wasn’t so much a business referral as it felt like, this might be your soulmate.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>The first date went well, followed by further discussions and more lobbying by musicians. As so often happens in San Francisco, the path to reviving Deluxe was strewn with obstacles. The reopening date was pushed back several times as they refurbished the Art Deco interior, maintaining its intimate speakeasy vibe. Beaulieu ended up managing Mr. Tipple’s for about two years, a working courtship that confirmed they were ready to take the plunge together.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Many of the musicians who perform at Mr. Tipple’s will be in the Deluxe mix, but Beaulieu wants to make sure that the former Haight cast is also well represented. He hasn’t shed his identity as a musician known for his work in raucous bands like Triclops! (“I’m writing a book about my experiences, a self-help book for artists who have lost their way,” he said), but he found that Deluxe seemed to follow him wherever he went.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I was bartending at a few different places and I couldn’t stop hearing about Deluxe,” Beaulieu said. “Half the time people who had no idea I’d worked there brought it up randomly. Every shift I worked someone would mention that place. We all felt a profound loss when it closed but I had no way to gauge how special it was until I was working around the city.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>For at least two generations of jazz musicians, coming of age in the Bay Area meant landing a gig at Deluxe. Multi-reed player Steven Lugerner, whose band JACKNIFE plays the club June 20, was the first musician to connect Bordeleau with Beaulieu. Growing up on the Peninsula, he’d made numerous forays into the Haight and ended up loitering near to door, listening to music pouring out of the club.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I sent an email to Sarah and she offered me the first Wednesday of every month,” he recalled. “I immediately pitched her on the JACKNIFE band,” which focuses on music by alto sax great Jackie McLean. It was a perch that helped Lugerner become a widely influential force who launched a popular weekly jam session at \u003ca href=\"https://www.stookeysblueroom.com/musicandevents\">Stookey’s Blue Room\u003c/a> and helps run the Stanford Jazz Workshop as director of educational and festival programming.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Vocalist Emily Day can’t remember exactly when she made the transition from ardent patron to Deluxe headliner, but she treasured both sides of the finely calibrated equation. “As a patron, there was something transformative when you’d enter the space,” she says. “You didn’t have to look up who was playing there. No matter the type of music, the crowd was all for it.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Bordeleau and Beaulieu have maintained the essential geography that sparks the room’s center-of-the-action feel, which contains a side for engaged, interactive listening and a convivial bar-top environment for socializing. Emily Day and the Cosmo Alleycats started playing at Deluxe around 2018, filling in at first for Lavay Smith & Her Red Hot Skillet Lickers.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“When we finally did land a regular gig, third Fridays, it quickly became our favorite,” Day said. “Not to say we made a lot of money, but we’d turn away private performances for those gigs. As a performer, one of the greatest things was the blur between the band and audience. It felt like the most amazing house party and you’re all on the same team. You want everything about this night to be a success.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Coming amid news that some of San Francisco’s beloved venues and dive bars are closing or up for sale, including the \u003ca href=\"https://www.sfgate.com/sf-culture/article/sf-dive-bars-sale-22299738.php\">Make Out Room and the Latin American Club\u003c/a>, the Deluxe revival is a welcome sign that that the city hasn’t lost all its swing.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“I would not be doing it if I was not confident in the scene,” Bordeleau said. “Intimate live music with a community audience is really special and valued, and people didn’t want to let it go.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>The Deluxe’s (1511 Haight St., San Francisco) soft opening takes place June 18 with a performance by string player and vocalist Mitch Polzak. On Friday, June 19, saxophonist James Mahone performs at 6 p.m., followed by drummer Miles Turk at 8 p.m\u003c/em>.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Jay Bordeleau tells the story, the resurrection of Club Deluxe was more than kismet. It was an act of will by the jazz scene itself that paved the way to the venue’s official reopening Thursday, June 18, rechristened as \u003ca href=\"https://thedeluxesf.com/\">The Deluxe\u003c/a>.\u003c/p>\n\n\n\n\u003cp>For more than three decades, the Haight-Ashbury club thrived as one of the city’s most welcoming jazz spots. It provided regular gigs for a disparate roster of hot-club and jump-blues bands, hard-bop outfits, swing combos and sultry singers. A messy public dispute between the landlord and Deluxe proprietor Sarah Wilde eventually led to its closure in April 2023, a loss that many musicians refused to accept.\u003c/p>\n\n\n\n\u003cp>Within months, persistent efforts by Deluxe regulars connected Bordeleau, who owns the Hayes Valley jazz supper club Mr. Tipple’s, with Christian Beaulieu, a musician and Deluxe bartender who was one of the venue’s presiding spirits during its last incarnation. After several musicians implored him to meet with Beaulieu, Bordeleau relented.\u003c/p>\n\n\n\n\u003cp>“OK, jeez, I guess I’ve got to have coffee with this guy,” he said. “These were all musicians I trusted to take care of me, so it wasn’t so much a business referral as it felt like, this might be your soulmate.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"1000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/L1350458.jpeg\" alt=\"man with shaved sides of head bartends beside coworker in cozy bar\" class=\"wp-image-13990831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/L1350458.jpeg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/L1350458-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/L1350458-768x512.jpeg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-element-caption\">Christian Beaulieu bartends at The Deluxe on June 13, 2026. (Dennis Hearne)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The first date went well, followed by further discussions and more lobbying by musicians. As so often happens in San Francisco, the path to reviving Deluxe was strewn with obstacles. The reopening date was pushed back several times as they refurbished the Art Deco interior, maintaining its intimate speakeasy vibe. Beaulieu ended up managing Mr. Tipple’s for about two years, a working courtship that confirmed they were ready to take the plunge together.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the musicians who perform at Mr. Tipple’s will be in the Deluxe mix, but Beaulieu wants to make sure that the former Haight cast is also well represented. He hasn’t shed his identity as a musician known for his work in raucous bands like Triclops! (“I’m writing a book about my experiences, a self-help book for artists who have lost their way,” he said), but he found that Deluxe seemed to follow him wherever he went.\u003c/p>\n\n\n\n\u003cp>“I was bartending at a few different places and I couldn’t stop hearing about Deluxe,” Beaulieu said. “Half the time people who had no idea I’d worked there brought it up randomly. Every shift I worked someone would mention that place. We all felt a profound loss when it closed but I had no way to gauge how special it was until I was working around the city.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"1000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/L1350446.jpeg\" alt=\"four people face each other over bar, chatting, happy\" class=\"wp-image-13990834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/L1350446.jpeg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/L1350446-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/L1350446-768x512.jpeg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-element-caption\">Christian Beaulieu chats with The Deluxe patrons Steve Heilig, Oran Scott and Aimee Duddridge-Picard. (Dennis Hearne)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For at least two generations of jazz musicians, coming of age in the Bay Area meant landing a gig at Deluxe. Multi-reed player Steven Lugerner, whose band JACKNIFE plays the club June 20, was the first musician to connect Bordeleau with Beaulieu. Growing up on the Peninsula, he’d made numerous forays into the Haight and ended up loitering near to door, listening to music pouring out of the club.\u003c/p>\n\n\n\n\u003cp>He started frequenting Deluxe on trips home while studying jazz in New York City, and when he moved back to the Bay Area it was one of the first places he looked for work.\u003c/p>\n\n\n\n\u003cp>“I sent an email to Sarah and she offered me the first Wednesday of every month,” he recalled. “I immediately pitched her on the JACKNIFE band,” which focuses on music by alto sax great Jackie McLean. It was a perch that helped Lugerner become a widely influential force who launched a popular weekly jam session at \u003ca href=\"https://www.stookeysblueroom.com/musicandevents\">Stookey’s Blue Room\u003c/a> and helps run the Stanford Jazz Workshop as director of educational and festival programming.\u003c/p>\n\n\n\n\u003cp>Vocalist Emily Day can’t remember exactly when she made the transition from ardent patron to Deluxe headliner, but she treasured both sides of the finely calibrated equation. “As a patron, there was something transformative when you’d enter the space,” she says. “You didn’t have to look up who was playing there. No matter the type of music, the crowd was all for it.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1500\" height=\"1000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/DELUXE-VENUE-2.jpeg\" alt=\"jazz band in small venue with seated audience under Art Deco murals\" class=\"wp-image-13990835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/DELUXE-VENUE-2.jpeg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/DELUXE-VENUE-2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/DELUXE-VENUE-2-768x512.jpeg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-element-caption\">Barrio Manouche performs for an audience at The Deluxe on June 13, 2026. (Dennis Hearne)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Bordeleau and Beaulieu have maintained the essential geography that sparks the room’s center-of-the-action feel, which contains a side for engaged, interactive listening and a convivial bar-top environment for socializing. Emily Day and the Cosmo Alleycats started playing at Deluxe around 2018, filling in at first for Lavay Smith & Her Red Hot Skillet Lickers.\u003c/p>\n\n\n\n\u003cp>“When we finally did land a regular gig, third Fridays, it quickly became our favorite,” Day said. “Not to say we made a lot of money, but we’d turn away private performances for those gigs. As a performer, one of the greatest things was the blur between the band and audience. It felt like the most amazing house party and you’re all on the same team. You want everything about this night to be a success.”\u003c/p>\n\n\n\n\u003cp>Coming amid news that some of San Francisco’s beloved venues and dive bars are closing or up for sale, including the \u003ca href=\"https://www.sfgate.com/sf-culture/article/sf-dive-bars-sale-22299738.php\">Make Out Room and the Latin American Club\u003c/a>, the Deluxe revival is a welcome sign that that the city hasn’t lost all its swing.\u003c/p>\n\n\n\n\u003cp>“I would not be doing it if I was not confident in the scene,” Bordeleau said. “Intimate live music with a community audience is really special and valued, and people didn’t want to let it go.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Deluxe’s (1511 Haight St., San Francisco) soft opening takes place June 18 with a performance by string player and vocalist Mitch Polzak. On Friday, June 19, saxophonist James Mahone performs at 6 p.m., followed by drummer Miles Turk at 8 p.m\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Theater Troupe Faces Reality of City’s New Demographics",
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"content": "\u003cp>Even by the eccentric standards of Bay Area theatre, the San Francisco Neo-Futurists are a sight to behold. The local chapter of the Chicago experimental troupe has built a loyal following by taking the original troupe’s format – a weekly anthology show that attempts to stage 30 performance-art shorts in under 60 minutes – and injecting it with a uniquely Bay Area perspective.\u003c/p>\n\n\n\n\u003cp>That perspective was important when casting their two special-themed June editions of their weekly show \u003cem>The Infinite Wrench\u003c/em>. While searching for actors to perform the Juneteenth-themed \u003cem>The Blackest Wrench\u003c/em> and the LGBTQIA+ show \u003cem>Infinite Pride\u003c/em>, the reality of the Bay Area’s new demographics were made manifest, and the company had to bring in cast members from outside chapters of the Neo-Futurists.\u003c/p>\n\n\n\n\u003cp>Because the New York and Chicago chapters have larger ensembles, “we don’t tend to go out there for their specialty shows,” says co-artistic director Jeb Lehrman. “Generally, though, San Francisco sees a few more visitors and transfers than the other companies.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-2025-Infinite-Pride-El-Rio-84.jpg\" alt=\"\" class=\"wp-image-13990824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-2025-Infinite-Pride-El-Rio-84.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-2025-Infinite-Pride-El-Rio-84-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-2025-Infinite-Pride-El-Rio-84-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-2025-Infinite-Pride-El-Rio-84-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A scene from the 2025 edition of the SF Neo-Futurists’ ‘Infinite Pride’ at El Rio in San Francisco. (Kayleigh Shawn)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>As with the regular weekly shows, \u003cem>Blackest Wrench\u003c/em> and \u003cem>Infinite Pride\u003c/em> will ask audiences to select from a menu of 30 short plays, with its writer-performers attempting to work their way through the entire list before the always-on-display clock buzzes at the end of an hour.\u003c/p>\n\n\n\n\u003cp>Topics run the gamut, from hilarious observances of life, painful confessions to the audience and even the cast holding still until an audience member interacts with a set piece. By the troupe’s own estimation, the San Francisco chapter has “premiered some 4,000 plays over the last 13 years.”\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It also produces five or six special shows per year, with \u003cem>Infinite Pride\u003c/em> (boasting an all-queer ensemble) having been staged annually since 2014. This year’s edition will be a two-night event, performed at legendary San Francisco queer bars El Rio and The Stud.\u003c/p>\n\n\n\n\u003cp>“I think it’s generally a little easier to sell a specialty show,” says \u003cem>Infinite Pride\u003c/em> cast member Aster Light. “The regular show happens every weekend, so it’s less of an event, and because all my friends are queer, they tend to be drawn in to see an all-queer cast sharing our stories and our culture.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-125.jpg\" alt=\"\" class=\"wp-image-13990821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-125.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-125-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-125-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-125-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A scene from the 2025 edition of the SF Neo-Futurists’ ‘The Blackest Wrench.’ (Kayleigh Shawn)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Meanwhile, the second annual \u003cem>Blackest Wrench\u003c/em> has been a tougher sell. The one-night show will be performed in Oakland, as if reflecting the mass migration of Black artists away from San Francisco. It’s also the show that required bringing in the most out-of-towners to fill an ensemble of just a half-dozen performers.\u003cbr>\u003cbr>The parallels aren’t lost on Ray Ray Young, a San Francisco Neo-Futurist since 2023, and one whose Black and queer identities reflect the intersection between the two casts. (Of the two shows, Young is only in \u003cem>Blackest Wrench\u003c/em>.)\u003c/p>\n\n\n\n\u003cp>“Honestly, this has been a multiyear effort in the making,” says Young, who’s led efforts to diversify the troupe, and has been instrumental in the production of \u003cem>Blackest Wrench\u003c/em>.\u003cbr>\u003cbr>“Even with all of that effort, we still unfortunately don’t quite have enough Black Neo-Futurists in the Bay Area to fill a show like this.”\u003cbr>\u003cbr>With one member from Chicago and one from New York, “[It’s] been really exciting to work with them,” Young says. “And it strengthens our Neo-Futurist practice to get to collaborate with members of different ensembles.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-34.jpg\" alt=\"\" class=\"wp-image-13990823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-34.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-34-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A scene from the 2025 edition of the SF Neo-Futurists’ ‘The Blackest Wrench.’ (Kayleigh Shawn)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Though some cast members were facetious about what audiences could expect in the two shows (one \u003cem>Pride\u003c/em> cast member celebrated “[feeling] so represented by gorilla masks and basketballs and arm-heavy choreography in this particular show”), all involved agree that their shows represent activism in the face of nationwide hatred against both Black and queer Americans.\u003c/p>\n\n\n\n\u003cp>When asked whom they’d like most to see their show, Light is direct and uncompromising: “I hope the ghost of Charlie Kirk is forced to watch it on repeat in hell.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003c/em>\u003ca href=\"https://www.onthestage.tickets/show/the-lower-bottom-playaz/69f135bd4462ee1056dde748/\">\u003cem>The Blackest Wrench\u003c/em>\u003c/a>\u003cem>’ takes place Friday, June 19, at BAM House (540 Broadway, Oakland).\u003c/em> \u003ca href=\"https://www.sfneofuturists.org/pride\">\u003cem>‘Infinite Pride 2026\u003c/em>\u003c/a>\u003cem>’ runs Monday, June 22, at El Rio (3158 Mission St., San Francisco) and Tuesday, June 23, at The Stud (1123 Folsom St., San Francisco).\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-125.jpg\" alt=\"\" class=\"wp-image-13990821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-125.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-125-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-125-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-125-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">A scene from the 2025 edition of the SF Neo-Futurists’ ‘The Blackest Wrench.’ \u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Meanwhile, the second annual \u003cem>Blackest Wrench\u003c/em> has been a tougher sell. The one-night show will be performed in Oakland, as if reflecting the mass migration of Black artists away from San Francisco. It’s also the show that required bringing in the most out-of-towners to fill an ensemble of just a half-dozen performers.\u003cbr>\u003cbr>The parallels aren’t lost on Ray Ray Young, a San Francisco Neo-Futurist since 2023, and one whose Black and queer identities reflect the intersection between the two casts. (Of the two shows, Young is only in \u003cem>Blackest Wrench\u003c/em>.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>“Honestly, this has been a multiyear effort in the making,” says Young, who’s led efforts to diversify the troupe, and has been instrumental in the production of \u003cem>Blackest Wrench\u003c/em>.\u003cbr>\u003cbr>“Even with all of that effort, we still unfortunately don’t quite have enough Black Neo-Futurists in the Bay Area to fill a show like this.”\u003cbr>\u003cbr>With one member from Chicago and one from New York, “[It’s] been really exciting to work with them,” Young says. “And it strengthens our Neo-Futurist practice to get to collaborate with members of different ensembles.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Though some cast members were facetious about what audiences could expect in the two shows (one \u003cem>Pride\u003c/em> cast member celebrated “[feeling] so represented by gorilla masks and basketballs and arm-heavy choreography in this particular show”), all involved agree that their shows represent activism in the face of nationwide hatred against both Black and queer Americans.\u003c/p>\n",
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"innerHTML": "\n\u003cp>When asked whom they’d like most to see their show, Light is direct and uncompromising: “I hope the ghost of Charlie Kirk is forced to watch it on repeat in hell.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>‘\u003c/em>\u003ca href=\"https://www.onthestage.tickets/show/the-lower-bottom-playaz/69f135bd4462ee1056dde748/\">\u003cem>The Blackest Wrench\u003c/em>\u003c/a>\u003cem>’ takes place Friday, June 19, at BAM House (540 Broadway, Oakland).\u003c/em> \u003ca href=\"https://www.sfneofuturists.org/pride\">\u003cem>‘Infinite Pride 2026\u003c/em>\u003c/a>\u003cem>’ runs Monday, June 22, at El Rio (3158 Mission St., San Francisco) and Tuesday, June 23, at The Stud (1123 Folsom St., San Francisco).\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even by the eccentric standards of Bay Area theatre, the San Francisco Neo-Futurists are a sight to behold. The local chapter of the Chicago experimental troupe has built a loyal following by taking the original troupe’s format – a weekly anthology show that attempts to stage 30 performance-art shorts in under 60 minutes – and injecting it with a uniquely Bay Area perspective.\u003c/p>\n\n\n\n\u003cp>That perspective was important when casting their two special-themed June editions of their weekly show \u003cem>The Infinite Wrench\u003c/em>. While searching for actors to perform the Juneteenth-themed \u003cem>The Blackest Wrench\u003c/em> and the LGBTQIA+ show \u003cem>Infinite Pride\u003c/em>, the reality of the Bay Area’s new demographics were made manifest, and the company had to bring in cast members from outside chapters of the Neo-Futurists.\u003c/p>\n\n\n\n\u003cp>Because the New York and Chicago chapters have larger ensembles, “we don’t tend to go out there for their specialty shows,” says co-artistic director Jeb Lehrman. “Generally, though, San Francisco sees a few more visitors and transfers than the other companies.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-2025-Infinite-Pride-El-Rio-84.jpg\" alt=\"\" class=\"wp-image-13990824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-2025-Infinite-Pride-El-Rio-84.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-2025-Infinite-Pride-El-Rio-84-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-2025-Infinite-Pride-El-Rio-84-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-2025-Infinite-Pride-El-Rio-84-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A scene from the 2025 edition of the SF Neo-Futurists’ ‘Infinite Pride’ at El Rio in San Francisco. (Kayleigh Shawn)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>As with the regular weekly shows, \u003cem>Blackest Wrench\u003c/em> and \u003cem>Infinite Pride\u003c/em> will ask audiences to select from a menu of 30 short plays, with its writer-performers attempting to work their way through the entire list before the always-on-display clock buzzes at the end of an hour.\u003c/p>\n\n\n\n\u003cp>Topics run the gamut, from hilarious observances of life, painful confessions to the audience and even the cast holding still until an audience member interacts with a set piece. By the troupe’s own estimation, the San Francisco chapter has “premiered some 4,000 plays over the last 13 years.”\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It also produces five or six special shows per year, with \u003cem>Infinite Pride\u003c/em> (boasting an all-queer ensemble) having been staged annually since 2014. This year’s edition will be a two-night event, performed at legendary San Francisco queer bars El Rio and The Stud.\u003c/p>\n\n\n\n\u003cp>“I think it’s generally a little easier to sell a specialty show,” says \u003cem>Infinite Pride\u003c/em> cast member Aster Light. “The regular show happens every weekend, so it’s less of an event, and because all my friends are queer, they tend to be drawn in to see an all-queer cast sharing our stories and our culture.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-125.jpg\" alt=\"\" class=\"wp-image-13990821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-125.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-125-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-125-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-125-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A scene from the 2025 edition of the SF Neo-Futurists’ ‘The Blackest Wrench.’ (Kayleigh Shawn)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Meanwhile, the second annual \u003cem>Blackest Wrench\u003c/em> has been a tougher sell. The one-night show will be performed in Oakland, as if reflecting the mass migration of Black artists away from San Francisco. It’s also the show that required bringing in the most out-of-towners to fill an ensemble of just a half-dozen performers.\u003cbr>\u003cbr>The parallels aren’t lost on Ray Ray Young, a San Francisco Neo-Futurist since 2023, and one whose Black and queer identities reflect the intersection between the two casts. (Of the two shows, Young is only in \u003cem>Blackest Wrench\u003c/em>.)\u003c/p>\n\n\n\n\u003cp>“Honestly, this has been a multiyear effort in the making,” says Young, who’s led efforts to diversify the troupe, and has been instrumental in the production of \u003cem>Blackest Wrench\u003c/em>.\u003cbr>\u003cbr>“Even with all of that effort, we still unfortunately don’t quite have enough Black Neo-Futurists in the Bay Area to fill a show like this.”\u003cbr>\u003cbr>With one member from Chicago and one from New York, “[It’s] been really exciting to work with them,” Young says. “And it strengthens our Neo-Futurist practice to get to collaborate with members of different ensembles.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-34.jpg\" alt=\"\" class=\"wp-image-13990823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-34.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/SFNF-The-Blackest-Wrench-34-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A scene from the 2025 edition of the SF Neo-Futurists’ ‘The Blackest Wrench.’ (Kayleigh Shawn)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Though some cast members were facetious about what audiences could expect in the two shows (one \u003cem>Pride\u003c/em> cast member celebrated “[feeling] so represented by gorilla masks and basketballs and arm-heavy choreography in this particular show”), all involved agree that their shows represent activism in the face of nationwide hatred against both Black and queer Americans.\u003c/p>\n\n\n\n\u003cp>When asked whom they’d like most to see their show, Light is direct and uncompromising: “I hope the ghost of Charlie Kirk is forced to watch it on repeat in hell.”\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003c/em>\u003ca href=\"https://www.onthestage.tickets/show/the-lower-bottom-playaz/69f135bd4462ee1056dde748/\">\u003cem>The Blackest Wrench\u003c/em>\u003c/a>\u003cem>’ takes place Friday, June 19, at BAM House (540 Broadway, Oakland).\u003c/em> \u003ca href=\"https://www.sfneofuturists.org/pride\">\u003cem>‘Infinite Pride 2026\u003c/em>\u003c/a>\u003cem>’ runs Monday, June 22, at El Rio (3158 Mission St., San Francisco) and Tuesday, June 23, at The Stud (1123 Folsom St., San Francisco).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "where-to-watch-world-cup-bay-area-best-bars-classic-pubs",
"title": "Bars, Pubs and Dives: Where to Watch World Cup Matches in the Bay Area",
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"content": "\u003cp>The Bay Area enjoys a long history with \u003ca href=\"https://www.kqed.org/arts/tag/soccer\">soccer\u003c/a> fandoms — and classic bars and pubs for watching the game.\u003cbr>\u003cbr>In 1967, the \u003ca href=\"https://www.kqed.org/arts/13934415/8-over-80-derek-liecty\">Oakland Clippers\u003c/a> became national champions. The \u003ca href=\"https://www.kqed.org/news/tag/san-jose-earthquakes\">San Jose Earthquakes\u003c/a>, one of the nation’s oldest professional soccer clubs, dates back to 1974. In 1994, \u003ca href=\"https://www.kqed.org/arts/tag/stanford\">Stanford Stadium\u003c/a> was selected as a primary venue for the 15th World Cup.\u003c/p>\n\n\n\n\u003cp>Today, the \u003ca href=\"https://www.kqed.org/arts/tag/oakland-roots\">Oakland Roots and Soul\u003c/a> have emerged as the East Bay’s second-division darlings, playing at the Oakland Coliseum. And don’t forget \u003ca href=\"https://www.kqed.org/news/tag/bay-fc\">Bay FC\u003c/a>, who’ve built a sizable fanbase since launching in 2023 as an expansion team in the National Women’s Soccer League.\u003c/p>\n\n\n\n\u003cp>It’s no surprise, then, that FIFA has once again selected the region — and in particular \u003ca href=\"https://www.kqed.org/arts/13963597/silicon-valley-bay-area-san-jose-soccer-capital\">Silicon Valley, the unofficial soccer capital of the Bay\u003c/a> — as a host site for the 23rd edition of the World Cup. Even so, not everyone can afford to attend the world’s greatest soccer tournament IRL; \u003ca href=\"https://www.bbc.com/sport/football/articles/ce8lzj0rprpo\">BBC Sports reported\u003c/a> that World Cup ticket prices in North America originally soared as high as $8,680, with hundreds more at $2,735. \u003c/p>\n\n\n\n\u003cp>From Santa Clara to Santa Rosa, meanwhile, soccer pubs and cafes will show the games for free, with loud groups of passionate hooligans and futbolistas celebrating each goal. Here’s where to join some of the Bay’s most devout football zealots to watch the World Cup.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-06-KQED.jpg\" alt=\"\" class=\"wp-image-13990302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-06-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">People hang out while watching sports at Maggie McGarry’s in San Francisco, Calif., on Thursday, May 28, 2026. (Juliana Yamada for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">San Francisco\u003c/h2>\n\n\n\n\u003cp>\u003cstrong>\u003ca href=\"https://the-kezar-pub.menu-world.com/\">Kezar Pub\u003c/a>\u003c/strong>: This Irish pub is a throwback neighborhood gem with a proud soccer identity that began in 1995, when Irish immigrant Cyril Hackett took over. Located in the Upper Haight, it faces Golden Gate Park’s Kezar Stadium — a historic sports venue that has hosted every kind of football match, including the San Francisco 49ers, the United States Men’s National Team during Olympic qualifiers, and currently the \u003ca href=\"https://www.kqed.org/arts/13952578/san-francisco-soccer-team-city-fc-muni-hollis-callas-collaboration\">quirky grassroots soccer club, SF City FC\u003c/a>. It offers the full experience of a lovably sticky-floored soccer pub, year round.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://maggiemcgarrys.com/\">Maggie McGarry’s\u003c/a>\u003c/strong>: Ask any Arsenal F.C. fan (\u003ca href=\"https://www.theguardian.com/football/picture/2026/may/26/david-squires-on-arsenal-premier-league-title\">congrats on winning the title after a 22-year drought\u003c/a>, by the way) where they prefer to watch Gooner games in Frisco, and the answer will likely be Maggie’s. This North Beach haunt is a quintessential Irish pub. With plentiful soccer memorabilia bedecking the walls, and even \u003ca href=\"https://www.sfgate.com/sports/article/Maggie-McGarrys-san-francisco-sports-bar-16493962.php\">a ban on the legendary soccer players Roy Keane, Thierry Henry and Stephen Ireland\u003c/a>, the World Cup fan environment won’t get much more legit than this. Expect very large and sweaty crowds.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>\u003ca href=\"https://the-pig-whistle.menu-world.com/\">The Pig and Whistle\u003c/a>\u003c/strong>: Located near the University of San Francisco, this bar on Geary Boulevard attracts a funky mix of young and OG patrons alike, and has been listed as \u003ca href=\"https://sf.eater.com/maps/best-sports-bars-warriors-giants-niners-san-francisco\">one of Eater’s best sports bars\u003c/a> in the city. An English pub with a noticeable amount of British ex-pats on any given gameday, it offers standard fare like bangers and mash and a pint of Fuller’s London Pride while cheering on your international team of choice.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-01-KQED.jpg\" alt=\"\" class=\"wp-image-13990299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-01-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">People watch professional sports at Kezar Pub in San Francisco, Calif., on Monday, May 25, 2026. (Juliana Yamada for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Oakland\u003c/h2>\n\n\n\n\u003cp>\u003cstrong>\u003ca href=\"https://neighborhoodsc.com/\">Neighborhood Sports Club\u003c/a>\u003c/strong>: The latest most unique addition to the Bay Area football circuit is this outdoor cafe in Jack London Square. An actual small-sided soccer field is attached, where local players run pick-up games; they’ll also host their own Neighborhood World Cup throughout the duration of the FIFA tourney. Unlike a traditional European soccer pub, the space provides fresh air, a family-friendly environment, food and fashion pop-ups from local makers.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>\u003ca href=\"https://www.chalkysticks.com/places/george-walt-s\">George & Walt’s\u003c/a>\u003c/strong>: Oakland over the past decade has lost a handful of bona fide soccer pubs, like Commonwealth Cafe and Public House and Overland Country Bar & Grill. In their place, however, are classic American sports bars like George and Walt’s on College Avenue in Claremont, which has become a de facto watch party center for the Beautiful Game. During the earliest morning games (9 a.m. local time), the kitchen may not be open, but outside food is welcome. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>\u003ca href=\"https://www.oaklandathleticclub.com/\">The Athletic Club\u003c/a>\u003c/strong>: In its peak hours, there may be no better destination for sports watching in the East Bay than the Athletic Club on Grand Avenue, with plenty of TVs, space, liquor and food. Though not specifically a soccer pub per se, it’s a short distance from BART, with plenty of things to do nearby before or after, making it an ideal gathering spot for an array of sports lovers. While the venue shut down a few months ago, it’s reportedly planning to \u003ca href=\"https://www.yahoo.com/lifestyle/articles/one-oaklands-only-sports-bars-005550889.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAGO_mVoK-Oe6YZIX2YPHMm2Od90va9DKY6uHCVHdvkiLhYW0yg_EpKRpTzkDGm9jd647gyebleZMBCVoYdyXBLjAa1ziMxNSVN9F9rEtnUdA0cGUVyao-HMwwjFWuVFtmnC9f7X0UFK1uMXFcZ72Kir-nxNHuS0kTjr83U3cFG8c\">re-open with new ownership on June 11\u003c/a>, just in time for the World Cup.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/000179890032.jpg\" alt=\"\" class=\"wp-image-13990634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/000179890032.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/000179890032-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/000179890032-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/000179890032-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A crowd at Neighborhood Sports Club in Oakland during its grand opening on May 16, 2026. (Courtesy NSC)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">South Bay\u003c/h2>\n\n\n\n\u003cp>\u003cstrong>\u003ca href=\"https://jacksbar.com/\">Jack’s Bar\u003c/a>\u003c/strong>: This San Jose favorite is the headquarters for soccer hooligan groups like the Silicon Valley Gooners, and supporters’ scarves from around the globe drape from the ceiling. Like any true footballer’s den, they open at 6 a.m. on weekends during the English Premier League season to broadcast games from the opposite hemisphere. You can bet they’ll be showing every moment of this World Cup, just a stone’s throw from Levi’s Stadium. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>\u003ca href=\"https://ststephensgreen.com/\">St. Stephen’s Green\u003c/a>\u003c/strong>: A personal favorite, this is where my dad, a soccer-loving Mexican immigrant, has gone for decades to catch international games with his pick-up soccer buddies. It’s your run-of-the-mill Irish pub in many ways: hella beers on tap, greasy bar food. But the appeal of this particular watering hole is that it’s located on a bustling, pedestrian-only Castro Street in downtown Mountain View, with ample outdoor seating that transforms into an organic watch party with passersby and diehards from all over the globe cheering and booing every minute of action.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_3373-1.jpg\" alt=\"\" class=\"wp-image-13990644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_3373-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_3373-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_3373-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_3373-1-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">The Goose & Fern, located in Santa Rosa’s Railroad Square, plans a steady slate of watch parties for the World Cup. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">North Bay\u003c/h2>\n\n\n\n\u003cp>\u003cstrong>\u003ca href=\"https://thegooseandfern.com/\">The Goose & Fern\u003c/a>\u003c/strong>: Known for Full English breakfasts to go along with pints of ale and soccer matches, this Santa Rosa pub in Railroad Square will show a steady stream of World Cup games. For morning matchups, order a Scotch egg — a boiled egg wrapped in a breadcrumb-battered deep-fried sausage. For afternoons and evenings, add a Sticky Toffee Pudding to fuel your cheering. Whatever your combo, this British pub is a surefire haven for football fans in the 707.\u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://napapalisades.com/\">Napa Palisades Saloon\u003c/a>\u003c/strong>: When thinking about Napa Valley, soccer doesn’t exactly come to mind. But at this downtown hangout you’ll be able to experience every game (with the volume on!) in a no-frills sports bar setting. Skip the usual wine tasting and hit up this sports saloon, which will transform into a World Cup hub for locals. \u003c/p>\n\n",
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"innerHTML": "\n\u003cp>The Bay Area enjoys a long history with \u003ca href=\"https://www.kqed.org/arts/tag/soccer\">soccer\u003c/a> fandoms — and classic bars and pubs for watching the game.\u003cbr>\u003cbr>In 1967, the \u003ca href=\"https://www.kqed.org/arts/13934415/8-over-80-derek-liecty\">Oakland Clippers\u003c/a> became national champions. The \u003ca href=\"https://www.kqed.org/news/tag/san-jose-earthquakes\">San Jose Earthquakes\u003c/a>, one of the nation’s oldest professional soccer clubs, dates back to 1974. In 1994, \u003ca href=\"https://www.kqed.org/arts/tag/stanford\">Stanford Stadium\u003c/a> was selected as a primary venue for the 15th World Cup.\u003c/p>\n",
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"\n\u003cp>The Bay Area enjoys a long history with \u003ca href=\"https://www.kqed.org/arts/tag/soccer\">soccer\u003c/a> fandoms — and classic bars and pubs for watching the game.\u003cbr>\u003cbr>In 1967, the \u003ca href=\"https://www.kqed.org/arts/13934415/8-over-80-derek-liecty\">Oakland Clippers\u003c/a> became national champions. The \u003ca href=\"https://www.kqed.org/news/tag/san-jose-earthquakes\">San Jose Earthquakes\u003c/a>, one of the nation’s oldest professional soccer clubs, dates back to 1974. In 1994, \u003ca href=\"https://www.kqed.org/arts/tag/stanford\">Stanford Stadium\u003c/a> was selected as a primary venue for the 15th World Cup.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Today, the \u003ca href=\"https://www.kqed.org/arts/tag/oakland-roots\">Oakland Roots and Soul\u003c/a> have emerged as the East Bay’s second-division darlings, playing at the Oakland Coliseum. And don’t forget \u003ca href=\"https://www.kqed.org/news/tag/bay-fc\">Bay FC\u003c/a>, who’ve built a sizable fanbase since launching in 2023 as an expansion team in the National Women’s Soccer League.\u003c/p>\n",
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"\n\u003cp>Today, the \u003ca href=\"https://www.kqed.org/arts/tag/oakland-roots\">Oakland Roots and Soul\u003c/a> have emerged as the East Bay’s second-division darlings, playing at the Oakland Coliseum. And don’t forget \u003ca href=\"https://www.kqed.org/news/tag/bay-fc\">Bay FC\u003c/a>, who’ve built a sizable fanbase since launching in 2023 as an expansion team in the National Women’s Soccer League.\u003c/p>\n"
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"innerHTML": "\n\u003cp>It’s no surprise, then, that FIFA has once again selected the region — and in particular \u003ca href=\"https://www.kqed.org/arts/13963597/silicon-valley-bay-area-san-jose-soccer-capital\">Silicon Valley, the unofficial soccer capital of the Bay\u003c/a> — as a host site for the 23rd edition of the World Cup. Even so, not everyone can afford to attend the world’s greatest soccer tournament IRL; \u003ca href=\"https://www.bbc.com/sport/football/articles/ce8lzj0rprpo\">BBC Sports reported\u003c/a> that World Cup ticket prices in North America originally soared as high as $8,680, with hundreds more at $2,735. \u003c/p>\n",
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"\n\u003cp>It’s no surprise, then, that FIFA has once again selected the region — and in particular \u003ca href=\"https://www.kqed.org/arts/13963597/silicon-valley-bay-area-san-jose-soccer-capital\">Silicon Valley, the unofficial soccer capital of the Bay\u003c/a> — as a host site for the 23rd edition of the World Cup. Even so, not everyone can afford to attend the world’s greatest soccer tournament IRL; \u003ca href=\"https://www.bbc.com/sport/football/articles/ce8lzj0rprpo\">BBC Sports reported\u003c/a> that World Cup ticket prices in North America originally soared as high as $8,680, with hundreds more at $2,735. \u003c/p>\n"
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"innerHTML": "\n\u003cp>From Santa Clara to Santa Rosa, meanwhile, soccer pubs and cafes will show the games for free, with loud groups of passionate hooligans and futbolistas celebrating each goal. Here’s where to join some of the Bay’s most devout football zealots to watch the World Cup.\u003c/p>\n",
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"\n\u003cp>From Santa Clara to Santa Rosa, meanwhile, soccer pubs and cafes will show the games for free, with loud groups of passionate hooligans and futbolistas celebrating each goal. Here’s where to join some of the Bay’s most devout football zealots to watch the World Cup.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-06-KQED.jpg\" alt=\"\" class=\"wp-image-13990302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-06-KQED-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">People hang out while watching sports at Maggie McGarry’s in San Francisco, Calif., on Thursday, May 28, 2026.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-06-KQED.jpg\" alt=\"\" class=\"wp-image-13990302\"/>\u003cfigcaption class=\"wp-element-caption\">People hang out while watching sports at Maggie McGarry’s in San Francisco, Calif., on Thursday, May 28, 2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>\u003ca href=\"https://the-kezar-pub.menu-world.com/\">Kezar Pub\u003c/a>\u003c/strong>: This Irish pub is a throwback neighborhood gem with a proud soccer identity that began in 1995, when Irish immigrant Cyril Hackett took over. Located in the Upper Haight, it faces Golden Gate Park’s Kezar Stadium — a historic sports venue that has hosted every kind of football match, including the San Francisco 49ers, the United States Men’s National Team during Olympic qualifiers, and currently the \u003ca href=\"https://www.kqed.org/arts/13952578/san-francisco-soccer-team-city-fc-muni-hollis-callas-collaboration\">quirky grassroots soccer club, SF City FC\u003c/a>. It offers the full experience of a lovably sticky-floored soccer pub, year round.\u003c/p>\n",
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"\n\u003cp>\u003cstrong>\u003ca href=\"https://the-kezar-pub.menu-world.com/\">Kezar Pub\u003c/a>\u003c/strong>: This Irish pub is a throwback neighborhood gem with a proud soccer identity that began in 1995, when Irish immigrant Cyril Hackett took over. Located in the Upper Haight, it faces Golden Gate Park’s Kezar Stadium — a historic sports venue that has hosted every kind of football match, including the San Francisco 49ers, the United States Men’s National Team during Olympic qualifiers, and currently the \u003ca href=\"https://www.kqed.org/arts/13952578/san-francisco-soccer-team-city-fc-muni-hollis-callas-collaboration\">quirky grassroots soccer club, SF City FC\u003c/a>. It offers the full experience of a lovably sticky-floored soccer pub, year round.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>\u003ca href=\"https://maggiemcgarrys.com/\">Maggie McGarry’s\u003c/a>\u003c/strong>: Ask any Arsenal F.C. fan (\u003ca href=\"https://www.theguardian.com/football/picture/2026/may/26/david-squires-on-arsenal-premier-league-title\">congrats on winning the title after a 22-year drought\u003c/a>, by the way) where they prefer to watch Gooner games in Frisco, and the answer will likely be Maggie’s. This North Beach haunt is a quintessential Irish pub. With plentiful soccer memorabilia bedecking the walls, and even \u003ca href=\"https://www.sfgate.com/sports/article/Maggie-McGarrys-san-francisco-sports-bar-16493962.php\">a ban on the legendary soccer players Roy Keane, Thierry Henry and Stephen Ireland\u003c/a>, the World Cup fan environment won’t get much more legit than this. Expect very large and sweaty crowds.\u003c/p>\n",
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"\n\u003cp>\u003cstrong>\u003ca href=\"https://maggiemcgarrys.com/\">Maggie McGarry’s\u003c/a>\u003c/strong>: Ask any Arsenal F.C. fan (\u003ca href=\"https://www.theguardian.com/football/picture/2026/may/26/david-squires-on-arsenal-premier-league-title\">congrats on winning the title after a 22-year drought\u003c/a>, by the way) where they prefer to watch Gooner games in Frisco, and the answer will likely be Maggie’s. This North Beach haunt is a quintessential Irish pub. With plentiful soccer memorabilia bedecking the walls, and even \u003ca href=\"https://www.sfgate.com/sports/article/Maggie-McGarrys-san-francisco-sports-bar-16493962.php\">a ban on the legendary soccer players Roy Keane, Thierry Henry and Stephen Ireland\u003c/a>, the World Cup fan environment won’t get much more legit than this. Expect very large and sweaty crowds.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>\u003ca href=\"https://the-pig-whistle.menu-world.com/\">The Pig and Whistle\u003c/a>\u003c/strong>: Located near the University of San Francisco, this bar on Geary Boulevard attracts a funky mix of young and OG patrons alike, and has been listed as \u003ca href=\"https://sf.eater.com/maps/best-sports-bars-warriors-giants-niners-san-francisco\">one of Eater’s best sports bars\u003c/a> in the city. An English pub with a noticeable amount of British ex-pats on any given gameday, it offers standard fare like bangers and mash and a pint of Fuller’s London Pride while cheering on your international team of choice.\u003c/p>\n",
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"\n\u003cp>\u003cstrong>\u003ca href=\"https://the-pig-whistle.menu-world.com/\">The Pig and Whistle\u003c/a>\u003c/strong>: Located near the University of San Francisco, this bar on Geary Boulevard attracts a funky mix of young and OG patrons alike, and has been listed as \u003ca href=\"https://sf.eater.com/maps/best-sports-bars-warriors-giants-niners-san-francisco\">one of Eater’s best sports bars\u003c/a> in the city. An English pub with a noticeable amount of British ex-pats on any given gameday, it offers standard fare like bangers and mash and a pint of Fuller’s London Pride while cheering on your international team of choice.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>\u003ca href=\"https://neighborhoodsc.com/\">Neighborhood Sports Club\u003c/a>\u003c/strong>: The latest most unique addition to the Bay Area football circuit is this outdoor cafe in Jack London Square. An actual small-sided soccer field is attached, where local players run pick-up games; they’ll also host their own Neighborhood World Cup throughout the duration of the FIFA tourney. Unlike a traditional European soccer pub, the space provides fresh air, a family-friendly environment, food and fashion pop-ups from local makers.\u003c/p>\n",
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"\n\u003cp>\u003cstrong>\u003ca href=\"https://neighborhoodsc.com/\">Neighborhood Sports Club\u003c/a>\u003c/strong>: The latest most unique addition to the Bay Area football circuit is this outdoor cafe in Jack London Square. An actual small-sided soccer field is attached, where local players run pick-up games; they’ll also host their own Neighborhood World Cup throughout the duration of the FIFA tourney. Unlike a traditional European soccer pub, the space provides fresh air, a family-friendly environment, food and fashion pop-ups from local makers.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>\u003ca href=\"https://www.chalkysticks.com/places/george-walt-s\">George & Walt’s\u003c/a>\u003c/strong>: Oakland over the past decade has lost a handful of bona fide soccer pubs, like Commonwealth Cafe and Public House and Overland Country Bar & Grill. In their place, however, are classic American sports bars like George and Walt’s on College Avenue in Claremont, which has become a de facto watch party center for the Beautiful Game. During the earliest morning games (9 a.m. local time), the kitchen may not be open, but outside food is welcome. \u003c/p>\n",
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"\n\u003cp>\u003cstrong>\u003ca href=\"https://www.chalkysticks.com/places/george-walt-s\">George & Walt’s\u003c/a>\u003c/strong>: Oakland over the past decade has lost a handful of bona fide soccer pubs, like Commonwealth Cafe and Public House and Overland Country Bar & Grill. In their place, however, are classic American sports bars like George and Walt’s on College Avenue in Claremont, which has become a de facto watch party center for the Beautiful Game. During the earliest morning games (9 a.m. local time), the kitchen may not be open, but outside food is welcome. \u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>\u003ca href=\"https://www.oaklandathleticclub.com/\">The Athletic Club\u003c/a>\u003c/strong>: In its peak hours, there may be no better destination for sports watching in the East Bay than the Athletic Club on Grand Avenue, with plenty of TVs, space, liquor and food. Though not specifically a soccer pub per se, it’s a short distance from BART, with plenty of things to do nearby before or after, making it an ideal gathering spot for an array of sports lovers. While the venue shut down a few months ago, it’s reportedly planning to \u003ca href=\"https://www.yahoo.com/lifestyle/articles/one-oaklands-only-sports-bars-005550889.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAGO_mVoK-Oe6YZIX2YPHMm2Od90va9DKY6uHCVHdvkiLhYW0yg_EpKRpTzkDGm9jd647gyebleZMBCVoYdyXBLjAa1ziMxNSVN9F9rEtnUdA0cGUVyao-HMwwjFWuVFtmnC9f7X0UFK1uMXFcZ72Kir-nxNHuS0kTjr83U3cFG8c\">re-open with new ownership on June 11\u003c/a>, just in time for the World Cup.\u003c/p>\n",
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"\n\u003cp>\u003cstrong>\u003ca href=\"https://www.oaklandathleticclub.com/\">The Athletic Club\u003c/a>\u003c/strong>: In its peak hours, there may be no better destination for sports watching in the East Bay than the Athletic Club on Grand Avenue, with plenty of TVs, space, liquor and food. Though not specifically a soccer pub per se, it’s a short distance from BART, with plenty of things to do nearby before or after, making it an ideal gathering spot for an array of sports lovers. While the venue shut down a few months ago, it’s reportedly planning to \u003ca href=\"https://www.yahoo.com/lifestyle/articles/one-oaklands-only-sports-bars-005550889.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAGO_mVoK-Oe6YZIX2YPHMm2Od90va9DKY6uHCVHdvkiLhYW0yg_EpKRpTzkDGm9jd647gyebleZMBCVoYdyXBLjAa1ziMxNSVN9F9rEtnUdA0cGUVyao-HMwwjFWuVFtmnC9f7X0UFK1uMXFcZ72Kir-nxNHuS0kTjr83U3cFG8c\">re-open with new ownership on June 11\u003c/a>, just in time for the World Cup.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/000179890032.jpg\" alt=\"\" class=\"wp-image-13990634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/000179890032.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/000179890032-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/000179890032-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/000179890032-1536x1018.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">A crowd at Neighborhood Sports Club in Oakland during its grand opening on May 16, 2026. \u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>\u003cstrong>\u003ca href=\"https://jacksbar.com/\">Jack’s Bar\u003c/a>\u003c/strong>: This San Jose favorite is the headquarters for soccer hooligan groups like the Silicon Valley Gooners, and supporters’ scarves from around the globe drape from the ceiling. Like any true footballer’s den, they open at 6 a.m. on weekends during the English Premier League season to broadcast games from the opposite hemisphere. You can bet they’ll be showing every moment of this World Cup, just a stone’s throw from Levi’s Stadium. \u003c/p>\n",
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"\n\u003cp>\u003cstrong>\u003ca href=\"https://jacksbar.com/\">Jack’s Bar\u003c/a>\u003c/strong>: This San Jose favorite is the headquarters for soccer hooligan groups like the Silicon Valley Gooners, and supporters’ scarves from around the globe drape from the ceiling. Like any true footballer’s den, they open at 6 a.m. on weekends during the English Premier League season to broadcast games from the opposite hemisphere. You can bet they’ll be showing every moment of this World Cup, just a stone’s throw from Levi’s Stadium. \u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>\u003ca href=\"https://ststephensgreen.com/\">St. Stephen’s Green\u003c/a>\u003c/strong>: A personal favorite, this is where my dad, a soccer-loving Mexican immigrant, has gone for decades to catch international games with his pick-up soccer buddies. It’s your run-of-the-mill Irish pub in many ways: hella beers on tap, greasy bar food. But the appeal of this particular watering hole is that it’s located on a bustling, pedestrian-only Castro Street in downtown Mountain View, with ample outdoor seating that transforms into an organic watch party with passersby and diehards from all over the globe cheering and booing every minute of action.\u003c/p>\n",
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"\n\u003cp>\u003cstrong>\u003ca href=\"https://ststephensgreen.com/\">St. Stephen’s Green\u003c/a>\u003c/strong>: A personal favorite, this is where my dad, a soccer-loving Mexican immigrant, has gone for decades to catch international games with his pick-up soccer buddies. It’s your run-of-the-mill Irish pub in many ways: hella beers on tap, greasy bar food. But the appeal of this particular watering hole is that it’s located on a bustling, pedestrian-only Castro Street in downtown Mountain View, with ample outdoor seating that transforms into an organic watch party with passersby and diehards from all over the globe cheering and booing every minute of action.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_3373-1.jpg\" alt=\"\" class=\"wp-image-13990644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_3373-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_3373-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_3373-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_3373-1-1536x1152.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">The Goose & Fern, located in Santa Rosa’s Railroad Square, plans a steady slate of watch parties for the World Cup.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_3373-1.jpg\" alt=\"\" class=\"wp-image-13990644\"/>\u003cfigcaption class=\"wp-element-caption\">The Goose & Fern, located in Santa Rosa’s Railroad Square, plans a steady slate of watch parties for the World Cup.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>\u003ca href=\"https://thegooseandfern.com/\">The Goose & Fern\u003c/a>\u003c/strong>: Known for Full English breakfasts to go along with pints of ale and soccer matches, this Santa Rosa pub in Railroad Square will show a steady stream of World Cup games. For morning matchups, order a Scotch egg — a boiled egg wrapped in a breadcrumb-battered deep-fried sausage. For afternoons and evenings, add a Sticky Toffee Pudding to fuel your cheering. Whatever your combo, this British pub is a surefire haven for football fans in the 707.\u003c/p>\n",
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"\n\u003cp>\u003cstrong>\u003ca href=\"https://thegooseandfern.com/\">The Goose & Fern\u003c/a>\u003c/strong>: Known for Full English breakfasts to go along with pints of ale and soccer matches, this Santa Rosa pub in Railroad Square will show a steady stream of World Cup games. For morning matchups, order a Scotch egg — a boiled egg wrapped in a breadcrumb-battered deep-fried sausage. For afternoons and evenings, add a Sticky Toffee Pudding to fuel your cheering. Whatever your combo, this British pub is a surefire haven for football fans in the 707.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>\u003ca href=\"https://napapalisades.com/\">Napa Palisades Saloon\u003c/a>\u003c/strong>: When thinking about Napa Valley, soccer doesn’t exactly come to mind. But at this downtown hangout you’ll be able to experience every game (with the volume on!) in a no-frills sports bar setting. Skip the usual wine tasting and hit up this sports saloon, which will transform into a World Cup hub for locals. \u003c/p>\n",
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"\n\u003cp>\u003cstrong>\u003ca href=\"https://napapalisades.com/\">Napa Palisades Saloon\u003c/a>\u003c/strong>: When thinking about Napa Valley, soccer doesn’t exactly come to mind. But at this downtown hangout you’ll be able to experience every game (with the volume on!) in a no-frills sports bar setting. Skip the usual wine tasting and hit up this sports saloon, which will transform into a World Cup hub for locals. \u003c/p>\n"
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area enjoys a long history with \u003ca href=\"https://www.kqed.org/arts/tag/soccer\">soccer\u003c/a> fandoms — and classic bars and pubs for watching the game.\u003cbr>\u003cbr>In 1967, the \u003ca href=\"https://www.kqed.org/arts/13934415/8-over-80-derek-liecty\">Oakland Clippers\u003c/a> became national champions. The \u003ca href=\"https://www.kqed.org/news/tag/san-jose-earthquakes\">San Jose Earthquakes\u003c/a>, one of the nation’s oldest professional soccer clubs, dates back to 1974. In 1994, \u003ca href=\"https://www.kqed.org/arts/tag/stanford\">Stanford Stadium\u003c/a> was selected as a primary venue for the 15th World Cup.\u003c/p>\n\n\n\n\u003cp>Today, the \u003ca href=\"https://www.kqed.org/arts/tag/oakland-roots\">Oakland Roots and Soul\u003c/a> have emerged as the East Bay’s second-division darlings, playing at the Oakland Coliseum. And don’t forget \u003ca href=\"https://www.kqed.org/news/tag/bay-fc\">Bay FC\u003c/a>, who’ve built a sizable fanbase since launching in 2023 as an expansion team in the National Women’s Soccer League.\u003c/p>\n\n\n\n\u003cp>It’s no surprise, then, that FIFA has once again selected the region — and in particular \u003ca href=\"https://www.kqed.org/arts/13963597/silicon-valley-bay-area-san-jose-soccer-capital\">Silicon Valley, the unofficial soccer capital of the Bay\u003c/a> — as a host site for the 23rd edition of the World Cup. Even so, not everyone can afford to attend the world’s greatest soccer tournament IRL; \u003ca href=\"https://www.bbc.com/sport/football/articles/ce8lzj0rprpo\">BBC Sports reported\u003c/a> that World Cup ticket prices in North America originally soared as high as $8,680, with hundreds more at $2,735. \u003c/p>\n\n\n\n\u003cp>From Santa Clara to Santa Rosa, meanwhile, soccer pubs and cafes will show the games for free, with loud groups of passionate hooligans and futbolistas celebrating each goal. Here’s where to join some of the Bay’s most devout football zealots to watch the World Cup.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-06-KQED.jpg\" alt=\"\" class=\"wp-image-13990302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-06-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">People hang out while watching sports at Maggie McGarry’s in San Francisco, Calif., on Thursday, May 28, 2026. (Juliana Yamada for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">San Francisco\u003c/h2>\n\n\n\n\u003cp>\u003cstrong>\u003ca href=\"https://the-kezar-pub.menu-world.com/\">Kezar Pub\u003c/a>\u003c/strong>: This Irish pub is a throwback neighborhood gem with a proud soccer identity that began in 1995, when Irish immigrant Cyril Hackett took over. Located in the Upper Haight, it faces Golden Gate Park’s Kezar Stadium — a historic sports venue that has hosted every kind of football match, including the San Francisco 49ers, the United States Men’s National Team during Olympic qualifiers, and currently the \u003ca href=\"https://www.kqed.org/arts/13952578/san-francisco-soccer-team-city-fc-muni-hollis-callas-collaboration\">quirky grassroots soccer club, SF City FC\u003c/a>. It offers the full experience of a lovably sticky-floored soccer pub, year round.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://maggiemcgarrys.com/\">Maggie McGarry’s\u003c/a>\u003c/strong>: Ask any Arsenal F.C. fan (\u003ca href=\"https://www.theguardian.com/football/picture/2026/may/26/david-squires-on-arsenal-premier-league-title\">congrats on winning the title after a 22-year drought\u003c/a>, by the way) where they prefer to watch Gooner games in Frisco, and the answer will likely be Maggie’s. This North Beach haunt is a quintessential Irish pub. With plentiful soccer memorabilia bedecking the walls, and even \u003ca href=\"https://www.sfgate.com/sports/article/Maggie-McGarrys-san-francisco-sports-bar-16493962.php\">a ban on the legendary soccer players Roy Keane, Thierry Henry and Stephen Ireland\u003c/a>, the World Cup fan environment won’t get much more legit than this. Expect very large and sweaty crowds.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>\u003ca href=\"https://the-pig-whistle.menu-world.com/\">The Pig and Whistle\u003c/a>\u003c/strong>: Located near the University of San Francisco, this bar on Geary Boulevard attracts a funky mix of young and OG patrons alike, and has been listed as \u003ca href=\"https://sf.eater.com/maps/best-sports-bars-warriors-giants-niners-san-francisco\">one of Eater’s best sports bars\u003c/a> in the city. An English pub with a noticeable amount of British ex-pats on any given gameday, it offers standard fare like bangers and mash and a pint of Fuller’s London Pride while cheering on your international team of choice.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-01-KQED.jpg\" alt=\"\" class=\"wp-image-13990299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260528-WORLDCUPBARS-JY-01-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">People watch professional sports at Kezar Pub in San Francisco, Calif., on Monday, May 25, 2026. (Juliana Yamada for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Oakland\u003c/h2>\n\n\n\n\u003cp>\u003cstrong>\u003ca href=\"https://neighborhoodsc.com/\">Neighborhood Sports Club\u003c/a>\u003c/strong>: The latest most unique addition to the Bay Area football circuit is this outdoor cafe in Jack London Square. An actual small-sided soccer field is attached, where local players run pick-up games; they’ll also host their own Neighborhood World Cup throughout the duration of the FIFA tourney. Unlike a traditional European soccer pub, the space provides fresh air, a family-friendly environment, food and fashion pop-ups from local makers.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>\u003ca href=\"https://www.chalkysticks.com/places/george-walt-s\">George & Walt’s\u003c/a>\u003c/strong>: Oakland over the past decade has lost a handful of bona fide soccer pubs, like Commonwealth Cafe and Public House and Overland Country Bar & Grill. In their place, however, are classic American sports bars like George and Walt’s on College Avenue in Claremont, which has become a de facto watch party center for the Beautiful Game. During the earliest morning games (9 a.m. local time), the kitchen may not be open, but outside food is welcome. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>\u003ca href=\"https://www.oaklandathleticclub.com/\">The Athletic Club\u003c/a>\u003c/strong>: In its peak hours, there may be no better destination for sports watching in the East Bay than the Athletic Club on Grand Avenue, with plenty of TVs, space, liquor and food. Though not specifically a soccer pub per se, it’s a short distance from BART, with plenty of things to do nearby before or after, making it an ideal gathering spot for an array of sports lovers. While the venue shut down a few months ago, it’s reportedly planning to \u003ca href=\"https://www.yahoo.com/lifestyle/articles/one-oaklands-only-sports-bars-005550889.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAGO_mVoK-Oe6YZIX2YPHMm2Od90va9DKY6uHCVHdvkiLhYW0yg_EpKRpTzkDGm9jd647gyebleZMBCVoYdyXBLjAa1ziMxNSVN9F9rEtnUdA0cGUVyao-HMwwjFWuVFtmnC9f7X0UFK1uMXFcZ72Kir-nxNHuS0kTjr83U3cFG8c\">re-open with new ownership on June 11\u003c/a>, just in time for the World Cup.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/000179890032.jpg\" alt=\"\" class=\"wp-image-13990634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/000179890032.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/000179890032-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/000179890032-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/000179890032-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">A crowd at Neighborhood Sports Club in Oakland during its grand opening on May 16, 2026. (Courtesy NSC)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">South Bay\u003c/h2>\n\n\n\n\u003cp>\u003cstrong>\u003ca href=\"https://jacksbar.com/\">Jack’s Bar\u003c/a>\u003c/strong>: This San Jose favorite is the headquarters for soccer hooligan groups like the Silicon Valley Gooners, and supporters’ scarves from around the globe drape from the ceiling. Like any true footballer’s den, they open at 6 a.m. on weekends during the English Premier League season to broadcast games from the opposite hemisphere. You can bet they’ll be showing every moment of this World Cup, just a stone’s throw from Levi’s Stadium. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>\u003ca href=\"https://ststephensgreen.com/\">St. Stephen’s Green\u003c/a>\u003c/strong>: A personal favorite, this is where my dad, a soccer-loving Mexican immigrant, has gone for decades to catch international games with his pick-up soccer buddies. It’s your run-of-the-mill Irish pub in many ways: hella beers on tap, greasy bar food. But the appeal of this particular watering hole is that it’s located on a bustling, pedestrian-only Castro Street in downtown Mountain View, with ample outdoor seating that transforms into an organic watch party with passersby and diehards from all over the globe cheering and booing every minute of action.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_3373-1.jpg\" alt=\"\" class=\"wp-image-13990644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_3373-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_3373-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_3373-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/IMG_3373-1-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">The Goose & Fern, located in Santa Rosa’s Railroad Square, plans a steady slate of watch parties for the World Cup. (Gabe Meline/KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">North Bay\u003c/h2>\n\n\n\n\u003cp>\u003cstrong>\u003ca href=\"https://thegooseandfern.com/\">The Goose & Fern\u003c/a>\u003c/strong>: Known for Full English breakfasts to go along with pints of ale and soccer matches, this Santa Rosa pub in Railroad Square will show a steady stream of World Cup games. For morning matchups, order a Scotch egg — a boiled egg wrapped in a breadcrumb-battered deep-fried sausage. For afternoons and evenings, add a Sticky Toffee Pudding to fuel your cheering. Whatever your combo, this British pub is a surefire haven for football fans in the 707.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://napapalisades.com/\">Napa Palisades Saloon\u003c/a>\u003c/strong>: When thinking about Napa Valley, soccer doesn’t exactly come to mind. But at this downtown hangout you’ll be able to experience every game (with the volume on!) in a no-frills sports bar setting. Skip the usual wine tasting and hit up this sports saloon, which will transform into a World Cup hub for locals. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco’s Most Affordable Art Supply Store Is Moving",
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"content": "\u003cp>For the first time in its 50-year history, the creative reuse center \u003ca href=\"https://www.scrap-sf.org/home\">SCRAP\u003c/a> will have a permanent home. The arts nonprofit, which operates out of a \u003ca href=\"https://www.kqed.org/news/tag/sfusd\">San Francisco Unified School District\u003c/a> warehouse in the Bayview neighborhood, has purchased a two-story building just a few blocks away, at 141 Industrial St.\u003c/p>\n\n\n\n\u003cp>The move and reopening, scheduled for August, will cap a period of uncertainty for the organization. SCRAP — the Scroungers’ Center for Reusable Art Parts — has long known its days at its current location were numbered.\u003c/p>\n\n\n\n\u003cp>“Anybody that’s been to SCRAP for the last few years, it’s just so obvious that we were busting out of our seams,” said Terry Kochanski, the nonprofit’s executive director since 2019. \u003c/p>\n\n\n\n\u003cp>A larger space might have remained a far-off dream. But in November 2024, a move was all but forced by voters, who approved a $790 million bond measure to fund improvements at SFUSD sites, including creating a central kitchen for student lunches. The site of that planned kitchen is the warehouse where SCRAP currently pays just $1,240 a month for its 7,000 square feet of space. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg\" alt=\"people inside a warehouse surrounded by banners and shelves of art supplies\" class=\"wp-image-13990574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Customers shop at SCRAP, a creative reuse depot, on June 5, 2026. The nonprofit will soon move to a new building. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>So many arts nonprofits in San Francisco have faced similar challenges in recent years: a ticking clock, a tech-inflated real estate market, a strained funding landscape. The details are different, the outcomes familiar — \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">closure\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13987725/contemporary-jewish-museum-to-sell-its-downtown-sf-building\">downsizing\u003c/a>, “\u003ca href=\"https://www.kqed.org/arts/13983013/ica-san-francisco-nomadic-museum-cube-sf-art-week\">going nomadic\u003c/a>.” \u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not SCRAP. Living up to its name, the nonprofit has now achieved the seemingly impossible: purchasing a building and moving on its own terms. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Scrapper’s delight\u003c/h2>\n\n\n\n\u003cp>Founded in 1976 by Anne Marie Theilen and \u003ca href=\"https://www.kqed.org/arts/tag/ruth-asawa\">Ruth Asawa\u003c/a>, SCRAP was created to support San Francisco’s Neighborhood Arts Program. While grant funding paid for professional artists to teach in public schools, there was no budget for their art supplies. Theilen and Asawa gathered donations and redistributed excess materials (like fabric offcuts and product overruns) across the teachers’ classrooms.\u003c/p>\n\n\n\n\u003cp>Susan Green, 76, relied on SCRAP over two decades ago as a teacher. On a recent visit from Denver for her grandchildren’s high school graduations, she made sure to check in on the depot. “I just love this place. It’s a touchstone place in my life,” she said. “Wherever I go, I have to see what that city is doing. Are they doing anything like this?”\u003c/p>\n\n\n\n\u003cp>These days, SCRAP remains a crucial resource for the region’s art classrooms, hosting \u003ca href=\"https://www.scrap-sf.org/programs/educator-support\">two teacher giveaways\u003c/a> a year. It’s a place where people can take workshops and \u003ca href=\"https://www.scrap-sf.org/workshops\">learn new art skills\u003c/a>. And it’s the most affordable art supply store most artists have ever seen. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg\" alt=\"two people handle jewelry and bags in workshop space\" class=\"wp-image-13990577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">From left, Margarita Lopez, creative reuse specialist, and Dalia Gonzalez, assistant depot manager, process donated items for sale at SCRAP. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>SCRAP processes about 1,000 pounds of material a day. Donations pour in by the carload: empty frames, mannequins, buckets of photographs and years’ worth of \u003cem>National Geographics\u003c/em>. Inside, “scrappers” roam the aisles, sifting through piles of ready-to-be-transformed stuff. \u003c/p>\n\n\n\n\u003cp>The nonprofit has grown dramatically in recent years, from an operating budget of $335,789 in 2019 to just over $1 million in 2024, according to tax filings. In 2020 they began sending materials and lesson plans directly to classrooms with the “\u003ca href=\"https://www.scrap-sf.org/programs/scrap-in-a-box\">SCRAP in a Box\u003c/a>” program. SCRAP’s \u003ca href=\"https://www.scrap-sf.org/programs/sustainable-fashion-design\">sustainable fashion design\u003c/a> curriculum, an after-school program for middle and high school students, currently has about 200 participants, and takes place across 10 sites.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Room to grow\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>“We could have looked for five more years and I honestly don’t think we could’ve found a better forever home for SCRAP,” Kochanski said.\u003c/p>\n\n\n\n\u003cp>Located on a triangular lot at the corner of Industrial Street and Quesada Avenue, the site boasts a fenced-in parking lot, a 26,000-square-foot two-story building, and a bit of dirt that Managing Director Danielle Grant is already excited to landscape with drought-resistant plants. \u003c/p>\n\n\n\n\u003cp>On Industrial Street, SCRAP will double its indoor square footage. More space means being able to accept a larger volume and variety of donations — an additional 100 tons per year, they estimate — and more turnover for regulars.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg\" alt=\"person on ladder faces signs over door\" class=\"wp-image-13990567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Lance Bullock, facilities coordinator at SCRAP, hangs a ‘donation intake’ sign at the nonprofit’s new location on June 5, 2026. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The staff (SCRAP has 20 employees and 150 volunteers a month) hopes the easy parking and more visible location will increase visitor numbers, not just for shopping, but for events and workshops. Already, they’ve been trying to couch fears that a move means fundamental change. Interior signage will remain hand-drawn in blue Sharpie. Containers labeled one thing will still charmingly contain another thing entirely.\u003c/p>\n\n\n\n\u003cp>At the new site, SCRAP will also have space to grow behind the scenes. Instead of just one room for both sorting and workshops — with major reshuffling in between — the new building is a warren of rooms.\u003c/p>\n\n\n\n\u003cp>SCRAP’s current facilities, its home for the past 25 years, are tight, to say the least; office staff work nearly shoulder-to-shoulder. When Kochanski is on site, she’s relegated to the “conference room,” a slightly gussied-up shipping container outside. The current break room is a fridge, a sink and a tiny bit of counter. SCRAP shares one bathroom with the entire SFUSD warehouse.\u003c/p>\n\n\n\n\u003cp>“I mean, in raising money for this capital campaign, it helps when donors are like, ‘Okay let me come talk to you,’” Grant said, gesturing at the conference room, “and they’re like, ‘These people need it.’” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg\" alt=\"South Asian woman stands in office filled with boxes and posters\" class=\"wp-image-13990578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Deeya Laki Rajan, communications and development manager, speaks to a coworker in SCRAP’s offices on June 5, 2026. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘For everyone’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>SCRAP purchased the new building from the bank for $5.3 million, after the previous owners, Calvary Hill Community Church, went into foreclosure. The church now occupies the building’s second floor as SCRAP’s tenants.\u003c/p>\n\n\n\n\u003cp>SCRAP has entered into a partnership with \u003ca href=\"https://oliverandco.net/\">Oliver & Company\u003c/a>, a local construction and development firm that has helped other nonprofits gradually purchase their buildings. So far, SCRAP has raised over $1.8 million towards a $7.5 million capital campaign. \u003c/p>\n\n\n\n\u003cp>“[The partnership] gives us a huge security blanket,” Kochanski explained. “They are willing to be there for us for five years, for 10 years, for whatever it takes for us to feel comfortable, to pay them off and then to move forward with 100% ownership of the building.”\u003c/p>\n\n\n\n\u003cp>Much work remains to be done at Industrial Street, and SCRAP must be fully out of the old building by the end of July. At a certain point, it will make more sense to give certain things away rather than transport them.\u003c/p>\n\n\n\n\u003cp>“I think we’re gonna have to be aggressive in our generosity,” Depot Manager William Barros said of the move. After all, even free giveaways help spread the practice of creative reuse. \u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We say SCRAP is for artists and designers, but really SCRAP is for everyone,” said Deeya Laki Rajan, the nonprofit’s communications and development manager. “If you can imagine that a binder clip can be five other things, that a button can be used in 20 different ways, SCRAP is the place you didn’t know you needed.”\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>The move and reopening, scheduled for August, will cap a period of uncertainty for the organization. SCRAP — the Scroungers’ Center for Reusable Art Parts — has long known its days at its current location were numbered.\u003c/p>\n",
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"\n\u003cp>The move and reopening, scheduled for August, will cap a period of uncertainty for the organization. SCRAP — the Scroungers’ Center for Reusable Art Parts — has long known its days at its current location were numbered.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“Anybody that’s been to SCRAP for the last few years, it’s just so obvious that we were busting out of our seams,” said Terry Kochanski, the nonprofit’s executive director since 2019. \u003c/p>\n",
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"\n\u003cp>“Anybody that’s been to SCRAP for the last few years, it’s just so obvious that we were busting out of our seams,” said Terry Kochanski, the nonprofit’s executive director since 2019. \u003c/p>\n"
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"innerHTML": "\n\u003cp>A larger space might have remained a far-off dream. But in November 2024, a move was all but forced by voters, who approved a $790 million bond measure to fund improvements at SFUSD sites, including creating a central kitchen for student lunches. The site of that planned kitchen is the warehouse where SCRAP currently pays just $1,240 a month for its 7,000 square feet of space. \u003c/p>\n",
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"\n\u003cp>A larger space might have remained a far-off dream. But in November 2024, a move was all but forced by voters, who approved a $790 million bond measure to fund improvements at SFUSD sites, including creating a central kitchen for student lunches. The site of that planned kitchen is the warehouse where SCRAP currently pays just $1,240 a month for its 7,000 square feet of space. \u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-1536x1024.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg\" alt=\"people inside a warehouse surrounded by banners and shelves of art supplies\" class=\"wp-image-13990574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Customers shop at SCRAP, a creative reuse depot, on June 5, 2026. The nonprofit will soon move to a new building.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg\" alt=\"people inside a warehouse surrounded by banners and shelves of art supplies\" class=\"wp-image-13990574\"/>\u003cfigcaption class=\"wp-element-caption\">Customers shop at SCRAP, a creative reuse depot, on June 5, 2026. The nonprofit will soon move to a new building.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>So many arts nonprofits in San Francisco have faced similar challenges in recent years: a ticking clock, a tech-inflated real estate market, a strained funding landscape. The details are different, the outcomes familiar — \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">closure\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13987725/contemporary-jewish-museum-to-sell-its-downtown-sf-building\">downsizing\u003c/a>, “\u003ca href=\"https://www.kqed.org/arts/13983013/ica-san-francisco-nomadic-museum-cube-sf-art-week\">going nomadic\u003c/a>.” \u003c/p>\n",
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"\n\u003cp>So many arts nonprofits in San Francisco have faced similar challenges in recent years: a ticking clock, a tech-inflated real estate market, a strained funding landscape. The details are different, the outcomes familiar — \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">closure\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13987725/contemporary-jewish-museum-to-sell-its-downtown-sf-building\">downsizing\u003c/a>, “\u003ca href=\"https://www.kqed.org/arts/13983013/ica-san-francisco-nomadic-museum-cube-sf-art-week\">going nomadic\u003c/a>.” \u003c/p>\n"
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"innerHTML": "\n\u003cp>Not SCRAP. Living up to its name, the nonprofit has now achieved the seemingly impossible: purchasing a building and moving on its own terms. \u003c/p>\n",
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"\n\u003cp>Not SCRAP. Living up to its name, the nonprofit has now achieved the seemingly impossible: purchasing a building and moving on its own terms. \u003c/p>\n"
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"blockName": "core/heading",
"attrs": {
"text": "Scrapper’s delight",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">Scrapper’s delight\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">Scrapper’s delight\u003c/h2>\n"
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"innerHTML": "\n\u003cp>Founded in 1976 by Anne Marie Theilen and \u003ca href=\"https://www.kqed.org/arts/tag/ruth-asawa\">Ruth Asawa\u003c/a>, SCRAP was created to support San Francisco’s Neighborhood Arts Program. While grant funding paid for professional artists to teach in public schools, there was no budget for their art supplies. Theilen and Asawa gathered donations and redistributed excess materials (like fabric offcuts and product overruns) across the teachers’ classrooms.\u003c/p>\n",
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"\n\u003cp>Founded in 1976 by Anne Marie Theilen and \u003ca href=\"https://www.kqed.org/arts/tag/ruth-asawa\">Ruth Asawa\u003c/a>, SCRAP was created to support San Francisco’s Neighborhood Arts Program. While grant funding paid for professional artists to teach in public schools, there was no budget for their art supplies. Theilen and Asawa gathered donations and redistributed excess materials (like fabric offcuts and product overruns) across the teachers’ classrooms.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Susan Green, 76, relied on SCRAP over two decades ago as a teacher. On a recent visit from Denver for her grandchildren’s high school graduations, she made sure to check in on the depot. “I just love this place. It’s a touchstone place in my life,” she said. “Wherever I go, I have to see what that city is doing. Are they doing anything like this?”\u003c/p>\n",
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"\n\u003cp>Susan Green, 76, relied on SCRAP over two decades ago as a teacher. On a recent visit from Denver for her grandchildren’s high school graduations, she made sure to check in on the depot. “I just love this place. It’s a touchstone place in my life,” she said. “Wherever I go, I have to see what that city is doing. Are they doing anything like this?”\u003c/p>\n"
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"innerHTML": "\n\u003cp>These days, SCRAP remains a crucial resource for the region’s art classrooms, hosting \u003ca href=\"https://www.scrap-sf.org/programs/educator-support\">two teacher giveaways\u003c/a> a year. It’s a place where people can take workshops and \u003ca href=\"https://www.scrap-sf.org/workshops\">learn new art skills\u003c/a>. And it’s the most affordable art supply store most artists have ever seen. \u003c/p>\n",
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"\n\u003cp>These days, SCRAP remains a crucial resource for the region’s art classrooms, hosting \u003ca href=\"https://www.scrap-sf.org/programs/educator-support\">two teacher giveaways\u003c/a> a year. It’s a place where people can take workshops and \u003ca href=\"https://www.scrap-sf.org/workshops\">learn new art skills\u003c/a>. And it’s the most affordable art supply store most artists have ever seen. \u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-1536x1024.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg\" alt=\"two people handle jewelry and bags in workshop space\" class=\"wp-image-13990577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">From left, Margarita Lopez, creative reuse specialist, and Dalia Gonzalez, assistant depot manager, process donated items for sale at SCRAP.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg\" alt=\"two people handle jewelry and bags in workshop space\" class=\"wp-image-13990577\"/>\u003cfigcaption class=\"wp-element-caption\">From left, Margarita Lopez, creative reuse specialist, and Dalia Gonzalez, assistant depot manager, process donated items for sale at SCRAP.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>SCRAP processes about 1,000 pounds of material a day. Donations pour in by the carload: empty frames, mannequins, buckets of photographs and years’ worth of \u003cem>National Geographics\u003c/em>. Inside, “scrappers” roam the aisles, sifting through piles of ready-to-be-transformed stuff. \u003c/p>\n",
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"\n\u003cp>SCRAP processes about 1,000 pounds of material a day. Donations pour in by the carload: empty frames, mannequins, buckets of photographs and years’ worth of \u003cem>National Geographics\u003c/em>. Inside, “scrappers” roam the aisles, sifting through piles of ready-to-be-transformed stuff. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The nonprofit has grown dramatically in recent years, from an operating budget of $335,789 in 2019 to just over $1 million in 2024, according to tax filings. In 2020 they began sending materials and lesson plans directly to classrooms with the “\u003ca href=\"https://www.scrap-sf.org/programs/scrap-in-a-box\">SCRAP in a Box\u003c/a>” program. SCRAP’s \u003ca href=\"https://www.scrap-sf.org/programs/sustainable-fashion-design\">sustainable fashion design\u003c/a> curriculum, an after-school program for middle and high school students, currently has about 200 participants, and takes place across 10 sites.\u003c/p>\n",
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"\n\u003cp>The nonprofit has grown dramatically in recent years, from an operating budget of $335,789 in 2019 to just over $1 million in 2024, according to tax filings. In 2020 they began sending materials and lesson plans directly to classrooms with the “\u003ca href=\"https://www.scrap-sf.org/programs/scrap-in-a-box\">SCRAP in a Box\u003c/a>” program. SCRAP’s \u003ca href=\"https://www.scrap-sf.org/programs/sustainable-fashion-design\">sustainable fashion design\u003c/a> curriculum, an after-school program for middle and high school students, currently has about 200 participants, and takes place across 10 sites.\u003c/p>\n"
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"attrs": {
"text": "Room to grow",
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"innerHTML": "\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Room to grow\u003c/strong>\u003c/h2>\n",
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"\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Room to grow\u003c/strong>\u003c/h2>\n"
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"innerHTML": "\n\u003cp>“We could have looked for five more years and I honestly don’t think we could’ve found a better forever home for SCRAP,” Kochanski said.\u003c/p>\n",
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"\n\u003cp>“We could have looked for five more years and I honestly don’t think we could’ve found a better forever home for SCRAP,” Kochanski said.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Located on a triangular lot at the corner of Industrial Street and Quesada Avenue, the site boasts a fenced-in parking lot, a 26,000-square-foot two-story building, and a bit of dirt that Managing Director Danielle Grant is already excited to landscape with drought-resistant plants. \u003c/p>\n",
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"\n\u003cp>Located on a triangular lot at the corner of Industrial Street and Quesada Avenue, the site boasts a fenced-in parking lot, a 26,000-square-foot two-story building, and a bit of dirt that Managing Director Danielle Grant is already excited to landscape with drought-resistant plants. \u003c/p>\n"
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"innerHTML": "\n\u003cp>On Industrial Street, SCRAP will double its indoor square footage. More space means being able to accept a larger volume and variety of donations — an additional 100 tons per year, they estimate — and more turnover for regulars.\u003c/p>\n",
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"\n\u003cp>On Industrial Street, SCRAP will double its indoor square footage. More space means being able to accept a larger volume and variety of donations — an additional 100 tons per year, they estimate — and more turnover for regulars.\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-1536x1024.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg\" alt=\"person on ladder faces signs over door\" class=\"wp-image-13990567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Lance Bullock, facilities coordinator at SCRAP, hangs a ‘donation intake’ sign at the nonprofit’s new location on June 5, 2026.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg\" alt=\"person on ladder faces signs over door\" class=\"wp-image-13990567\"/>\u003cfigcaption class=\"wp-element-caption\">Lance Bullock, facilities coordinator at SCRAP, hangs a ‘donation intake’ sign at the nonprofit’s new location on June 5, 2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>The staff (SCRAP has 20 employees and 150 volunteers a month) hopes the easy parking and more visible location will increase visitor numbers, not just for shopping, but for events and workshops. Already, they’ve been trying to couch fears that a move means fundamental change. Interior signage will remain hand-drawn in blue Sharpie. Containers labeled one thing will still charmingly contain another thing entirely.\u003c/p>\n",
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"\n\u003cp>The staff (SCRAP has 20 employees and 150 volunteers a month) hopes the easy parking and more visible location will increase visitor numbers, not just for shopping, but for events and workshops. Already, they’ve been trying to couch fears that a move means fundamental change. Interior signage will remain hand-drawn in blue Sharpie. Containers labeled one thing will still charmingly contain another thing entirely.\u003c/p>\n"
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"innerHTML": "\n\u003cp>At the new site, SCRAP will also have space to grow behind the scenes. Instead of just one room for both sorting and workshops — with major reshuffling in between — the new building is a warren of rooms.\u003c/p>\n",
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"\n\u003cp>At the new site, SCRAP will also have space to grow behind the scenes. Instead of just one room for both sorting and workshops — with major reshuffling in between — the new building is a warren of rooms.\u003c/p>\n"
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"innerHTML": "\n\u003cp>SCRAP’s current facilities, its home for the past 25 years, are tight, to say the least; office staff work nearly shoulder-to-shoulder. When Kochanski is on site, she’s relegated to the “conference room,” a slightly gussied-up shipping container outside. The current break room is a fridge, a sink and a tiny bit of counter. SCRAP shares one bathroom with the entire SFUSD warehouse.\u003c/p>\n",
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"\n\u003cp>SCRAP’s current facilities, its home for the past 25 years, are tight, to say the least; office staff work nearly shoulder-to-shoulder. When Kochanski is on site, she’s relegated to the “conference room,” a slightly gussied-up shipping container outside. The current break room is a fridge, a sink and a tiny bit of counter. SCRAP shares one bathroom with the entire SFUSD warehouse.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“I mean, in raising money for this capital campaign, it helps when donors are like, ‘Okay let me come talk to you,’” Grant said, gesturing at the conference room, “and they’re like, ‘These people need it.’” \u003c/p>\n",
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"\n\u003cp>“I mean, in raising money for this capital campaign, it helps when donors are like, ‘Okay let me come talk to you,’” Grant said, gesturing at the conference room, “and they’re like, ‘These people need it.’” \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg\" alt=\"South Asian woman stands in office filled with boxes and posters\" class=\"wp-image-13990578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Deeya Laki Rajan, communications and development manager, speaks to a coworker in SCRAP’s offices on June 5, 2026.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg\" alt=\"South Asian woman stands in office filled with boxes and posters\" class=\"wp-image-13990578\"/>\u003cfigcaption class=\"wp-element-caption\">Deeya Laki Rajan, communications and development manager, speaks to a coworker in SCRAP’s offices on June 5, 2026.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>SCRAP purchased the new building from the bank for $5.3 million, after the previous owners, Calvary Hill Community Church, went into foreclosure. The church now occupies the building’s second floor as SCRAP’s tenants.\u003c/p>\n",
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"\n\u003cp>SCRAP purchased the new building from the bank for $5.3 million, after the previous owners, Calvary Hill Community Church, went into foreclosure. The church now occupies the building’s second floor as SCRAP’s tenants.\u003c/p>\n"
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"innerHTML": "\n\u003cp>SCRAP has entered into a partnership with \u003ca href=\"https://oliverandco.net/\">Oliver & Company\u003c/a>, a local construction and development firm that has helped other nonprofits gradually purchase their buildings. So far, SCRAP has raised over $1.8 million towards a $7.5 million capital campaign. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“[The partnership] gives us a huge security blanket,” Kochanski explained. “They are willing to be there for us for five years, for 10 years, for whatever it takes for us to feel comfortable, to pay them off and then to move forward with 100% ownership of the building.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Much work remains to be done at Industrial Street, and SCRAP must be fully out of the old building by the end of July. At a certain point, it will make more sense to give certain things away rather than transport them.\u003c/p>\n",
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"\n\u003cp>Much work remains to be done at Industrial Street, and SCRAP must be fully out of the old building by the end of July. At a certain point, it will make more sense to give certain things away rather than transport them.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“I think we’re gonna have to be aggressive in our generosity,” Depot Manager William Barros said of the move. After all, even free giveaways help spread the practice of creative reuse. \u003c/p>\n",
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"innerHTML": "\n\u003cp>“We say SCRAP is for artists and designers, but really SCRAP is for everyone,” said Deeya Laki Rajan, the nonprofit’s communications and development manager. “If you can imagine that a binder clip can be five other things, that a button can be used in 20 different ways, SCRAP is the place you didn’t know you needed.”\u003c/p>\n",
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"excerpt": "SCRAP, the 50-year-old creative reuse center, will move into a building of its own in August 2026.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the first time in its 50-year history, the creative reuse center \u003ca href=\"https://www.scrap-sf.org/home\">SCRAP\u003c/a> will have a permanent home. The arts nonprofit, which operates out of a \u003ca href=\"https://www.kqed.org/news/tag/sfusd\">San Francisco Unified School District\u003c/a> warehouse in the Bayview neighborhood, has purchased a two-story building just a few blocks away, at 141 Industrial St.\u003c/p>\n\n\n\n\u003cp>The move and reopening, scheduled for August, will cap a period of uncertainty for the organization. SCRAP — the Scroungers’ Center for Reusable Art Parts — has long known its days at its current location were numbered.\u003c/p>\n\n\n\n\u003cp>“Anybody that’s been to SCRAP for the last few years, it’s just so obvious that we were busting out of our seams,” said Terry Kochanski, the nonprofit’s executive director since 2019. \u003c/p>\n\n\n\n\u003cp>A larger space might have remained a far-off dream. But in November 2024, a move was all but forced by voters, who approved a $790 million bond measure to fund improvements at SFUSD sites, including creating a central kitchen for student lunches. The site of that planned kitchen is the warehouse where SCRAP currently pays just $1,240 a month for its 7,000 square feet of space. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg\" alt=\"people inside a warehouse surrounded by banners and shelves of art supplies\" class=\"wp-image-13990574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-17_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Customers shop at SCRAP, a creative reuse depot, on June 5, 2026. The nonprofit will soon move to a new building. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>So many arts nonprofits in San Francisco have faced similar challenges in recent years: a ticking clock, a tech-inflated real estate market, a strained funding landscape. The details are different, the outcomes familiar — \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">closure\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13987725/contemporary-jewish-museum-to-sell-its-downtown-sf-building\">downsizing\u003c/a>, “\u003ca href=\"https://www.kqed.org/arts/13983013/ica-san-francisco-nomadic-museum-cube-sf-art-week\">going nomadic\u003c/a>.” \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not SCRAP. Living up to its name, the nonprofit has now achieved the seemingly impossible: purchasing a building and moving on its own terms. \u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">Scrapper’s delight\u003c/h2>\n\n\n\n\u003cp>Founded in 1976 by Anne Marie Theilen and \u003ca href=\"https://www.kqed.org/arts/tag/ruth-asawa\">Ruth Asawa\u003c/a>, SCRAP was created to support San Francisco’s Neighborhood Arts Program. While grant funding paid for professional artists to teach in public schools, there was no budget for their art supplies. Theilen and Asawa gathered donations and redistributed excess materials (like fabric offcuts and product overruns) across the teachers’ classrooms.\u003c/p>\n\n\n\n\u003cp>Susan Green, 76, relied on SCRAP over two decades ago as a teacher. On a recent visit from Denver for her grandchildren’s high school graduations, she made sure to check in on the depot. “I just love this place. It’s a touchstone place in my life,” she said. “Wherever I go, I have to see what that city is doing. Are they doing anything like this?”\u003c/p>\n\n\n\n\u003cp>These days, SCRAP remains a crucial resource for the region’s art classrooms, hosting \u003ca href=\"https://www.scrap-sf.org/programs/educator-support\">two teacher giveaways\u003c/a> a year. It’s a place where people can take workshops and \u003ca href=\"https://www.scrap-sf.org/workshops\">learn new art skills\u003c/a>. And it’s the most affordable art supply store most artists have ever seen. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg\" alt=\"two people handle jewelry and bags in workshop space\" class=\"wp-image-13990577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-21_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">From left, Margarita Lopez, creative reuse specialist, and Dalia Gonzalez, assistant depot manager, process donated items for sale at SCRAP. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>SCRAP processes about 1,000 pounds of material a day. Donations pour in by the carload: empty frames, mannequins, buckets of photographs and years’ worth of \u003cem>National Geographics\u003c/em>. Inside, “scrappers” roam the aisles, sifting through piles of ready-to-be-transformed stuff. \u003c/p>\n\n\n\n\u003cp>The nonprofit has grown dramatically in recent years, from an operating budget of $335,789 in 2019 to just over $1 million in 2024, according to tax filings. In 2020 they began sending materials and lesson plans directly to classrooms with the “\u003ca href=\"https://www.scrap-sf.org/programs/scrap-in-a-box\">SCRAP in a Box\u003c/a>” program. SCRAP’s \u003ca href=\"https://www.scrap-sf.org/programs/sustainable-fashion-design\">sustainable fashion design\u003c/a> curriculum, an after-school program for middle and high school students, currently has about 200 participants, and takes place across 10 sites.\u003c/p>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>Room to grow\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>“We could have looked for five more years and I honestly don’t think we could’ve found a better forever home for SCRAP,” Kochanski said.\u003c/p>\n\n\n\n\u003cp>Located on a triangular lot at the corner of Industrial Street and Quesada Avenue, the site boasts a fenced-in parking lot, a 26,000-square-foot two-story building, and a bit of dirt that Managing Director Danielle Grant is already excited to landscape with drought-resistant plants. \u003c/p>\n\n\n\n\u003cp>On Industrial Street, SCRAP will double its indoor square footage. More space means being able to accept a larger volume and variety of donations — an additional 100 tons per year, they estimate — and more turnover for regulars.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg\" alt=\"person on ladder faces signs over door\" class=\"wp-image-13990567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-1_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Lance Bullock, facilities coordinator at SCRAP, hangs a ‘donation intake’ sign at the nonprofit’s new location on June 5, 2026. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The staff (SCRAP has 20 employees and 150 volunteers a month) hopes the easy parking and more visible location will increase visitor numbers, not just for shopping, but for events and workshops. Already, they’ve been trying to couch fears that a move means fundamental change. Interior signage will remain hand-drawn in blue Sharpie. Containers labeled one thing will still charmingly contain another thing entirely.\u003c/p>\n\n\n\n\u003cp>At the new site, SCRAP will also have space to grow behind the scenes. Instead of just one room for both sorting and workshops — with major reshuffling in between — the new building is a warren of rooms.\u003c/p>\n\n\n\n\u003cp>SCRAP’s current facilities, its home for the past 25 years, are tight, to say the least; office staff work nearly shoulder-to-shoulder. When Kochanski is on site, she’s relegated to the “conference room,” a slightly gussied-up shipping container outside. The current break room is a fridge, a sink and a tiny bit of counter. SCRAP shares one bathroom with the entire SFUSD warehouse.\u003c/p>\n\n\n\n\u003cp>“I mean, in raising money for this capital campaign, it helps when donors are like, ‘Okay let me come talk to you,’” Grant said, gesturing at the conference room, “and they’re like, ‘These people need it.’” \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg\" alt=\"South Asian woman stands in office filled with boxes and posters\" class=\"wp-image-13990578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/20260605_SCRAPNewBuilding_GC-22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Deeya Laki Rajan, communications and development manager, speaks to a coworker in SCRAP’s offices on June 5, 2026. (Gina Castro for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003ch2 class=\"wp-block-heading\">\u003cstrong>‘For everyone’\u003c/strong>\u003c/h2>\n\n\n\n\u003cp>SCRAP purchased the new building from the bank for $5.3 million, after the previous owners, Calvary Hill Community Church, went into foreclosure. The church now occupies the building’s second floor as SCRAP’s tenants.\u003c/p>\n\n\n\n\u003cp>SCRAP has entered into a partnership with \u003ca href=\"https://oliverandco.net/\">Oliver & Company\u003c/a>, a local construction and development firm that has helped other nonprofits gradually purchase their buildings. So far, SCRAP has raised over $1.8 million towards a $7.5 million capital campaign. \u003c/p>\n\n\n\n\u003cp>“[The partnership] gives us a huge security blanket,” Kochanski explained. “They are willing to be there for us for five years, for 10 years, for whatever it takes for us to feel comfortable, to pay them off and then to move forward with 100% ownership of the building.”\u003c/p>\n\n\n\n\u003cp>Much work remains to be done at Industrial Street, and SCRAP must be fully out of the old building by the end of July. At a certain point, it will make more sense to give certain things away rather than transport them.\u003c/p>\n\n\n\n\u003cp>“I think we’re gonna have to be aggressive in our generosity,” Depot Manager William Barros said of the move. After all, even free giveaways help spread the practice of creative reuse. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We say SCRAP is for artists and designers, but really SCRAP is for everyone,” said Deeya Laki Rajan, the nonprofit’s communications and development manager. “If you can imagine that a binder clip can be five other things, that a button can be used in 20 different ways, SCRAP is the place you didn’t know you needed.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "elektra-review-sf-opera-richard-strauss-san-francisco",
"title": "There Will Be Blood: ‘Elektra’ Unfolds Like a Horror Movie at SF Opera",
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"headTitle": "There Will Be Blood: ‘Elektra’ Unfolds Like a Horror Movie at SF Opera | KQED",
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"content": "\u003cp>It’s a horror-filled time in the nation’s movie theaters. Rather than the typical summertime superhero fare, it’s \u003cem>\u003ca href=\"https://www.npr.org/2026/05/15/nx-s1-5822305/in-obsession-love-hurts-it-really-really-really-hurts\">Obsession\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13990351/backrooms-director-kane-parsons-petaluma-kenilworth-marin-teachers\">Backrooms\u003c/a>\u003c/em>, horror films made by young directors who came from TikTok and YouTube, which are raking in audiences and topping box-office charts. \u003c/p>\n\n\n\n\u003cp>Then there’s \u003cem>Elektra\u003c/em>, a 117-year old opera currently running the War Memorial Opera House in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>, a Richard Strauss bloodfest of beheading, stabbing, bathtub murder and night terrors. Here’s the twist: at 1 hour and 44 minutes, it’s even shorter than \u003cem>Obsession\u003c/em> or \u003cem>Backrooms\u003c/em>. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A9009.jpg\" alt=\"\" class=\"wp-image-13990545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A9009.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A9009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A9009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A9009-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">The two-story set, designed by Boris Kudlicka, of Richard Strauss’ ‘Elektra’ at SF Opera. (Cory Weaver / San Francisco Opera)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>As staged by Keith Warner and last seen at \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-opera\">San Francisco Opera\u003c/a> in its 2017 U.S. premiere, this \u003cem>Elektra\u003c/em> is set inside a 21st century museum, its revenge drama unfolding overnight through the eyes of a stowaway visitor after closing time. In addition to a wonderful set with video tableaus and rooms that slide in and out of the museum’s walls, aided by stellar lighting, this voyeuristic framework lends the staging a \u003cem>Rear Window\u003c/em> quality that’s engrossing and fun.\u003c/p>\n\n\n\n\u003cp>It’s also a little bit convoluted. As the museum visitor, and simultaneously Elektra, Elena Pankratova doesn’t display the acting skills to really sell the gambit. I found myself discarding the entire premise of the museum exhibit coming to life, and focusing instead on the sheer endurance of her marathon singing performance (one in which she’s onstage for nearly the entire show, which at times showed in her voice).\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A6417.jpg\" alt=\"Two women in black and blue wardrobe sit on a bench, looking afraid\" class=\"wp-image-13990548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A6417.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A6417-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A6417-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A6417-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Elena Pankratova as Elektra and Michaela Schuster as Klytemnestra in Richard Strauss’ ‘Elektra.’ (Cory Weaver / San Francisco Opera)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Without having to deplete her lungs over and over like Pankratova, Elza van den Heever brings projection and rounded tone to the role of Chrysothemis as Elektra’s sister. Unlike her siblings, Chrysothemis does not seek revenge upon her mother Klytemnestra, played by Michaela Schuster, for having an affair with Aegisth and killing her father Agamemnon.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the two women nonetheless convey the story’s necessary suspense and anguish. Meanwhile, Kyle Ketelsen as the avenging Orest is resolutely delightful, and William Burden as Aegisth is appropriately bumbling. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A7729.jpg\" alt=\"\" class=\"wp-image-13990547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A7729.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A7729-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A7729-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A7729-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Elena Pankratova as Elektra and Elza van den Heever as Chrysothemis in Richard Strauss’ ‘Elektra.’ (Cory Weaver / San Francisco Opera)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The real star of the show, however, is below the stage.\u003c/p>\n\n\n\n\u003cp>\u003cem>Elektra\u003c/em> brings with it the largest orchestra the Opera House has ever seen: 95 musicians, fueled by Eun Sun Kim’s baton and charging through Richard Strauss’ score like a locomotive. At the moment when Elektra recognizes her brother Orest, it’s as if the orchestra’s train crashes through an entire city block — Notes! Notes! \u003ca href=\"https://youtu.be/auqm-lOn6k4?si=CibV9DO-SHVIR2vl\">Notes everywhere!\u003c/a> — bleating a full-volume, clustered chord. What follows is one full minute of dynamite slowly morphing into a feather, a moment as powerful as it is wondrous, while Kim very gradually applies the brakes.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1334\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A0601.jpg\" alt=\"A large orchestra is stuffed tightly into an orchestra pit before a large stage \" class=\"wp-image-13990555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A0601.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A0601-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A0601-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A0601-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-element-caption\">Eun Sun Kim leads the San Francisco Opera Orchestra in a rehearsal for ‘Elektra’ at the War Memorial Opera House. (Cory Weaver / San Francisco Opera)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The despair in this staging never decelerates, however. \u003cem>Elektra\u003c/em> unfolds in a milieu where happiness is a burden, and the Gods determine that anyone having too much fun must die. If that sounds like the setting of a horror movie, then bring on the dread and unease.\u003c/p>\n\n\n\n\u003cp>One last thing: you’ll never look at a kitchen sink in the same way again.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Elektra’ runs through June 27 at the War Memorial Opera House in San Francisco. \u003c/em>\u003ca href=\"https://www.sfopera.com/operas/elektra/\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>It’s a horror-filled time in the nation’s movie theaters. Rather than the typical summertime superhero fare, it’s \u003cem>\u003ca href=\"https://www.npr.org/2026/05/15/nx-s1-5822305/in-obsession-love-hurts-it-really-really-really-hurts\">Obsession\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13990351/backrooms-director-kane-parsons-petaluma-kenilworth-marin-teachers\">Backrooms\u003c/a>\u003c/em>, horror films made by young directors who came from TikTok and YouTube, which are raking in audiences and topping box-office charts. \u003c/p>\n",
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"innerHTML": "\n\u003cp>Then there’s \u003cem>Elektra\u003c/em>, a 117-year old opera currently running the War Memorial Opera House in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>, a Richard Strauss bloodfest of beheading, stabbing, bathtub murder and night terrors. Here’s the twist: at 1 hour and 44 minutes, it’s even shorter than \u003cem>Obsession\u003c/em> or \u003cem>Backrooms\u003c/em>. \u003c/p>\n",
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"\n\u003cp>Then there’s \u003cem>Elektra\u003c/em>, a 117-year old opera currently running the War Memorial Opera House in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>, a Richard Strauss bloodfest of beheading, stabbing, bathtub murder and night terrors. Here’s the twist: at 1 hour and 44 minutes, it’s even shorter than \u003cem>Obsession\u003c/em> or \u003cem>Backrooms\u003c/em>. \u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A9009.jpg\" alt=\"\" class=\"wp-image-13990545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A9009.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A9009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A9009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A9009-1536x1025.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">The two-story set, designed by Boris Kudlicka, of Richard Strauss’ ‘Elektra’ at SF Opera.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>As staged by Keith Warner and last seen at \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-opera\">San Francisco Opera\u003c/a> in its 2017 U.S. premiere, this \u003cem>Elektra\u003c/em> is set inside a 21st century museum, its revenge drama unfolding overnight through the eyes of a stowaway visitor after closing time. In addition to a wonderful set with video tableaus and rooms that slide in and out of the museum’s walls, aided by stellar lighting, this voyeuristic framework lends the staging a \u003cem>Rear Window\u003c/em> quality that’s engrossing and fun.\u003c/p>\n",
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"\n\u003cp>As staged by Keith Warner and last seen at \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-opera\">San Francisco Opera\u003c/a> in its 2017 U.S. premiere, this \u003cem>Elektra\u003c/em> is set inside a 21st century museum, its revenge drama unfolding overnight through the eyes of a stowaway visitor after closing time. In addition to a wonderful set with video tableaus and rooms that slide in and out of the museum’s walls, aided by stellar lighting, this voyeuristic framework lends the staging a \u003cem>Rear Window\u003c/em> quality that’s engrossing and fun.\u003c/p>\n"
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"innerHTML": "\n\u003cp>It’s also a little bit convoluted. As the museum visitor, and simultaneously Elektra, Elena Pankratova doesn’t display the acting skills to really sell the gambit. I found myself discarding the entire premise of the museum exhibit coming to life, and focusing instead on the sheer endurance of her marathon singing performance (one in which she’s onstage for nearly the entire show, which at times showed in her voice).\u003c/p>\n",
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"\n\u003cp>It’s also a little bit convoluted. As the museum visitor, and simultaneously Elektra, Elena Pankratova doesn’t display the acting skills to really sell the gambit. I found myself discarding the entire premise of the museum exhibit coming to life, and focusing instead on the sheer endurance of her marathon singing performance (one in which she’s onstage for nearly the entire show, which at times showed in her voice).\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A6417.jpg\" alt=\"Two women in black and blue wardrobe sit on a bench, looking afraid\" class=\"wp-image-13990548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A6417.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A6417-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A6417-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A6417-1536x1025.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Elena Pankratova as Elektra and Michaela Schuster as Klytemnestra in Richard Strauss’ ‘Elektra.’\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Without having to deplete her lungs over and over like Pankratova, Elza van den Heever brings projection and rounded tone to the role of Chrysothemis as Elektra’s sister. Unlike her siblings, Chrysothemis does not seek revenge upon her mother Klytemnestra, played by Michaela Schuster, for having an affair with Aegisth and killing her father Agamemnon.\u003c/p>\n",
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"innerHTML": "\n\u003cp>But the two women nonetheless convey the story’s necessary suspense and anguish. Meanwhile, Kyle Ketelsen as the avenging Orest is resolutely delightful, and William Burden as Aegisth is appropriately bumbling. \u003c/p>\n",
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"\n\u003cp>But the two women nonetheless convey the story’s necessary suspense and anguish. Meanwhile, Kyle Ketelsen as the avenging Orest is resolutely delightful, and William Burden as Aegisth is appropriately bumbling. \u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>Elektra\u003c/em> brings with it the largest orchestra the Opera House has ever seen: 95 musicians, fueled by Eun Sun Kim’s baton and charging through Richard Strauss’ score like a locomotive. At the moment when Elektra recognizes her brother Orest, it’s as if the orchestra’s train crashes through an entire city block — Notes! Notes! \u003ca href=\"https://youtu.be/auqm-lOn6k4?si=CibV9DO-SHVIR2vl\">Notes everywhere!\u003c/a> — bleating a full-volume, clustered chord. What follows is one full minute of dynamite slowly morphing into a feather, a moment as powerful as it is wondrous, while Kim very gradually applies the brakes.\u003c/p>\n",
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"\n\u003cp>\u003cem>Elektra\u003c/em> brings with it the largest orchestra the Opera House has ever seen: 95 musicians, fueled by Eun Sun Kim’s baton and charging through Richard Strauss’ score like a locomotive. At the moment when Elektra recognizes her brother Orest, it’s as if the orchestra’s train crashes through an entire city block — Notes! Notes! \u003ca href=\"https://youtu.be/auqm-lOn6k4?si=CibV9DO-SHVIR2vl\">Notes everywhere!\u003c/a> — bleating a full-volume, clustered chord. What follows is one full minute of dynamite slowly morphing into a feather, a moment as powerful as it is wondrous, while Kim very gradually applies the brakes.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cem>‘Elektra’ runs through June 27 at the War Memorial Opera House in San Francisco. \u003c/em>\u003ca href=\"https://www.sfopera.com/operas/elektra/\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n",
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"excerpt": "Dissonance and death anchor this vigorous Richard Strauss one-act opera, set at night inside a museum.",
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"title": "Review: ‘Elektra’ at SF Opera Unfolds Like a Horror Movie Onstage | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a horror-filled time in the nation’s movie theaters. Rather than the typical summertime superhero fare, it’s \u003cem>\u003ca href=\"https://www.npr.org/2026/05/15/nx-s1-5822305/in-obsession-love-hurts-it-really-really-really-hurts\">Obsession\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13990351/backrooms-director-kane-parsons-petaluma-kenilworth-marin-teachers\">Backrooms\u003c/a>\u003c/em>, horror films made by young directors who came from TikTok and YouTube, which are raking in audiences and topping box-office charts. \u003c/p>\n\n\n\n\u003cp>Then there’s \u003cem>Elektra\u003c/em>, a 117-year old opera currently running the War Memorial Opera House in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>, a Richard Strauss bloodfest of beheading, stabbing, bathtub murder and night terrors. Here’s the twist: at 1 hour and 44 minutes, it’s even shorter than \u003cem>Obsession\u003c/em> or \u003cem>Backrooms\u003c/em>. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A9009.jpg\" alt=\"\" class=\"wp-image-13990545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A9009.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A9009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A9009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A9009-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">The two-story set, designed by Boris Kudlicka, of Richard Strauss’ ‘Elektra’ at SF Opera. (Cory Weaver / San Francisco Opera)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>As staged by Keith Warner and last seen at \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-opera\">San Francisco Opera\u003c/a> in its 2017 U.S. premiere, this \u003cem>Elektra\u003c/em> is set inside a 21st century museum, its revenge drama unfolding overnight through the eyes of a stowaway visitor after closing time. In addition to a wonderful set with video tableaus and rooms that slide in and out of the museum’s walls, aided by stellar lighting, this voyeuristic framework lends the staging a \u003cem>Rear Window\u003c/em> quality that’s engrossing and fun.\u003c/p>\n\n\n\n\u003cp>It’s also a little bit convoluted. As the museum visitor, and simultaneously Elektra, Elena Pankratova doesn’t display the acting skills to really sell the gambit. I found myself discarding the entire premise of the museum exhibit coming to life, and focusing instead on the sheer endurance of her marathon singing performance (one in which she’s onstage for nearly the entire show, which at times showed in her voice).\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A6417.jpg\" alt=\"Two women in black and blue wardrobe sit on a bench, looking afraid\" class=\"wp-image-13990548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A6417.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A6417-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A6417-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A6417-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Elena Pankratova as Elektra and Michaela Schuster as Klytemnestra in Richard Strauss’ ‘Elektra.’ (Cory Weaver / San Francisco Opera)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Without having to deplete her lungs over and over like Pankratova, Elza van den Heever brings projection and rounded tone to the role of Chrysothemis as Elektra’s sister. Unlike her siblings, Chrysothemis does not seek revenge upon her mother Klytemnestra, played by Michaela Schuster, for having an affair with Aegisth and killing her father Agamemnon.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the two women nonetheless convey the story’s necessary suspense and anguish. Meanwhile, Kyle Ketelsen as the avenging Orest is resolutely delightful, and William Burden as Aegisth is appropriately bumbling. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A7729.jpg\" alt=\"\" class=\"wp-image-13990547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A7729.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A7729-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A7729-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/O2A7729-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Elena Pankratova as Elektra and Elza van den Heever as Chrysothemis in Richard Strauss’ ‘Elektra.’ (Cory Weaver / San Francisco Opera)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The real star of the show, however, is below the stage.\u003c/p>\n\n\n\n\u003cp>\u003cem>Elektra\u003c/em> brings with it the largest orchestra the Opera House has ever seen: 95 musicians, fueled by Eun Sun Kim’s baton and charging through Richard Strauss’ score like a locomotive. At the moment when Elektra recognizes her brother Orest, it’s as if the orchestra’s train crashes through an entire city block — Notes! Notes! \u003ca href=\"https://youtu.be/auqm-lOn6k4?si=CibV9DO-SHVIR2vl\">Notes everywhere!\u003c/a> — bleating a full-volume, clustered chord. What follows is one full minute of dynamite slowly morphing into a feather, a moment as powerful as it is wondrous, while Kim very gradually applies the brakes.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1334\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A0601.jpg\" alt=\"A large orchestra is stuffed tightly into an orchestra pit before a large stage \" class=\"wp-image-13990555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A0601.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A0601-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A0601-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/C0A0601-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-element-caption\">Eun Sun Kim leads the San Francisco Opera Orchestra in a rehearsal for ‘Elektra’ at the War Memorial Opera House. (Cory Weaver / San Francisco Opera)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>The despair in this staging never decelerates, however. \u003cem>Elektra\u003c/em> unfolds in a milieu where happiness is a burden, and the Gods determine that anyone having too much fun must die. If that sounds like the setting of a horror movie, then bring on the dread and unease.\u003c/p>\n\n\n\n\u003cp>One last thing: you’ll never look at a kitchen sink in the same way again.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Elektra’ runs through June 27 at the War Memorial Opera House in San Francisco. \u003c/em>\u003ca href=\"https://www.sfopera.com/operas/elektra/\">\u003cem>Tickets and more information here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
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