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"content": "\u003cp>Say what you will about New Year’s Eve — it’s my favorite holiday. I love an excuse to get dressed up and shiny, to indulge in a delicious dinner (in my family’s case, a Russian spread with caviar), to dance the troubles of the past year away and toast to the successes, ushering in an auspicious future. With so many options for ringing in 2025 in the Bay Area, I’ve rounded up 10 solid choices to help you plan your night — whether your thing is live music, huge raves or intimate dance parties.\u003c/p>\n\u003ch2>\u003ca href=\"https://vaudeviresociety.com/\">New Bohemia NYE\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Mint, San Francisco\u003c/em>\u003cbr>\nThis epic soiree within the marbled halls of San Francisco’s historic Mint has a lot of bang for your buck. It promises a lineup of nearly 40 artists and seven dance floors — plus circus performances, a shibari lounge and art galleries. The Bay’s own turntable master DJ QBert headlines along with house music DJs Syd Gris, Amprs&nd and more.\u003c/p>\n\u003ch2>\u003ca href=\"https://thenewparish.com/tm-event/neon-noir-nye-black-light-rave/\">Neon Noir Black Light AfroRave\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The New Parish, Oakland\u003c/em>\u003cbr>\nThe crew that puts on the wildly popular AfroBeats at the Lake festival in Oakland will party until 5 a.m. at their three-room, black-light rave. Joining residents Koko, Juan G, Tiedye Trippin and Mis Gentes is an eclectic lineup of guests from Tanzania and Texas (Momo and Big Rich), plus local support from Lexapeel, Fibonacci, Cali, Cecil, Align and Veyn. Grounded in Afrobeats and amapiano, this party journeys through the eclectic sounds of the global African diaspora, including soca, dancehall, jersey club and baile funk.\u003c/p>\n\u003cfigure id=\"attachment_13956548\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956548\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh.png\" alt=\"Five-person group photo, all in black clothes against maroon background\" width=\"1024\" height=\"680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-768x510.png 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The members of Shannon & The Clams are vocalist and bass player Shannon Shaw, guitarist Cody Blanchard, keyboard player Will Sprott and drummer Nate Mahan. \u003ccite>(Easy Eye Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bluenotejazz.com/napa/shows/?eid=13975463\">Shannon & The Clams\u003c/a>\u003c/h2>\n\u003cp>\u003cem>JaM Cellars Ballroom, Napa\u003c/em>\u003cbr>\nWhether you want a holiday staycation in Wine Country or already live there, Shannon & The Clams’ high-energy rock ‘n’ roll promises to have a crowd jumping at JaM Cellars. The band made waves this year with \u003ci>The Moon is in the Wrong Place\u003c/i>, an ode to a magical love and profound grief that \u003ca href=\"https://www.kqed.org/arts/13968679/the-best-bay-area-music-of-2024\">topped our playlists\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13953589\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953589\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-scaled.jpeg\" alt=\"\" width=\"2048\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-scaled.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-800x1000.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-1020x1275.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-160x200.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-768x960.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-1229x1536.jpeg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-1638x2048.jpeg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-1920x2400.jpeg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Dennise Chakra-Kan and Lady Ryan (left to right) at their Sweet Spot New Year’s Eve party at the White Horse on Dec. 31, 2023. \u003ccite>(Stephen Flynn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/the-sweet-spot-suits-pearls-nye-celebration-tickets-1111248416929?aff=ebdsoporgprofile\">The Sweet Spot\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The White Horse, Oakland\u003c/em>\u003cbr>\nDJs Keezy and LadyRyan will have booties bouncing at the New Year’s Eve edition of the popular, hip-hop–forward queer party, The Sweet Spot. The theme is “Suits & Pearls,” and bold, shiny attire is encouraged. There’ll be a Prince tribute at midnight during the complimentary champagne toast, plus a sexy performance from dancer and gender-bending performer Tyrone.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/bollywood-ballroom-new-years-eve-party-grand-corinthian-sj-dec-31st-tickets-770647436227?aff=ebdssbdestsearch\">Bollywood Ballroom\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Corinthian Grand Ballroom, San Jose\u003c/em>\u003cbr>\nBollywood Ballroom is throwing down for the Desi community of the South Bay and beyond. Inside the stately Corinthian Grand Ballroom, DJK and DJRaag will spin Bollywood hits from beloved classic films. Another room will be dedicated to high-energy, percussive Punjabi rhythms, and a third room will pay homage to South India with Tamil, Telugu, Kannada, and Malayalam bangers.\u003c/p>\n\u003cfigure id=\"attachment_13960617\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7619-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7619-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7619-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7619-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7619-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7619-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7619-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7619-KQED-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Stroy Moyd is the owner of San Francisco comedy club The Function. \u003ccite>(Danny Acosta for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/202425-new-years-eve-comedy-bash-at-the-function-san-francisco-tickets-1088221743529?aff=ebdssbdestsearch\">HellaFunny New Year’s Eve Comedy Bash\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Function, San Francisco\u003c/em>\u003cbr>\nSan Francisco’s newest — and first Black-owned — comedy club is hosting two back-to-back New Year’s Eve shows. The lineups, to be announced, promise regulars from storied venues like the Punchline and Cobb’s, plus national tours. A \u003ca href=\"https://www.eventbrite.com/e/drunk-n-love-sfs-ultimate-rb-nye-party-free-midnight-toast-202425-tickets-1106455731879\">Drunk N’ Love R&B Party\u003c/a> with a free champagne toast will follow (separate tickets required).\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/new-years-eve-with-pete-escovedo-sons-mystique-tickets-1076984462519?aff=ebdssbdestsearch\">Pete Escovedo & Sons, Mystique\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Signia by Hilton, San Jose\u003c/em>\u003cbr>\nLatin jazz royalty Pete Escovedo has played percussion for so many of the greats — Santana, Herbie Hancock, Tito Puente. Not to mention, he’s the father of ’80s hitmaker (and Prince’s drummer) Sheila E. If you want to ring in the new year with jazz, this live show by the 89-year-old legend, with his sons Peter Michael and Juan, will be a rare treat. The band Mystique will also play cumbia, salsa and Latin rock with Malo’s Richie Bean, the original singer of the eternal brown-eyed soul classic “Suavecito.”\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/nye-2025-zanzi-tickets-1113153093869\">NYE2025 @ Zanzi\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Zanzi, Oakland\u003c/em>\u003cbr>\nDCIsChillin, formerly of KMEL, is a pro at getting the dance floor hype. At Zanzi, one of the best places to dance in Oakland, he’ll be joined by DJs Blackwoman, Smartmoney and Solo for a hip-hop, R&B and Afrobeats function — with a champagne toast — put on by tried-and-true party crew Trapsoul.\u003c/p>\n\u003cfigure id=\"attachment_13932377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez.jpg\" alt=\"Anderson .Paak poses back stage wearing a pink suit, no shirt and a giant fur hat.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anderson .Paak backstage at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/fresh-start-nye-tickets-1114250054909?aff=ebdssbdestsearch\">Fresh Start NYE\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Midway, San Francisco\u003c/em>\u003cbr>\nBelgian Techno producer Charlotte De Witte will preside over a packed dance floor at the epic electronic music party Fresh Start. The two-day affair at the Midway also features the funky sounds of DJ Pee Wee (a.k.a. Anderson .Paak) and house music producer The Blessed Madonna on New Year’s Eve. Chris Lake and SF local Zhu — plus many others — will keep the dance floor going on New Year’s Day.\u003c/p>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/con-brio/622923?afflky=RickshawStop\">Con Brio\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Rickshaw Stop, San Francisco\u003c/em>\u003cbr>\nSan Francisco R&B, soul and funk band Con Brio is known for larger-than-life performances with an energy that sizzles. At the Rickshaw Stop — a truly special, intimate room to see live music — they’ll ring in the New Year with psych-rock band King Dream and mighty-voiced singer Adar, plus DJ TophOne.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Our recommendations for live music, dance parties and comedy shows to ring in 2025. ",
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"title": "Where to Party for New Year’s Eve in the Bay Area | KQED",
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"headline": "Where to Party for New Year’s Eve in the Bay Area",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Say what you will about New Year’s Eve — it’s my favorite holiday. I love an excuse to get dressed up and shiny, to indulge in a delicious dinner (in my family’s case, a Russian spread with caviar), to dance the troubles of the past year away and toast to the successes, ushering in an auspicious future. With so many options for ringing in 2025 in the Bay Area, I’ve rounded up 10 solid choices to help you plan your night — whether your thing is live music, huge raves or intimate dance parties.\u003c/p>\n\u003ch2>\u003ca href=\"https://vaudeviresociety.com/\">New Bohemia NYE\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Mint, San Francisco\u003c/em>\u003cbr>\nThis epic soiree within the marbled halls of San Francisco’s historic Mint has a lot of bang for your buck. It promises a lineup of nearly 40 artists and seven dance floors — plus circus performances, a shibari lounge and art galleries. The Bay’s own turntable master DJ QBert headlines along with house music DJs Syd Gris, Amprs&nd and more.\u003c/p>\n\u003ch2>\u003ca href=\"https://thenewparish.com/tm-event/neon-noir-nye-black-light-rave/\">Neon Noir Black Light AfroRave\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The New Parish, Oakland\u003c/em>\u003cbr>\nThe crew that puts on the wildly popular AfroBeats at the Lake festival in Oakland will party until 5 a.m. at their three-room, black-light rave. Joining residents Koko, Juan G, Tiedye Trippin and Mis Gentes is an eclectic lineup of guests from Tanzania and Texas (Momo and Big Rich), plus local support from Lexapeel, Fibonacci, Cali, Cecil, Align and Veyn. Grounded in Afrobeats and amapiano, this party journeys through the eclectic sounds of the global African diaspora, including soca, dancehall, jersey club and baile funk.\u003c/p>\n\u003cfigure id=\"attachment_13956548\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956548\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh.png\" alt=\"Five-person group photo, all in black clothes against maroon background\" width=\"1024\" height=\"680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/XbK8BYQh-768x510.png 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The members of Shannon & The Clams are vocalist and bass player Shannon Shaw, guitarist Cody Blanchard, keyboard player Will Sprott and drummer Nate Mahan. \u003ccite>(Easy Eye Sound)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bluenotejazz.com/napa/shows/?eid=13975463\">Shannon & The Clams\u003c/a>\u003c/h2>\n\u003cp>\u003cem>JaM Cellars Ballroom, Napa\u003c/em>\u003cbr>\nWhether you want a holiday staycation in Wine Country or already live there, Shannon & The Clams’ high-energy rock ‘n’ roll promises to have a crowd jumping at JaM Cellars. The band made waves this year with \u003ci>The Moon is in the Wrong Place\u003c/i>, an ode to a magical love and profound grief that \u003ca href=\"https://www.kqed.org/arts/13968679/the-best-bay-area-music-of-2024\">topped our playlists\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13953589\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953589\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-scaled.jpeg\" alt=\"\" width=\"2048\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-scaled.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-800x1000.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-1020x1275.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-160x200.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-768x960.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-1229x1536.jpeg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-1638x2048.jpeg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1N8A8439-1920x2400.jpeg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Dennise Chakra-Kan and Lady Ryan (left to right) at their Sweet Spot New Year’s Eve party at the White Horse on Dec. 31, 2023. \u003ccite>(Stephen Flynn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/the-sweet-spot-suits-pearls-nye-celebration-tickets-1111248416929?aff=ebdsoporgprofile\">The Sweet Spot\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The White Horse, Oakland\u003c/em>\u003cbr>\nDJs Keezy and LadyRyan will have booties bouncing at the New Year’s Eve edition of the popular, hip-hop–forward queer party, The Sweet Spot. The theme is “Suits & Pearls,” and bold, shiny attire is encouraged. There’ll be a Prince tribute at midnight during the complimentary champagne toast, plus a sexy performance from dancer and gender-bending performer Tyrone.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/bollywood-ballroom-new-years-eve-party-grand-corinthian-sj-dec-31st-tickets-770647436227?aff=ebdssbdestsearch\">Bollywood Ballroom\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Corinthian Grand Ballroom, San Jose\u003c/em>\u003cbr>\nBollywood Ballroom is throwing down for the Desi community of the South Bay and beyond. Inside the stately Corinthian Grand Ballroom, DJK and DJRaag will spin Bollywood hits from beloved classic films. Another room will be dedicated to high-energy, percussive Punjabi rhythms, and a third room will pay homage to South India with Tamil, Telugu, Kannada, and Malayalam bangers.\u003c/p>\n\u003cfigure id=\"attachment_13960617\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7619-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7619-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7619-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7619-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7619-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7619-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7619-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7619-KQED-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Stroy Moyd is the owner of San Francisco comedy club The Function. \u003ccite>(Danny Acosta for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/202425-new-years-eve-comedy-bash-at-the-function-san-francisco-tickets-1088221743529?aff=ebdssbdestsearch\">HellaFunny New Year’s Eve Comedy Bash\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Function, San Francisco\u003c/em>\u003cbr>\nSan Francisco’s newest — and first Black-owned — comedy club is hosting two back-to-back New Year’s Eve shows. The lineups, to be announced, promise regulars from storied venues like the Punchline and Cobb’s, plus national tours. A \u003ca href=\"https://www.eventbrite.com/e/drunk-n-love-sfs-ultimate-rb-nye-party-free-midnight-toast-202425-tickets-1106455731879\">Drunk N’ Love R&B Party\u003c/a> with a free champagne toast will follow (separate tickets required).\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/new-years-eve-with-pete-escovedo-sons-mystique-tickets-1076984462519?aff=ebdssbdestsearch\">Pete Escovedo & Sons, Mystique\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Signia by Hilton, San Jose\u003c/em>\u003cbr>\nLatin jazz royalty Pete Escovedo has played percussion for so many of the greats — Santana, Herbie Hancock, Tito Puente. Not to mention, he’s the father of ’80s hitmaker (and Prince’s drummer) Sheila E. If you want to ring in the new year with jazz, this live show by the 89-year-old legend, with his sons Peter Michael and Juan, will be a rare treat. The band Mystique will also play cumbia, salsa and Latin rock with Malo’s Richie Bean, the original singer of the eternal brown-eyed soul classic “Suavecito.”\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/nye-2025-zanzi-tickets-1113153093869\">NYE2025 @ Zanzi\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Zanzi, Oakland\u003c/em>\u003cbr>\nDCIsChillin, formerly of KMEL, is a pro at getting the dance floor hype. At Zanzi, one of the best places to dance in Oakland, he’ll be joined by DJs Blackwoman, Smartmoney and Solo for a hip-hop, R&B and Afrobeats function — with a champagne toast — put on by tried-and-true party crew Trapsoul.\u003c/p>\n\u003cfigure id=\"attachment_13932377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez.jpg\" alt=\"Anderson .Paak poses back stage wearing a pink suit, no shirt and a giant fur hat.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Anderson-.Paak-backstage-at-Blue-Note-Jazz-Festival-on-Sunday-July-30-2023.-Estefany-Gonzalez-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Anderson .Paak backstage at Blue Note Jazz Festival on Sunday, July 30, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/fresh-start-nye-tickets-1114250054909?aff=ebdssbdestsearch\">Fresh Start NYE\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Midway, San Francisco\u003c/em>\u003cbr>\nBelgian Techno producer Charlotte De Witte will preside over a packed dance floor at the epic electronic music party Fresh Start. The two-day affair at the Midway also features the funky sounds of DJ Pee Wee (a.k.a. Anderson .Paak) and house music producer The Blessed Madonna on New Year’s Eve. Chris Lake and SF local Zhu — plus many others — will keep the dance floor going on New Year’s Day.\u003c/p>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/con-brio/622923?afflky=RickshawStop\">Con Brio\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Rickshaw Stop, San Francisco\u003c/em>\u003cbr>\nSan Francisco R&B, soul and funk band Con Brio is known for larger-than-life performances with an energy that sizzles. At the Rickshaw Stop — a truly special, intimate room to see live music — they’ll ring in the New Year with psych-rock band King Dream and mighty-voiced singer Adar, plus DJ TophOne.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Fillmore Holiday Night Market Wants to Bring Back SF’s Old ‘Harlem of the West’",
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"content": "\u003cp>San Franciscans who are too young to have lived through the Fillmore District’s heyday, during the 1940s and ’50s, have probably heard stories about \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">the “Harlem of the West.”\u003c/a> Back then, Fillmore Street was packed with Black-owned restaurants, barber shops and nightclubs, and jazz legends like Billie Holiday routinely swung through the neighborhood to perform during their West Coast tours.\u003c/p>\n\u003cp>And anyone who’s paid attention to the long and steady displacement of the city’s Black population, now dwindled down to something like \u003ca href=\"https://www.threepointnineartcollective.com/#:~:text=History,of%20a%20diverse%20San%20Francisco.\">4\u003c/a> or \u003ca href=\"https://belonging.berkeley.edu/most-segregated-cities-bay-area-2020\">5%\u003c/a>, knows that today’s Fillmore \u003ca href=\"https://capitalbnews.org/san-francisco-black-neighborhood/\">doesn’t look anything like that\u003c/a>.\u003c/p>\n\u003cp>Tamara Walker is one of many Black San Franciscans who would like to change that. For the third year in a row, Walker’s event production company, Burge LLC, is organizing the \u003ca href=\"https://www.eventbrite.com/e/holiday-night-market-wlyfe-jennings-vendors-kids-wonderland-more-free-tickets-1083574984949?aff=oddtdtcreator\">Fillmore Holiday Night Market\u003c/a>, a night market and block party centered on the local Black community. The idea, she says, is to bring back a slice of that old Harlem of the West — at least for one night.\u003c/p>\n\u003cp>“A lot of people moved out of the city, and now they live in the East Bay and other places,” Walker says. “This particular event drives them back here to the Fillmore.”\u003c/p>\n\u003cfigure id=\"attachment_13969637\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa.jpg\" alt=\"Santa Claus poses for a photo with a baby.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Santa poses for a photo with a baby at last year’s holiday night market. \u003ccite>(Zoe Hertz, courtesy of Citizen Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s holiday market will take place on Friday, Dec. 20. Co-sponsors include the nonprofit Livable City and Citizen Film, a documentary film company, with some additional funding from San Francisco’s Office of Economic and Workforce Development.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The holiday block party has always been set up as a night market. Even before it \u003ca href=\"https://www.kqed.org/arts/13963258/bay-area-night-markets-food-fall-guide-2024\">became trendy\u003c/a> to brand big community events that way, Walker says, Black folks were gathering together in the streets for big reunions or celebrations: “It was just something that we did as a culture. You dressed up; you wore your finest. You came out so everybody could see your family.”\u003c/p>\n\u003cp>This year’s market will feature free cookies and hot chocolate, a toy giveaway and live snow and arts and crafts for the kids. For folks looking to pick up last-minute holiday gifts, a variety of Black- and brown-owned retail businesses will have booths set up to sell their wares. And, of course, there will be plenty of food, with vendors selling everything from oxtails and fried fish to banana pudding. \u003ca href=\"https://www.kqed.org/arts/13956178/minnie-bells-soul-food-restaurant-fillmore-sf-opening\">Minnie Bell’s\u003c/a>, a fried chicken restaurant that opened in the neighborhood this past summer — explicitly because the owner wanted to revitalize Black business in the area — will be open for business right on Fillmore (though it won’t have a booth at the market).\u003c/p>\n\u003cfigure id=\"attachment_13969638\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969638\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew.jpg\" alt=\"An outdoor vendor ladles stew into a bowl at night.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A food vendor ladles out a bowl of stew at last year’s holiday night market. \u003ccite>(Zoe Hertz, courtesy of Citizen Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Live performances will include a local jazz band, line dancing and, the headliner, the R&B singer Lyfe Jennings.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13956178,arts_13874853,arts_13969092']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>But the biggest thing, Walker says, is for the night market to be a big community gathering for the Fillmore, new and old. It will attract Black folks who were displaced and now live out in Stockton or Antioch. And it’ll also be a celebration of today’s Fillmore, which has large Asian, Russian and Eritrean populations, and is also still home to one of the largest concentrations of African Americans in the city.\u003c/p>\n\u003cp>The event is meant to boost the morale of the Fillmore, she says, and to remind everyone that Black San Francisco is still here: “We’re vibrant. We’re not leaving.”\u003c/p>\n\u003cp>“We have a Black Santa,” Walker says. “It’s important for these kids to see families that look like them, even if there’s only 3% of us — and that we are still doing business here, so the next generation knows that they can also be entrepreneurs.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This year’s Fillmore Holiday Night Market will be on Friday, Dec. 20, from 5–9 p.m., around the intersection of Fillmore and O’Farrell streets. It’s a free event, but organizers are asking guests to \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/holiday-night-market-wlyfe-jennings-vendors-kids-wonderland-more-free-tickets-1083574984949?aff=oddtdtcreator\">\u003ci>RSVP online\u003c/i>\u003c/a>\u003ci> so that they know how many people to expect.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Franciscans who are too young to have lived through the Fillmore District’s heyday, during the 1940s and ’50s, have probably heard stories about \u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">the “Harlem of the West.”\u003c/a> Back then, Fillmore Street was packed with Black-owned restaurants, barber shops and nightclubs, and jazz legends like Billie Holiday routinely swung through the neighborhood to perform during their West Coast tours.\u003c/p>\n\u003cp>And anyone who’s paid attention to the long and steady displacement of the city’s Black population, now dwindled down to something like \u003ca href=\"https://www.threepointnineartcollective.com/#:~:text=History,of%20a%20diverse%20San%20Francisco.\">4\u003c/a> or \u003ca href=\"https://belonging.berkeley.edu/most-segregated-cities-bay-area-2020\">5%\u003c/a>, knows that today’s Fillmore \u003ca href=\"https://capitalbnews.org/san-francisco-black-neighborhood/\">doesn’t look anything like that\u003c/a>.\u003c/p>\n\u003cp>Tamara Walker is one of many Black San Franciscans who would like to change that. For the third year in a row, Walker’s event production company, Burge LLC, is organizing the \u003ca href=\"https://www.eventbrite.com/e/holiday-night-market-wlyfe-jennings-vendors-kids-wonderland-more-free-tickets-1083574984949?aff=oddtdtcreator\">Fillmore Holiday Night Market\u003c/a>, a night market and block party centered on the local Black community. The idea, she says, is to bring back a slice of that old Harlem of the West — at least for one night.\u003c/p>\n\u003cp>“A lot of people moved out of the city, and now they live in the East Bay and other places,” Walker says. “This particular event drives them back here to the Fillmore.”\u003c/p>\n\u003cfigure id=\"attachment_13969637\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969637\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa.jpg\" alt=\"Santa Claus poses for a photo with a baby.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-santa-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Santa poses for a photo with a baby at last year’s holiday night market. \u003ccite>(Zoe Hertz, courtesy of Citizen Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s holiday market will take place on Friday, Dec. 20. Co-sponsors include the nonprofit Livable City and Citizen Film, a documentary film company, with some additional funding from San Francisco’s Office of Economic and Workforce Development.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The holiday block party has always been set up as a night market. Even before it \u003ca href=\"https://www.kqed.org/arts/13963258/bay-area-night-markets-food-fall-guide-2024\">became trendy\u003c/a> to brand big community events that way, Walker says, Black folks were gathering together in the streets for big reunions or celebrations: “It was just something that we did as a culture. You dressed up; you wore your finest. You came out so everybody could see your family.”\u003c/p>\n\u003cp>This year’s market will feature free cookies and hot chocolate, a toy giveaway and live snow and arts and crafts for the kids. For folks looking to pick up last-minute holiday gifts, a variety of Black- and brown-owned retail businesses will have booths set up to sell their wares. And, of course, there will be plenty of food, with vendors selling everything from oxtails and fried fish to banana pudding. \u003ca href=\"https://www.kqed.org/arts/13956178/minnie-bells-soul-food-restaurant-fillmore-sf-opening\">Minnie Bell’s\u003c/a>, a fried chicken restaurant that opened in the neighborhood this past summer — explicitly because the owner wanted to revitalize Black business in the area — will be open for business right on Fillmore (though it won’t have a booth at the market).\u003c/p>\n\u003cfigure id=\"attachment_13969638\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969638\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew.jpg\" alt=\"An outdoor vendor ladles stew into a bowl at night.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/fillmore-holiday-stew-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A food vendor ladles out a bowl of stew at last year’s holiday night market. \u003ccite>(Zoe Hertz, courtesy of Citizen Film)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Live performances will include a local jazz band, line dancing and, the headliner, the R&B singer Lyfe Jennings.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>But the biggest thing, Walker says, is for the night market to be a big community gathering for the Fillmore, new and old. It will attract Black folks who were displaced and now live out in Stockton or Antioch. And it’ll also be a celebration of today’s Fillmore, which has large Asian, Russian and Eritrean populations, and is also still home to one of the largest concentrations of African Americans in the city.\u003c/p>\n\u003cp>The event is meant to boost the morale of the Fillmore, she says, and to remind everyone that Black San Francisco is still here: “We’re vibrant. We’re not leaving.”\u003c/p>\n\u003cp>“We have a Black Santa,” Walker says. “It’s important for these kids to see families that look like them, even if there’s only 3% of us — and that we are still doing business here, so the next generation knows that they can also be entrepreneurs.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This year’s Fillmore Holiday Night Market will be on Friday, Dec. 20, from 5–9 p.m., around the intersection of Fillmore and O’Farrell streets. It’s a free event, but organizers are asking guests to \u003c/i>\u003ca href=\"https://www.eventbrite.com/e/holiday-night-market-wlyfe-jennings-vendors-kids-wonderland-more-free-tickets-1083574984949?aff=oddtdtcreator\">\u003ci>RSVP online\u003c/i>\u003c/a>\u003ci> so that they know how many people to expect.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Those Abstract Designs on Salesforce Tower Actually Tell the Story of the Bay",
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"content": "\u003cp>Winter solstice falls on North America this coming weekend, bringing about the longest night of the year. Amidst the darkness, from Dec. 20 through Dec. 22, the digital display atop San Francisco’s Salesforce Tower will be illuminated by images of colorful geometric shapes rhythmically moving in sequence, telling a significant story about this place we call home.\u003c/p>\n\u003cp>Each cone, orb, line and wave floating around the crown of the tallest building in the city will symbolize vital information from the Bay Area, ranging from the change of the tides to the number of people taking BART rides.\u003c/p>\n\u003cp>By using a year’s worth of data (summer ’23 to summer ’24) collected by researchers at NASA, the Bay Area Air Quality Management District and a handful of other government-funded science programs, UC Berkeley professor Greg Niemeyer has combined and visualized information in an artistic manner to create the 20-minute reel, \u003ca href=\"https://www.gregniemeyer.com/synchronicity\" target=\"_blank\" rel=\"noopener\">\u003cem>Synchronicity\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>More than pretty lights atop a behemoth of a building, Niemeyer says that with the support of Jim Campbell and Emma Strebel of \u003ca href=\"https://www.instagram.com/salesforce_towertop_art/?hl=en\" target=\"_blank\" rel=\"noopener\">Salesforce Tower Top Art\u003c/a>\u003cstrong>,\u003c/strong> the goal of this project is to make data more accessible. His thinking: If people are aware of things like the decline in air quality in the Bay Area, maybe they’ll do something about it.\u003c/p>\n\u003cfigure id=\"attachment_13969555\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SynchronicitySalesforceTower.jpg\" alt=\"A rendering of geometric shapes, with a key explaining what each shape represents.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SynchronicitySalesforceTower.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SynchronicitySalesforceTower-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SynchronicitySalesforceTower-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SynchronicitySalesforceTower-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SynchronicitySalesforceTower-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SynchronicitySalesforceTower-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SynchronicitySalesforceTower-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the light display shows what each shape and color represents. \u003ccite>(Courtesy of Greg Niemeyer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“How can we make that more public?” Niemeyer asks rhetorically during a recent video chat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With a head of silver hair and a matching short-trimmed beard, the 57-year-old data artist uses his hands as he talks, explaining how his work compares to role once served by religious institutions in small communities. “Church towers,” says Niemeyer, “used to ring bells when people got married or they passed away.” He adds, “They were full of information, and it was a public piece of information.” But now, Niemeyer says, too often data is privatized. “If you’re not an expert, it’s not so available, and I want to change that. I want to make sure it’s more available to everybody.”\u003c/p>\n\u003cp>Conversely, Salesforce, the multibillion dollar company that anchors the building where Niemeyer’s work is being displayed, is built on privatized data. And while the company isn’t as big as say, religion, it does have a hand in the majority of online transactions made. Acknowledging the conflict, Niemeyer says a friend told him that with this project he’s “subverting the tower.”\u003c/p>\n\u003cp>But Niemeyer hasn’t fully achieved his goals of artistic expression and accessibility. For example, he openly regrets not having an audio component to accompany the visualization. And while he’s pushing people to stop looking down into their cellphone-fixated silos for information, and to instead look up to see a more unifying set of data, viewers of the Salesforce Tower display won’t understand the meaning of each geometric shape unless they look at the key — which is on \u003ca href=\"https://www.gregniemeyer.com/synchronicity\" target=\"_blank\" rel=\"noopener\">Niemeyer’s website\u003c/a>. (And not everyone has access to the internet.)\u003c/p>\n\u003cfigure id=\"attachment_13969556\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/GregSealevel.jpg\" alt=\"Selfie of a man with gray hair, taken in front of the sea.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/GregSealevel.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/GregSealevel-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/GregSealevel-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/GregSealevel-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/GregSealevel-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/GregSealevel-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/GregSealevel-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Artist and UC Berkeley professor Greg Niemeyer. \u003ccite>(Courtesy of Greg Niemeyer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A constant inventor of ways to express data about the environment by using art, Niemeyer says he’s always looking at lights and displays, thinking about how powerful they’d be if they communicated something more meaningful. Especially this time of year.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13955729,news_11634055']\u003c/span>“What if we made it so that the position of each Christmas light means something?” he asks, adding that while \u003cem>Synchronicity\u003c/em> is full of bright lights and eye-catching designs, it’s also more than that. “It’s an opportunity for me to share information. And that, I think, is very beautiful.”\u003c/p>\n\u003cp>Even in the mild Mediterranean climate of the Bay, the transition from fall to winter brings a palpable change, one that impacts all residents — albeit, in a different way for those who sleep on the street and those who work in the office suites. Still, Niemeyer believes the larger environmental factors connect us all. And it’s that notion of common threads that makes this data so important.\u003c/p>\n\u003cp>Ever optimistic, Niemeyer points out that winter solstice is also a message that longer days are soon coming.\u003c/p>\n\u003cp>“We have something to look forward to, and something to prepare for,” says Niemeyer of the seasonal shift. But he points out one caveat: “You don’t get through these dark days without a sense of purpose.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.gregniemeyer.com/synchronicity\">Synchronicity\u003c/a>\u003cem> runs every night in December, midnight–1 a.m. From Dec. 20 through Dec. 22, the installation will run all night. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Winter solstice falls on North America this coming weekend, bringing about the longest night of the year. Amidst the darkness, from Dec. 20 through Dec. 22, the digital display atop San Francisco’s Salesforce Tower will be illuminated by images of colorful geometric shapes rhythmically moving in sequence, telling a significant story about this place we call home.\u003c/p>\n\u003cp>Each cone, orb, line and wave floating around the crown of the tallest building in the city will symbolize vital information from the Bay Area, ranging from the change of the tides to the number of people taking BART rides.\u003c/p>\n\u003cp>By using a year’s worth of data (summer ’23 to summer ’24) collected by researchers at NASA, the Bay Area Air Quality Management District and a handful of other government-funded science programs, UC Berkeley professor Greg Niemeyer has combined and visualized information in an artistic manner to create the 20-minute reel, \u003ca href=\"https://www.gregniemeyer.com/synchronicity\" target=\"_blank\" rel=\"noopener\">\u003cem>Synchronicity\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>More than pretty lights atop a behemoth of a building, Niemeyer says that with the support of Jim Campbell and Emma Strebel of \u003ca href=\"https://www.instagram.com/salesforce_towertop_art/?hl=en\" target=\"_blank\" rel=\"noopener\">Salesforce Tower Top Art\u003c/a>\u003cstrong>,\u003c/strong> the goal of this project is to make data more accessible. His thinking: If people are aware of things like the decline in air quality in the Bay Area, maybe they’ll do something about it.\u003c/p>\n\u003cfigure id=\"attachment_13969555\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SynchronicitySalesforceTower.jpg\" alt=\"A rendering of geometric shapes, with a key explaining what each shape represents.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SynchronicitySalesforceTower.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SynchronicitySalesforceTower-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SynchronicitySalesforceTower-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SynchronicitySalesforceTower-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SynchronicitySalesforceTower-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SynchronicitySalesforceTower-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/SynchronicitySalesforceTower-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the light display shows what each shape and color represents. \u003ccite>(Courtesy of Greg Niemeyer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“How can we make that more public?” Niemeyer asks rhetorically during a recent video chat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With a head of silver hair and a matching short-trimmed beard, the 57-year-old data artist uses his hands as he talks, explaining how his work compares to role once served by religious institutions in small communities. “Church towers,” says Niemeyer, “used to ring bells when people got married or they passed away.” He adds, “They were full of information, and it was a public piece of information.” But now, Niemeyer says, too often data is privatized. “If you’re not an expert, it’s not so available, and I want to change that. I want to make sure it’s more available to everybody.”\u003c/p>\n\u003cp>Conversely, Salesforce, the multibillion dollar company that anchors the building where Niemeyer’s work is being displayed, is built on privatized data. And while the company isn’t as big as say, religion, it does have a hand in the majority of online transactions made. Acknowledging the conflict, Niemeyer says a friend told him that with this project he’s “subverting the tower.”\u003c/p>\n\u003cp>But Niemeyer hasn’t fully achieved his goals of artistic expression and accessibility. For example, he openly regrets not having an audio component to accompany the visualization. And while he’s pushing people to stop looking down into their cellphone-fixated silos for information, and to instead look up to see a more unifying set of data, viewers of the Salesforce Tower display won’t understand the meaning of each geometric shape unless they look at the key — which is on \u003ca href=\"https://www.gregniemeyer.com/synchronicity\" target=\"_blank\" rel=\"noopener\">Niemeyer’s website\u003c/a>. (And not everyone has access to the internet.)\u003c/p>\n\u003cfigure id=\"attachment_13969556\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/GregSealevel.jpg\" alt=\"Selfie of a man with gray hair, taken in front of the sea.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/GregSealevel.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/GregSealevel-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/GregSealevel-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/GregSealevel-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/GregSealevel-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/GregSealevel-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/GregSealevel-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Artist and UC Berkeley professor Greg Niemeyer. \u003ccite>(Courtesy of Greg Niemeyer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A constant inventor of ways to express data about the environment by using art, Niemeyer says he’s always looking at lights and displays, thinking about how powerful they’d be if they communicated something more meaningful. Especially this time of year.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>“What if we made it so that the position of each Christmas light means something?” he asks, adding that while \u003cem>Synchronicity\u003c/em> is full of bright lights and eye-catching designs, it’s also more than that. “It’s an opportunity for me to share information. And that, I think, is very beautiful.”\u003c/p>\n\u003cp>Even in the mild Mediterranean climate of the Bay, the transition from fall to winter brings a palpable change, one that impacts all residents — albeit, in a different way for those who sleep on the street and those who work in the office suites. Still, Niemeyer believes the larger environmental factors connect us all. And it’s that notion of common threads that makes this data so important.\u003c/p>\n\u003cp>Ever optimistic, Niemeyer points out that winter solstice is also a message that longer days are soon coming.\u003c/p>\n\u003cp>“We have something to look forward to, and something to prepare for,” says Niemeyer of the seasonal shift. But he points out one caveat: “You don’t get through these dark days without a sense of purpose.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.gregniemeyer.com/synchronicity\">Synchronicity\u003c/a>\u003cem> runs every night in December, midnight–1 a.m. From Dec. 20 through Dec. 22, the installation will run all night. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ybca-new-ceo-mari-robles-headlands",
"title": "YBCA Announces a New CEO After a Year of Protests and Staff Departures",
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"content": "\u003cp>\u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a>, the multidisciplinary arts space in San Francisco’s Yerba Buena Gardens complex, today announced the appointment of Maricelle “Mari” Robles as its next CEO. Robles comes to YBCA from Headlands Center for the Arts, where she served as \u003ca href=\"https://www.kqed.org/arts/13889437/mari-robles-to-join-headlands-center-for-the-arts-as-new-executive-director\">executive director\u003c/a> for the past four years.\u003c/p>\n\u003cp>“YBCA has this amazing legacy of presenting experimental, cutting-edge, community-focused Bay Area artists and then having them in a larger global conversation about the arts and social justice,” Robles told KQED. “I’ll be looking to continue and build on that legacy.”\u003c/p>\n\u003cp>[aside tag='ybca' label='YBCA in the news']Robles arrives at the 31-year-old institution at a fraught time in its history. \u003c/p>\n\u003cp>Earlier this year, artists in its \u003ci>Bay Area Now 9\u003c/i> exhibition altered their own artwork in a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">pro-Palestinian action\u003c/a> on Feb. 15. YBCA, led at the time by interim CEO Sara Fenske Bahat, shut its doors following the event, \u003ca href=\"https://www.kqed.org/arts/13954375/experimental-animation-shapeshifters-cinema-ybca\">canceling scheduled programs\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">stayed closed for an entire month\u003c/a>. \u003c/p>\n\u003cp>While the altered artwork remained on view after reopening, the museum installed wall labels to explain that messages like “free Palestine” and “ceasefire now” represented the artists’ views, not YBCA’s. Fenske Bahat \u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">resigned on March 3\u003c/a>, citing “vitriolic and antisemitic backlash” directed at her after the protest. (She has since been \u003ca href=\"https://www.kqed.org/news/12014714/san-francisco-mayor-elect-daniel-lurie-taps-openai-founder-transition-team\">hired to lead Mayor-elect Daniel Lurie’s transition team\u003c/a>.) \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At least nine staff members left YBCA in the aftermath of the closure, and open letters from staff and artists accused the museum of censorship. A new interim CEO, \u003ca href=\"https://www.kqed.org/arts/13958007/ybca-new-interim-ceo-jim-rettew\">Jim Rettew\u003c/a>, was hired to lead the organization after Fenske Bahat’s departure.\u003c/p>\n\u003cp>The events received extensive coverage in both local and national news outlets as pro-Palestinian activists and artists called on institutions to address the war in Gaza.\u003c/p>\n\u003cfigure id=\"attachment_13954249\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED.jpg\" alt='two people post with bags bearing text \"gaza must live\"' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jenn Wong, left, and Michelle Fernandez, right, display their screen-printed items at Bay Area Artists Against Genocide’s (B.A.A.A.G.) screen-printing and film screening event outside of Yerba Buena Center for the Arts on Thursday, March 14, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was a lot of growth for the organization, going through these very public steps and missteps,” Robles said of YBCA. “What I feel most committed to is making sure that we live our mission and making sure we create a space where artists, staff and board are free to feel safe and comfortable in their work environment.”\u003c/p>\n\u003cp>[aside postID='arts_13966903']At Headlands, Robles oversaw the creation of two new fellowship programs and brought in new funding sources, but her tenure was also marked by \u003ca href=\"https://www.kqed.org/arts/13951936/headlands-center-for-the-arts-layoffs-fundraising-shortfalls\">layoffs and fundraising shortfalls\u003c/a>. Prior to that role, she held positions at The Metropolitan Museum of Art, the Pérez Art Museum Miami, the Museum of Contemporary Art Chicago and DreamYard Art Center in the Bronx.\u003c/p>\n\u003cp>YBCA, which shows an operating budget of around $18 million in recent tax filings, is a much larger organization than Headlands, which had an operating budget of $5.2 million in 2023. \u003c/p>\n\u003cp>Robles said some of her initial hiring priorities include a chief of programs, and rebuilding the institution’s artistic team, which will include positions in visual arts, performance and film. (YBCA \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">hasn’t had a full-time film curator\u003c/a> since 2018.) \u003c/p>\n\u003cp>“The city has a rich history of film programming and YBCA in particular was part of that,” Robles said. She credits her time at Headlands with introducing her to the Bay Area film community. \u003c/p>\n\u003cfigure id=\"attachment_13969410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13969410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">YBCA seen from Mission Street in San Francisco. \u003ccite>(Charlie Villyard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’ll officially start on Jan. 6, 2025, in time to help shape YBCA’s next strategic plan, which will guide the institution for the next five years. At the top of her list are partnerships with other local organizations like SOMA Pilipinas, the Filipino Cultural Heritage District, which regularly hosts events at YBCA, including parts of the upcoming \u003ca href=\"https://ybca.org/event/22nd-annual-parol-lantern-festival/\">Parol Lantern Festival\u003c/a> on Dec. 15. \u003c/p>\n\u003cp>YBCA will be under even more pressure to bring a sense of vibrancy to the immediate neighborhood in the coming year. The Contemporary Jewish Museum \u003ca href=\"https://www.kqed.org/arts/13968003/contemporary-jewish-museum-closing-galleries-layoffs\">will close to the public\u003c/a> on Dec. 15 in an attempt to reconfigure its expenses. The Museum of the African Diaspora will close March through September 2025 to upgrade its galleries. The Mexican Museum still \u003ca href=\"https://www.kqed.org/arts/13954980/san-francisco-mexican-museum-audit-reopening\">has yet to move into its planned home\u003c/a> across the street from YBCA.\u003c/p>\n\u003cp>Despite these challenges, Robles is ready to take the helm at a museum she says occupies “a unique place” in the local and global arts ecosystem.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I believe in institutions,” she said, “And YBCA was founded in the early ’90s really with this thought of ‘What does a downtown revitalization effort focused on arts look like?’ And so that remains. I’m excited about picking up the baton.”\u003c/p>\n\n",
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"title": "YBCA Announces New CEO After a Year of Instability | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a>, the multidisciplinary arts space in San Francisco’s Yerba Buena Gardens complex, today announced the appointment of Maricelle “Mari” Robles as its next CEO. Robles comes to YBCA from Headlands Center for the Arts, where she served as \u003ca href=\"https://www.kqed.org/arts/13889437/mari-robles-to-join-headlands-center-for-the-arts-as-new-executive-director\">executive director\u003c/a> for the past four years.\u003c/p>\n\u003cp>“YBCA has this amazing legacy of presenting experimental, cutting-edge, community-focused Bay Area artists and then having them in a larger global conversation about the arts and social justice,” Robles told KQED. “I’ll be looking to continue and build on that legacy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Robles arrives at the 31-year-old institution at a fraught time in its history. \u003c/p>\n\u003cp>Earlier this year, artists in its \u003ci>Bay Area Now 9\u003c/i> exhibition altered their own artwork in a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">pro-Palestinian action\u003c/a> on Feb. 15. YBCA, led at the time by interim CEO Sara Fenske Bahat, shut its doors following the event, \u003ca href=\"https://www.kqed.org/arts/13954375/experimental-animation-shapeshifters-cinema-ybca\">canceling scheduled programs\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">stayed closed for an entire month\u003c/a>. \u003c/p>\n\u003cp>While the altered artwork remained on view after reopening, the museum installed wall labels to explain that messages like “free Palestine” and “ceasefire now” represented the artists’ views, not YBCA’s. Fenske Bahat \u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">resigned on March 3\u003c/a>, citing “vitriolic and antisemitic backlash” directed at her after the protest. (She has since been \u003ca href=\"https://www.kqed.org/news/12014714/san-francisco-mayor-elect-daniel-lurie-taps-openai-founder-transition-team\">hired to lead Mayor-elect Daniel Lurie’s transition team\u003c/a>.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At least nine staff members left YBCA in the aftermath of the closure, and open letters from staff and artists accused the museum of censorship. A new interim CEO, \u003ca href=\"https://www.kqed.org/arts/13958007/ybca-new-interim-ceo-jim-rettew\">Jim Rettew\u003c/a>, was hired to lead the organization after Fenske Bahat’s departure.\u003c/p>\n\u003cp>The events received extensive coverage in both local and national news outlets as pro-Palestinian activists and artists called on institutions to address the war in Gaza.\u003c/p>\n\u003cfigure id=\"attachment_13954249\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED.jpg\" alt='two people post with bags bearing text \"gaza must live\"' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-018-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jenn Wong, left, and Michelle Fernandez, right, display their screen-printed items at Bay Area Artists Against Genocide’s (B.A.A.A.G.) screen-printing and film screening event outside of Yerba Buena Center for the Arts on Thursday, March 14, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was a lot of growth for the organization, going through these very public steps and missteps,” Robles said of YBCA. “What I feel most committed to is making sure that we live our mission and making sure we create a space where artists, staff and board are free to feel safe and comfortable in their work environment.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At Headlands, Robles oversaw the creation of two new fellowship programs and brought in new funding sources, but her tenure was also marked by \u003ca href=\"https://www.kqed.org/arts/13951936/headlands-center-for-the-arts-layoffs-fundraising-shortfalls\">layoffs and fundraising shortfalls\u003c/a>. Prior to that role, she held positions at The Metropolitan Museum of Art, the Pérez Art Museum Miami, the Museum of Contemporary Art Chicago and DreamYard Art Center in the Bronx.\u003c/p>\n\u003cp>YBCA, which shows an operating budget of around $18 million in recent tax filings, is a much larger organization than Headlands, which had an operating budget of $5.2 million in 2023. \u003c/p>\n\u003cp>Robles said some of her initial hiring priorities include a chief of programs, and rebuilding the institution’s artistic team, which will include positions in visual arts, performance and film. (YBCA \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">hasn’t had a full-time film curator\u003c/a> since 2018.) \u003c/p>\n\u003cp>“The city has a rich history of film programming and YBCA in particular was part of that,” Robles said. She credits her time at Headlands with introducing her to the Bay Area film community. \u003c/p>\n\u003cfigure id=\"attachment_13969410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13969410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/YBCA_exterior_photoby_Charlie_Villyard-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">YBCA seen from Mission Street in San Francisco. \u003ccite>(Charlie Villyard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’ll officially start on Jan. 6, 2025, in time to help shape YBCA’s next strategic plan, which will guide the institution for the next five years. At the top of her list are partnerships with other local organizations like SOMA Pilipinas, the Filipino Cultural Heritage District, which regularly hosts events at YBCA, including parts of the upcoming \u003ca href=\"https://ybca.org/event/22nd-annual-parol-lantern-festival/\">Parol Lantern Festival\u003c/a> on Dec. 15. \u003c/p>\n\u003cp>YBCA will be under even more pressure to bring a sense of vibrancy to the immediate neighborhood in the coming year. The Contemporary Jewish Museum \u003ca href=\"https://www.kqed.org/arts/13968003/contemporary-jewish-museum-closing-galleries-layoffs\">will close to the public\u003c/a> on Dec. 15 in an attempt to reconfigure its expenses. The Museum of the African Diaspora will close March through September 2025 to upgrade its galleries. The Mexican Museum still \u003ca href=\"https://www.kqed.org/arts/13954980/san-francisco-mexican-museum-audit-reopening\">has yet to move into its planned home\u003c/a> across the street from YBCA.\u003c/p>\n\u003cp>Despite these challenges, Robles is ready to take the helm at a museum she says occupies “a unique place” in the local and global arts ecosystem.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I believe in institutions,” she said, “And YBCA was founded in the early ’90s really with this thought of ‘What does a downtown revitalization effort focused on arts look like?’ And so that remains. I’m excited about picking up the baton.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-dishes-bay-area-2024",
"title": "The Best Dishes I Ate in 2024",
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"content": "\u003cp>For me, the first four years (!) of this decade in Bay Area food were largely defined by \u003ca href=\"https://www.kqed.org/arts/13907197/best-dishes-bay-area-2021\">pandemic-era\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13921917/best-dishes-bay-area-2022\">takeout\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13939138/best-dishes-sf-bay-area-2023\">cozy meals eaten close to home\u003c/a>. In many ways, I felt as though my whole world had contracted, as more and more interactions were filtered through Zoom meetings, QR codes and delivery apps. So, this year I really wanted to get back to exploring the entirety of the Bay Area food scene in a more robust and deliberate way — its creative pop-ups; its distant, outer-suburban enclaves; and, especially, its underappreciated \u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">late-night haunts\u003c/a>.\u003c/p>\n\u003cp>The good news? The scene is just as delicious and joyous as ever. Here, then, are 10 of my favorite dishes from 2024, presented in roughly the chronological order in which I ate them:\u003c/p>\n\u003cfigure id=\"attachment_13968991\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/egglicious-gotala.jpg\" alt=\"A large platter topped with grated hard-boiled eggs in green sauce, a fried egg, and two rolls.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/egglicious-gotala.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/egglicious-gotala-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/egglicious-gotala-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/egglicious-gotala-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/egglicious-gotala-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/egglicious-gotala-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/egglicious-gotala-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The egg gotala is a star of Egglicious’s egg-centric menu. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>1. Surti egg gotala at Egglicious India\u003c/h2>\n\u003cp>\u003cem>4996 Stevens Creek Blvd., San Jose\u003c/em>\u003c/p>\n\u003cp>I’ve always been a big egg person, but no restaurant exploded my view of how many different ways you might cook a chicken egg than Egglicious, San Jose’s fully “eggetarian” Indian restaurant, where a single dish might include three or four different imaginative egg preparations. I was especially amazed by the Surti egg gotala, a kind of thick curry topped with both a runny-yolked fried egg and a couple of hard-boiled eggs grated into coarse white shavings that resembled shredded mozzarella cheese. Scooped up with fluffy pav rolls, it was the most flavorful three-egg plate I’d eaten in years.\u003c/p>\n\u003cfigure id=\"attachment_13968993\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968993\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/a-one-crab.jpg\" alt=\"A whole Dungeness crab served on a plate over a bed of French fries.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/a-one-crab.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/a-one-crab-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/a-one-crab-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/a-one-crab-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/a-one-crab-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/a-one-crab-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/a-one-crab-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A-One Kitchen serves one of the best garlic butter Dungeness crabs in the Bay. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>2. Garlic butter crab at A-One Kitchen\u003c/h2>\n\u003cp>\u003cem>677 San Mateo Ave., San Bruno\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because of my ongoing \u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">Midnight Diners\u003c/a> series, this has largely been a year of exploring the Bay Area’s much-disparaged late-night food scene, which, to be totally transparent, I only had modest hopes for at the start of the project. But I remember exactly when my expectations flipped on their head: dinner at \u003ca href=\"https://www.kqed.org/arts/13951914/dungeness-crab-garlic-noodles-san-bruno-late-night\">A-One Kitchen\u003c/a>, a festive Thai-Chinese spot across the street from the Artichoke Joe’s casino that stays open until 1 a.m. We feasted on garlicky, butter-soaked roast Dungeness crab and heaping plates of garlic noodles, and everything was so delicious, it made me realize that in some cases the Bay Area’s late-night food is also its best food — straight up. No caveats necessary.\u003c/p>\n\u003cfigure id=\"attachment_13968994\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968994\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/e-lade-suya.jpg\" alt=\"A fried meat pie, plated elegantly next to a sprig of green herbs.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/e-lade-suya.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/e-lade-suya-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/e-lade-suya-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/e-lade-suya-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/e-lade-suya-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/e-lade-suya-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/e-lade-suya-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The suya meat pie at E Le Aɖe’s Ghanaian-Ethiopian pop-up. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>3. Meat pie at E Le Aɖe Test Kitchen Pop-Up at Cafe Colucci\u003c/h2>\n\u003cp>\u003cem>5849 San Pablo Ave., Oakland\u003c/em>\u003c/p>\n\u003cp>My favorite fine dining meal of the year was a Ghanaian-Ethiopian fusion pop-up by Chef Selasie Dotse, hosted on the back patio at Cafe Colucci. As a person who sometimes finds tasting menu food a little bit samey-samey, this was the cannon blast of bold diasporic flavors I was looking for: a yam pave spiked with fiery chile-and-tomato hot sauce that knocked me upside the head, rockfish “kitfo” and injera reimagined as a kind of fish taco, and on and on. My favorite was the chef’s take on suya — the spice rub applied, in this case, to braised oxtail that was stuffed inside a gorgeous, flaky pastry, with a side of zippy peanut romesco sauce for dipping. Delicious. (Unfortunately, Dotse’s \u003ca href=\"https://www.kqed.org/arts/13938506/cafe-colucci-pop-up-oakland-ethiopian-ghanaian-selasie-dotse\">E Le Aɖe pop-up series\u003c/a> ended shortly after the dinner I attended, and the chef is \u003ca href=\"https://www.instagram.com/p/DDEGI77xeXd/?img_index=1\">moving to the East Coast\u003c/a>. But \u003ca href=\"https://www.instagram.com/cafecolucci/?hl=en\">Cafe Colucci’s\u003c/a> patio is worth keeping an eye on as it’s become a regular landing spot for similarly audacious pop-ups.)\u003c/p>\n\u003cfigure id=\"attachment_13968995\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968995\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/cajun-bistro-7-crawfish.jpg\" alt=\"Crawfish boil in a plastic bag.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/cajun-bistro-7-crawfish.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/cajun-bistro-7-crawfish-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/cajun-bistro-7-crawfish-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/cajun-bistro-7-crawfish-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/cajun-bistro-7-crawfish-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/cajun-bistro-7-crawfish-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/cajun-bistro-7-crawfish-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A bag of goodness at Cajun Bistro 7. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>4. Crawfish boil at Cajun Bistro 7\u003c/h2>\n\u003cp>\u003cem>3005 Silver Creek Rd. Ste. 116, San Jose\u003c/em>\u003c/p>\n\u003cp>Maybe the best crawfish I’ve ever eaten in my life can be found at this little San Jose strip mall spot that serves \u003ca href=\"https://www.kqed.org/arts/13954983/viet-cajun-seafood-crawfish-boil-san-jose-late-night\">Viet-Cajun seafood boils until 4 a.m. every night\u003c/a> (because each day’s shipment of live crawfish comes in from Louisiana — or the Sacramento delta during the off season — at 5). Cajun Bistro 7’s creamy, garlicky seafood-boil sauces are extremely addicting, but it was the freshness of the little crustaceans themselves that blew my mind — so plump, toothsome and naturally sweet.\u003c/p>\n\u003cfigure id=\"attachment_13968996\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968996\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ping-yang-bing-soo.jpg\" alt=\"Watermelon balls and shave ice served inside the watermelon rind.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ping-yang-bing-soo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ping-yang-bing-soo-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ping-yang-bing-soo-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ping-yang-bing-soo-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ping-yang-bing-soo-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ping-yang-bing-soo-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ping-yang-bing-soo-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The watermelon bing soo at Ping Yang is a showstopper. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>5. Watermelon bing soo at Ping Yang\u003c/h2>\n\u003cp>\u003cem>955 Larkin St., San Francisco\u003c/em>\u003c/p>\n\u003cp>It would be hard to orchestrate a more perfect meal of homey comfort food than \u003ca href=\"https://www.kqed.org/arts/13957599/late-night-thai-food-dessert-sf-ping-yang\">the dinner I had at this cozy Thai cafe\u003c/a> this spring: pad see ew topped with wok-seared pork jowl and a simple Thai omelette over jasmine rice. Dessert, on the other hand, was a straight-up showstopper: a giant bing soo (Korean shaved ice) served inside a hollowed-out watermelon rind and piled high with melon balls that looked like gleaming bright red jewels. But while the presentation may have been flashy, the pleasures of this bing soo were just as plain and comforting as the rest of the meal — ripe, juicy fruit and sweet, condensed milk–infused ice shaved so finely it was like digging my spoon into the fluffiest freshly fallen powder snow.\u003c/p>\n\u003cfigure id=\"attachment_13968997\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968997\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/piglet-douhua.jpg\" alt=\"Whipped tofu pudding topped with crushed sesame brittle.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/piglet-douhua.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/piglet-douhua-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/piglet-douhua-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/piglet-douhua-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/piglet-douhua-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/piglet-douhua-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/piglet-douhua-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Piglet & Co.’s take on dou hua, or tofu pudding, made for an ingenious dessert. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>6. Strawberry and dou hua at Piglet & Co.\u003c/h2>\n\u003cp>\u003cem>2170 Mission St., San Francisco\u003c/em>\u003c/p>\n\u003cp>Speaking of dessert, the most memorable dish of my first meal at Piglet & Co. — a stylish, Taiwanese-inspired fusion spot in the Mission — was the chefs’ take on douhua, or tofu pudding, a ginger-syrup-soaked treat I’d enjoyed, hot or cold, during trips to Taipei ever since I was a kid. In Piglet & Co.’s ingenious version, the tofu was blended and whipped, so that it took on the texture of an airy mousse. On top, there was a layer of crushed sesame brittle and a few sprigs of fresh mint; fresh strawberries were hidden underneath. The overall effect was magical: like a nostalgic bowl of Lunar New Year’s tangyuan zhuzhed up with a dash of Bay Area summer.\u003c/p>\n\u003cfigure id=\"attachment_13962178\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962178\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240804_KQED_FIKSCUE_ML_0219-KQED-2.jpg\" alt='A huge smoked \"dinosaur\" beef rib on a paper-lined tray.' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240804_KQED_FIKSCUE_ML_0219-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240804_KQED_FIKSCUE_ML_0219-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240804_KQED_FIKSCUE_ML_0219-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240804_KQED_FIKSCUE_ML_0219-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240804_KQED_FIKSCUE_ML_0219-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240804_KQED_FIKSCUE_ML_0219-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240804_KQED_FIKSCUE_ML_0219-KQED-2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A dino beef rib at Fikscue in Alameda. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>7. Dino beef rib at Fikscue\u003c/h2>\n\u003cp>\u003cem>1708 Park St., Alameda\u003c/em>\u003c/p>\n\u003cp>In the months since I \u003ca href=\"https://www.kqed.org/arts/13962220/fikscue-best-indonesian-texas-barbecue-smoked-brisket-alameda\">first wrote about it\u003c/a>, this scrappy, self-styled “Indo-Tex” barbecue spot in Alameda has blown up even more, getting named one of the best new restaurants in the entire country by national outlets like \u003ca href=\"https://www.eater.com/24282771/best-new-restaurants-america-2024\">Eater\u003c/a> and \u003ca href=\"https://www.nytimes.com/interactive/2024/dining/best-restaurants-america.html#fikscue\">\u003ci>The New York Times\u003c/i>\u003c/a>, and gearing up to open a flashy \u003ca href=\"https://chasecenter.com/news/thrive-city-announces-addition-of-fikscue-craft-barbecue-20240816/\">new location at the Chase Center\u003c/a>. The thing about Fikscue is that Chef Fik Saleh’s Texas-style ’cue is good enough to make this list all on its own — I still daydream about the gigantic dino beef rib, which was so tender and fatty that it wobbled obscenely each time I nudged the meat with my fork. But the genius of Fikscue is how well the barbecue goes with all of the Indonesian side dishes — the peanut slaw, creamy kale curry and smoke-kissed nasi goreng fried rice.\u003c/p>\n\u003cfigure id=\"attachment_13968998\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968998\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck.jpg\" alt=\"A plate of Cantonese roast duck.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Go Duck Yourself’s signature Cantonese roast duck. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>8. Cantonese barbecue at Go Duck Yourself\u003c/h2>\n\u003cp>\u003cem>439 Cortland Ave., San Francisco\u003c/em>\u003c/p>\n\u003cp>Late in the pandemic, my favorite old-school SF Chinatown butcher shop, \u003ca href=\"https://www.kqed.org/arts/13913478/bird-flu-duck-shortage-san-francisco-chinatown-hing-lung\">Hing Lung Company\u003c/a>, relocated to Bernal Heights, built out a handsome new dining room, adopted a jokey new moniker — and somehow the food got even better?? Maybe it’s because I finally got to taste the \u003ca href=\"https://www.sfchronicle.com/food/article/Brothers-reinvent-their-father-s-meat-shop-in-12375005.php\">Cheung brothers’\u003c/a> Cantonese barbecue the way God intended it to be eaten: hot and fresh without having sat for 20 minutes in a takeout box. What I still can’t decide for the life of me, though, is which I love more: the roast pork belly, with its immaculately crunchy skin, or the absurdly juicy (and conveniently deboned) duck, which was especially delicious drizzled with soy sauce and rendered fat over hot white rice. Luckily, you don’t have to choose.\u003c/p>\n\u003cfigure id=\"attachment_13968999\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968999\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/het-say-stall.jpg\" alt='A night market stall with a hand-written sign that reads, \"Het Say.\"' width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/het-say-stall.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/het-say-stall-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/het-say-stall-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/het-say-stall-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/het-say-stall-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/het-say-stall-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/het-say-stall-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hết Sẩy’s stall at the Story Road Night Market in October 2024. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>9. Charcoal-grilled ribs at Hết Sẩy\u003c/h2>\n\u003cp>\u003cem>Various locations, San Jose\u003c/em>\u003c/p>\n\u003cp>After years of reading rave reviews of this \u003ca href=\"https://www.kqed.org/news/11963136/flavor-profile-beyond-banh-mi-san-jose-pop-up-plays-with-classics-of-vietnamese-cuisine\">homegrown Vietnamese pop-up\u003c/a>, I had my first Hết Sẩy experience at San Jose’s new \u003ca href=\"https://www.kqed.org/arts/13961537/san-jose-night-market-vietnamese-grand-century-mall\">Story Road Night Market\u003c/a> — easily the \u003ca href=\"https://www.kqed.org/arts/13961537/san-jose-night-market-vietnamese-grand-century-mall\">most night market-y night market\u003c/a> I’ve been to in the Bay. And Hết Sẩy’s offerings were the best dishes we ate all night: the flaky little curry-chicken hand pie, fragrant with lemongrass, and most delicious of all, the pork ribs, grilled over a charcoal fire that one of Hết Sẩy’s chefs tended to lovingly with a bamboo fan so that the entire mall parking lot was suffused with the seductive smell of charred meat. Old-school cooking! The ribs were impossibly succulent and savory, topped with a bright and funky fish sauce and calamansi dressing that lingered on my fingers deliciously for the rest of the night.\u003c/p>\n\u003cfigure id=\"attachment_13969000\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/taishan-eel-claypot-rice.jpg\" alt=\"Cooked rice in a claypot.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/taishan-eel-claypot-rice.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/taishan-eel-claypot-rice-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/taishan-eel-claypot-rice-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/taishan-eel-claypot-rice-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/taishan-eel-claypot-rice-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/taishan-eel-claypot-rice-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/taishan-eel-claypot-rice-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The yellow eel claypot rice is one of Taishan Cuisine’s signature dishes. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>10. Yellow eel claypot rice at Taishan Cuisine\u003c/h2>\n\u003cp>\u003cem>781 Broadway, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Another \u003ca href=\"https://www.kqed.org/arts/13967564/taishan-cuisine-san-francisco-chinatown-late-night-food\">Midnight Diners fave\u003c/a>, Taishan Cuisine is a repository of homey, comforting Toisan dishes — the cuisine of San Francisco’s earliest Chinese immigrants. Of particular note: the yellow eel claypot rice (or any of the other claypot rice dishes, really), which glistens with the uber-aromatic sheen of rendered fish fat. I loved breaking off shards of the crispy, toasty rice crust at the bottom of the pot to eat over the course of the meal. To be able to enjoy such a dish at 3 a.m. on any night of the week? What a dream.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For me, the first four years (!) of this decade in Bay Area food were largely defined by \u003ca href=\"https://www.kqed.org/arts/13907197/best-dishes-bay-area-2021\">pandemic-era\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13921917/best-dishes-bay-area-2022\">takeout\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13939138/best-dishes-sf-bay-area-2023\">cozy meals eaten close to home\u003c/a>. In many ways, I felt as though my whole world had contracted, as more and more interactions were filtered through Zoom meetings, QR codes and delivery apps. So, this year I really wanted to get back to exploring the entirety of the Bay Area food scene in a more robust and deliberate way — its creative pop-ups; its distant, outer-suburban enclaves; and, especially, its underappreciated \u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">late-night haunts\u003c/a>.\u003c/p>\n\u003cp>The good news? The scene is just as delicious and joyous as ever. Here, then, are 10 of my favorite dishes from 2024, presented in roughly the chronological order in which I ate them:\u003c/p>\n\u003cfigure id=\"attachment_13968991\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968991\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/egglicious-gotala.jpg\" alt=\"A large platter topped with grated hard-boiled eggs in green sauce, a fried egg, and two rolls.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/egglicious-gotala.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/egglicious-gotala-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/egglicious-gotala-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/egglicious-gotala-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/egglicious-gotala-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/egglicious-gotala-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/egglicious-gotala-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The egg gotala is a star of Egglicious’s egg-centric menu. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>1. Surti egg gotala at Egglicious India\u003c/h2>\n\u003cp>\u003cem>4996 Stevens Creek Blvd., San Jose\u003c/em>\u003c/p>\n\u003cp>I’ve always been a big egg person, but no restaurant exploded my view of how many different ways you might cook a chicken egg than Egglicious, San Jose’s fully “eggetarian” Indian restaurant, where a single dish might include three or four different imaginative egg preparations. I was especially amazed by the Surti egg gotala, a kind of thick curry topped with both a runny-yolked fried egg and a couple of hard-boiled eggs grated into coarse white shavings that resembled shredded mozzarella cheese. Scooped up with fluffy pav rolls, it was the most flavorful three-egg plate I’d eaten in years.\u003c/p>\n\u003cfigure id=\"attachment_13968993\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968993\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/a-one-crab.jpg\" alt=\"A whole Dungeness crab served on a plate over a bed of French fries.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/a-one-crab.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/a-one-crab-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/a-one-crab-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/a-one-crab-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/a-one-crab-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/a-one-crab-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/a-one-crab-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A-One Kitchen serves one of the best garlic butter Dungeness crabs in the Bay. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>2. Garlic butter crab at A-One Kitchen\u003c/h2>\n\u003cp>\u003cem>677 San Mateo Ave., San Bruno\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because of my ongoing \u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">Midnight Diners\u003c/a> series, this has largely been a year of exploring the Bay Area’s much-disparaged late-night food scene, which, to be totally transparent, I only had modest hopes for at the start of the project. But I remember exactly when my expectations flipped on their head: dinner at \u003ca href=\"https://www.kqed.org/arts/13951914/dungeness-crab-garlic-noodles-san-bruno-late-night\">A-One Kitchen\u003c/a>, a festive Thai-Chinese spot across the street from the Artichoke Joe’s casino that stays open until 1 a.m. We feasted on garlicky, butter-soaked roast Dungeness crab and heaping plates of garlic noodles, and everything was so delicious, it made me realize that in some cases the Bay Area’s late-night food is also its best food — straight up. No caveats necessary.\u003c/p>\n\u003cfigure id=\"attachment_13968994\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968994\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/e-lade-suya.jpg\" alt=\"A fried meat pie, plated elegantly next to a sprig of green herbs.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/e-lade-suya.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/e-lade-suya-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/e-lade-suya-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/e-lade-suya-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/e-lade-suya-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/e-lade-suya-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/e-lade-suya-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The suya meat pie at E Le Aɖe’s Ghanaian-Ethiopian pop-up. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>3. Meat pie at E Le Aɖe Test Kitchen Pop-Up at Cafe Colucci\u003c/h2>\n\u003cp>\u003cem>5849 San Pablo Ave., Oakland\u003c/em>\u003c/p>\n\u003cp>My favorite fine dining meal of the year was a Ghanaian-Ethiopian fusion pop-up by Chef Selasie Dotse, hosted on the back patio at Cafe Colucci. As a person who sometimes finds tasting menu food a little bit samey-samey, this was the cannon blast of bold diasporic flavors I was looking for: a yam pave spiked with fiery chile-and-tomato hot sauce that knocked me upside the head, rockfish “kitfo” and injera reimagined as a kind of fish taco, and on and on. My favorite was the chef’s take on suya — the spice rub applied, in this case, to braised oxtail that was stuffed inside a gorgeous, flaky pastry, with a side of zippy peanut romesco sauce for dipping. Delicious. (Unfortunately, Dotse’s \u003ca href=\"https://www.kqed.org/arts/13938506/cafe-colucci-pop-up-oakland-ethiopian-ghanaian-selasie-dotse\">E Le Aɖe pop-up series\u003c/a> ended shortly after the dinner I attended, and the chef is \u003ca href=\"https://www.instagram.com/p/DDEGI77xeXd/?img_index=1\">moving to the East Coast\u003c/a>. But \u003ca href=\"https://www.instagram.com/cafecolucci/?hl=en\">Cafe Colucci’s\u003c/a> patio is worth keeping an eye on as it’s become a regular landing spot for similarly audacious pop-ups.)\u003c/p>\n\u003cfigure id=\"attachment_13968995\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968995\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/cajun-bistro-7-crawfish.jpg\" alt=\"Crawfish boil in a plastic bag.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/cajun-bistro-7-crawfish.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/cajun-bistro-7-crawfish-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/cajun-bistro-7-crawfish-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/cajun-bistro-7-crawfish-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/cajun-bistro-7-crawfish-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/cajun-bistro-7-crawfish-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/cajun-bistro-7-crawfish-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A bag of goodness at Cajun Bistro 7. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>4. Crawfish boil at Cajun Bistro 7\u003c/h2>\n\u003cp>\u003cem>3005 Silver Creek Rd. Ste. 116, San Jose\u003c/em>\u003c/p>\n\u003cp>Maybe the best crawfish I’ve ever eaten in my life can be found at this little San Jose strip mall spot that serves \u003ca href=\"https://www.kqed.org/arts/13954983/viet-cajun-seafood-crawfish-boil-san-jose-late-night\">Viet-Cajun seafood boils until 4 a.m. every night\u003c/a> (because each day’s shipment of live crawfish comes in from Louisiana — or the Sacramento delta during the off season — at 5). Cajun Bistro 7’s creamy, garlicky seafood-boil sauces are extremely addicting, but it was the freshness of the little crustaceans themselves that blew my mind — so plump, toothsome and naturally sweet.\u003c/p>\n\u003cfigure id=\"attachment_13968996\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968996\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ping-yang-bing-soo.jpg\" alt=\"Watermelon balls and shave ice served inside the watermelon rind.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ping-yang-bing-soo.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ping-yang-bing-soo-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ping-yang-bing-soo-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ping-yang-bing-soo-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ping-yang-bing-soo-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ping-yang-bing-soo-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ping-yang-bing-soo-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The watermelon bing soo at Ping Yang is a showstopper. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>5. Watermelon bing soo at Ping Yang\u003c/h2>\n\u003cp>\u003cem>955 Larkin St., San Francisco\u003c/em>\u003c/p>\n\u003cp>It would be hard to orchestrate a more perfect meal of homey comfort food than \u003ca href=\"https://www.kqed.org/arts/13957599/late-night-thai-food-dessert-sf-ping-yang\">the dinner I had at this cozy Thai cafe\u003c/a> this spring: pad see ew topped with wok-seared pork jowl and a simple Thai omelette over jasmine rice. Dessert, on the other hand, was a straight-up showstopper: a giant bing soo (Korean shaved ice) served inside a hollowed-out watermelon rind and piled high with melon balls that looked like gleaming bright red jewels. But while the presentation may have been flashy, the pleasures of this bing soo were just as plain and comforting as the rest of the meal — ripe, juicy fruit and sweet, condensed milk–infused ice shaved so finely it was like digging my spoon into the fluffiest freshly fallen powder snow.\u003c/p>\n\u003cfigure id=\"attachment_13968997\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968997\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/piglet-douhua.jpg\" alt=\"Whipped tofu pudding topped with crushed sesame brittle.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/piglet-douhua.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/piglet-douhua-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/piglet-douhua-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/piglet-douhua-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/piglet-douhua-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/piglet-douhua-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/piglet-douhua-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Piglet & Co.’s take on dou hua, or tofu pudding, made for an ingenious dessert. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>6. Strawberry and dou hua at Piglet & Co.\u003c/h2>\n\u003cp>\u003cem>2170 Mission St., San Francisco\u003c/em>\u003c/p>\n\u003cp>Speaking of dessert, the most memorable dish of my first meal at Piglet & Co. — a stylish, Taiwanese-inspired fusion spot in the Mission — was the chefs’ take on douhua, or tofu pudding, a ginger-syrup-soaked treat I’d enjoyed, hot or cold, during trips to Taipei ever since I was a kid. In Piglet & Co.’s ingenious version, the tofu was blended and whipped, so that it took on the texture of an airy mousse. On top, there was a layer of crushed sesame brittle and a few sprigs of fresh mint; fresh strawberries were hidden underneath. The overall effect was magical: like a nostalgic bowl of Lunar New Year’s tangyuan zhuzhed up with a dash of Bay Area summer.\u003c/p>\n\u003cfigure id=\"attachment_13962178\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962178\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240804_KQED_FIKSCUE_ML_0219-KQED-2.jpg\" alt='A huge smoked \"dinosaur\" beef rib on a paper-lined tray.' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240804_KQED_FIKSCUE_ML_0219-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240804_KQED_FIKSCUE_ML_0219-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240804_KQED_FIKSCUE_ML_0219-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240804_KQED_FIKSCUE_ML_0219-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240804_KQED_FIKSCUE_ML_0219-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240804_KQED_FIKSCUE_ML_0219-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240804_KQED_FIKSCUE_ML_0219-KQED-2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A dino beef rib at Fikscue in Alameda. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>7. Dino beef rib at Fikscue\u003c/h2>\n\u003cp>\u003cem>1708 Park St., Alameda\u003c/em>\u003c/p>\n\u003cp>In the months since I \u003ca href=\"https://www.kqed.org/arts/13962220/fikscue-best-indonesian-texas-barbecue-smoked-brisket-alameda\">first wrote about it\u003c/a>, this scrappy, self-styled “Indo-Tex” barbecue spot in Alameda has blown up even more, getting named one of the best new restaurants in the entire country by national outlets like \u003ca href=\"https://www.eater.com/24282771/best-new-restaurants-america-2024\">Eater\u003c/a> and \u003ca href=\"https://www.nytimes.com/interactive/2024/dining/best-restaurants-america.html#fikscue\">\u003ci>The New York Times\u003c/i>\u003c/a>, and gearing up to open a flashy \u003ca href=\"https://chasecenter.com/news/thrive-city-announces-addition-of-fikscue-craft-barbecue-20240816/\">new location at the Chase Center\u003c/a>. The thing about Fikscue is that Chef Fik Saleh’s Texas-style ’cue is good enough to make this list all on its own — I still daydream about the gigantic dino beef rib, which was so tender and fatty that it wobbled obscenely each time I nudged the meat with my fork. But the genius of Fikscue is how well the barbecue goes with all of the Indonesian side dishes — the peanut slaw, creamy kale curry and smoke-kissed nasi goreng fried rice.\u003c/p>\n\u003cfigure id=\"attachment_13968998\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968998\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck.jpg\" alt=\"A plate of Cantonese roast duck.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Go Duck Yourself’s signature Cantonese roast duck. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>8. Cantonese barbecue at Go Duck Yourself\u003c/h2>\n\u003cp>\u003cem>439 Cortland Ave., San Francisco\u003c/em>\u003c/p>\n\u003cp>Late in the pandemic, my favorite old-school SF Chinatown butcher shop, \u003ca href=\"https://www.kqed.org/arts/13913478/bird-flu-duck-shortage-san-francisco-chinatown-hing-lung\">Hing Lung Company\u003c/a>, relocated to Bernal Heights, built out a handsome new dining room, adopted a jokey new moniker — and somehow the food got even better?? Maybe it’s because I finally got to taste the \u003ca href=\"https://www.sfchronicle.com/food/article/Brothers-reinvent-their-father-s-meat-shop-in-12375005.php\">Cheung brothers’\u003c/a> Cantonese barbecue the way God intended it to be eaten: hot and fresh without having sat for 20 minutes in a takeout box. What I still can’t decide for the life of me, though, is which I love more: the roast pork belly, with its immaculately crunchy skin, or the absurdly juicy (and conveniently deboned) duck, which was especially delicious drizzled with soy sauce and rendered fat over hot white rice. Luckily, you don’t have to choose.\u003c/p>\n\u003cfigure id=\"attachment_13968999\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968999\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/het-say-stall.jpg\" alt='A night market stall with a hand-written sign that reads, \"Het Say.\"' width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/het-say-stall.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/het-say-stall-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/het-say-stall-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/het-say-stall-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/het-say-stall-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/het-say-stall-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/het-say-stall-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hết Sẩy’s stall at the Story Road Night Market in October 2024. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>9. Charcoal-grilled ribs at Hết Sẩy\u003c/h2>\n\u003cp>\u003cem>Various locations, San Jose\u003c/em>\u003c/p>\n\u003cp>After years of reading rave reviews of this \u003ca href=\"https://www.kqed.org/news/11963136/flavor-profile-beyond-banh-mi-san-jose-pop-up-plays-with-classics-of-vietnamese-cuisine\">homegrown Vietnamese pop-up\u003c/a>, I had my first Hết Sẩy experience at San Jose’s new \u003ca href=\"https://www.kqed.org/arts/13961537/san-jose-night-market-vietnamese-grand-century-mall\">Story Road Night Market\u003c/a> — easily the \u003ca href=\"https://www.kqed.org/arts/13961537/san-jose-night-market-vietnamese-grand-century-mall\">most night market-y night market\u003c/a> I’ve been to in the Bay. And Hết Sẩy’s offerings were the best dishes we ate all night: the flaky little curry-chicken hand pie, fragrant with lemongrass, and most delicious of all, the pork ribs, grilled over a charcoal fire that one of Hết Sẩy’s chefs tended to lovingly with a bamboo fan so that the entire mall parking lot was suffused with the seductive smell of charred meat. Old-school cooking! The ribs were impossibly succulent and savory, topped with a bright and funky fish sauce and calamansi dressing that lingered on my fingers deliciously for the rest of the night.\u003c/p>\n\u003cfigure id=\"attachment_13969000\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/taishan-eel-claypot-rice.jpg\" alt=\"Cooked rice in a claypot.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/taishan-eel-claypot-rice.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/taishan-eel-claypot-rice-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/taishan-eel-claypot-rice-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/taishan-eel-claypot-rice-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/taishan-eel-claypot-rice-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/taishan-eel-claypot-rice-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/taishan-eel-claypot-rice-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The yellow eel claypot rice is one of Taishan Cuisine’s signature dishes. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>10. Yellow eel claypot rice at Taishan Cuisine\u003c/h2>\n\u003cp>\u003cem>781 Broadway, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another \u003ca href=\"https://www.kqed.org/arts/13967564/taishan-cuisine-san-francisco-chinatown-late-night-food\">Midnight Diners fave\u003c/a>, Taishan Cuisine is a repository of homey, comforting Toisan dishes — the cuisine of San Francisco’s earliest Chinese immigrants. Of particular note: the yellow eel claypot rice (or any of the other claypot rice dishes, really), which glistens with the uber-aromatic sheen of rendered fish fat. I loved breaking off shards of the crispy, toasty rice crust at the bottom of the pot to eat over the course of the meal. To be able to enjoy such a dish at 3 a.m. on any night of the week? What a dream.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photos-cyndi-lauper-fans-fashion-outfits-style-san-francisco",
"title": "Photos: Cyndi Lauper Fans Show Their True Colors in San Francisco",
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"headTitle": "Photos: Cyndi Lauper Fans Show Their True Colors in San Francisco | KQED",
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"content": "\u003cfigure id=\"attachment_13968772\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed.jpg\" alt=\"Two women in neon pink and purple outfits reminiscent of the 1980s pose together in front of a Christmas tree.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Best friends Anndrea Miller, left, and Krista Ball pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cyndi Lauper came to San Francisco Tuesday night on what she’s promising is her final tour — and her fans came appropriately dressed in style. \u003c/p>\n\u003cp>KQED’s Gina Castro was there to document the looks. \u003ca href=\"https://www.kqed.org/arts/13968734/review-cyndi-lauper-san-francisco-farewell-tour-chase-center\">Read our review of the show here\u003c/a>, and see photos of fan fashions at the Chase Center below.\u003c/p>\n\u003cfigure id=\"attachment_13968776\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An attendee of the Cyndi Lauper concert holds up a pink glove during the Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968771\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shannon McVey, left, and her daughter Bridget McVey, 16, pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968768\" class=\"wp-caption aligncenter\" style=\"max-width: 889px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed.jpg\" alt=\"\" width=\"889\" height=\"1333\" class=\"size-full wp-image-13968768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed-768x1152.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003cfigcaption class=\"wp-caption-text\">Dione Zumbach, of Reno, NV, poses for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. Dione became a fan when her father gifted her Cyndi’s record ‘She’s So Unusual’ when she was around 7 years old. Her mom made her a custom red dress similar to Cyndi Lauper’s dress on the cover of album. For Dione, Cyndi represents power, love and the freedom to be whoever you want to be. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968765\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed.jpg\" alt=\"\" width=\"2000\" height=\"1318\" class=\"size-full wp-image-13968765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-1536x1012.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-1920x1265.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dione Zumbach wears a Cyndi Lauper pin for the concert during the Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 27, 2024. Dione became a fan when her father gifted her the album ‘She’s So Unusual’ when she was around 7 years old. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968764\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968764\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Friends Rebecca Lee, of Grass Valley, and Tangerine Gyi pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968773\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Erwin Kunnen, from the Netherlands, Shannon Spicer and Greg Phelps pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968767\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Tan poses for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968774\" class=\"wp-caption aligncenter\" style=\"max-width: 1910px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed.jpg\" alt=\"\" width=\"1910\" height=\"1333\" class=\"size-full wp-image-13968774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed.jpg 1910w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-1536x1072.jpg 1536w\" sizes=\"(max-width: 1910px) 100vw, 1910px\">\u003cfigcaption class=\"wp-caption-text\">Trixie Mattel, drag queen, DJ and TV personality, opens for Cyndi Lauper during the Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968769\" class=\"wp-caption aligncenter\" style=\"max-width: 889px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed.jpg\" alt=\"\" width=\"889\" height=\"1333\" class=\"size-full wp-image-13968769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed-768x1152.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003cfigcaption class=\"wp-caption-text\">Cousins Elaina Hernandez, left, and Karista Cavasos, right, pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. Elaina remembers rollerblading while listening to Cyndi Lauper in the ’80s. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968779\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sister Shalita, left, and Sister Roma, right, both with the Sisters of Perpetual Indulgence, attend the Cyndi Lauper concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 27, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968766\" class=\"wp-caption aligncenter\" style=\"max-width: 889px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed.jpg\" alt=\"\" width=\"889\" height=\"1333\" class=\"size-full wp-image-13968766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed-768x1152.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003cfigcaption class=\"wp-caption-text\">Mikey Medrano poses for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. Mikey’s mom played Cyndi’s music when he was young, and he’s been a fan ever since. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968778\" class=\"wp-caption aligncenter\" style=\"max-width: 1936px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed.jpg\" alt=\"\" width=\"1936\" height=\"1333\" class=\"size-full wp-image-13968778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed.jpg 1936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-1536x1058.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-1920x1322.jpg 1920w\" sizes=\"(max-width: 1936px) 100vw, 1936px\">\u003cfigcaption class=\"wp-caption-text\">From left, friends Adrianne Adams, Heather Parker, Pamela Collver and Jennifer Bernstein, all coming from Eureka, pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 27, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968775\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Trixie Carr looks out across the crowd during the Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968763\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Graves of Palo Alto, a Cyndi Lauper fan since the early ’80s, poses for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 27, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Cyndi Lauper fans dressed up in style for her tour stop at the Chase Center on Tuesday night. ",
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"title": "Photos: Cyndi Lauper Fans Show Their True Colors in San Francisco | KQED",
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"headline": "Photos: Cyndi Lauper Fans Show Their True Colors in San Francisco",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13968772\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed.jpg\" alt=\"Two women in neon pink and purple outfits reminiscent of the 1980s pose together in front of a Christmas tree.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Best friends Anndrea Miller, left, and Krista Ball pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cyndi Lauper came to San Francisco Tuesday night on what she’s promising is her final tour — and her fans came appropriately dressed in style. \u003c/p>\n\u003cp>KQED’s Gina Castro was there to document the looks. \u003ca href=\"https://www.kqed.org/arts/13968734/review-cyndi-lauper-san-francisco-farewell-tour-chase-center\">Read our review of the show here\u003c/a>, and see photos of fan fashions at the Chase Center below.\u003c/p>\n\u003cfigure id=\"attachment_13968776\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An attendee of the Cyndi Lauper concert holds up a pink glove during the Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968771\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shannon McVey, left, and her daughter Bridget McVey, 16, pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968768\" class=\"wp-caption aligncenter\" style=\"max-width: 889px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed.jpg\" alt=\"\" width=\"889\" height=\"1333\" class=\"size-full wp-image-13968768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed-768x1152.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003cfigcaption class=\"wp-caption-text\">Dione Zumbach, of Reno, NV, poses for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. Dione became a fan when her father gifted her Cyndi’s record ‘She’s So Unusual’ when she was around 7 years old. Her mom made her a custom red dress similar to Cyndi Lauper’s dress on the cover of album. For Dione, Cyndi represents power, love and the freedom to be whoever you want to be. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968765\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed.jpg\" alt=\"\" width=\"2000\" height=\"1318\" class=\"size-full wp-image-13968765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-1536x1012.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-1920x1265.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dione Zumbach wears a Cyndi Lauper pin for the concert during the Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 27, 2024. Dione became a fan when her father gifted her the album ‘She’s So Unusual’ when she was around 7 years old. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968764\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968764\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Friends Rebecca Lee, of Grass Valley, and Tangerine Gyi pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968773\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Erwin Kunnen, from the Netherlands, Shannon Spicer and Greg Phelps pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968767\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Tan poses for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968774\" class=\"wp-caption aligncenter\" style=\"max-width: 1910px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed.jpg\" alt=\"\" width=\"1910\" height=\"1333\" class=\"size-full wp-image-13968774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed.jpg 1910w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-1536x1072.jpg 1536w\" sizes=\"(max-width: 1910px) 100vw, 1910px\">\u003cfigcaption class=\"wp-caption-text\">Trixie Mattel, drag queen, DJ and TV personality, opens for Cyndi Lauper during the Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968769\" class=\"wp-caption aligncenter\" style=\"max-width: 889px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed.jpg\" alt=\"\" width=\"889\" height=\"1333\" class=\"size-full wp-image-13968769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed-768x1152.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003cfigcaption class=\"wp-caption-text\">Cousins Elaina Hernandez, left, and Karista Cavasos, right, pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. Elaina remembers rollerblading while listening to Cyndi Lauper in the ’80s. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968779\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sister Shalita, left, and Sister Roma, right, both with the Sisters of Perpetual Indulgence, attend the Cyndi Lauper concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 27, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968766\" class=\"wp-caption aligncenter\" style=\"max-width: 889px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed.jpg\" alt=\"\" width=\"889\" height=\"1333\" class=\"size-full wp-image-13968766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed-768x1152.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003cfigcaption class=\"wp-caption-text\">Mikey Medrano poses for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. Mikey’s mom played Cyndi’s music when he was young, and he’s been a fan ever since. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968778\" class=\"wp-caption aligncenter\" style=\"max-width: 1936px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed.jpg\" alt=\"\" width=\"1936\" height=\"1333\" class=\"size-full wp-image-13968778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed.jpg 1936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-1536x1058.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-1920x1322.jpg 1920w\" sizes=\"(max-width: 1936px) 100vw, 1936px\">\u003cfigcaption class=\"wp-caption-text\">From left, friends Adrianne Adams, Heather Parker, Pamela Collver and Jennifer Bernstein, all coming from Eureka, pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 27, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968775\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Trixie Carr looks out across the crowd during the Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968763\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Graves of Palo Alto, a Cyndi Lauper fan since the early ’80s, poses for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 27, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "review-cyndi-lauper-san-francisco-farewell-tour-chase-center",
"title": "Cyndi Lauper Consoles a Post-Election Crowd in San Francisco",
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"headTitle": "Cyndi Lauper Consoles a Post-Election Crowd in San Francisco | KQED",
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"content": "\u003cp>Cyndi Lauper didn’t once mention the election Tuesday night, but it hung in the air so clearly that she didn’t need to. For a San Francisco crowd that included Nancy Pelosi in the third row, Lauper acknowledged the past three weeks without once saying the E-word or, God forbid, the T-word. \u003c/p>\n\u003cp>“I never thought I’d be a second-class citizen again, and not have autonomy over my own body because of my gender,” she said at one point. She talked about rock bands full of “men, men, men, men, men”; she spoke of the power in a woman driving herself somewhere, or writing her own songs. \u003c/p>\n\u003cfigure id=\"attachment_13968723\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27.jpg\" alt=\"\" width=\"2000\" height=\"1280\" class=\"size-full wp-image-13968723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1536x983.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1920x1229.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, after opener “She Bop” — a once-scandalous ode to (gasp!) female masturbation that underscored just how far American society has progressed since the 1980s — she talked about pretty much anything on her mind, like the ways American society has moved backward, particularly on women’s equal rights.\u003c/p>\n\u003cp>Lauper is on what she’s promising is her final tour, and she’s so beloved by fans that she padded an hour-and-45-minute farewell set with these extended, off-the-cuff monologues. But it was the songs that got the people to their feet, from the belting Gene Pitney torch ballad “I’m Gonna Be Strong’ to the No. 1 single “Time After Time,” performed to an arena bathed in phone lights. \u003c/p>\n\u003cfigure id=\"attachment_13968725\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44.jpg\" alt=\"\" width=\"2000\" height=\"1400\" class=\"size-full wp-image-13968725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1536x1075.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1920x1344.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is an odd artifact of the 1980s that both Cyndi Lauper and Donald Trump advocated for and \u003ca href=\"https://www.youtube.com/watch?v=JsKMb899g2Y\">participated in\u003c/a> pro wrestling. “The Goonies ‘R’ Good Enough” and its attendant film montage gave Lauper a reason to shout out wrestlers like Lou Albano, Fred Blassie and Rowdy Roddy Piper. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How Trump used pro wrestling’s playbook and a reality TV show (on which Lauper \u003ca href=\"https://www.youtube.com/watch?v=k_Ie5B6utUA\">appeared\u003c/a>) to commandeer a political party and twice take over a nation will be studied for decades. For her part, Lauper on Tuesday night introduced a song that, as she said, seemed more true than ever: “Money Changes Everything.”\u003c/p>\n\u003cfigure id=\"attachment_13968726\" class=\"wp-caption aligncenter\" style=\"max-width: 1480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46.jpg\" alt=\"\" width=\"1480\" height=\"2000\" class=\"size-full wp-image-13968726\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-800x1081.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-1020x1378.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-768x1038.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-1137x1536.jpg 1137w\" sizes=\"(max-width: 1480px) 100vw, 1480px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, just about any song from Lauper’s smash album \u003cem>She’s So Unusual\u003c/em> won over the mostly 40-and-up crowd. During “When You Were Mine,” the masterwork by Prince about the aftermath of a situationship, you could feel the energy of thousands of people remembering what the song once meant to them, or who they shared it with, and where, long ago. \u003c/p>\n\u003cp>That connection persisted for “True Colors,” the enduring LGBTQ anthem which Lauper performed on a small stage in the center of the arena, a sheer rainbow fabric rippling in the air above. The moment was so strong, nearly reverent, that the following set closer arrived as a foregone afterthought.\u003c/p>\n\u003cfigure id=\"attachment_13968728\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13968728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Girls Just Wanna Have Fun” is so ubiquitous, so universal, that Lauper often finds new ways to perform it. On Tuesday night, oddly, that meant three giant portraits of the artist Yayoi Kusama, stern and unsmiling, on the giant stage backdrop, and a set and wardrobe bathed in Kusama’s red-and-white polka dots.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cyndi Lauper hugged Nancy Pelosi. Opener Trixie Mattel came back out to sing the second verse. Confetti ribbons shot into the air. If this truly was the last time San Francisco will see Lauper sing her hits, it left a memorable image. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cyndi Lauper didn’t once mention the election Tuesday night, but it hung in the air so clearly that she didn’t need to. For a San Francisco crowd that included Nancy Pelosi in the third row, Lauper acknowledged the past three weeks without once saying the E-word or, God forbid, the T-word. \u003c/p>\n\u003cp>“I never thought I’d be a second-class citizen again, and not have autonomy over my own body because of my gender,” she said at one point. She talked about rock bands full of “men, men, men, men, men”; she spoke of the power in a woman driving herself somewhere, or writing her own songs. \u003c/p>\n\u003cfigure id=\"attachment_13968723\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27.jpg\" alt=\"\" width=\"2000\" height=\"1280\" class=\"size-full wp-image-13968723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1536x983.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1920x1229.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, after opener “She Bop” — a once-scandalous ode to (gasp!) female masturbation that underscored just how far American society has progressed since the 1980s — she talked about pretty much anything on her mind, like the ways American society has moved backward, particularly on women’s equal rights.\u003c/p>\n\u003cp>Lauper is on what she’s promising is her final tour, and she’s so beloved by fans that she padded an hour-and-45-minute farewell set with these extended, off-the-cuff monologues. But it was the songs that got the people to their feet, from the belting Gene Pitney torch ballad “I’m Gonna Be Strong’ to the No. 1 single “Time After Time,” performed to an arena bathed in phone lights. \u003c/p>\n\u003cfigure id=\"attachment_13968725\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44.jpg\" alt=\"\" width=\"2000\" height=\"1400\" class=\"size-full wp-image-13968725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1536x1075.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1920x1344.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is an odd artifact of the 1980s that both Cyndi Lauper and Donald Trump advocated for and \u003ca href=\"https://www.youtube.com/watch?v=JsKMb899g2Y\">participated in\u003c/a> pro wrestling. “The Goonies ‘R’ Good Enough” and its attendant film montage gave Lauper a reason to shout out wrestlers like Lou Albano, Fred Blassie and Rowdy Roddy Piper. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How Trump used pro wrestling’s playbook and a reality TV show (on which Lauper \u003ca href=\"https://www.youtube.com/watch?v=k_Ie5B6utUA\">appeared\u003c/a>) to commandeer a political party and twice take over a nation will be studied for decades. For her part, Lauper on Tuesday night introduced a song that, as she said, seemed more true than ever: “Money Changes Everything.”\u003c/p>\n\u003cfigure id=\"attachment_13968726\" class=\"wp-caption aligncenter\" style=\"max-width: 1480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46.jpg\" alt=\"\" width=\"1480\" height=\"2000\" class=\"size-full wp-image-13968726\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-800x1081.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-1020x1378.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-768x1038.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-1137x1536.jpg 1137w\" sizes=\"(max-width: 1480px) 100vw, 1480px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, just about any song from Lauper’s smash album \u003cem>She’s So Unusual\u003c/em> won over the mostly 40-and-up crowd. During “When You Were Mine,” the masterwork by Prince about the aftermath of a situationship, you could feel the energy of thousands of people remembering what the song once meant to them, or who they shared it with, and where, long ago. \u003c/p>\n\u003cp>That connection persisted for “True Colors,” the enduring LGBTQ anthem which Lauper performed on a small stage in the center of the arena, a sheer rainbow fabric rippling in the air above. The moment was so strong, nearly reverent, that the following set closer arrived as a foregone afterthought.\u003c/p>\n\u003cfigure id=\"attachment_13968728\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13968728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Girls Just Wanna Have Fun” is so ubiquitous, so universal, that Lauper often finds new ways to perform it. On Tuesday night, oddly, that meant three giant portraits of the artist Yayoi Kusama, stern and unsmiling, on the giant stage backdrop, and a set and wardrobe bathed in Kusama’s red-and-white polka dots.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cyndi Lauper hugged Nancy Pelosi. Opener Trixie Mattel came back out to sing the second verse. Confetti ribbons shot into the air. If this truly was the last time San Francisco will see Lauper sing her hits, it left a memorable image. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "versoul-documentary-this-is-my-story-tenderloin-san-francisco",
"title": "Rapper Versoul Takes the Director’s Chair for ‘This is My Story: Tenderloin’",
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"headTitle": "Rapper Versoul Takes the Director’s Chair for ‘This is My Story: Tenderloin’ | KQED",
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"content": "\u003cp>In 2022, hip-hop artist \u003ca href=\"https://www.instagram.com/versoulmusic/\">Versoul\u003c/a> temporarily stepped away from the microphone and turned on a camera to capture her grandmother’s story while her grandma was around to tell it herself.\u003c/p>\n\u003cp>Her grandmother Sachiko Higa Rosa Roverso immigrated from Peru to San Francisco in the early 1970s. A single mother of two sons, she lived humbly in her 200-square-foot Mission District apartment until she passed away at 82 years old, not long after Versoul recorded her story. Throughout her life, Grandmother Sachiko felt the impacts of imperialism, war and anti-Japanese racism. The lessons she taught her granddaughter \u003cspan style=\"font-weight: 400\">—\u003c/span> that treating people well costs nothing and has lasting positive reverberations \u003cspan style=\"font-weight: 400\">—\u003c/span> became Versoul’s lens as a filmmaker. [aside postid='arts_13950855']\u003c/p>\n\u003cp>When friend and fellow hip-hop artist \u003ca href=\"https://www.instagram.com/kqed/reel/CyOmLwmJsMN/\">Dimebag Dizzy\u003c/a> informed Versoul about the Yerba Buena Center for the Arts’ \u003ca href=\"https://ybca.org/creative-corps-initiative/\">Creative Corps Initiative\u003c/a>, which funds social justice-related projects, Versoul knew exactly what story to tell. She pitched a documentary about artists whose work and lived experiences reframe a maligned and misunderstood neighborhood, San Francisco’s Tenderloin District, a home base for working class and immigrant families like Versoul’s own. That’s how Versoul became the director of the 30-minute short film \u003cem>This Is My Story: Tenderloin\u003c/em>.\u003c/p>\n\u003cp>“I just want this documentary to inspire others to look at themselves and their communities, and to also treat the Tenderloin with more compassion and respect,” says the filmmaker, whose real name is Christiana Roverso.\u003c/p>\n\u003cp>https://youtu.be/C_CXrbEp9Ak?si=0QJ4ZIhXpXkIivfn\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Versoul debuted \u003cem>This Is My Story: Tenderloin\u003c/em> on Sept. 12 at the Yerba Buena Center for the Arts in SoMa. Up next, the film screens on Nov. 19 at the Chabot Theater in Castro Valley. It features Ilyich Sato, a.k.a. \u003ca href=\"https://www.instagram.com/equipto_415/\">Equipto\u003c/a>, the tenured San Francisco hip-hop artist and activist of Solidarity Records. Musicians \u003ca href=\"https://www.instagram.com/koko.geee/\">Koko G\u003c/a>, \u003ca href=\"https://www.instagram.com/agency415/\">Agent Striknine\u003c/a>, \u003ca href=\"https://soundcloud.com/timewarpnif\">Han!f\u003c/a> and Roderick Brown round out the lineup.\u003c/p>\n\u003cp>The documentary showcases some of those young artists working out of \u003ca href=\"https://larkinstreetyouth.org/\">Larkin Street Youth Services\u003c/a>. Versoul relished the intergenerational exchange with her grandmother, and wanted to bring that approach to the documentary, captured in collaboration with her cinematographer and editor \u003ca href=\"https://www.instagram.com/lu1smontoya/\">Luis Montoya\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968175\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Hanf3-e1731693181445.png\" alt=\"\" width=\"2000\" height=\"1127\">\u003cfigcaption class=\"wp-caption-text\">Han!f in ‘This Is My Story: Tenderloin.’ \u003ccite>(Versoul)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Tenderloin is a local and national lightning rod in conversations around homelessness, drug abuse, mental health and police brutality. But Versoul wanted to “refocus the lens on the Tenderloin to a lens of beauty in the struggle, and not just the struggle.”\u003c/p>\n\u003cp>Despite the negative attention, there are “beautiful souls” there, she says. The way the film highlights its artists prompts viewers to reject voyeuristic trauma tourism, and asks them to reflect on the larger societal forces behind the dehumanizing conditions.\u003c/p>\n\u003cp>“The lack of recognizing the system is flawed is the reason the TL is the community it is. The biggest point of this documentary … is for it to reach the people that don’t know that,” Versoul says, “to give people the opportunity to experience the Tenderloin in a way that they probably wouldn’t if they walk down the street.”\u003c/p>\n\u003cfigure id=\"attachment_13968140\" class=\"wp-caption aligncenter\" style=\"max-width: 2770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto.png\" alt=\"\" width=\"2770\" height=\"1558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto.png 2770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1920x1080.png 1920w\" sizes=\"auto, (max-width: 2770px) 100vw, 2770px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and activist Equipto in ‘This Is My Story: Tenderloin.’ \u003ccite>(Versoul )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Versoul better understood her grandmother’s story, embracing one’s agency and seeking out one another’s humanity became foundational to her art, first through music and now through this \u003cem>This Is My Story: Tenderloin\u003c/em>. Versoul intends to collect the documentary’s musicians in songs together, too.\u003c/p>\n\u003cp>“We can’t sit and wait to be discovered by somebody who can come and ‘save us.’ It doesn’t work like that,” she says. “That’s what ‘the revolution starts at home’ means.” [aside postid='arts_13968060']\u003c/p>\n\u003cp>Though she faced self-doubt about helming \u003cem>This Is My Story: Tenderloin\u003c/em>, before filming started, Versoul got an unexpected affirmation. She was awarded the Creative Corps grant to direct the documentary on her grandmother Sachiko’s birthday, the first after her passing.\u003c/p>\n\u003cp>“If that isn’t a sign that I am meant to be doing this work, a sign from my grandmother in heaven proud of me, then I don’t know what it is,” Versoul says. “In a way, it was her helping me out, because as an independent artist, I have been struggling.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘This Is My Story: Tenderloin’ \u003ca href=\"https://www.eventbrite.com/e/film-screening-this-is-my-story-tenderloin-tickets-1081231886679?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">screens at the Chabot Theater in Castro Valley on Nov. 19\u003c/a>, followed by a panel discussion and performances. For updates on more screenings and events, visit \u003ca href=\"https://versoulmusic.com/\">Versoul’s website\u003c/a> and the \u003ca href=\"https://www.instagram.com/thisismystorydoc/\">film’s Instagram\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When friend and fellow hip-hop artist \u003ca href=\"https://www.instagram.com/kqed/reel/CyOmLwmJsMN/\">Dimebag Dizzy\u003c/a> informed Versoul about the Yerba Buena Center for the Arts’ \u003ca href=\"https://ybca.org/creative-corps-initiative/\">Creative Corps Initiative\u003c/a>, which funds social justice-related projects, Versoul knew exactly what story to tell. She pitched a documentary about artists whose work and lived experiences reframe a maligned and misunderstood neighborhood, San Francisco’s Tenderloin District, a home base for working class and immigrant families like Versoul’s own. That’s how Versoul became the director of the 30-minute short film \u003cem>This Is My Story: Tenderloin\u003c/em>.\u003c/p>\n\u003cp>“I just want this documentary to inspire others to look at themselves and their communities, and to also treat the Tenderloin with more compassion and respect,” says the filmmaker, whose real name is Christiana Roverso.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/C_CXrbEp9Ak'\n title='//www.youtube.com/embed/C_CXrbEp9Ak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Versoul debuted \u003cem>This Is My Story: Tenderloin\u003c/em> on Sept. 12 at the Yerba Buena Center for the Arts in SoMa. Up next, the film screens on Nov. 19 at the Chabot Theater in Castro Valley. It features Ilyich Sato, a.k.a. \u003ca href=\"https://www.instagram.com/equipto_415/\">Equipto\u003c/a>, the tenured San Francisco hip-hop artist and activist of Solidarity Records. Musicians \u003ca href=\"https://www.instagram.com/koko.geee/\">Koko G\u003c/a>, \u003ca href=\"https://www.instagram.com/agency415/\">Agent Striknine\u003c/a>, \u003ca href=\"https://soundcloud.com/timewarpnif\">Han!f\u003c/a> and Roderick Brown round out the lineup.\u003c/p>\n\u003cp>The documentary showcases some of those young artists working out of \u003ca href=\"https://larkinstreetyouth.org/\">Larkin Street Youth Services\u003c/a>. Versoul relished the intergenerational exchange with her grandmother, and wanted to bring that approach to the documentary, captured in collaboration with her cinematographer and editor \u003ca href=\"https://www.instagram.com/lu1smontoya/\">Luis Montoya\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968175\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Hanf3-e1731693181445.png\" alt=\"\" width=\"2000\" height=\"1127\">\u003cfigcaption class=\"wp-caption-text\">Han!f in ‘This Is My Story: Tenderloin.’ \u003ccite>(Versoul)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Tenderloin is a local and national lightning rod in conversations around homelessness, drug abuse, mental health and police brutality. But Versoul wanted to “refocus the lens on the Tenderloin to a lens of beauty in the struggle, and not just the struggle.”\u003c/p>\n\u003cp>Despite the negative attention, there are “beautiful souls” there, she says. The way the film highlights its artists prompts viewers to reject voyeuristic trauma tourism, and asks them to reflect on the larger societal forces behind the dehumanizing conditions.\u003c/p>\n\u003cp>“The lack of recognizing the system is flawed is the reason the TL is the community it is. The biggest point of this documentary … is for it to reach the people that don’t know that,” Versoul says, “to give people the opportunity to experience the Tenderloin in a way that they probably wouldn’t if they walk down the street.”\u003c/p>\n\u003cfigure id=\"attachment_13968140\" class=\"wp-caption aligncenter\" style=\"max-width: 2770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto.png\" alt=\"\" width=\"2770\" height=\"1558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto.png 2770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1920x1080.png 1920w\" sizes=\"auto, (max-width: 2770px) 100vw, 2770px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and activist Equipto in ‘This Is My Story: Tenderloin.’ \u003ccite>(Versoul )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Versoul better understood her grandmother’s story, embracing one’s agency and seeking out one another’s humanity became foundational to her art, first through music and now through this \u003cem>This Is My Story: Tenderloin\u003c/em>. Versoul intends to collect the documentary’s musicians in songs together, too.\u003c/p>\n\u003cp>“We can’t sit and wait to be discovered by somebody who can come and ‘save us.’ It doesn’t work like that,” she says. “That’s what ‘the revolution starts at home’ means.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though she faced self-doubt about helming \u003cem>This Is My Story: Tenderloin\u003c/em>, before filming started, Versoul got an unexpected affirmation. She was awarded the Creative Corps grant to direct the documentary on her grandmother Sachiko’s birthday, the first after her passing.\u003c/p>\n\u003cp>“If that isn’t a sign that I am meant to be doing this work, a sign from my grandmother in heaven proud of me, then I don’t know what it is,” Versoul says. “In a way, it was her helping me out, because as an independent artist, I have been struggling.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘This Is My Story: Tenderloin’ \u003ca href=\"https://www.eventbrite.com/e/film-screening-this-is-my-story-tenderloin-tickets-1081231886679?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">screens at the Chabot Theater in Castro Valley on Nov. 19\u003c/a>, followed by a panel discussion and performances. For updates on more screenings and events, visit \u003ca href=\"https://versoulmusic.com/\">Versoul’s website\u003c/a> and the \u003ca href=\"https://www.instagram.com/thisismystorydoc/\">film’s Instagram\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "blvck-svm-fine-dining-rapper-nisei-michelinman-sf",
"title": "Blvck Svm’s ‘michelinman’ Might Be Hip-Hop’s First Fine-Dining Concept Album",
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"headTitle": "Blvck Svm’s ‘michelinman’ Might Be Hip-Hop’s First Fine-Dining Concept Album | KQED",
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"content": "\u003cp>[dropcap]W[/dropcap]hen Benjamin Glover visited Chicago’s \u003ca href=\"https://www.atelier-chicago.com/\">Atelier\u003c/a> at the end of 2023, he didn’t know what to expect. He left a changed man.\u003c/p>\n\u003cp>Never having experienced a fine dining tasting menu before, Glover figured he would have to get McDonald’s on the way home — there was no way those tiny plates would do the trick. But over the course of the meal, his mind was fully blown, his spirit stimulated alongside his stomach’s satiation. The thoughtful sequencing of dishes conjured to mind music. “It was like eating my way through an album,” Glover says. “I wanted to make an album that sounded like a tasting menu.”\u003c/p>\n\u003cp>That’s because when Glover is not eating gourmet dinners, he performs as the rapper \u003ca href=\"https://www.instagram.com/blvcksvm/?hl=en\">Blvck Svm\u003c/a>. And he really did wind up creating an entire album that’s inspired by fine dining. It’s called \u003ci>michelinman\u003c/i>, and it drops on Nov. 11. In keeping with the theme, Glover shot the music videos for the album in upscale kitchens around the country, milling between sauciers and line cooks while he raps into a mic that drapes down from the ceiling.\u003c/p>\n\u003cp>Given Northern California’s fine-dining bona fides, it should come as no surprise that the project has strong Bay Area connections: Glover himself is based in Chicago, but one of the album’s main producers is from the East Bay. San Francisco fine dining restaurant \u003ca href=\"https://www.restaurantnisei.com/\">Nisei\u003c/a> gets a name drop on \u003ci>michelinman\u003c/i>’s first track, “greymatter,” and its kitchen — and kitchen team — is featured in the music video for the song.\u003c/p>\n\u003cp>The songs on \u003ci>michelinman\u003c/i> weave a concentric circle between high-level rapping and high-level cooking, bouncing between basketball references and tuna belly with ease. Tracks are riddled with samples from cooking shows and chefs pleading with diners to pay attention to their palate. On “irongate” Glover details the camel bone spoon he’ll use for Beluga caviar before comparing his duffel bag to a “Twix sans nougat.” On “mikealstott,” he raps in a near-whisper about how he will “trim the fat and drop it on the heat like a Pat Riley contract” — a reference to how the Miami Heat executive was notorious for monitoring his players’ body fat percentage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FAjb2ruk1SM\u003c/p>\n\u003cp>The songs are both about fine dining and not, shifting between instructions for searing meat and processing grief with ease. Through the 13-song, nearly 40-minute album, Glover’s flow is a low-rolling storm, breathless and quiet as each song’s larger picture emerges minute by minute.\u003c/p>\n\u003cp>Glover wrote the album between April and September of this year and shot the music videos in the same timeframe. Inspired by \u003ca href=\"https://www.instagram.com/fromtheblockperformance/\">From the Block Performance’s\u003c/a> viral outdoor rap videos, the music videos for \u003ci>michelinman \u003c/i>have a certain Humans of New York feeling to them, as strangers peel around the artist while he raps in public — in this case, inside prominent fine dining kitchens including Oklahoma City’s \u003ca href=\"https://www.nonesuchokc.com/\">NONESUCH\u003c/a> and \u003ca href=\"https://www.thebutcheryyeg.ca/\">The Butchery by RGE RD\u003c/a> in Alberta, Canada.\u003c/p>\n\u003cp>In the videos, Glover plays the part of an interloper praising the work he sees around him. In the one for “greymatter,” shot at Nisei in black and white, the kitchen crew makes quick work of several whole fish, slicing and deboning behind Glover in his puffy jacket. Over a tinkling piano loop, Glover waxes poetic about the Russian Hill restaurant’s raw fish preparations: “I ran out of excuses, I had to make something happen / Break a backend at Nisei or Momotaro / Sashimi otoro, chutoro, cleansing all of my sorrows / Soy sauce only an option if flavor need to be borrowed.” There’s a noir ambiance to the scene, Glover barely visible, the mic hanging in front of him an anchor through the rushing energy of the Nisei kitchen staff.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=488DcyAaXV4\u003c/p>\n\u003cp>Glover has been chasing his rap dreams since he was a kid in Pembroke Pines, Florida. Back then, he modeled himself after the Southern icon Lil Wayne — but that was just for fun during lunch. It was while he was a student at the University of Chicago, shaking like a leaf during his first performances, that he finally rapped in front of an actual audience. His handle’s changed over the years, finally landing on Blvck Svm as a nod to Cartoon Network’s \u003ci>Samurai Jack\u003c/i>. It’s also an homage to Yasuke, the \u003ca href=\"https://www.smithsonianmag.com/history/who-was-yasuke-japans-first-black-samurai-180981416/\">first Black samurai\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13907726']\u003c/span>\u003c/span>During the pandemic, Glover lost his day job as an assistant manager at the university’s gym just before his rap career started to go big: His 2020 single “\u003ca href=\"https://blvcksvm.bandcamp.com/track/bleach\">bleach\u003c/a>,” a brief, lyrically dense track, now has millions of streams.\u003c/p>\n\u003cp>For \u003ci>michelinman\u003c/i>, Glover linked up with Los Angeles–based producer MIKE SUMMERS, but he tapped Fremont musician Max He for sample interpolation. He has been working with Glover for about a year and says that while the Bay Area’s music scene is vast, not a lot of action happens in \u003ca href=\"https://www.kqed.org/arts/13965193/fremont-immigrant-suburb-idealism-my-hometown\">Fremont\u003c/a> — so he was starstruck, for instance, to be working on the same project as Terrace Martin, who plays sax on the album’s outro. “[Blvck Svm’s] music is about redefining luxury into something accessible,” He says, “not something reserved just for the upper class. He talks about the waiter sprinkling lemon pepper on his wings at Wing Stop in the same way he does about sashimi from Nisei.”\u003c/p>\n\u003cfigure id=\"attachment_13967664\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967664\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef.jpg\" alt=\"A rapper in a black puffy jacket poses with a chef in the kitchen of a fine dining restaurant.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glover poses with Nisei chef-owner David Yoshimura. \u003ccite>(Courtesy of Blvck Svm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For David Yoshimura, Nisei’s chef-owner, it was wonderful to be involved in the album at all. Nisei is a fitting restaurant to highlight on the topic of “accessible luxury” — after all, not many other San Francisco restaurants pair \u003ca href=\"https://sf.eater.com/2024/5/2/24133340/savory-mochi-san-francisco-restaurants\">caviar with mochi\u003c/a>. Glover had reached out to the \u003ca href=\"https://guide.michelin.com/us/en/california/san-francisco/restaurant/nisei\">Michelin-starred restaurant\u003c/a> directly via Instagram, and while a lot of people hit him up with offers to collaborate, Yoshimura was struck by the rapper’s politeness and professionalism. The shoot itself was an easy affair. There’s not usually much yelling in Nisei’s kitchen, he says, so they amped up the energy for the video.\u003c/p>\n\u003cp>Afterwards, Glover and He came in for dinner, and both of them raved about the mochi caviar course and the miso soup. “They were the nicest guests,” Yoshimura says. “And I think his album is going to be the first of its kind.”\u003c/p>\n\u003cfigure id=\"attachment_13967673\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967673\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront.jpg\" alt='A man in a red baseball cap and white \"A Timeless Ape\" T-shirt poses in front of the Chicago waterfront.' width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1920x2400.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glover in front of the Chicago waterfront. \u003ccite>(Michael Tinley, courtesy of Blvck Svm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Glover is hardly the\u003ca href=\"https://www.kqed.org/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june\"> first rapper to consider food\u003c/a>. The late great MF Doom was famous for his lyrical odes to “Doritos, Cheetos or Fritos.” Earlier this fall, New York experimental rappers Phiik and Lungs put out a dense project called \u003ca href=\"https://pitchfork.com/reviews/albums/phiik-lungs-carrot-season/\">\u003ci>Carrot Season\u003c/i>\u003c/a> that includes a track about psychedelic herbal tea. And the Bay’s own Larry June raps about health food and orange juice, and even \u003ca href=\"https://brokeassstuart.com/2023/04/24/larry-june-and-the-alchemists-love-letter-to-the-bay-area-is-a-delight/\">owns a boba shop\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13955802,arts_13934248']\u003c/span>\u003c/span>But Glover hopes to be the first full bridge between the mediums — like a fan of flex rap finding a track that gets them deeper into hip-hop, or a diner who heads to Benu for the Instagram pic but leaves weeping like Keanu Reeves in \u003ci>Always Be My Maybe\u003c/i>. His inspirations include MF DOOM and the Griselda hip-hop collective (Boldy James is featured on the album). He cites Action Bronson as another muse, in the way he de-escalates luxurious experiences through irreverent, abstract bars.\u003c/p>\n\u003cp>Glover’s training to get to that level is, fittingly, spent at the chef’s table.\u003c/p>\n\u003cp>“All those things people see as art in food are also in rap. So I spend my time watching how they move through the space,” he says. “The timing, the precision.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://too.fm/michelinman?fbclid=PAZXh0bgNhZW0CMTEAAaZwbE2w0QgkWzig03KGJJwvFGQh60VyVR65a7G7W0ZLRC1uzS1H7buao00_aem_JNNYZ0-t6kek9RcG8zCqtg\">michelinman\u003c/a> will be available to stream on all platforms on Nov. 11. \u003c/i>\u003c/p>\n\n",
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"excerpt": "The music videos take us inside some of the top fine dining kitchens in America — including Nisei in SF.",
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"title": "Blvck Svm’s ‘michelinman’ Might Be Hip-Hop’s First Fine-Dining Concept Album | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen Benjamin Glover visited Chicago’s \u003ca href=\"https://www.atelier-chicago.com/\">Atelier\u003c/a> at the end of 2023, he didn’t know what to expect. He left a changed man.\u003c/p>\n\u003cp>Never having experienced a fine dining tasting menu before, Glover figured he would have to get McDonald’s on the way home — there was no way those tiny plates would do the trick. But over the course of the meal, his mind was fully blown, his spirit stimulated alongside his stomach’s satiation. The thoughtful sequencing of dishes conjured to mind music. “It was like eating my way through an album,” Glover says. “I wanted to make an album that sounded like a tasting menu.”\u003c/p>\n\u003cp>That’s because when Glover is not eating gourmet dinners, he performs as the rapper \u003ca href=\"https://www.instagram.com/blvcksvm/?hl=en\">Blvck Svm\u003c/a>. And he really did wind up creating an entire album that’s inspired by fine dining. It’s called \u003ci>michelinman\u003c/i>, and it drops on Nov. 11. In keeping with the theme, Glover shot the music videos for the album in upscale kitchens around the country, milling between sauciers and line cooks while he raps into a mic that drapes down from the ceiling.\u003c/p>\n\u003cp>Given Northern California’s fine-dining bona fides, it should come as no surprise that the project has strong Bay Area connections: Glover himself is based in Chicago, but one of the album’s main producers is from the East Bay. San Francisco fine dining restaurant \u003ca href=\"https://www.restaurantnisei.com/\">Nisei\u003c/a> gets a name drop on \u003ci>michelinman\u003c/i>’s first track, “greymatter,” and its kitchen — and kitchen team — is featured in the music video for the song.\u003c/p>\n\u003cp>The songs on \u003ci>michelinman\u003c/i> weave a concentric circle between high-level rapping and high-level cooking, bouncing between basketball references and tuna belly with ease. Tracks are riddled with samples from cooking shows and chefs pleading with diners to pay attention to their palate. On “irongate” Glover details the camel bone spoon he’ll use for Beluga caviar before comparing his duffel bag to a “Twix sans nougat.” On “mikealstott,” he raps in a near-whisper about how he will “trim the fat and drop it on the heat like a Pat Riley contract” — a reference to how the Miami Heat executive was notorious for monitoring his players’ body fat percentage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FAjb2ruk1SM'\n title='//www.youtube.com/embed/FAjb2ruk1SM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The songs are both about fine dining and not, shifting between instructions for searing meat and processing grief with ease. Through the 13-song, nearly 40-minute album, Glover’s flow is a low-rolling storm, breathless and quiet as each song’s larger picture emerges minute by minute.\u003c/p>\n\u003cp>Glover wrote the album between April and September of this year and shot the music videos in the same timeframe. Inspired by \u003ca href=\"https://www.instagram.com/fromtheblockperformance/\">From the Block Performance’s\u003c/a> viral outdoor rap videos, the music videos for \u003ci>michelinman \u003c/i>have a certain Humans of New York feeling to them, as strangers peel around the artist while he raps in public — in this case, inside prominent fine dining kitchens including Oklahoma City’s \u003ca href=\"https://www.nonesuchokc.com/\">NONESUCH\u003c/a> and \u003ca href=\"https://www.thebutcheryyeg.ca/\">The Butchery by RGE RD\u003c/a> in Alberta, Canada.\u003c/p>\n\u003cp>In the videos, Glover plays the part of an interloper praising the work he sees around him. In the one for “greymatter,” shot at Nisei in black and white, the kitchen crew makes quick work of several whole fish, slicing and deboning behind Glover in his puffy jacket. Over a tinkling piano loop, Glover waxes poetic about the Russian Hill restaurant’s raw fish preparations: “I ran out of excuses, I had to make something happen / Break a backend at Nisei or Momotaro / Sashimi otoro, chutoro, cleansing all of my sorrows / Soy sauce only an option if flavor need to be borrowed.” There’s a noir ambiance to the scene, Glover barely visible, the mic hanging in front of him an anchor through the rushing energy of the Nisei kitchen staff.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/488DcyAaXV4'\n title='//www.youtube.com/embed/488DcyAaXV4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Glover has been chasing his rap dreams since he was a kid in Pembroke Pines, Florida. Back then, he modeled himself after the Southern icon Lil Wayne — but that was just for fun during lunch. It was while he was a student at the University of Chicago, shaking like a leaf during his first performances, that he finally rapped in front of an actual audience. His handle’s changed over the years, finally landing on Blvck Svm as a nod to Cartoon Network’s \u003ci>Samurai Jack\u003c/i>. It’s also an homage to Yasuke, the \u003ca href=\"https://www.smithsonianmag.com/history/who-was-yasuke-japans-first-black-samurai-180981416/\">first Black samurai\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>During the pandemic, Glover lost his day job as an assistant manager at the university’s gym just before his rap career started to go big: His 2020 single “\u003ca href=\"https://blvcksvm.bandcamp.com/track/bleach\">bleach\u003c/a>,” a brief, lyrically dense track, now has millions of streams.\u003c/p>\n\u003cp>For \u003ci>michelinman\u003c/i>, Glover linked up with Los Angeles–based producer MIKE SUMMERS, but he tapped Fremont musician Max He for sample interpolation. He has been working with Glover for about a year and says that while the Bay Area’s music scene is vast, not a lot of action happens in \u003ca href=\"https://www.kqed.org/arts/13965193/fremont-immigrant-suburb-idealism-my-hometown\">Fremont\u003c/a> — so he was starstruck, for instance, to be working on the same project as Terrace Martin, who plays sax on the album’s outro. “[Blvck Svm’s] music is about redefining luxury into something accessible,” He says, “not something reserved just for the upper class. He talks about the waiter sprinkling lemon pepper on his wings at Wing Stop in the same way he does about sashimi from Nisei.”\u003c/p>\n\u003cfigure id=\"attachment_13967664\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967664\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef.jpg\" alt=\"A rapper in a black puffy jacket poses with a chef in the kitchen of a fine dining restaurant.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-nisei-chef-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glover poses with Nisei chef-owner David Yoshimura. \u003ccite>(Courtesy of Blvck Svm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For David Yoshimura, Nisei’s chef-owner, it was wonderful to be involved in the album at all. Nisei is a fitting restaurant to highlight on the topic of “accessible luxury” — after all, not many other San Francisco restaurants pair \u003ca href=\"https://sf.eater.com/2024/5/2/24133340/savory-mochi-san-francisco-restaurants\">caviar with mochi\u003c/a>. Glover had reached out to the \u003ca href=\"https://guide.michelin.com/us/en/california/san-francisco/restaurant/nisei\">Michelin-starred restaurant\u003c/a> directly via Instagram, and while a lot of people hit him up with offers to collaborate, Yoshimura was struck by the rapper’s politeness and professionalism. The shoot itself was an easy affair. There’s not usually much yelling in Nisei’s kitchen, he says, so they amped up the energy for the video.\u003c/p>\n\u003cp>Afterwards, Glover and He came in for dinner, and both of them raved about the mochi caviar course and the miso soup. “They were the nicest guests,” Yoshimura says. “And I think his album is going to be the first of its kind.”\u003c/p>\n\u003cfigure id=\"attachment_13967673\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967673\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront.jpg\" alt='A man in a red baseball cap and white \"A Timeless Ape\" T-shirt poses in front of the Chicago waterfront.' width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blck-svm-waterfront-1920x2400.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glover in front of the Chicago waterfront. \u003ccite>(Michael Tinley, courtesy of Blvck Svm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Glover is hardly the\u003ca href=\"https://www.kqed.org/arts/13955802/bay-area-rappers-food-lyrics-illustrations-e-40-larry-june\"> first rapper to consider food\u003c/a>. The late great MF Doom was famous for his lyrical odes to “Doritos, Cheetos or Fritos.” Earlier this fall, New York experimental rappers Phiik and Lungs put out a dense project called \u003ca href=\"https://pitchfork.com/reviews/albums/phiik-lungs-carrot-season/\">\u003ci>Carrot Season\u003c/i>\u003c/a> that includes a track about psychedelic herbal tea. And the Bay’s own Larry June raps about health food and orange juice, and even \u003ca href=\"https://brokeassstuart.com/2023/04/24/larry-june-and-the-alchemists-love-letter-to-the-bay-area-is-a-delight/\">owns a boba shop\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>But Glover hopes to be the first full bridge between the mediums — like a fan of flex rap finding a track that gets them deeper into hip-hop, or a diner who heads to Benu for the Instagram pic but leaves weeping like Keanu Reeves in \u003ci>Always Be My Maybe\u003c/i>. His inspirations include MF DOOM and the Griselda hip-hop collective (Boldy James is featured on the album). He cites Action Bronson as another muse, in the way he de-escalates luxurious experiences through irreverent, abstract bars.\u003c/p>\n\u003cp>Glover’s training to get to that level is, fittingly, spent at the chef’s table.\u003c/p>\n\u003cp>“All those things people see as art in food are also in rap. So I spend my time watching how they move through the space,” he says. “The timing, the precision.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13967573\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967573\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan2.jpg\" alt=\"Illustration: Two men devouring a Chinese meal with chopsticks.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taishan Cuisine is one of a handful of restaurants in San Francisco that specializes in Taishanese cooking, including its standout yellow eel claypot rice. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>Late-night meals in San Francisco Chinatown are a long and storied tradition going back more than 100 years — for \u003ca href=\"https://gastronomica.org/2004/11/04/late-night-lions-den-chinese-restaurant-nightclubs-1940s-san-francisco/\">club-hoppers\u003c/a>, post-shift restaurant workers, \u003ca href=\"https://www.hungryonion.org/t/sf-chinatown-chinatown-food-memories/7734/6\">hippies\u003c/a>, Beat poets and boozehounds making one final pit stop after last call.\u003c/p>\n\u003cp>They’re also all but extinct.\u003c/p>\n\u003cp>These days, you can count on one hand the number of Chinatown restaurants open later than 9 p.m. \u003ca href=\"https://www.kqed.org/food/1337752/remembering-sam-wos-edsel-ford-fong-san-franciscos-rudest-waiter\">Sam Wo\u003c/a>, the neighborhood’s oldest and most iconic after-hours spot, recently announced it will \u003ca href=\"https://www.sfgate.com/food/article/sf-sam-wo-restaurant-sale-risk-of-closure-19808509.php\">close at the end of the year\u003c/a> (barring an eleventh-hour miracle) — and it hasn’t been open past 8:30 since pre-pandemic times anyway. These days, if you’re craving a bowl of jook or a plate of sizzling hot beef chow fun after midnight, you’ll find more options out in the Richmond or the Sunset than you will anywhere in the vicinity of Chinatown.\u003c/p>\n\u003cp>It’s hard, then, to overstate the value of a place like Taishan Cuisine, which very quietly serves some of the tastiest Chinese food in San Francisco until 3 a.m. every night. Quietly, anyway, to those outside the community: Taishan is your \u003ca href=\"https://www.kqed.org/arts/13962284/four-kings-hong-kong-restaurant-san-francisco-chinatown-hella-hungry-interview\">favorite Chinese chef’s\u003c/a> favorite Chinatown joint — a low-key cult favorite among \u003ca href=\"https://www.instagram.com/fuchsiadunlop/p/CztzEKex4G7/\">connoisseurs\u003c/a> of regional Chinese cuisine. And at a little before 10 o’clock on a recent Friday night, the dining room was bustling almost exclusively with Cantonese-speaking locals and only seemed to get busier the later it got.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taishan opened in 2020, barely a month before lockdown, but it’s one of those Chinatown restaurants that looks and feels like it’s been around forever: weathered wooden tables, handwritten specials, the Hong Kong news playing on the TV. A series of red and yellow framed posters highlighting specific menu items has a vintage ’60s design aesthetic. (Each one is inscribed with a poetic Chinese idiom: A medicinal-looking pork belly hot pot dish, for instance, promises to fill men with vigor and serve as a “beauty salon” for women.) The only things that look new are the shiny, high-tech induction burners on each table, for hot pot, which feel almost anachronistic in this setting.\u003c/p>\n\u003cfigure id=\"attachment_13967575\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967575\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan.jpg\" alt=\"Illustration: Exterior of Taishan Cuisine restaurant lit up at night.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Open until 3 a.m. every night, the restaurant is one of the last remaining late-night food spots in Chinatown. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The restaurant has one of those wide-spanning Chinese menus that can be intimidating for a first-time visitor. There’s a whole page dedicated to hot pot and another page for dim sum. It has a rice porridge section and a noodle section, with a handful of Chinese American standbys like Mongolian beef and sweet and sour chicken mixed in.\u003c/p>\n\u003cp>But the restaurant’s name itself gives a clear indication of what you should order: Taishan, aka Toisan, is the part of China’s Guangdong province from which many of the earliest immigrants to California hailed during the Gold Rush, back in the 1850s — the ones who built up San Francisco’s Chinatown. In that sense, you could say that Taishanese food is Chinatown’s mother cuisine, but today, only a handful of spots in San Francisco explicitly market themselves as specializing in dishes from that region.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13966812,arts_13963437,arts_13956218']\u003c/span>\u003c/span>At Taishan Cuisine, most of these are listed as “house specials” or “chef’s specials,” and sometimes include the word “Taishan” in the name of the dish. If you stick to these, you’ll do very well for yourself. So, of course we had to order the Taishan roast chicken, which turns out to be a whole, foil-wrapped chicken with golden-brown skin that our efficient server disassembles tableside. Which is to say she rips it apart limb from limb — head, neck and all — with gloved hands until we’re left with a tidy pile of meat and bones. It comes with no sauce or seasoning dip, so we worry it might be a touch bland. But the chicken’s own juices are so flavorful, and the meat is so tender and, well, supremely chicken-y, we can’t stop eating it.\u003c/p>\n\u003cp>Another Taishan classic: a plate of Chinese cauliflower (skinnier and more pleasantly crunchy than Western varietals), which comes studded with garlic and tossed with thick slices of preserved sausage until it’s slicked with pork fat and salty juices. It’s one of the most delicious and addicting vegetable stir-fries I’ve eaten in a while.\u003c/p>\n\u003cp>Taishanese food is probably best known for its claypot rice dishes, the most famous being yellow eel claypot rice. At Taishan Cuisine, it’s the biggest splurge on the menu at $48, but the portion is big enough to feed four people easily. It’s hard to describe how fragrant this pot of rice was when our server lifted up the lid. Again, there isn’t much seasoning to speak of — just a bit of soy sauce mixed with rendered eel fat to coat each glistening grain of rice. The eel itself, shredded into small chunks, tastes akin to a mild catfish — mild enough that you can order the dish as a fine and luxurious substitute for white rice, to accompany the rest of your meal. And the best part? The toasty, crunchy, utterly glorious crust that forms at the bottom of the pot.\u003c/p>\n\u003cp>If we hadn’t already, in typical fashion, ordered way too much food for two people, we would have loved to try the Taishan-style braised goose or cleansed our palate with the cloudy beef bone soup we saw on several other tables around us. As it was, I felt like we’d barely scratched the surface of what the restaurant, and the cuisine, had to offer.\u003c/p>\n\u003cp>For the last few weeks, then, this is the meal I keep thinking about. When the hunger pangs strike past midnight, I start daydreaming about claypot rice — and, maybe, for a return to a time when all of Chinatown is lit up late into the night with jook shops and noodle houses and stylish Hong Kong–style cafes. For now, it’ll have to be enough to plan my next meal at Taishan Cuisine. As long as they’re around, Chinatown’s late-night food scene isn’t dead yet.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Taishan Cuisine is open 11 a.m.–3 p.m. and 5 p.m.–3 a.m. daily at 781 Broadway in San Francisco.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13967573\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967573\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan2.jpg\" alt=\"Illustration: Two men devouring a Chinese meal with chopsticks.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taishan Cuisine is one of a handful of restaurants in San Francisco that specializes in Taishanese cooking, including its standout yellow eel claypot rice. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and graphic novelist \u003c/i>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci>. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>Late-night meals in San Francisco Chinatown are a long and storied tradition going back more than 100 years — for \u003ca href=\"https://gastronomica.org/2004/11/04/late-night-lions-den-chinese-restaurant-nightclubs-1940s-san-francisco/\">club-hoppers\u003c/a>, post-shift restaurant workers, \u003ca href=\"https://www.hungryonion.org/t/sf-chinatown-chinatown-food-memories/7734/6\">hippies\u003c/a>, Beat poets and boozehounds making one final pit stop after last call.\u003c/p>\n\u003cp>They’re also all but extinct.\u003c/p>\n\u003cp>These days, you can count on one hand the number of Chinatown restaurants open later than 9 p.m. \u003ca href=\"https://www.kqed.org/food/1337752/remembering-sam-wos-edsel-ford-fong-san-franciscos-rudest-waiter\">Sam Wo\u003c/a>, the neighborhood’s oldest and most iconic after-hours spot, recently announced it will \u003ca href=\"https://www.sfgate.com/food/article/sf-sam-wo-restaurant-sale-risk-of-closure-19808509.php\">close at the end of the year\u003c/a> (barring an eleventh-hour miracle) — and it hasn’t been open past 8:30 since pre-pandemic times anyway. These days, if you’re craving a bowl of jook or a plate of sizzling hot beef chow fun after midnight, you’ll find more options out in the Richmond or the Sunset than you will anywhere in the vicinity of Chinatown.\u003c/p>\n\u003cp>It’s hard, then, to overstate the value of a place like Taishan Cuisine, which very quietly serves some of the tastiest Chinese food in San Francisco until 3 a.m. every night. Quietly, anyway, to those outside the community: Taishan is your \u003ca href=\"https://www.kqed.org/arts/13962284/four-kings-hong-kong-restaurant-san-francisco-chinatown-hella-hungry-interview\">favorite Chinese chef’s\u003c/a> favorite Chinatown joint — a low-key cult favorite among \u003ca href=\"https://www.instagram.com/fuchsiadunlop/p/CztzEKex4G7/\">connoisseurs\u003c/a> of regional Chinese cuisine. And at a little before 10 o’clock on a recent Friday night, the dining room was bustling almost exclusively with Cantonese-speaking locals and only seemed to get busier the later it got.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taishan opened in 2020, barely a month before lockdown, but it’s one of those Chinatown restaurants that looks and feels like it’s been around forever: weathered wooden tables, handwritten specials, the Hong Kong news playing on the TV. A series of red and yellow framed posters highlighting specific menu items has a vintage ’60s design aesthetic. (Each one is inscribed with a poetic Chinese idiom: A medicinal-looking pork belly hot pot dish, for instance, promises to fill men with vigor and serve as a “beauty salon” for women.) The only things that look new are the shiny, high-tech induction burners on each table, for hot pot, which feel almost anachronistic in this setting.\u003c/p>\n\u003cfigure id=\"attachment_13967575\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967575\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan.jpg\" alt=\"Illustration: Exterior of Taishan Cuisine restaurant lit up at night.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Taishan-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Open until 3 a.m. every night, the restaurant is one of the last remaining late-night food spots in Chinatown. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The restaurant has one of those wide-spanning Chinese menus that can be intimidating for a first-time visitor. There’s a whole page dedicated to hot pot and another page for dim sum. It has a rice porridge section and a noodle section, with a handful of Chinese American standbys like Mongolian beef and sweet and sour chicken mixed in.\u003c/p>\n\u003cp>But the restaurant’s name itself gives a clear indication of what you should order: Taishan, aka Toisan, is the part of China’s Guangdong province from which many of the earliest immigrants to California hailed during the Gold Rush, back in the 1850s — the ones who built up San Francisco’s Chinatown. In that sense, you could say that Taishanese food is Chinatown’s mother cuisine, but today, only a handful of spots in San Francisco explicitly market themselves as specializing in dishes from that region.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>At Taishan Cuisine, most of these are listed as “house specials” or “chef’s specials,” and sometimes include the word “Taishan” in the name of the dish. If you stick to these, you’ll do very well for yourself. So, of course we had to order the Taishan roast chicken, which turns out to be a whole, foil-wrapped chicken with golden-brown skin that our efficient server disassembles tableside. Which is to say she rips it apart limb from limb — head, neck and all — with gloved hands until we’re left with a tidy pile of meat and bones. It comes with no sauce or seasoning dip, so we worry it might be a touch bland. But the chicken’s own juices are so flavorful, and the meat is so tender and, well, supremely chicken-y, we can’t stop eating it.\u003c/p>\n\u003cp>Another Taishan classic: a plate of Chinese cauliflower (skinnier and more pleasantly crunchy than Western varietals), which comes studded with garlic and tossed with thick slices of preserved sausage until it’s slicked with pork fat and salty juices. It’s one of the most delicious and addicting vegetable stir-fries I’ve eaten in a while.\u003c/p>\n\u003cp>Taishanese food is probably best known for its claypot rice dishes, the most famous being yellow eel claypot rice. At Taishan Cuisine, it’s the biggest splurge on the menu at $48, but the portion is big enough to feed four people easily. It’s hard to describe how fragrant this pot of rice was when our server lifted up the lid. Again, there isn’t much seasoning to speak of — just a bit of soy sauce mixed with rendered eel fat to coat each glistening grain of rice. The eel itself, shredded into small chunks, tastes akin to a mild catfish — mild enough that you can order the dish as a fine and luxurious substitute for white rice, to accompany the rest of your meal. And the best part? The toasty, crunchy, utterly glorious crust that forms at the bottom of the pot.\u003c/p>\n\u003cp>If we hadn’t already, in typical fashion, ordered way too much food for two people, we would have loved to try the Taishan-style braised goose or cleansed our palate with the cloudy beef bone soup we saw on several other tables around us. As it was, I felt like we’d barely scratched the surface of what the restaurant, and the cuisine, had to offer.\u003c/p>\n\u003cp>For the last few weeks, then, this is the meal I keep thinking about. When the hunger pangs strike past midnight, I start daydreaming about claypot rice — and, maybe, for a return to a time when all of Chinatown is lit up late into the night with jook shops and noodle houses and stylish Hong Kong–style cafes. For now, it’ll have to be enough to plan my next meal at Taishan Cuisine. As long as they’re around, Chinatown’s late-night food scene isn’t dead yet.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Taishan Cuisine is open 11 a.m.–3 p.m. and 5 p.m.–3 a.m. daily at 781 Broadway in San Francisco.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nearly two dozen artists showed up at the San Francisco Board of Supervisors meeting Tuesday in matching shirts and sailor hats, determined to make a splash to save their creative home at Hunters Point Naval Shipyard. Crying SOS — Save Our Studios — the artists from what was once \u003ca href=\"https://www.shipyardartists.com/\">the largest creative community in the country\u003c/a> have a simple request: to fix the roofs over their heads. \u003c/p>\n\u003cp>[aside postID='science_1993505']Even though the \u003ca href=\"https://cumulis.epa.gov/supercpad/SiteProfiles/index.cfm?fuseaction=second.Cleanup&id=0902722#bkground\">Superfund\u003c/a> site has been grappling with \u003ca href=\"https://www.kqed.org/science/1993505/cleanup-of-san-francisco-superfund-site-has-been-badly-mishandled-lawsuit-alleges\">the downstream effects of radioactive contamination\u003c/a> for decades, the artist collective recently celebrated their \u003ca href=\"https://sfstandard.com/2024/04/27/san-francisco-hunters-point-shipyard-artists/\">40-year anniversary\u003c/a> at the shipyard. More than 200 working artists maintain studios at the nearly 500-acre site, and thousands of visitors pour through the area during the \u003ca href=\"https://www.shipyardartists.com/shipyard-open-studios-participating-artists/\">shipyard’s open studios\u003c/a>, taking in the fresh air, glittering views and a gantry crane taller than the Statue of Liberty. \u003c/p>\n\u003cp>Up for vote was an amendment to push out the construction and financing timeline of the Bayview-Hunters Point Redevelopment Plan by 30 years. Also proposed was the transfer of more than 2 million square feet of office and research space from the Hunters Point Naval Shipyard to Candlestick Point, given the ongoing delays associated with the toxic cleanup of the shipyard. \u003c/p>\n\u003cp>While there are separate plans for the shipyard and Candlestick Point, the two are considered one project under the purview of the developer FivePoint — even as the areas of land, and the communities invested in them, face very different realities. \u003c/p>\n\u003cfigure id=\"attachment_13967112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL.jpg\" alt=\"projected image of southeast SF with text on screen\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Bayview-Hunters Point Redevelopment Project is described during a Board of Supervisors meeting at City Hall in San Francisco on Oct. 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An extremely complicated situation’\u003c/h2>\n\u003cp>Key to the maintenance conundrum for the artists is the complex tangle of associations tied to the shipyard: the U.S. Navy owns the land but leases it to the City of San Francisco, which in turn subleases it to FivePoint (tasked with rehabilitating the property) — who rents the buildings to a group of artist master tenants. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Commission on Community Investment and Infrastructure (OCII), a successor agency to the city’s controversial Redevelopment Agency, also has \u003ca href=\"https://sfocii.org/projects/hunters-point-shipyard-candlestick-point-2/overview\">oversight over the area’s development\u003c/a>. \u003c/p>\n\u003cp>“It’s an extremely complicated situation,” said Barbara Ockel, the president of the nonprofit \u003ca href=\"https://shipyardtrust.org/\">Shipyard Trust for the Arts\u003c/a> (STAR) that represents the artist collective. “And it leads to a lot of finger pointing.” \u003c/p>\n\u003cp>The contract with FivePoint contains language stating the master tenants are responsible for maintenance of their buildings, but with rents still at their 1980s rates, there’s not enough funds for major repairs. \u003c/p>\n\u003cfigure id=\"attachment_13967115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL.jpg\" alt=\"people in matching shirts and sailor hats sit in wooden benches in city building\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hunters Point Shipyard artists listen during a Board of Supervisors meeting at City Hall in San Francisco on Oct. 22, 2024, about a planned board vote on amendments to the redevelopment plan for the Bayview-Hunters Point Redevelopment Project. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And so the debate starts, where does maintenance end and where does capital improvement begin?” Ockel said. “Everybody would agree that if you have to pay a million dollars for a new roof, that’s not maintenance — that’s an investment.” \u003c/p>\n\u003cp>Master tenant \u003ca href=\"https://caprichoframing.com/\">Julian Billotte\u003c/a> could be found on a recent Thursday re-gilding pre-1906 mirrors from the Flood Mansion for their new home at the San Mateo Historical Society. Without the space and low rents of the Hunters Point Naval Shipyard, his and many other artists’ work could not continue. He oversees the maintenance of Building 116 on Parcel B but said the rents have only allowed him to make small patches to the roofs when much more substantial repairs are required. \u003c/p>\n\u003cp>“Nobody’s ever had the rent raised no matter how long they’ve been here,” Billotte said. “Over 25 years, we’ve got people paying what they paid when they got here and we’re committed to maintaining that.” For now, he uses plastic bins along the roofs’ seams to catch water and encourages artists to use tarps to protect their work. \u003c/p>\n\u003cp>While Billotte said Tuesday during public comment that OCII has made a verbal promise to repair the roof, the artists want an assurance in writing. OCII did not respond to requests for comment in time for publication. \u003c/p>\n\u003cp>The artists are seeking more than a weathertight workspace — they want the guarantee they can remain on Parcel B in perpetuity. “We need stability,” Lorna Kollmeyer said. “And the assurance we can stay out here.” Kollmeyer and other artists are \u003ca href=\"https://www.change.org/p/save-parcel-b\">lobbying for an update\u003c/a> to the 25-year-old development plan to include a provision ensuring the parcel remains an ongoing campus for the arts.\u003c/p>\n\u003cfigure id=\"attachment_13967114\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL.jpg\" alt=\"older person in white sailor hat speaks into mic\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lorna Kollmeyer, a member of the Hunters Point Shipyard Artists, speaks during public comment at a Board of Supervisors meeting. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Frustrating delays for Bayview residents\u003c/h2>\n\u003cp>Additional changes to the redevelopment plan could derail much-needed and community-supported construction on Candlestick Point (also under FivePoint’s jurisdiction and connected to the future of the shipyard). A written protest of the current plan sent to the Board of Supervisors — not by the shipyard artists — delayed a vote on Tuesday. A final decision on amending the timeline and allocation was pushed to the next full Board of Supervisors meeting on Oct. 29. \u003c/p>\n\u003cp>While the artists want to preserve the buildings on Parcel B of the shipyard, Bayview residents surrounding Candlestick Park are aching for development after decades of delays. “When it comes to the African American community, it never happens,” said Rev. Arelious Walker during public comment. Another speaker, urging forward progress, invoked the words of Martin Luther King Jr.: “Out of a mountain of despair, a stone of hope.” \u003c/p>\n\u003cp>[aside postID='news_10583120']Pastors, parents, laborers and small-business owners from the Bayview community mostly spoke out in support of the Candlestick Point development, which will employ local contractors, create thousands of jobs and build over 7,200 new homes.\u003c/p>\n\u003cp>“I’m excited and sad at the same time,” said one speaker, her voice thick with tears. “There’s only 2 or 3% of us left in the city,” she continued, referring to the Black community that has historically been \u003ca href=\"https://sfstandard.com/2024/02/29/san-francisco-fillmore-destruction-documented/\">on the losing end of redevelopment\u003c/a>. “And we’ve accepted broken promises again and again.” \u003c/p>\n\u003cp>The artists have also been issued promises, only to watch their creative home stymied by the discovery of radioactive contamination, \u003ca href=\"https://www.justice.gov/opa/pr/united-states-joins-lawsuits-against-tetra-tech-ec-inc-alleging-false-claims-connection\">alleged criminal fraud by engineering firm Tetra Tech\u003c/a> and a failed effort to construct a new building of studios on Parcel A. The artists remain on month-to-month rental agreements with the constant fear their spaces may be demolished or repurposed. \u003c/p>\n\u003cp>“They are talking about erasing us,” said artist Leila Mansur. “Stop breaking our hearts, San Francisco.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It will be hard to use this land for other things, so why not protect the artists?” Kollmeyer said. “It could be such a win-win for everyone.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly two dozen artists showed up at the San Francisco Board of Supervisors meeting Tuesday in matching shirts and sailor hats, determined to make a splash to save their creative home at Hunters Point Naval Shipyard. Crying SOS — Save Our Studios — the artists from what was once \u003ca href=\"https://www.shipyardartists.com/\">the largest creative community in the country\u003c/a> have a simple request: to fix the roofs over their heads. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even though the \u003ca href=\"https://cumulis.epa.gov/supercpad/SiteProfiles/index.cfm?fuseaction=second.Cleanup&id=0902722#bkground\">Superfund\u003c/a> site has been grappling with \u003ca href=\"https://www.kqed.org/science/1993505/cleanup-of-san-francisco-superfund-site-has-been-badly-mishandled-lawsuit-alleges\">the downstream effects of radioactive contamination\u003c/a> for decades, the artist collective recently celebrated their \u003ca href=\"https://sfstandard.com/2024/04/27/san-francisco-hunters-point-shipyard-artists/\">40-year anniversary\u003c/a> at the shipyard. More than 200 working artists maintain studios at the nearly 500-acre site, and thousands of visitors pour through the area during the \u003ca href=\"https://www.shipyardartists.com/shipyard-open-studios-participating-artists/\">shipyard’s open studios\u003c/a>, taking in the fresh air, glittering views and a gantry crane taller than the Statue of Liberty. \u003c/p>\n\u003cp>Up for vote was an amendment to push out the construction and financing timeline of the Bayview-Hunters Point Redevelopment Plan by 30 years. Also proposed was the transfer of more than 2 million square feet of office and research space from the Hunters Point Naval Shipyard to Candlestick Point, given the ongoing delays associated with the toxic cleanup of the shipyard. \u003c/p>\n\u003cp>While there are separate plans for the shipyard and Candlestick Point, the two are considered one project under the purview of the developer FivePoint — even as the areas of land, and the communities invested in them, face very different realities. \u003c/p>\n\u003cfigure id=\"attachment_13967112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL.jpg\" alt=\"projected image of southeast SF with text on screen\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Bayview-Hunters Point Redevelopment Project is described during a Board of Supervisors meeting at City Hall in San Francisco on Oct. 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An extremely complicated situation’\u003c/h2>\n\u003cp>Key to the maintenance conundrum for the artists is the complex tangle of associations tied to the shipyard: the U.S. Navy owns the land but leases it to the City of San Francisco, which in turn subleases it to FivePoint (tasked with rehabilitating the property) — who rents the buildings to a group of artist master tenants. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Commission on Community Investment and Infrastructure (OCII), a successor agency to the city’s controversial Redevelopment Agency, also has \u003ca href=\"https://sfocii.org/projects/hunters-point-shipyard-candlestick-point-2/overview\">oversight over the area’s development\u003c/a>. \u003c/p>\n\u003cp>“It’s an extremely complicated situation,” said Barbara Ockel, the president of the nonprofit \u003ca href=\"https://shipyardtrust.org/\">Shipyard Trust for the Arts\u003c/a> (STAR) that represents the artist collective. “And it leads to a lot of finger pointing.” \u003c/p>\n\u003cp>The contract with FivePoint contains language stating the master tenants are responsible for maintenance of their buildings, but with rents still at their 1980s rates, there’s not enough funds for major repairs. \u003c/p>\n\u003cfigure id=\"attachment_13967115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL.jpg\" alt=\"people in matching shirts and sailor hats sit in wooden benches in city building\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hunters Point Shipyard artists listen during a Board of Supervisors meeting at City Hall in San Francisco on Oct. 22, 2024, about a planned board vote on amendments to the redevelopment plan for the Bayview-Hunters Point Redevelopment Project. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And so the debate starts, where does maintenance end and where does capital improvement begin?” Ockel said. “Everybody would agree that if you have to pay a million dollars for a new roof, that’s not maintenance — that’s an investment.” \u003c/p>\n\u003cp>Master tenant \u003ca href=\"https://caprichoframing.com/\">Julian Billotte\u003c/a> could be found on a recent Thursday re-gilding pre-1906 mirrors from the Flood Mansion for their new home at the San Mateo Historical Society. Without the space and low rents of the Hunters Point Naval Shipyard, his and many other artists’ work could not continue. He oversees the maintenance of Building 116 on Parcel B but said the rents have only allowed him to make small patches to the roofs when much more substantial repairs are required. \u003c/p>\n\u003cp>“Nobody’s ever had the rent raised no matter how long they’ve been here,” Billotte said. “Over 25 years, we’ve got people paying what they paid when they got here and we’re committed to maintaining that.” For now, he uses plastic bins along the roofs’ seams to catch water and encourages artists to use tarps to protect their work. \u003c/p>\n\u003cp>While Billotte said Tuesday during public comment that OCII has made a verbal promise to repair the roof, the artists want an assurance in writing. OCII did not respond to requests for comment in time for publication. \u003c/p>\n\u003cp>The artists are seeking more than a weathertight workspace — they want the guarantee they can remain on Parcel B in perpetuity. “We need stability,” Lorna Kollmeyer said. “And the assurance we can stay out here.” Kollmeyer and other artists are \u003ca href=\"https://www.change.org/p/save-parcel-b\">lobbying for an update\u003c/a> to the 25-year-old development plan to include a provision ensuring the parcel remains an ongoing campus for the arts.\u003c/p>\n\u003cfigure id=\"attachment_13967114\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL.jpg\" alt=\"older person in white sailor hat speaks into mic\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lorna Kollmeyer, a member of the Hunters Point Shipyard Artists, speaks during public comment at a Board of Supervisors meeting. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Frustrating delays for Bayview residents\u003c/h2>\n\u003cp>Additional changes to the redevelopment plan could derail much-needed and community-supported construction on Candlestick Point (also under FivePoint’s jurisdiction and connected to the future of the shipyard). A written protest of the current plan sent to the Board of Supervisors — not by the shipyard artists — delayed a vote on Tuesday. A final decision on amending the timeline and allocation was pushed to the next full Board of Supervisors meeting on Oct. 29. \u003c/p>\n\u003cp>While the artists want to preserve the buildings on Parcel B of the shipyard, Bayview residents surrounding Candlestick Park are aching for development after decades of delays. “When it comes to the African American community, it never happens,” said Rev. Arelious Walker during public comment. Another speaker, urging forward progress, invoked the words of Martin Luther King Jr.: “Out of a mountain of despair, a stone of hope.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Pastors, parents, laborers and small-business owners from the Bayview community mostly spoke out in support of the Candlestick Point development, which will employ local contractors, create thousands of jobs and build over 7,200 new homes.\u003c/p>\n\u003cp>“I’m excited and sad at the same time,” said one speaker, her voice thick with tears. “There’s only 2 or 3% of us left in the city,” she continued, referring to the Black community that has historically been \u003ca href=\"https://sfstandard.com/2024/02/29/san-francisco-fillmore-destruction-documented/\">on the losing end of redevelopment\u003c/a>. “And we’ve accepted broken promises again and again.” \u003c/p>\n\u003cp>The artists have also been issued promises, only to watch their creative home stymied by the discovery of radioactive contamination, \u003ca href=\"https://www.justice.gov/opa/pr/united-states-joins-lawsuits-against-tetra-tech-ec-inc-alleging-false-claims-connection\">alleged criminal fraud by engineering firm Tetra Tech\u003c/a> and a failed effort to construct a new building of studios on Parcel A. The artists remain on month-to-month rental agreements with the constant fear their spaces may be demolished or repurposed. \u003c/p>\n\u003cp>“They are talking about erasing us,” said artist Leila Mansur. “Stop breaking our hearts, San Francisco.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It will be hard to use this land for other things, so why not protect the artists?” Kollmeyer said. “It could be such a win-win for everyone.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking back at the past four years is not necessarily something I’m ready to do, and yet it’s exactly what the latest exhibition at KADIST demands. For \u003ci>\u003ca href=\"https://kadist.org/program/makeshift-memorials-small-revolutions-sf/\">Makeshift Memorials, Small Revolutions\u003c/a>\u003c/i>, curators Lindsay Albert, Joseph del Pesco and Jo-ey Tang have attempted to collate artistic responses to the COVID-19 pandemic, and the cultural shifts it brought into focus. \u003c/p>\n\u003cp>Good art is often celebrated for its timelessness, but this exhibition turns that idea on its head. Here we are tasked with time traveling back to the very recent past. A bowl of individually wrapped KN-95 masks on the front desk of the gallery helps usher in that transition. \u003c/p>\n\u003cp>\u003ci>Makeshift Memorials\u003c/i> is purposefully positioned against the impending U.S. presidential election, and the larger social context we are living through. In order to meet the moment effectively, the work (selected from the KADIST collection) must both represent our time and add to the continuum of art history. This is a tall order for any show. Here, visually and emotionally demanding paintings, videos, sculptures, photos, weavings and drawings hang side by side — competing for space and attention.\u003c/p>\n\u003cfigure id=\"attachment_13966988\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000.jpg\" alt=\"black-and-white photo prints folded and taped, in wide display on gray wall\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13966988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Moyra Davey, ‘Visitor,’ 2022. \u003ccite>(Courtesy of the artist, KADIST collection; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon entering the gallery visitors are confronted with an unconventional and slightly disruptive exhibition design. Highlighter-yellow sheets of A4 paper hang from the ceiling off wooden sticks, secured with torn pieces of brown packing tape. Caption details for the artworks on display are printed in bold black letters. Above each caption is an undecodable indexing system.\u003c/p>\n\u003cp>For example, if you want to learn more about Moyra Davey’s photographic series \u003cem>Visitor\u003c/em> (2022), you are directed by the wall label to find “o5x” in the exhibition’s printed booklet (or the accompanying digital version via QR code). This mix of letters and numbers was randomly generated by the exhibition designer. It’s inventive, but visually overpowers the already crowded room. Over 40 artists share the small space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And yet, attempting to navigate the exhibition through this unfamiliar system is actually quite effective. It replicates the confusion and bewilderment of the pandemic, when we became accustomed to looking to makeshift signs for guidance on how to behave (wear a mask, stand six feet apart, etc.). Like those COVID-era signs, the information connected to KADIST’s labels can be crucial.\u003c/p>\n\u003cp>Under “b5a,” the booklet reveals insight on Sherrill Roland’s hard-edged minimalist wall sculpture that adds depth and poignancy to the piece. In the curator’s text on the work we learn of Roland’s wrongful incarceration, and that the Kool-Aid-tinted geometric steel forms are the traced outlines of cinder blocks from his prison cell. \u003c/p>\n\u003cfigure id=\"attachment_13966989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000.jpg\" alt=\"small speaker on floor next to red and blue light bar\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13966989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joe Namy, ‘Half Blue,’ 2019. \u003ccite>(Courtesy of the artist, KADIST collection; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So-called “anchor works” are installed across the three sections of the show. In the second room, a series of 21 videos project one after another on a single hanging screen, turning off at intervals to make space for a 10-minute sound and mixed media sculpture by Joe Namy, \u003cem>Half Blue\u003c/em> (2019). This is the room’s anchor: red and blue flashing lights from the top of a police car, positioned on the floor in front of the screen. As they flash, a mix of sounds plays, including news broadcasts covering the murder of the artist’s cousin, Khalid Jabara. \u003c/p>\n\u003cp>Jabara and Heather Heyer’s murders led to the \u003ca href=\"https://www.congress.gov/bill/117th-congress/senate-bill/1086\">NO HATE Act\u003c/a>, passed by Congress in 2021. Namy’s piece is solemn in its directness. The LED light bar lies prone on the floor, its wires exposed, nearly abstract when not in use. When it plays it saturates the surrounding art in emergency-coded light. \u003c/p>\n\u003cp>Jamel Robinson’s sculpture \u003cem>I Walked The Longest Mile To Get To Nowhere Still\u003c/em> (2022), anchors the third room. This raw assemblage of ready-mades refers to the origins of slavery in America and the devaluation of Black and brown life. The backrest of a simple wooden chair is adorned with shiny copper pennies, and a clumped mass of white rice is glued to the seat from which long nails protrude unevenly. A limp ladder of rusted chains and a pair of army boots lead up to the chair’s legs on the floor. The piece benefits from its scrappiness and lack of polish, even if every signifier is meant to be taken rather literally.\u003c/p>\n\u003cfigure id=\"attachment_13966991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000.jpg\" alt=\"gallery view with lots of art on walls, chair sculpture in foreground\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13966991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Makeshift Memorials, Small Revolutions’ with Jamel Robinson’s ‘I Walked The Longest Mile To Get To Nowhere Still,’ 2022 in the foreground. \u003ccite>(Courtesy of the artists, KADIST collection; Patron Gallery; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Makeshift Memorials\u003c/em> offers an incredibly diverse range of global artworks, made mostly over the last four years, all chronicling weighty, devastating topics. And although each piece supports the curatorial premise in some way, formally they didn’t seem to relate to one other — despite a shared seriousness and the strength of their individual parts. \u003c/p>\n\u003cp>Attempting to distill something as broad and recent as the impact of the pandemic onto a few walls is a formidable task. Even an exhibition with limitless space couldn’t fully represent that experience. Instead, here we have a poetic churn of works that address the issues at hand piecemeal: violence, marginalization, illness, isolation, grief. I came away from the show emotionally drained, but with a heightened sensitivity to the breadth of vulnerability that connects and defines human life.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://kadist.org/program/makeshift-memorials-small-revolutions-sf/\">Makeshift Memorials, Small Revolutions\u003c/a>’ is on view at KADIST (3295 20th St., San Francisco) through Feb. 15 2025. A concurrent exhibition at the \u003ca href=\"https://blafferartmuseum.org/makeshift-memorials-small-revolutions/\">Blaffer Art Museum\u003c/a> in Houston is on view through March 9, 2025.\u003ci>\u003c/i>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking back at the past four years is not necessarily something I’m ready to do, and yet it’s exactly what the latest exhibition at KADIST demands. For \u003ci>\u003ca href=\"https://kadist.org/program/makeshift-memorials-small-revolutions-sf/\">Makeshift Memorials, Small Revolutions\u003c/a>\u003c/i>, curators Lindsay Albert, Joseph del Pesco and Jo-ey Tang have attempted to collate artistic responses to the COVID-19 pandemic, and the cultural shifts it brought into focus. \u003c/p>\n\u003cp>Good art is often celebrated for its timelessness, but this exhibition turns that idea on its head. Here we are tasked with time traveling back to the very recent past. A bowl of individually wrapped KN-95 masks on the front desk of the gallery helps usher in that transition. \u003c/p>\n\u003cp>\u003ci>Makeshift Memorials\u003c/i> is purposefully positioned against the impending U.S. presidential election, and the larger social context we are living through. In order to meet the moment effectively, the work (selected from the KADIST collection) must both represent our time and add to the continuum of art history. This is a tall order for any show. Here, visually and emotionally demanding paintings, videos, sculptures, photos, weavings and drawings hang side by side — competing for space and attention.\u003c/p>\n\u003cfigure id=\"attachment_13966988\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000.jpg\" alt=\"black-and-white photo prints folded and taped, in wide display on gray wall\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13966988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_07_2000-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Moyra Davey, ‘Visitor,’ 2022. \u003ccite>(Courtesy of the artist, KADIST collection; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon entering the gallery visitors are confronted with an unconventional and slightly disruptive exhibition design. Highlighter-yellow sheets of A4 paper hang from the ceiling off wooden sticks, secured with torn pieces of brown packing tape. Caption details for the artworks on display are printed in bold black letters. Above each caption is an undecodable indexing system.\u003c/p>\n\u003cp>For example, if you want to learn more about Moyra Davey’s photographic series \u003cem>Visitor\u003c/em> (2022), you are directed by the wall label to find “o5x” in the exhibition’s printed booklet (or the accompanying digital version via QR code). This mix of letters and numbers was randomly generated by the exhibition designer. It’s inventive, but visually overpowers the already crowded room. Over 40 artists share the small space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And yet, attempting to navigate the exhibition through this unfamiliar system is actually quite effective. It replicates the confusion and bewilderment of the pandemic, when we became accustomed to looking to makeshift signs for guidance on how to behave (wear a mask, stand six feet apart, etc.). Like those COVID-era signs, the information connected to KADIST’s labels can be crucial.\u003c/p>\n\u003cp>Under “b5a,” the booklet reveals insight on Sherrill Roland’s hard-edged minimalist wall sculpture that adds depth and poignancy to the piece. In the curator’s text on the work we learn of Roland’s wrongful incarceration, and that the Kool-Aid-tinted geometric steel forms are the traced outlines of cinder blocks from his prison cell. \u003c/p>\n\u003cfigure id=\"attachment_13966989\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000.jpg\" alt=\"small speaker on floor next to red and blue light bar\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13966989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_55_2000-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joe Namy, ‘Half Blue,’ 2019. \u003ccite>(Courtesy of the artist, KADIST collection; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So-called “anchor works” are installed across the three sections of the show. In the second room, a series of 21 videos project one after another on a single hanging screen, turning off at intervals to make space for a 10-minute sound and mixed media sculpture by Joe Namy, \u003cem>Half Blue\u003c/em> (2019). This is the room’s anchor: red and blue flashing lights from the top of a police car, positioned on the floor in front of the screen. As they flash, a mix of sounds plays, including news broadcasts covering the murder of the artist’s cousin, Khalid Jabara. \u003c/p>\n\u003cp>Jabara and Heather Heyer’s murders led to the \u003ca href=\"https://www.congress.gov/bill/117th-congress/senate-bill/1086\">NO HATE Act\u003c/a>, passed by Congress in 2021. Namy’s piece is solemn in its directness. The LED light bar lies prone on the floor, its wires exposed, nearly abstract when not in use. When it plays it saturates the surrounding art in emergency-coded light. \u003c/p>\n\u003cp>Jamel Robinson’s sculpture \u003cem>I Walked The Longest Mile To Get To Nowhere Still\u003c/em> (2022), anchors the third room. This raw assemblage of ready-mades refers to the origins of slavery in America and the devaluation of Black and brown life. The backrest of a simple wooden chair is adorned with shiny copper pennies, and a clumped mass of white rice is glued to the seat from which long nails protrude unevenly. A limp ladder of rusted chains and a pair of army boots lead up to the chair’s legs on the floor. The piece benefits from its scrappiness and lack of polish, even if every signifier is meant to be taken rather literally.\u003c/p>\n\u003cfigure id=\"attachment_13966991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000.jpg\" alt=\"gallery view with lots of art on walls, chair sculpture in foreground\" width=\"2000\" height=\"1335\" class=\"size-full wp-image-13966991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/2024_0930-KADIST-MMSR_50_2000-1920x1282.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Makeshift Memorials, Small Revolutions’ with Jamel Robinson’s ‘I Walked The Longest Mile To Get To Nowhere Still,’ 2022 in the foreground. \u003ccite>(Courtesy of the artists, KADIST collection; Patron Gallery; Photo by Phillip Maisel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Makeshift Memorials\u003c/em> offers an incredibly diverse range of global artworks, made mostly over the last four years, all chronicling weighty, devastating topics. And although each piece supports the curatorial premise in some way, formally they didn’t seem to relate to one other — despite a shared seriousness and the strength of their individual parts. \u003c/p>\n\u003cp>Attempting to distill something as broad and recent as the impact of the pandemic onto a few walls is a formidable task. Even an exhibition with limitless space couldn’t fully represent that experience. Instead, here we have a poetic churn of works that address the issues at hand piecemeal: violence, marginalization, illness, isolation, grief. I came away from the show emotionally drained, but with a heightened sensitivity to the breadth of vulnerability that connects and defines human life.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://kadist.org/program/makeshift-memorials-small-revolutions-sf/\">Makeshift Memorials, Small Revolutions\u003c/a>’ is on view at KADIST (3295 20th St., San Francisco) through Feb. 15 2025. A concurrent exhibition at the \u003ca href=\"https://blafferartmuseum.org/makeshift-memorials-small-revolutions/\">Blaffer Art Museum\u003c/a> in Houston is on view through March 9, 2025.\u003ci>\u003c/i>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"onourwatch": {
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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