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"content": "\u003cp>The now-legendary documentary, aired by KQED in February 1964, is called \u003cem>Take This Hammer\u003c/em> — the title borrowed from \u003ca href=\"https://www.youtube.com/watch?v=280ZECc773g\">the Black folk song\u003c/a> of the same name that envisions an escape from brutal working conditions. The film follows James Baldwin on a tour of the predominantly Black neighborhoods of 1960s San Francisco and, most importantly, gives a platform for young residents to talk about their lived experience of prejudice.\u003c/p>\n\u003cp>The film doesn’t waste any time getting to its core point.\u003c/p>\n\u003cp>[aside postid='arts_13959918']“They want to talk about the South?” one young Hunters Point resident exclaims in its opening scene. “The South is not half as bad as San Francisco … Let me tell you about San Francisco. The white man, he’s not taking advantage of you out in public like they’re doing down in Birmingham. But he’s killing you with that pencil and paper, brother. When you go to look for a job, can you get a job?”\u003c/p>\n\u003cp>The camera pans to Baldwin. “This is a San Francisco America pretends does not exist,” he says stoically. “They think that I am making it up.”\u003c/p>\n\u003cp>Before the movie even got to air, it received outraged reactions from some corners of the press.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The fine, fair face of San Francisco will be sullied tonight by Negro author James Baldwin in a special 45-minute Channel 9 program,” Dwight Newton wrote in his \u003cem>San Francisco Examiner\u003c/em> column. “Baldwin came here last year and KQED’s Channel 9 mobile film unit toured the town with him — to the uglier areas of Hunter’s Point and the Fillmore District. In this great ‘Paris of the West,’ widely advertised as a liberal, cultural and cosmopolitan center, Baldwin looked for and found what he sought: increasing bitterness, demoralization and despair of Negro youths.”\u003c/p>\n\u003cp>[aside postid='arts_13959796']Newton went on: “Comparing San Francisco with blemished racial conditions elsewhere, [Baldwin] says … ‘Nobody wants to destroy the image of San Francisco.’ But Baldwin destroys it in this film. He takes ‘this hammer’ and beats venom out of the Negro problem.”\u003c/p>\n\u003cp>Getting the controversial documentary into people’s homes had, for months, already posed a serious challenge for the KQED Film Unit who made it. “The Board of Directors of KQED … were reluctant to broadcast the program as originally filmed,” director Richard O. Moore recalled in \u003ca href=\"https://batv.quartexcollections.com/Documents/Detail/the-making-of-take-this-hammer/443\">2012 interview with the Bay Area Television Archive\u003c/a>. “All of this resulted in a very painful compromise of cutting out about 15 minutes of the film. They didn’t want to project the fact that there was a great deal of unrest in the Black ghettos in San Francisco.”\u003c/p>\n\u003cp>Moore’s willingness to cut the footage in order to get some form of the project on air so irritated Baldwin that the writer never spoke to Moore again. “Which from my perspective,” Moore noted in 2012, “was a tragic loss. From his, it was ‘good riddance’ probably. Who knows? This was a minor incident in his life, whereas it was a rather important incident in the life of, say, the KQED Film Unit.”\u003c/p>\n\u003cp>The documentary consists of interviews with local people and analysis from Baldwin, peppered with footage Moore and his crew shot while driving around the city with cameras mounted to a station wagon. The entire film is stark, unyielding and straight to the point. Black residents of San Francisco had plenty they wanted to share with Baldwin and outside viewers.\u003c/p>\n\u003cp>“In the way that I’ve been looking at it, Hunters Point is just like being in Alabama right now,” one woman tells Baldwin.\u003c/p>\n\u003cp>Another states: “Young people go to school together, they graduate off the same stage and then, when it comes to jobs, the Black face is not qualified. Then my daughter has to go clean up the same girl’s house that she graduated with.”\u003c/p>\n\u003cp>A teenage girl talks about the city’s “redevelopment” of Black neighborhoods. “There ain’t gonna be no place when they get through,” she says. “We’re gonna be living out here on the streets in tents.”\u003c/p>\n\u003cp>[aside postid='arts_13959163']This moment — which possibly seemed hyperbolic at the time — hits differently in 2024. A review published by Richmond newspaper \u003cem>The Independent\u003c/em> in 1964 captures exactly why \u003cem>Take This Hammer\u003c/em> remains essential viewing all these years later.\u003c/p>\n\u003cp>“Baldwin — volatile, articulate, a bit affected — is an education himself,” Jim Wood wrote. “Baldwin’s point is one that he has made in his writing, that society had to create its image of the Negro to avoid admitting that the image really lies within society itself. But when the writer can point, off-handedly, to the buildings and people of Hunter’s Point, to illustrate precisely what he is saying, the effect is chilling and unforgettable.\u003c/p>\n\u003cp>“The film itself is simple, beautiful, intimate and unpretentious,” Wood concluded. “Even if you don’t ordinarily watch television, see this film.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can watch the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\">full, original version of the documentary courtesy of the Bay Area Television Archive\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Newton went on: “Comparing San Francisco with blemished racial conditions elsewhere, [Baldwin] says … ‘Nobody wants to destroy the image of San Francisco.’ But Baldwin destroys it in this film. He takes ‘this hammer’ and beats venom out of the Negro problem.”\u003c/p>\n\u003cp>Getting the controversial documentary into people’s homes had, for months, already posed a serious challenge for the KQED Film Unit who made it. “The Board of Directors of KQED … were reluctant to broadcast the program as originally filmed,” director Richard O. Moore recalled in \u003ca href=\"https://batv.quartexcollections.com/Documents/Detail/the-making-of-take-this-hammer/443\">2012 interview with the Bay Area Television Archive\u003c/a>. “All of this resulted in a very painful compromise of cutting out about 15 minutes of the film. They didn’t want to project the fact that there was a great deal of unrest in the Black ghettos in San Francisco.”\u003c/p>\n\u003cp>Moore’s willingness to cut the footage in order to get some form of the project on air so irritated Baldwin that the writer never spoke to Moore again. “Which from my perspective,” Moore noted in 2012, “was a tragic loss. From his, it was ‘good riddance’ probably. Who knows? This was a minor incident in his life, whereas it was a rather important incident in the life of, say, the KQED Film Unit.”\u003c/p>\n\u003cp>The documentary consists of interviews with local people and analysis from Baldwin, peppered with footage Moore and his crew shot while driving around the city with cameras mounted to a station wagon. The entire film is stark, unyielding and straight to the point. Black residents of San Francisco had plenty they wanted to share with Baldwin and outside viewers.\u003c/p>\n\u003cp>“In the way that I’ve been looking at it, Hunters Point is just like being in Alabama right now,” one woman tells Baldwin.\u003c/p>\n\u003cp>Another states: “Young people go to school together, they graduate off the same stage and then, when it comes to jobs, the Black face is not qualified. Then my daughter has to go clean up the same girl’s house that she graduated with.”\u003c/p>\n\u003cp>A teenage girl talks about the city’s “redevelopment” of Black neighborhoods. “There ain’t gonna be no place when they get through,” she says. “We’re gonna be living out here on the streets in tents.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This moment — which possibly seemed hyperbolic at the time — hits differently in 2024. A review published by Richmond newspaper \u003cem>The Independent\u003c/em> in 1964 captures exactly why \u003cem>Take This Hammer\u003c/em> remains essential viewing all these years later.\u003c/p>\n\u003cp>“Baldwin — volatile, articulate, a bit affected — is an education himself,” Jim Wood wrote. “Baldwin’s point is one that he has made in his writing, that society had to create its image of the Negro to avoid admitting that the image really lies within society itself. But when the writer can point, off-handedly, to the buildings and people of Hunter’s Point, to illustrate precisely what he is saying, the effect is chilling and unforgettable.\u003c/p>\n\u003cp>“The film itself is simple, beautiful, intimate and unpretentious,” Wood concluded. “Even if you don’t ordinarily watch television, see this film.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can watch the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\">full, original version of the documentary courtesy of the Bay Area Television Archive\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Update, 10:00 a.m. Saturday:\u003c/b> Supervisor Hillary Ronen \u003ca href=\"https://www.instagram.com/p/C8fL1I6vk6g/?img_index=1\">announced on social media\u003c/a> that the Alemany Flea Market will not be cut from the city budget for at least the next year. “Thank you to the outpouring of community members who spoke up to defend the market,” she wrote. “Your advocacy made a difference!”\u003c/p>\n\u003cp>\u003cb>Original story, 12:38 p.m. Friday:\u003c/b> Vendors at San Francisco’s \u003ca href=\"https://www.sf.gov/location/alemany-flea-market\">Alemany Flea Market\u003c/a> and their loyal customers are rallying to save the weekly event at 100 Alemany Blvd., which is in danger of being eliminated by upcoming city budget cuts.\u003c/p>\n\u003cp>After a week of emails and phone calls to supervisors and city representatives, it seems the flea market’s supporters have made an impact. The City Administrator’s Office provided a statement to KQED that it is “working with the Mayor’s Office to maintain funding, including long term solutions, for the Flea Market.”\u003c/p>\n\u003cp>The City Administrator’s Office stated that the flea market has been “operating at a deficit for some time.” City departments have been tasked by Mayor London Breed with cutting 10% of their general operating expenses to help close an $800 million deficit over the next two years. \u003c/p>\n\u003cp>Rico Duenas, a regular flea market attendee who grew up going every Sunday with his family, was shocked to learn, only through word of mouth, that the event might be eliminated from the city’s budget. “I don’t understand how it could have just ended,” he said. “No one would have said anything, and it just would be gone one day, which is crazy to me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Board of Supervisors is expected to finalize the budget in July, and the mayor will sign it into law. The \u003ca href=\"https://sfbos.org/sites/default/files/2024_Public_Comment_Day_Details.pdf\">public can provide comment\u003c/a> on the annual budget at the Budget and Appropriations Committee meeting on Monday, June 24, at 10 a.m.\u003c/p>\n\u003cp>[aside postID='arts_13921882']The Alemany Flea Market is the scruffier sibling of the Alemany Farmers’ Market, which occupies the same lot and stalls on Saturdays. The flea market’s size has contracted since the pandemic, but any given Sunday sees hundreds of attendees roaming the eight-hour event.\u003c/p>\n\u003cp>Supervisor Hillary Ronen, whose district includes 100 Alemany Blvd., is against ending the flea market.\u003c/p>\n\u003cp>“I fully support the Alemany Flea Market, and will oppose any attempt to eliminate it through any proposed cuts in the current budget or otherwise,” Ronen said in a statement to KQED. “The flea market is a historical and cultural San Francisco landmark that plays an important role in the economic security of people who sell and buy at the weekly market, supporting small businesses and individuals in District 9 and Citywide.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.instagram.com/p/C8WFpzJOHkT/?hl=en\">video posted to social media\u003c/a>, Jon Rolston, owner of a \u003ca href=\"https://www.haulerfame.com/\">junk hauling service\u003c/a> and a frequent vendor at the flea market, urged his many followers to contact their city representatives. “That flea market is 100 small business owners, and they in turn sell to another 100 small business owners,” he said. “All those cool shops that people love to go to … where do you think that stuff is coming from? It’s coming from the flea market.”\u003c/p>\n\u003cp>The Alemany Flea Market is managed by the city’s Real Estate Division. Since the \u003ca href=\"https://sfstandard.com/2024/03/21/un-plaza-gift-gallery-closes/\">abrupt closure of the Fulton Plaza Gift Gallery\u003c/a> on April 1, the Alemany Flea Market remains the only city-managed venue for the sale of used goods. Stalls cost vendors $50 each. \u003c/p>\n\u003cp>Concern about the future of the flea market began in early March, when the Real Estate Division released a \u003ca href=\"https://www.sf.gov/sites/default/files/2024-03/LEASE%20OF%20REAL%20PROPERTY%20RED%20%E2%80%93%20RFP24%20%E2%80%93%20001%20AFM.pdf\">request for proposals\u003c/a> to manage 100 Alemany Blvd.\u003c/p>\n\u003cp>The RFP, though standard enough, put flea market vendors and customers on edge: nowhere in the 78-page document was there mention of the Sunday flea market. The Saturday farmers’ market, meanwhile, was enshrined within the proposal. (The address was referred to throughout by the shorthand “Alemany Farmers’ Market Property.”)\u003c/p>\n\u003cp>The Real Estate Division did not receive any responses to the RFP, even after extending the deadline for an additional 10 days past the original April 12 due date. \u003c/p>\n\u003cp>The flea market didn’t always operate at a deficit. A \u003ca href=\"https://sfbos.org/sites/default/files/FileCenter/Documents/37009-Alemany_Farmers_Market_Real_Estate_Div_Final_Report_101310.pdf\">2010 audit\u003c/a> shows that the flea market created $255,644 of net revenue; combined with the farmers’ market, the Alemany markets sent $424,243 back into the general operating fund.\u003c/p>\n\u003cp>For lifetime customers like Duenas, it’s difficult to quantify the value of the flea market, which he grew up referring to as “church.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I understand that cities change, but can’t we keep some of the old?” Duenas said. “Everything doesn’t have to be this shiny new park, this shiny new thing. This is a trash flea market, but it is a part of the community.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Update, 10:00 a.m. Saturday:\u003c/b> Supervisor Hillary Ronen \u003ca href=\"https://www.instagram.com/p/C8fL1I6vk6g/?img_index=1\">announced on social media\u003c/a> that the Alemany Flea Market will not be cut from the city budget for at least the next year. “Thank you to the outpouring of community members who spoke up to defend the market,” she wrote. “Your advocacy made a difference!”\u003c/p>\n\u003cp>\u003cb>Original story, 12:38 p.m. Friday:\u003c/b> Vendors at San Francisco’s \u003ca href=\"https://www.sf.gov/location/alemany-flea-market\">Alemany Flea Market\u003c/a> and their loyal customers are rallying to save the weekly event at 100 Alemany Blvd., which is in danger of being eliminated by upcoming city budget cuts.\u003c/p>\n\u003cp>After a week of emails and phone calls to supervisors and city representatives, it seems the flea market’s supporters have made an impact. The City Administrator’s Office provided a statement to KQED that it is “working with the Mayor’s Office to maintain funding, including long term solutions, for the Flea Market.”\u003c/p>\n\u003cp>The City Administrator’s Office stated that the flea market has been “operating at a deficit for some time.” City departments have been tasked by Mayor London Breed with cutting 10% of their general operating expenses to help close an $800 million deficit over the next two years. \u003c/p>\n\u003cp>Rico Duenas, a regular flea market attendee who grew up going every Sunday with his family, was shocked to learn, only through word of mouth, that the event might be eliminated from the city’s budget. “I don’t understand how it could have just ended,” he said. “No one would have said anything, and it just would be gone one day, which is crazy to me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Board of Supervisors is expected to finalize the budget in July, and the mayor will sign it into law. The \u003ca href=\"https://sfbos.org/sites/default/files/2024_Public_Comment_Day_Details.pdf\">public can provide comment\u003c/a> on the annual budget at the Budget and Appropriations Committee meeting on Monday, June 24, at 10 a.m.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Alemany Flea Market is the scruffier sibling of the Alemany Farmers’ Market, which occupies the same lot and stalls on Saturdays. The flea market’s size has contracted since the pandemic, but any given Sunday sees hundreds of attendees roaming the eight-hour event.\u003c/p>\n\u003cp>Supervisor Hillary Ronen, whose district includes 100 Alemany Blvd., is against ending the flea market.\u003c/p>\n\u003cp>“I fully support the Alemany Flea Market, and will oppose any attempt to eliminate it through any proposed cuts in the current budget or otherwise,” Ronen said in a statement to KQED. “The flea market is a historical and cultural San Francisco landmark that plays an important role in the economic security of people who sell and buy at the weekly market, supporting small businesses and individuals in District 9 and Citywide.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.instagram.com/p/C8WFpzJOHkT/?hl=en\">video posted to social media\u003c/a>, Jon Rolston, owner of a \u003ca href=\"https://www.haulerfame.com/\">junk hauling service\u003c/a> and a frequent vendor at the flea market, urged his many followers to contact their city representatives. “That flea market is 100 small business owners, and they in turn sell to another 100 small business owners,” he said. “All those cool shops that people love to go to … where do you think that stuff is coming from? It’s coming from the flea market.”\u003c/p>\n\u003cp>The Alemany Flea Market is managed by the city’s Real Estate Division. Since the \u003ca href=\"https://sfstandard.com/2024/03/21/un-plaza-gift-gallery-closes/\">abrupt closure of the Fulton Plaza Gift Gallery\u003c/a> on April 1, the Alemany Flea Market remains the only city-managed venue for the sale of used goods. Stalls cost vendors $50 each. \u003c/p>\n\u003cp>Concern about the future of the flea market began in early March, when the Real Estate Division released a \u003ca href=\"https://www.sf.gov/sites/default/files/2024-03/LEASE%20OF%20REAL%20PROPERTY%20RED%20%E2%80%93%20RFP24%20%E2%80%93%20001%20AFM.pdf\">request for proposals\u003c/a> to manage 100 Alemany Blvd.\u003c/p>\n\u003cp>The RFP, though standard enough, put flea market vendors and customers on edge: nowhere in the 78-page document was there mention of the Sunday flea market. The Saturday farmers’ market, meanwhile, was enshrined within the proposal. (The address was referred to throughout by the shorthand “Alemany Farmers’ Market Property.”)\u003c/p>\n\u003cp>The Real Estate Division did not receive any responses to the RFP, even after extending the deadline for an additional 10 days past the original April 12 due date. \u003c/p>\n\u003cp>The flea market didn’t always operate at a deficit. A \u003ca href=\"https://sfbos.org/sites/default/files/FileCenter/Documents/37009-Alemany_Farmers_Market_Real_Estate_Div_Final_Report_101310.pdf\">2010 audit\u003c/a> shows that the flea market created $255,644 of net revenue; combined with the farmers’ market, the Alemany markets sent $424,243 back into the general operating fund.\u003c/p>\n\u003cp>For lifetime customers like Duenas, it’s difficult to quantify the value of the flea market, which he grew up referring to as “church.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I understand that cities change, but can’t we keep some of the old?” Duenas said. “Everything doesn’t have to be this shiny new park, this shiny new thing. This is a trash flea market, but it is a part of the community.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tyler, the Creator has canceled his headlining sets at \u003ca href=\"https://sfoutsidelands.com/\">San Francisco’s Outside Lands\u003c/a> and Chicago’s Lollapalooza, both slated for August.\u003c/p>\n\u003cp>“i made a commitment that i can no longer keep, and that bums me out knowing how excited folks were. that is not sexy at all. please please forgive me or call me names when you see me in person. love,” he wrote on X, formerly known as Twitter.\u003c/p>\n\u003cp>Outside Lands quickly announced that rising star Sabrina Carpenter will take Tyler’s place as the festival’s Saturday headliner when the annual festival returns to Golden Gate Park Aug. 9-11. She joins rock icons The Killers and country hitmaker Sturgill Simpson at the top of the bill.\u003c/p>\n\u003cp>Carpenter also announced her own headlining tour, which brings her to the Chase Center in San Francisco on Nov. 9. Tickets go on sale to the general public on Friday, June 28, while presale tickets go on sale Tuesday, June 25. Fans can currently sign up for ticket presale info by RSVPing on \u003ca href=\"https://store.sabrinacarpenter.com/pages/tour\">her tour site\u003c/a>.\u003c/p>\n\u003cp>Carpenter’s ultra-catchy “Espresso” and its \u003ca href=\"https://mashable.com/article/espresso-sabrina-carpenter-memes\">corresponding memes\u003c/a> have been inescapable this year. The lightly funky earworm contains a danceable groove and oddly memorable hook: “That’s that me espresso.” Hazy, sunny and perfect for day drinking, it’s a top contender for song of the summer (with a much different audience than the other obvious choice, Kendrick Lamar’s “\u003ca href=\"https://www.kqed.org/arts/13960019/the-culture-kendrick-lamar-pop-out-juneteenth\">Not Like Us\u003c/a>“).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/eVli-tstM5E?si=OMQ6gPv-zDyhY0XY\u003c/p>\n\u003cp>Carpenter has spent past several years plotting her crossover from Disney to pop stardom, and recently followed “Espresso” with “Please Please Please,” another dance-pop banger with anthemic ’80s synths and tongue-in-cheek lyrics, this time about indulging in an ill-advised love affair against her better judgment. (Its kitschy, gangster flick-style music video stars Carpenter’s boyfriend, “\u003ca href=\"https://www.usatoday.com/story/entertainment/celebrities/2024/06/14/hot-rodent-men-summer/74093463007/\">hot rodent man\u003c/a>” archetype and \u003cem>Saltburn \u003c/em>star Barry Keoghan.) Expect to hear both tracks blasting at Pride parties everywhere throughout June.\u003c/p>\n\u003cp>Carpenter’s sixth studio album \u003cem>Short n’ Sweet\u003c/em> (a nod to her 4’11” stature and \u003ca href=\"https://x.com/scarpenterbr/status/1684285823586275331\">Polly Pocket look\u003c/a>) will be released Aug. 23, two weeks after her Outside Lands appearance.\u003c/p>\n\u003cp>https://youtu.be/cF1Na4AIecM?si=7irXq3tXc4ZfbAk5\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Outside Lands takes place Aug. 9-11 in San Francisco’s Golden Gate Park. Single-day tickets start at $199 plus fees; three-day tickets start at $465. \u003ca href=\"https://sfoutsidelands.com/tickets/\">Full lineup and details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tyler, the Creator has canceled his headlining sets at \u003ca href=\"https://sfoutsidelands.com/\">San Francisco’s Outside Lands\u003c/a> and Chicago’s Lollapalooza, both slated for August.\u003c/p>\n\u003cp>“i made a commitment that i can no longer keep, and that bums me out knowing how excited folks were. that is not sexy at all. please please forgive me or call me names when you see me in person. love,” he wrote on X, formerly known as Twitter.\u003c/p>\n\u003cp>Outside Lands quickly announced that rising star Sabrina Carpenter will take Tyler’s place as the festival’s Saturday headliner when the annual festival returns to Golden Gate Park Aug. 9-11. She joins rock icons The Killers and country hitmaker Sturgill Simpson at the top of the bill.\u003c/p>\n\u003cp>Carpenter also announced her own headlining tour, which brings her to the Chase Center in San Francisco on Nov. 9. Tickets go on sale to the general public on Friday, June 28, while presale tickets go on sale Tuesday, June 25. Fans can currently sign up for ticket presale info by RSVPing on \u003ca href=\"https://store.sabrinacarpenter.com/pages/tour\">her tour site\u003c/a>.\u003c/p>\n\u003cp>Carpenter’s ultra-catchy “Espresso” and its \u003ca href=\"https://mashable.com/article/espresso-sabrina-carpenter-memes\">corresponding memes\u003c/a> have been inescapable this year. The lightly funky earworm contains a danceable groove and oddly memorable hook: “That’s that me espresso.” Hazy, sunny and perfect for day drinking, it’s a top contender for song of the summer (with a much different audience than the other obvious choice, Kendrick Lamar’s “\u003ca href=\"https://www.kqed.org/arts/13960019/the-culture-kendrick-lamar-pop-out-juneteenth\">Not Like Us\u003c/a>“).\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/eVli-tstM5E'\n title='//www.youtube.com/embed/eVli-tstM5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Carpenter has spent past several years plotting her crossover from Disney to pop stardom, and recently followed “Espresso” with “Please Please Please,” another dance-pop banger with anthemic ’80s synths and tongue-in-cheek lyrics, this time about indulging in an ill-advised love affair against her better judgment. (Its kitschy, gangster flick-style music video stars Carpenter’s boyfriend, “\u003ca href=\"https://www.usatoday.com/story/entertainment/celebrities/2024/06/14/hot-rodent-men-summer/74093463007/\">hot rodent man\u003c/a>” archetype and \u003cem>Saltburn \u003c/em>star Barry Keoghan.) Expect to hear both tracks blasting at Pride parties everywhere throughout June.\u003c/p>\n\u003cp>Carpenter’s sixth studio album \u003cem>Short n’ Sweet\u003c/em> (a nod to her 4’11” stature and \u003ca href=\"https://x.com/scarpenterbr/status/1684285823586275331\">Polly Pocket look\u003c/a>) will be released Aug. 23, two weeks after her Outside Lands appearance.\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/cF1Na4AIecM'\n title='//www.youtube.com/embed/cF1Na4AIecM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Outside Lands takes place Aug. 9-11 in San Francisco’s Golden Gate Park. Single-day tickets start at $199 plus fees; three-day tickets start at $465. \u003ca href=\"https://sfoutsidelands.com/tickets/\">Full lineup and details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13959812\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy.jpg\" alt=\"Two men devour a pizza straight out of the box while standing in a crowd of other customers.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eating a Golden Boy slice while standing on the sidewalk late at night is an indelible San Francisco experience. \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>If you’re a lifelong San Franciscan, chances are you’ve grabbed a slice at \u003ca href=\"https://goldenboypizza.com/\">Golden Boy Pizza\u003c/a>.\u003c/p>\n\u003cp>Or to be more specific: If your misspent youth involved hanging around the vicinity of North Beach late at night, you’ve probably burned the roof of your mouth scarfing down a Golden Boy clam-and-garlic slice while standing on the sidewalk well past midnight.\u003c/p>\n\u003cp>Ever since Golden Boy’s original Green Street location opened in 1978, the pizzeria has been an indelible fixture of San Francisco’s late-night scene. Pre-pandemic, and for the bulk of its 40-plus-year heyday as an after-hours hangout, Golden Boy was open past 2 a.m. on the weekend, making it the ideal place to hit up after a punk show or a reckless night of bar-hopping. Back then, the restaurant itself doubled as a neighborhood dive bar of sorts, with pizza eaters squeezing shoulder-to-shoulder at the counter to enjoy pitchers of cold Stella and a thrash metal–heavy playlist with their meal.\u003c/p>\n\u003cp>Times change, of course. These days, Golden Boy is strictly takeout only. It now closes at 9 p.m. on weekdays, and 11 p.m. on weekends. But even in its streamlined form, the restaurant remains one of the best spots in the city to grab a bite late at night. At a little before 10 o’clock on a recent Friday night, you could still spot the pizzeria’s iconic neon sign (an enormous hand, lit up in red and green, its index finger pointing the way) from several blocks away. The line outside seemed as long as it had ever been, maybe nine or 10 customers deep — an ethnically diverse crowd, mostly in their 20s or 30s. Because there isn’t any dine-in option, some took off in their cars as they’d gotten their pizzas. A few took their slices into the cocktail bar next door; a few more, like us, found a spot on the sidewalk where they could lean against a wall and eat their pizza standing up, like a proper street food.\u003c/p>\n\u003cfigure id=\"attachment_13959811\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959811\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2.jpg\" alt=\"Illustration: A line of customers waiting outside of Golden Boy Pizza.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Even though it’s no longer open past 2 a.m. on the weekend, Golden Boy Pizza remains a popular late-night destination in North Beach. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I love about Golden Boy is its commitment to selling just pizza, nothing else — no perfunctory salad or chicken wings. (If you want a balanced, multicourse meal, there are plenty of other places in North Beach that’ll do the job.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pizza, meanwhile, is uniquely and idiosyncratically Bay Area. A Golden Boy pie’s thick crust and rectangular shape predate the region’s recent wave of trendy, right-angled Detroit-style pizzas by about 40 years — though no one would confuse the two styles. According to its official backstory, a Golden Boy “San Francilian” pie is basically “\u003ca href=\"https://www.goldenboypizza.com/sanfrancisco.php\">focaccia with pizza topping\u003c/a>.” That description might lead you to imagine a pizza with a spongy or bready texture, but the most remarkable thing about a Golden Boy slice is how light and airy it is once you’ve bitten into its golden-brown, impeccably crunchy bottom. Though I’ve never tested the theory, I \u003ci>feel\u003c/i> like I could eat 100 slices without feeling uncomfortably full.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13958926,arts_13958466,arts_13954597']\u003c/span>\u003c/span>It’s a tempting prospect, too, because the pizza’s components are so well-balanced and delicious — the juicy, thick red sauce (hands-down one of the best in the Bay); the generous amount of stretchy cheese; the charred, squared-off edges on each coveted corner slice. The toppings list is short and sweet, not veering far beyond pepperoni, sausage and a few simple vegetables. The clam-and-garlic pie is the cult favorite of the bunch, topped with chewy baby clams, enough garlic to bowl you over and linger on your breath, and a flurry of chopped parsley to act as a fresh counterpoint. How good is it? If we were sculpting a Mount Rushmore of Bay Area pizzas, it would easily snag one of the four spots.\u003c/p>\n\u003cp>Golden Boy also does a more standard combination pizza, as well as a tasty vegetarian pie that subs in pesto for the red sauce. During our recent visit, however, we found ourselves gravitating toward the simplest pizzas — the plain cheese slice and the classic, no-frills pepperoni. Without any fussy toppings to distract, we marinated in that perfect union of cheese, sauce and ethereal crust.\u003c/p>\n\u003cp>I don’t know if this is the best slice in San Francisco, but it sure \u003ci>felt\u003c/i> like it was. Standing there hunched over outside in the lamplight, balancing the pizza box in one hand and a can of soda in the other while we ate. Cars whizzed past. A saxophone guy on the opposite street corner was playing something plaintive and jazzy. In that moment, it was hard to imagine anything better.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://goldenboypizza.com/\">\u003ci>Golden Boy Pizza’s\u003c/i>\u003c/a>\u003ci> original North Beach location is open Sunday through Thursday 11:30 a.m.–9 p.m. and Friday to Saturday 11:30 a.m.–11 p.m. at 542 Green St. in San Francisco. There’s also a San Mateo location and a forthcoming location at 1447 Taraval St., in the Parkside neighborhood of SF.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13959812\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959812\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy.jpg\" alt=\"Two men devour a pizza straight out of the box while standing in a crowd of other customers.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eating a Golden Boy slice while standing on the sidewalk late at night is an indelible San Francisco experience. \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>If you’re a lifelong San Franciscan, chances are you’ve grabbed a slice at \u003ca href=\"https://goldenboypizza.com/\">Golden Boy Pizza\u003c/a>.\u003c/p>\n\u003cp>Or to be more specific: If your misspent youth involved hanging around the vicinity of North Beach late at night, you’ve probably burned the roof of your mouth scarfing down a Golden Boy clam-and-garlic slice while standing on the sidewalk well past midnight.\u003c/p>\n\u003cp>Ever since Golden Boy’s original Green Street location opened in 1978, the pizzeria has been an indelible fixture of San Francisco’s late-night scene. Pre-pandemic, and for the bulk of its 40-plus-year heyday as an after-hours hangout, Golden Boy was open past 2 a.m. on the weekend, making it the ideal place to hit up after a punk show or a reckless night of bar-hopping. Back then, the restaurant itself doubled as a neighborhood dive bar of sorts, with pizza eaters squeezing shoulder-to-shoulder at the counter to enjoy pitchers of cold Stella and a thrash metal–heavy playlist with their meal.\u003c/p>\n\u003cp>Times change, of course. These days, Golden Boy is strictly takeout only. It now closes at 9 p.m. on weekdays, and 11 p.m. on weekends. But even in its streamlined form, the restaurant remains one of the best spots in the city to grab a bite late at night. At a little before 10 o’clock on a recent Friday night, you could still spot the pizzeria’s iconic neon sign (an enormous hand, lit up in red and green, its index finger pointing the way) from several blocks away. The line outside seemed as long as it had ever been, maybe nine or 10 customers deep — an ethnically diverse crowd, mostly in their 20s or 30s. Because there isn’t any dine-in option, some took off in their cars as they’d gotten their pizzas. A few took their slices into the cocktail bar next door; a few more, like us, found a spot on the sidewalk where they could lean against a wall and eat their pizza standing up, like a proper street food.\u003c/p>\n\u003cfigure id=\"attachment_13959811\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959811\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2.jpg\" alt=\"Illustration: A line of customers waiting outside of Golden Boy Pizza.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Goldenboy2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Even though it’s no longer open past 2 a.m. on the weekend, Golden Boy Pizza remains a popular late-night destination in North Beach. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I love about Golden Boy is its commitment to selling just pizza, nothing else — no perfunctory salad or chicken wings. (If you want a balanced, multicourse meal, there are plenty of other places in North Beach that’ll do the job.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pizza, meanwhile, is uniquely and idiosyncratically Bay Area. A Golden Boy pie’s thick crust and rectangular shape predate the region’s recent wave of trendy, right-angled Detroit-style pizzas by about 40 years — though no one would confuse the two styles. According to its official backstory, a Golden Boy “San Francilian” pie is basically “\u003ca href=\"https://www.goldenboypizza.com/sanfrancisco.php\">focaccia with pizza topping\u003c/a>.” That description might lead you to imagine a pizza with a spongy or bready texture, but the most remarkable thing about a Golden Boy slice is how light and airy it is once you’ve bitten into its golden-brown, impeccably crunchy bottom. Though I’ve never tested the theory, I \u003ci>feel\u003c/i> like I could eat 100 slices without feeling uncomfortably full.\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>It’s a tempting prospect, too, because the pizza’s components are so well-balanced and delicious — the juicy, thick red sauce (hands-down one of the best in the Bay); the generous amount of stretchy cheese; the charred, squared-off edges on each coveted corner slice. The toppings list is short and sweet, not veering far beyond pepperoni, sausage and a few simple vegetables. The clam-and-garlic pie is the cult favorite of the bunch, topped with chewy baby clams, enough garlic to bowl you over and linger on your breath, and a flurry of chopped parsley to act as a fresh counterpoint. How good is it? If we were sculpting a Mount Rushmore of Bay Area pizzas, it would easily snag one of the four spots.\u003c/p>\n\u003cp>Golden Boy also does a more standard combination pizza, as well as a tasty vegetarian pie that subs in pesto for the red sauce. During our recent visit, however, we found ourselves gravitating toward the simplest pizzas — the plain cheese slice and the classic, no-frills pepperoni. Without any fussy toppings to distract, we marinated in that perfect union of cheese, sauce and ethereal crust.\u003c/p>\n\u003cp>I don’t know if this is the best slice in San Francisco, but it sure \u003ci>felt\u003c/i> like it was. Standing there hunched over outside in the lamplight, balancing the pizza box in one hand and a can of soda in the other while we ate. Cars whizzed past. A saxophone guy on the opposite street corner was playing something plaintive and jazzy. In that moment, it was hard to imagine anything better.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://goldenboypizza.com/\">\u003ci>Golden Boy Pizza’s\u003c/i>\u003c/a>\u003ci> original North Beach location is open Sunday through Thursday 11:30 a.m.–9 p.m. and Friday to Saturday 11:30 a.m.–11 p.m. at 542 Green St. in San Francisco. There’s also a San Mateo location and a forthcoming location at 1447 Taraval St., in the Parkside neighborhood of SF.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was a scene straight out of the Apollo Theater: A full band on stage, vamping a steady groove. Two female backup singers approaching the mic with a singing chant: “Cell-ski… Cell-ski…” And then, walking in from the wings and past the rhythm section, Cellski himself, launching into “It’s On,” the first track from his 1994 album \u003cem>Mr. Predicter\u003c/em>. \u003c/p>\n\u003cp>It was a February night earlier this year at a packed-to-the-gills Brick & Mortar Music Hall in San Francisco, but with the band in the pocket and Cellski on his game — and the crowd in the palm of his hand — the show felt timeless. \u003c/p>\n\u003cp>[aside postID='arts_13922141']Now, Cellski’s back for a victory lap, and he’s bringing a lineup of rap veterans along. When he performs in San Francisco on Saturday, he’ll be joined by C-Bo, Dru Down, RBL Posse, D-Lo, J Stalin, B-Legit, Ramirez 187 and other special guests. \u003c/p>\n\u003cp>And then there’s the band, the \u003ca href=\"https://www.instagram.com/topchefsband/\">Top Chefs\u003c/a>, a tight ensemble of younger musicians from the Frisco collective \u003ca href=\"https://www.kqed.org/arts/tag/family-not-a-group\">Family Not a Group\u003c/a>. Part of what made the February show a success was its cross-generational aspect: today’s upcoming hip-hop artists backing up the legends and soaking up game.\u003c/p>\n\u003cp>With so many guests on this weekend’s bill, it’s unclear whether Cellski will perform \u003cem>Mr. Predicter\u003c/em> in its entirety, as he recently did to celebrate its 30th anniversary. But expect hits from the canon of San Francisco rap, tributes to the recently departed Lakeview rapper \u003ca href=\"https://www.youtube.com/watch?v=RfHv9mNs98Y\">Baldhead Rick\u003c/a>, and Cellski, a true street legend, leading the party. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>Cellski performs with the Top Chefs and a slate of guests on Saturday, June 15, at the Midway in San Francisco. \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/chemical-baby-presents-cellski-friends-101696\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a scene straight out of the Apollo Theater: A full band on stage, vamping a steady groove. Two female backup singers approaching the mic with a singing chant: “Cell-ski… Cell-ski…” And then, walking in from the wings and past the rhythm section, Cellski himself, launching into “It’s On,” the first track from his 1994 album \u003cem>Mr. Predicter\u003c/em>. \u003c/p>\n\u003cp>It was a February night earlier this year at a packed-to-the-gills Brick & Mortar Music Hall in San Francisco, but with the band in the pocket and Cellski on his game — and the crowd in the palm of his hand — the show felt timeless. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, Cellski’s back for a victory lap, and he’s bringing a lineup of rap veterans along. When he performs in San Francisco on Saturday, he’ll be joined by C-Bo, Dru Down, RBL Posse, D-Lo, J Stalin, B-Legit, Ramirez 187 and other special guests. \u003c/p>\n\u003cp>And then there’s the band, the \u003ca href=\"https://www.instagram.com/topchefsband/\">Top Chefs\u003c/a>, a tight ensemble of younger musicians from the Frisco collective \u003ca href=\"https://www.kqed.org/arts/tag/family-not-a-group\">Family Not a Group\u003c/a>. Part of what made the February show a success was its cross-generational aspect: today’s upcoming hip-hop artists backing up the legends and soaking up game.\u003c/p>\n\u003cp>With so many guests on this weekend’s bill, it’s unclear whether Cellski will perform \u003cem>Mr. Predicter\u003c/em> in its entirety, as he recently did to celebrate its 30th anniversary. But expect hits from the canon of San Francisco rap, tributes to the recently departed Lakeview rapper \u003ca href=\"https://www.youtube.com/watch?v=RfHv9mNs98Y\">Baldhead Rick\u003c/a>, and Cellski, a true street legend, leading the party. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>Cellski performs with the Top Chefs and a slate of guests on Saturday, June 15, at the Midway in San Francisco. \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/chemical-baby-presents-cellski-friends-101696\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Your Favorite Local Band Member Is Serving You Pizza in the Outer Richmond",
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"content": "\u003cp>On Wednesday evenings, Alex Wolfert feels like he’s on stage — even if none of his three bands is performing that night.\u003c/p>\n\u003cp>That’s because Wolfert, 24, works Wednesdays at \u003ca href=\"https://www.thelaundromatsf.com/\">The Laundromat\u003c/a> — a bagels-in-the-morning, pizzas-and-wine-in-the-evening spot in San Francisco’s Outer Richmond that doubles as a micro-community of the city’s indie musicians. Hours pass to the hum of vinyl LPs from its sizable collection; dough and industry advice are thrown and caught; band tees are complimented. Co-workers’ demos are played on shared rides home, and employees cover shifts when others play shows or go on tour.\u003c/p>\n\u003cp>But mainly, The Laundromat’s supportive, tight-knit staff show that the artist’s tradition of working behind a counter on the nights not spent on stage is alive and well in an increasingly unaffordable, tech-centered city.\u003c/p>\n\u003cfigure id=\"attachment_13959564\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert serves orders at The Laundromat, where he works alongside other musicians from San Francisco bands. Wolfert plays in Uncle Chris, Double Helix Peace Treaty and Starfish Prime. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a typical shift, Wolfert, with his easy smile, might step outside to wipe down a table, passing the hour-long line and white horizon of Ocean Beach. His thoughts will race: He needs to text Joey he can record this week; Korey wants to rehearse next week; that one party needs water; two tables need to be set. Then he’ll grab a mushroom combo, balancing dipping dishes of honey and ranch between his fingers, and slide them all onto a crowded table.\u003c/p>\n\u003cp>As the phone rings, he’ll notice the Groove Armada record is on the penultimate track of Side B.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One! More! Song!” he chirps in these moments over the beat to co-workers, Max Edelman, 29 (drummer for alt-rock band \u003ca href=\"https://www.instagram.com/sourwidows\">Sour Widows\u003c/a> and black metal band \u003ca href=\"https://www.instagram.com/rokeblackmetal/\">Roke\u003c/a>), and Eva Treadway, 29 (guitarist in the ’60s-style pop band \u003ca href=\"https://www.instagram.com/theshesmusic/\">The She’s\u003c/a> and the noisy ’90s-style rock group \u003ca href=\"https://www.instagram.com/world_smasher/\">World Smasher\u003c/a>). Edelman might be pouring a skin-contact orange wine into one patron’s glass while Treadway — wearing a baseball cap with the word “Laundromat” in a squiggly font, designed by \u003ca href=\"https://www.instagram.com/secret.cobra.information/\">Trey Flanigan\u003c/a> of local band \u003ca href=\"https://pardoner.bandcamp.com/\">Pardoner\u003c/a> — pours a chilled red into another. A sausage pie’s ready for delivery. The phone’s ringing again.\u003c/p>\n\u003cfigure id=\"attachment_13959565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway and Max Edelman work behind the bar at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Busy nights like these are exhilarating to Wolfert. It’s like when his fingers are on the bass strings at Kilowatt or the Knockout. He plays with the jazz-inspired indie-pop group \u003ca href=\"https://www.kqed.org/news/11985883/uncle-chris-dove-on-the-ocean\">Uncle Chris,\u003c/a> the rock-driven songwriting-forward alt-pop of \u003ca href=\"https://www.instagram.com/starfishprime999/\">Starfish Prime\u003c/a> and the gritty, edgy sounds of \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a>. Working at The Laundromat can be like the climax of a song, he says. The crowd is rapt. The band’s locked in. The sound engineer is waving a symbol he can half see. His friends are in the front row making heart hands.\u003c/p>\n\u003cp>There’s a beast flowing through the air at that moment, he says. At The Laundromat, it’s caught and upheld by his co-workers, who are also his friends and some of his favorite musicians, similarly running pizzas or laughing in passing.\u003c/p>\n\u003cp>“There are parallels in service as in performance,” says Treadway just before their shift on a recent Wednesday. “We have our flow and we’re putting on a little bit of a show. Like, you’re providing this environment, you’re helping to curate it and you’re helping it to run, and you’re really fucking leaning on the people around you as your team.”\u003c/p>\n\u003cp>Navigating this organized chaos comes naturally to people who’ve worked together in a collaborative way artistically, Treadway adds, “because so much of being in a band is compromise and truly working together and doing hard things together. I don’t know anyone that’s a working musician in San Francisco that’s not working really, really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13959557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway poses for a portrait at The Laundromat. Treadway plays in The She’s and World Smasher. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musicians have worked service jobs since the beginning of undercompensated music and undercompensated labor. But the marriage’s harmony largely depends on institutional support – especially in San Francisco, where rents are always going up, prices are high and \u003ca href=\"https://www.sfgate.com/local/article/under-100k-low-income-san-francisco-18168899.php\">anyone making less than $100,000 a year is considered low-income\u003c/a>. The Tenderloin rehearsal space shared by two of Wolfert’s bands, a tight room split between five bands total, costs $800 a month. He lives with four roommates, one of whom is a bandmate.\u003c/p>\n\u003cp>When asked how to best support San Francisco’s musicians, Treadway says to tip well and pay in cash. Break out of the “transaction” mindset. Sometimes people forget their waiter is “a cool person who’s working really hard, who has their own interests, who maybe has their own band,” they add.\u003c/p>\n\u003cp>“Supporting your local restaurant is supporting your local musicians,” says Treadway. “Never forget it.”\u003c/p>\n\u003cfigure id=\"attachment_13959555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Edelman poses for a portrait at The Laundromat. Edelman plays in the bands Sour Widows and Roke. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s music scene is a fragile ecosystem, one supported through ticket and merch sales and prenegotiated percentages of the bar. And it’s supported most directly by the musicians themselves, waiting tables and humming a song idea as they grab Table Three’s vegan cheese.\u003c/p>\n\u003cp>Local music survives, says Wolfert, because of places like The Laundromat, and because people in the scene help each other out. Musicians hook other musicians up with places to practice or record; they ask local acts to open when they headline; they let them know when their neighborhood pizza place is hiring.\u003c/p>\n\u003cfigure id=\"attachment_13959563\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert talks with a co-worker at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a musician, I feel like you’re working so many different jobs all at once,” says Edelman. “And then you work your job. And you’re not being paid, usually, for the music aspect.” Edelman, who’s tended bar at The Laundromat for more than a year, learned about the job from an Instagram post by Treadway, right after the two returned to San Francisco from playing South by Southwest.\u003c/p>\n\u003cp>Treadway calls The Laundromat “a project”; Edelman opts for a musician-artist space as well as a culinary spot. Wolfert jokes that people say from the outside, it looks like “a little cult.” (The Laundromat’s musician staff also includes Keith Frerichs of \u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a>, who is absent on this particular day to prepare for a North American tour.)\u003c/p>\n\u003cp>When Wolfert worked at a prior pizza place, he says he felt validated as a musician. But there’s validation, and then there’s encouragement from managers and owners. Here, your co-workers and bosses will proactively sit down around a calendar of your upcoming tour dates. They’ll work together to cover shifts; they’ll make it happen.\u003c/p>\n\u003cfigure id=\"attachment_13959559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959559\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bumper stickers by Christopher DeLoach (@thatscoolthankyou on Instagram) hang at the entrance to The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laundromat co-owners Kevin Rodgers and Jenna O’Connell don’t play music themselves, but both have histories of working with musicians in the service industry. The Laundromat, Rodgers says, is the most musician-concentrated workplace in his career. With so many band members and music lovers on staff, Rodgers says, they all just get it.\u003c/p>\n\u003cp>“Feeling like you’re in a place where your actual artistic endeavors are supported, that feels really important to me as someone who has played music my whole life,” says Treadway. “What makes people whole is being able to participate in their artistic endeavors.”\u003c/p>\n\u003cp>Ever since Treadway started in San Francisco’s music scene, people have said that the scene is dying. That everyone’s moving to L.A. They don’t think that’s true.\u003c/p>\n\u003cp>“There’s always going to be music in San Francisco,” Treadway says. “It’s in the DNA of the city, and has been since before any of us even were considered to exist.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a> are currently touring North America, and play \u003ca href=\"https://dice.fm/event/wkpon-the-umbrellas-pocket-full-of-crumbs-and-latitude-29th-jun-kilowatt-san-francisco-tickets?\">Saturday, June 29, at Kilowatt in San Francisco\u003c/a>. \u003ca href=\"https://www.sourwidows.com/\">Sour Widows\u003c/a> begins a U.S. tour this month, and plays \u003ca href=\"https://theindependentsf.com/event/13375114/sour-widows/\">Saturday, July 13, at the Independent\u003c/a> in San Francisco. \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a> plays \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/credit-electric-w-dutch-interior-amp-double-helix-peace-treaty-doors-700-pm-music-730-pm\">Wednesday, August 14, at the 4 Star Theater\u003c/a> in San Francisco.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday evenings, Alex Wolfert feels like he’s on stage — even if none of his three bands is performing that night.\u003c/p>\n\u003cp>That’s because Wolfert, 24, works Wednesdays at \u003ca href=\"https://www.thelaundromatsf.com/\">The Laundromat\u003c/a> — a bagels-in-the-morning, pizzas-and-wine-in-the-evening spot in San Francisco’s Outer Richmond that doubles as a micro-community of the city’s indie musicians. Hours pass to the hum of vinyl LPs from its sizable collection; dough and industry advice are thrown and caught; band tees are complimented. Co-workers’ demos are played on shared rides home, and employees cover shifts when others play shows or go on tour.\u003c/p>\n\u003cp>But mainly, The Laundromat’s supportive, tight-knit staff show that the artist’s tradition of working behind a counter on the nights not spent on stage is alive and well in an increasingly unaffordable, tech-centered city.\u003c/p>\n\u003cfigure id=\"attachment_13959564\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959564\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-75-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert serves orders at The Laundromat, where he works alongside other musicians from San Francisco bands. Wolfert plays in Uncle Chris, Double Helix Peace Treaty and Starfish Prime. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a typical shift, Wolfert, with his easy smile, might step outside to wipe down a table, passing the hour-long line and white horizon of Ocean Beach. His thoughts will race: He needs to text Joey he can record this week; Korey wants to rehearse next week; that one party needs water; two tables need to be set. Then he’ll grab a mushroom combo, balancing dipping dishes of honey and ranch between his fingers, and slide them all onto a crowded table.\u003c/p>\n\u003cp>As the phone rings, he’ll notice the Groove Armada record is on the penultimate track of Side B.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One! More! Song!” he chirps in these moments over the beat to co-workers, Max Edelman, 29 (drummer for alt-rock band \u003ca href=\"https://www.instagram.com/sourwidows\">Sour Widows\u003c/a> and black metal band \u003ca href=\"https://www.instagram.com/rokeblackmetal/\">Roke\u003c/a>), and Eva Treadway, 29 (guitarist in the ’60s-style pop band \u003ca href=\"https://www.instagram.com/theshesmusic/\">The She’s\u003c/a> and the noisy ’90s-style rock group \u003ca href=\"https://www.instagram.com/world_smasher/\">World Smasher\u003c/a>). Edelman might be pouring a skin-contact orange wine into one patron’s glass while Treadway — wearing a baseball cap with the word “Laundromat” in a squiggly font, designed by \u003ca href=\"https://www.instagram.com/secret.cobra.information/\">Trey Flanigan\u003c/a> of local band \u003ca href=\"https://pardoner.bandcamp.com/\">Pardoner\u003c/a> — pours a chilled red into another. A sausage pie’s ready for delivery. The phone’s ringing again.\u003c/p>\n\u003cfigure id=\"attachment_13959565\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959565\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-76-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway and Max Edelman work behind the bar at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Busy nights like these are exhilarating to Wolfert. It’s like when his fingers are on the bass strings at Kilowatt or the Knockout. He plays with the jazz-inspired indie-pop group \u003ca href=\"https://www.kqed.org/news/11985883/uncle-chris-dove-on-the-ocean\">Uncle Chris,\u003c/a> the rock-driven songwriting-forward alt-pop of \u003ca href=\"https://www.instagram.com/starfishprime999/\">Starfish Prime\u003c/a> and the gritty, edgy sounds of \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a>. Working at The Laundromat can be like the climax of a song, he says. The crowd is rapt. The band’s locked in. The sound engineer is waving a symbol he can half see. His friends are in the front row making heart hands.\u003c/p>\n\u003cp>There’s a beast flowing through the air at that moment, he says. At The Laundromat, it’s caught and upheld by his co-workers, who are also his friends and some of his favorite musicians, similarly running pizzas or laughing in passing.\u003c/p>\n\u003cp>“There are parallels in service as in performance,” says Treadway just before their shift on a recent Wednesday. “We have our flow and we’re putting on a little bit of a show. Like, you’re providing this environment, you’re helping to curate it and you’re helping it to run, and you’re really fucking leaning on the people around you as your team.”\u003c/p>\n\u003cp>Navigating this organized chaos comes naturally to people who’ve worked together in a collaborative way artistically, Treadway adds, “because so much of being in a band is compromise and truly working together and doing hard things together. I don’t know anyone that’s a working musician in San Francisco that’s not working really, really hard.”\u003c/p>\n\u003cfigure id=\"attachment_13959557\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959557\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-59-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Eva Treadway poses for a portrait at The Laundromat. Treadway plays in The She’s and World Smasher. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musicians have worked service jobs since the beginning of undercompensated music and undercompensated labor. But the marriage’s harmony largely depends on institutional support – especially in San Francisco, where rents are always going up, prices are high and \u003ca href=\"https://www.sfgate.com/local/article/under-100k-low-income-san-francisco-18168899.php\">anyone making less than $100,000 a year is considered low-income\u003c/a>. The Tenderloin rehearsal space shared by two of Wolfert’s bands, a tight room split between five bands total, costs $800 a month. He lives with four roommates, one of whom is a bandmate.\u003c/p>\n\u003cp>When asked how to best support San Francisco’s musicians, Treadway says to tip well and pay in cash. Break out of the “transaction” mindset. Sometimes people forget their waiter is “a cool person who’s working really hard, who has their own interests, who maybe has their own band,” they add.\u003c/p>\n\u003cp>“Supporting your local restaurant is supporting your local musicians,” says Treadway. “Never forget it.”\u003c/p>\n\u003cfigure id=\"attachment_13959555\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-03-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Max Edelman poses for a portrait at The Laundromat. Edelman plays in the bands Sour Widows and Roke. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city’s music scene is a fragile ecosystem, one supported through ticket and merch sales and prenegotiated percentages of the bar. And it’s supported most directly by the musicians themselves, waiting tables and humming a song idea as they grab Table Three’s vegan cheese.\u003c/p>\n\u003cp>Local music survives, says Wolfert, because of places like The Laundromat, and because people in the scene help each other out. Musicians hook other musicians up with places to practice or record; they ask local acts to open when they headline; they let them know when their neighborhood pizza place is hiring.\u003c/p>\n\u003cfigure id=\"attachment_13959563\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-72-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex Wolfert talks with a co-worker at The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a musician, I feel like you’re working so many different jobs all at once,” says Edelman. “And then you work your job. And you’re not being paid, usually, for the music aspect.” Edelman, who’s tended bar at The Laundromat for more than a year, learned about the job from an Instagram post by Treadway, right after the two returned to San Francisco from playing South by Southwest.\u003c/p>\n\u003cp>Treadway calls The Laundromat “a project”; Edelman opts for a musician-artist space as well as a culinary spot. Wolfert jokes that people say from the outside, it looks like “a little cult.” (The Laundromat’s musician staff also includes Keith Frerichs of \u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a>, who is absent on this particular day to prepare for a North American tour.)\u003c/p>\n\u003cp>When Wolfert worked at a prior pizza place, he says he felt validated as a musician. But there’s validation, and then there’s encouragement from managers and owners. Here, your co-workers and bosses will proactively sit down around a calendar of your upcoming tour dates. They’ll work together to cover shifts; they’ll make it happen.\u003c/p>\n\u003cfigure id=\"attachment_13959559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959559\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240605-TheLaundromatRestaurant-65-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bumper stickers by Christopher DeLoach (@thatscoolthankyou on Instagram) hang at the entrance to The Laundromat. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laundromat co-owners Kevin Rodgers and Jenna O’Connell don’t play music themselves, but both have histories of working with musicians in the service industry. The Laundromat, Rodgers says, is the most musician-concentrated workplace in his career. With so many band members and music lovers on staff, Rodgers says, they all just get it.\u003c/p>\n\u003cp>“Feeling like you’re in a place where your actual artistic endeavors are supported, that feels really important to me as someone who has played music my whole life,” says Treadway. “What makes people whole is being able to participate in their artistic endeavors.”\u003c/p>\n\u003cp>Ever since Treadway started in San Francisco’s music scene, people have said that the scene is dying. That everyone’s moving to L.A. They don’t think that’s true.\u003c/p>\n\u003cp>“There’s always going to be music in San Francisco,” Treadway says. “It’s in the DNA of the city, and has been since before any of us even were considered to exist.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/theumbrellassf/\">The Umbrellas\u003c/a> are currently touring North America, and play \u003ca href=\"https://dice.fm/event/wkpon-the-umbrellas-pocket-full-of-crumbs-and-latitude-29th-jun-kilowatt-san-francisco-tickets?\">Saturday, June 29, at Kilowatt in San Francisco\u003c/a>. \u003ca href=\"https://www.sourwidows.com/\">Sour Widows\u003c/a> begins a U.S. tour this month, and plays \u003ca href=\"https://theindependentsf.com/event/13375114/sour-widows/\">Saturday, July 13, at the Independent\u003c/a> in San Francisco. \u003ca href=\"https://www.instagram.com/doublehelix.peacetreaty/\">Double Helix Peace Treaty\u003c/a> plays \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/credit-electric-w-dutch-interior-amp-double-helix-peace-treaty-doors-700-pm-music-730-pm\">Wednesday, August 14, at the 4 Star Theater\u003c/a> in San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While the Vietnam War raged in 1966, and the onset of California’s prison industrial complex began to ravage Black and low-income communities in a dreadfully systematic way, San Francisco’s Hunters Point residents were hurled onto the frontlines of their own conflict. On Sept. 27 of that year, the Third Street Riot (or \u003ca href=\"https://www.foundsf.org/index.php?title=Hunters_Point_Uprising\">Hunters Point Uprising\u003c/a>) ignited after an SFPD officer killed Matthew “Peanut” Johnson — a neighborhood teenager the police were pursuing after a crime.\u003c/p>\n\u003cp>Johnson’s violent — and presumably racially motivated — death ignited a series of community actions that crescendoed with a citywide outbreak of demands for justice. Though largely overlooked in modern history (despite being \u003ca href=\"https://www.blackpast.org/african-american-history/hunter-s-point-san-francisco-uprising-1966/\">the largest riot in San Francisco history at the time\u003c/a>), the event offers a critical look at San Francisco’s decades-long struggles with racial segregation, police brutality and community neglect.\u003c/p>\n\u003cfigure id=\"attachment_13959620\" class=\"wp-caption alignright\" style=\"max-width: 727px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959620\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image5.jpeg\" alt=\"Black-and-white headshot of man with facial hair\" width=\"727\" height=\"948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image5.jpeg 727w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image5-160x209.jpeg 160w\" sizes=\"(max-width: 727px) 100vw, 727px\">\u003cfigcaption class=\"wp-caption-text\">Biko Eisen-Martin. \u003ccite>(Jeremiah Cumberbatch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For local actor and filmmaker \u003ca href=\"https://www.instagram.com/saybiko/?hl=en\">Biko Eisen-Martin\u003c/a>, it’s an essential chapter of San Francisco’s past that has yet to be fully excavated by the public. For him, growing up in San Francisco and listening to his family members and elders speak about the revolutionary time inspired Eisen-Martin to write and direct \u003ca href=\"https://www.bikoeisenmartin.com/3rd-palou\">\u003ci>3rd and Palou\u003c/i>\u003c/a> — a community-centered performance premiering as a staged reading at the historic \u003ca href=\"https://rwoh.org/#\">Ruth Williams Opera House\u003c/a> (also known as the Bayview Opera House) on the night of Juneteenth.\u003c/p>\n\u003cp>“This is based on community testimonies. Right now, there isn’t a pipeline for these stories. This isn’t stuff that is readily available; it hasn’t been properly archived,” Eisen-Martin says. “But it happened right here on Third Street. There were tanks rolling down the streets of San Francisco. There are still bullet holes in the Bayview Opera House from it all. That’s why I wanted to make [the Opera House] ground zero and activate the community.”\u003c/p>\n\u003cp>Directly inspired by Eisen-Martin’s godmother, Ida McCrae — who was a teenager navigating issues of patriarchy, racism and rising incarceration at the time — the play is a semi-biographical coming-of-age tale that focuses deeply on one woman’s experience, rather than trying to abstractly retell the story of the entire uprising itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[McCrae] is a revolutionary with a long, rich story,” says Eisen-Martin. “This is just a clip of it all. One year before the riots, the Youth Authority opened, \u003ca href=\"https://ojp.gov/pdffiles1/Digitization/14214NCJRS.pdf\">a huge prison\u003c/a> where Bay Area youth were sent. Ida was a victim of that.”\u003c/p>\n\u003cp>As a theatrical performance, \u003ci>3rd & Palou\u003c/i> is a dramatized depiction that takes creative liberties. But the core of McCrae’s story — who Eisen-Martin interviewed extensively while scripting his play — is central to much larger truths about Northern California’s Black communities, going far beyond just Hunters Point (the riots eventually spilled into other Black neighborhoods around San Francisco).\u003c/p>\n\u003cfigure id=\"attachment_13959621\" class=\"wp-caption aligncenter\" style=\"max-width: 618px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959621\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image4.jpeg\" alt=\"Black-and-white photograph of police crouched in street with guns while people stand in doorway of building \" width=\"618\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image4.jpeg 618w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image4-160x104.jpeg 160w\" sizes=\"(max-width: 618px) 100vw, 618px\">\u003cfigcaption class=\"wp-caption-text\">The Bayview-Hunters Point Community Center under siege during the 1966 uprising. \u003ccite>(Photo by Jean-Antony Du Lac; Courtesy San Francisco History Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a moment in time but it’s also a microcosm of what we still see today,” he continues. “At the time, learning about imperialism was at the forefront of popular consciousness. Reading political magazines was a day to day thing, not just a subculture. [During the testimonies], I really could see the love the community had for each other back then. We need an entire curriculum, films, books about this. I’m just trying to be a spark; it’s a big, old oven full of stuff, and this is just the preheating.”\u003c/p>\n\u003cp>[aside postID='arts_13958706']Additional research on Eisen-Martin’s part included correspondence with Stanford PhD candidate \u003ca href=\"https://history.stanford.edu/people/aliyah-dunn-salahuddin\">Aliyah Dunn-Salahuddin\u003c/a> — who was formerly the head of the African American Studies department at the City College of San Francisco. Her dissertation, “A Forgotten Community, A Forgotten History: San Francisco’s 1966 Uprising” was excerpted in \u003ci>\u003ca href=\"https://nyupress.org/9781479820337/the-strange-careers-of-the-jim-crow-north/\">The Strange Careers of the Jim Crow North: Segregation and Struggle Outside of the South\u003c/a>\u003c/i>, which Eisen-Martin heavily referenced while weaving together various threads for his own work.\u003c/p>\n\u003cp>A former teacher at Berkeley High School and a product of the Bay Area’s \u003ca href=\"https://youthspeaks.org/\">Youth Speaks\u003c/a> program for rising poets, Eisen-Martin has been comfortable with standing in front of an audience since he was able to walk. His mother, Arlene Eisen, was active in exposing Biko’s (as well as his older brother, San Francisco’s Poet Laureate \u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\">Tongo Eisen-Martin\u003c/a>) to the Bay Area’s diverse tapestry of arts, activism and community organizing. Offering free acting classes and directly asking for the community’s feedback is a part of Biko’s everyday existence as a writer and actor with generational ties to Frisco’s Black histories.\u003c/p>\n\u003cp>In both San Francisco and New York City — where the artist splits his time working and performing — Eisen-Martin is all too familiar with the erasure of not just the arts, but the deep-seated stories in communities who have long fostered them.\u003c/p>\n\u003cp>“It’s a great feeling to do a show off Broadway, being in New York and spilling out into the street with all the big lights, but there’s something to being in your own community and activating the future of your community with a craft you love and watching others fall in love with it, too,” says Eisen-Martin. “We don’t need the big lights, they need us. Some of the work gets shine, some doesn’t; but the work is what has a lasting impression.”\u003c/p>\n\u003cp>Eisen-Martin makes clear that he doesn’t have any answers. But, as poets and artists in times of struggle often do, he’s willing to ask questions in search of catharsis and healing.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘3rd & Palou’ takes place as a free staged reading at the \u003ca href=\"https://rwoh.org/#\">Ruth Williams Opera House\u003c/a> (4705 Third St., San Francisco) on June 19, 2024 at 7 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the Vietnam War raged in 1966, and the onset of California’s prison industrial complex began to ravage Black and low-income communities in a dreadfully systematic way, San Francisco’s Hunters Point residents were hurled onto the frontlines of their own conflict. On Sept. 27 of that year, the Third Street Riot (or \u003ca href=\"https://www.foundsf.org/index.php?title=Hunters_Point_Uprising\">Hunters Point Uprising\u003c/a>) ignited after an SFPD officer killed Matthew “Peanut” Johnson — a neighborhood teenager the police were pursuing after a crime.\u003c/p>\n\u003cp>Johnson’s violent — and presumably racially motivated — death ignited a series of community actions that crescendoed with a citywide outbreak of demands for justice. Though largely overlooked in modern history (despite being \u003ca href=\"https://www.blackpast.org/african-american-history/hunter-s-point-san-francisco-uprising-1966/\">the largest riot in San Francisco history at the time\u003c/a>), the event offers a critical look at San Francisco’s decades-long struggles with racial segregation, police brutality and community neglect.\u003c/p>\n\u003cfigure id=\"attachment_13959620\" class=\"wp-caption alignright\" style=\"max-width: 727px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959620\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image5.jpeg\" alt=\"Black-and-white headshot of man with facial hair\" width=\"727\" height=\"948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image5.jpeg 727w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image5-160x209.jpeg 160w\" sizes=\"(max-width: 727px) 100vw, 727px\">\u003cfigcaption class=\"wp-caption-text\">Biko Eisen-Martin. \u003ccite>(Jeremiah Cumberbatch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For local actor and filmmaker \u003ca href=\"https://www.instagram.com/saybiko/?hl=en\">Biko Eisen-Martin\u003c/a>, it’s an essential chapter of San Francisco’s past that has yet to be fully excavated by the public. For him, growing up in San Francisco and listening to his family members and elders speak about the revolutionary time inspired Eisen-Martin to write and direct \u003ca href=\"https://www.bikoeisenmartin.com/3rd-palou\">\u003ci>3rd and Palou\u003c/i>\u003c/a> — a community-centered performance premiering as a staged reading at the historic \u003ca href=\"https://rwoh.org/#\">Ruth Williams Opera House\u003c/a> (also known as the Bayview Opera House) on the night of Juneteenth.\u003c/p>\n\u003cp>“This is based on community testimonies. Right now, there isn’t a pipeline for these stories. This isn’t stuff that is readily available; it hasn’t been properly archived,” Eisen-Martin says. “But it happened right here on Third Street. There were tanks rolling down the streets of San Francisco. There are still bullet holes in the Bayview Opera House from it all. That’s why I wanted to make [the Opera House] ground zero and activate the community.”\u003c/p>\n\u003cp>Directly inspired by Eisen-Martin’s godmother, Ida McCrae — who was a teenager navigating issues of patriarchy, racism and rising incarceration at the time — the play is a semi-biographical coming-of-age tale that focuses deeply on one woman’s experience, rather than trying to abstractly retell the story of the entire uprising itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[McCrae] is a revolutionary with a long, rich story,” says Eisen-Martin. “This is just a clip of it all. One year before the riots, the Youth Authority opened, \u003ca href=\"https://ojp.gov/pdffiles1/Digitization/14214NCJRS.pdf\">a huge prison\u003c/a> where Bay Area youth were sent. Ida was a victim of that.”\u003c/p>\n\u003cp>As a theatrical performance, \u003ci>3rd & Palou\u003c/i> is a dramatized depiction that takes creative liberties. But the core of McCrae’s story — who Eisen-Martin interviewed extensively while scripting his play — is central to much larger truths about Northern California’s Black communities, going far beyond just Hunters Point (the riots eventually spilled into other Black neighborhoods around San Francisco).\u003c/p>\n\u003cfigure id=\"attachment_13959621\" class=\"wp-caption aligncenter\" style=\"max-width: 618px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959621\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image4.jpeg\" alt=\"Black-and-white photograph of police crouched in street with guns while people stand in doorway of building \" width=\"618\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image4.jpeg 618w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/image4-160x104.jpeg 160w\" sizes=\"(max-width: 618px) 100vw, 618px\">\u003cfigcaption class=\"wp-caption-text\">The Bayview-Hunters Point Community Center under siege during the 1966 uprising. \u003ccite>(Photo by Jean-Antony Du Lac; Courtesy San Francisco History Center, San Francisco Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a moment in time but it’s also a microcosm of what we still see today,” he continues. “At the time, learning about imperialism was at the forefront of popular consciousness. Reading political magazines was a day to day thing, not just a subculture. [During the testimonies], I really could see the love the community had for each other back then. We need an entire curriculum, films, books about this. I’m just trying to be a spark; it’s a big, old oven full of stuff, and this is just the preheating.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Additional research on Eisen-Martin’s part included correspondence with Stanford PhD candidate \u003ca href=\"https://history.stanford.edu/people/aliyah-dunn-salahuddin\">Aliyah Dunn-Salahuddin\u003c/a> — who was formerly the head of the African American Studies department at the City College of San Francisco. Her dissertation, “A Forgotten Community, A Forgotten History: San Francisco’s 1966 Uprising” was excerpted in \u003ci>\u003ca href=\"https://nyupress.org/9781479820337/the-strange-careers-of-the-jim-crow-north/\">The Strange Careers of the Jim Crow North: Segregation and Struggle Outside of the South\u003c/a>\u003c/i>, which Eisen-Martin heavily referenced while weaving together various threads for his own work.\u003c/p>\n\u003cp>A former teacher at Berkeley High School and a product of the Bay Area’s \u003ca href=\"https://youthspeaks.org/\">Youth Speaks\u003c/a> program for rising poets, Eisen-Martin has been comfortable with standing in front of an audience since he was able to walk. His mother, Arlene Eisen, was active in exposing Biko’s (as well as his older brother, San Francisco’s Poet Laureate \u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\">Tongo Eisen-Martin\u003c/a>) to the Bay Area’s diverse tapestry of arts, activism and community organizing. Offering free acting classes and directly asking for the community’s feedback is a part of Biko’s everyday existence as a writer and actor with generational ties to Frisco’s Black histories.\u003c/p>\n\u003cp>In both San Francisco and New York City — where the artist splits his time working and performing — Eisen-Martin is all too familiar with the erasure of not just the arts, but the deep-seated stories in communities who have long fostered them.\u003c/p>\n\u003cp>“It’s a great feeling to do a show off Broadway, being in New York and spilling out into the street with all the big lights, but there’s something to being in your own community and activating the future of your community with a craft you love and watching others fall in love with it, too,” says Eisen-Martin. “We don’t need the big lights, they need us. Some of the work gets shine, some doesn’t; but the work is what has a lasting impression.”\u003c/p>\n\u003cp>Eisen-Martin makes clear that he doesn’t have any answers. But, as poets and artists in times of struggle often do, he’s willing to ask questions in search of catharsis and healing.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘3rd & Palou’ takes place as a free staged reading at the \u003ca href=\"https://rwoh.org/#\">Ruth Williams Opera House\u003c/a> (4705 Third St., San Francisco) on June 19, 2024 at 7 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ryan Christenson has turned lineup cards into art.\u003c/p>\n\u003cp>After San Francisco Giants manager Bob Melvin picks a batting order, his bench coach selects the font and color scheme for the day’s sumptuous script. Options include Roman Gothic, a Celtic variation, Chicano Tattoo and graffiti.\u003c/p>\n\u003cp>“He’s an artist,” said New York Yankees star Juan Soto, who spent 1 1/2 years with Christenson in San Diego.\u003c/p>\n\u003cp>Players look forward to the handwriting on the wall as long as Christenson provides the penmanship. When pitcher Drew Pomeranz reached the visitors’ clubhouse at Citi Field to join the Giants last month, the lettering was unmistakable.\u003c/p>\n\u003cp>“I knew as soon as I walked in here who wrote that board,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Christenson uses roughly 10 styles that include cursives with various thickness to make the letters pop. He employs the Phillies’ Scriptwurst font for games against Philadelphia and imitates the style of the interlocking “NY” monogram’s type when playing the Yankees.\u003c/p>\n\u003cp>“Whatever floats my boat that day,” he said. “Sometimes if we go on a little winning streak, I’ll keep that font going until we lose.”\u003c/p>\n\u003cp>[aside postid='arts_13938668']Right-handed hitters are often in black, left-handers in red and switch-hitters in blue. He used orange and blue when the Giants played the Mets, and rainbow colors on pride night.\u003c/p>\n\u003cp>“It’s something that the players kind of get a kick out of,” Christenson said, noting that sometimes when players have a great game, they’re gifted the lineup card as a memento.\u003c/p>\n\u003cp>“That’s just something unique. You can put it on your wall. Just a little piece of art to it. It’s unique.”\u003c/p>\n\u003cp>A 50-year-old former outfielder, Christenson was born in Redlands, California, and grew up in nearby Highland. He never studied calligraphy.\u003c/p>\n\u003cp>“I first started doing it back when I was a little kid. My grandma, my nana, she gave me a calligraphy pen,” Christenson said, thinking back fondly to Iva Six. “So throughout my childhood, I’d like pick it up and then put it back in the closet and find it and bring it back out and doodle a little bit around with it and kind of learn just the basics of how it worked.”\u003c/p>\n\u003cfigure id=\"attachment_13959569\" class=\"wp-caption aligncenter\" style=\"max-width: 2210px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959569\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM.png\" alt=\"Two line up cards for the San Francisco Giants next to a color drawing of baseball players in action.\" width=\"2210\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM.png 2210w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM-800x393.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM-1020x501.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM-160x79.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM-768x377.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM-1536x755.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM-2048x1006.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM-1920x943.png 1920w\" sizes=\"(max-width: 2210px) 100vw, 2210px\">\u003cfigcaption class=\"wp-caption-text\">These images provided by Giants coach Ryan Christenson show lineup card and a drawing showing Frank White turning a double play. “He’s an artist,” said New York Yankees star Juan Soto, who spent a year and a half with Christenson in San Diego. \u003ccite>(Ryan Christenson via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christenson doodled in his school folders at Apple Valley High School, northeast of Los Angeles. He made the baseball team at Pepperdine as a walk-on and was selected by Oakland in the 10th round of the 1995 amateur draft.\u003c/p>\n\u003cp>[aside postid='arts_13931346']He hit .222 over six seasons from 1998 to 2002 with the Athletics, Arizona, Milwaukee and Texas, earning a World Series ring with the 2001 Diamondbacks, though he didn’t play in the postseason. He retired due to a knee injury after spending 2004 with the Marlins’ Triple-A Albuquerque team and got his bachelor’s degree from Pepperdine that year, majoring in business.\u003c/p>\n\u003cp>“So I kind of have a little bit of left and right mind working,” Christenson said. “I love numbers and the analytics part of baseball. I love reading a horse racing form. All the numbers fascinate me there. And then I also enjoy the artistic side.”\u003c/p>\n\u003cp>After working in a mortgage bank north of San Diego, he opened a baseball academy in Georgia. He was planning a larger academy but financing from suburban Fairburn fell through.\u003c/p>\n\u003cp>Christenson decided to get back into baseball and worked his way up the Athletics organization, managing Class A Beloit (2013) and Stockton (2014), Double-A Midland (2015-16) and Triple-A Nashville (2017). He became Melvin’s bench coach with the A’s from 2018-21, moved to San Diego with Melvin as bench coach in 2022 and associate manager in 2023, then followed Melvin to the Giants this season.\u003c/p>\n\u003cp>“He is very analytic oriented, and that organization was like that,” Melvin said. “It was a perfect fit at the perfect time. Obviously, I brought him everywhere I’ve gone.”\u003c/p>\n\u003cp>Christenson restarted flamboyant penmanship in 2014 at Stockton, inspired by the fancy lineup cards of Jerry Narron and Don Wakamatsu, both former managers who also coached. Narron’s creative cards started with Baltimore in 1993, and he appreciates having the imprint of an innovator.\u003c/p>\n\u003cp>“Imitation is the highest form of flattery, so I appreciate it,” Narron said.\u003c/p>\n\u003cp>Wakamatsu’s lineup cards gained limelight when Kansas City reached the 2014 World Series.\u003c/p>\n\u003cp>[aside postid='arts_13956931']“The reason I started in the first place was I remembered when I first got to my first game in the big leagues with the White Sox and they gave me my lineup card and it meant something to me,” Wakamatsu said. “When I started doing Sharpie pens, like everybody else at the time, I just didn’t like the look of it. Kind of an old-school baseball guy and I started playing around with it. My first ones were awfully rough and I think I got a little bit better as I went along.”\u003c/p>\n\u003cp>Christenson takes a bag with writing implements and ink cartridges on the road. He uses Elegant Writer felt tip markers from Speedball and also some with metal tips.\u003c/p>\n\u003cp>Most lineup cards take about 15 minutes, but more intricate designs can stretch drafting to 30.\u003c/p>\n\u003cp>“Nothing too long, just a little Zen moment, kind of get you away from the grinding-on-the-numbers part of the game and just kind of lets my mind relax,” Christenson said.\u003c/p>\n\u003cp>If a player comes up sore during batting practice and is scratched, Christenson is ready to revise.\u003c/p>\n\u003cp>“Usually I’ll take another lineup card and if it’s in the 7 hole, I’ll write the correct name in the 7 hole, then I’ll just cut it out, glue it over the top so the water marks line up. Unless you really look at it, you can’t tell,” he said.\u003c/p>\n\u003cp>San Francisco sells a majority of Christenson’s lineup cards in the Giants’ “From the Clubhouse” store at Oracle Park starting at $75, with price dependent on the game and milestones.\u003c/p>\n\u003cp>Melvin has several framed lineup cards in his study.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I don’t know how he has the time with all that he has to do,” Melvin said. “The players come out to the dugout at times and the first thing they want to look at is what’s the different calligraphy on the lineup card today.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ryan Christenson has turned lineup cards into art.\u003c/p>\n\u003cp>After San Francisco Giants manager Bob Melvin picks a batting order, his bench coach selects the font and color scheme for the day’s sumptuous script. Options include Roman Gothic, a Celtic variation, Chicano Tattoo and graffiti.\u003c/p>\n\u003cp>“He’s an artist,” said New York Yankees star Juan Soto, who spent 1 1/2 years with Christenson in San Diego.\u003c/p>\n\u003cp>Players look forward to the handwriting on the wall as long as Christenson provides the penmanship. When pitcher Drew Pomeranz reached the visitors’ clubhouse at Citi Field to join the Giants last month, the lettering was unmistakable.\u003c/p>\n\u003cp>“I knew as soon as I walked in here who wrote that board,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Christenson uses roughly 10 styles that include cursives with various thickness to make the letters pop. He employs the Phillies’ Scriptwurst font for games against Philadelphia and imitates the style of the interlocking “NY” monogram’s type when playing the Yankees.\u003c/p>\n\u003cp>“Whatever floats my boat that day,” he said. “Sometimes if we go on a little winning streak, I’ll keep that font going until we lose.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Right-handed hitters are often in black, left-handers in red and switch-hitters in blue. He used orange and blue when the Giants played the Mets, and rainbow colors on pride night.\u003c/p>\n\u003cp>“It’s something that the players kind of get a kick out of,” Christenson said, noting that sometimes when players have a great game, they’re gifted the lineup card as a memento.\u003c/p>\n\u003cp>“That’s just something unique. You can put it on your wall. Just a little piece of art to it. It’s unique.”\u003c/p>\n\u003cp>A 50-year-old former outfielder, Christenson was born in Redlands, California, and grew up in nearby Highland. He never studied calligraphy.\u003c/p>\n\u003cp>“I first started doing it back when I was a little kid. My grandma, my nana, she gave me a calligraphy pen,” Christenson said, thinking back fondly to Iva Six. “So throughout my childhood, I’d like pick it up and then put it back in the closet and find it and bring it back out and doodle a little bit around with it and kind of learn just the basics of how it worked.”\u003c/p>\n\u003cfigure id=\"attachment_13959569\" class=\"wp-caption aligncenter\" style=\"max-width: 2210px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959569\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM.png\" alt=\"Two line up cards for the San Francisco Giants next to a color drawing of baseball players in action.\" width=\"2210\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM.png 2210w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM-800x393.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM-1020x501.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM-160x79.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM-768x377.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM-1536x755.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM-2048x1006.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-6.19.15-PM-1920x943.png 1920w\" sizes=\"(max-width: 2210px) 100vw, 2210px\">\u003cfigcaption class=\"wp-caption-text\">These images provided by Giants coach Ryan Christenson show lineup card and a drawing showing Frank White turning a double play. “He’s an artist,” said New York Yankees star Juan Soto, who spent a year and a half with Christenson in San Diego. \u003ccite>(Ryan Christenson via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christenson doodled in his school folders at Apple Valley High School, northeast of Los Angeles. He made the baseball team at Pepperdine as a walk-on and was selected by Oakland in the 10th round of the 1995 amateur draft.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He hit .222 over six seasons from 1998 to 2002 with the Athletics, Arizona, Milwaukee and Texas, earning a World Series ring with the 2001 Diamondbacks, though he didn’t play in the postseason. He retired due to a knee injury after spending 2004 with the Marlins’ Triple-A Albuquerque team and got his bachelor’s degree from Pepperdine that year, majoring in business.\u003c/p>\n\u003cp>“So I kind of have a little bit of left and right mind working,” Christenson said. “I love numbers and the analytics part of baseball. I love reading a horse racing form. All the numbers fascinate me there. And then I also enjoy the artistic side.”\u003c/p>\n\u003cp>After working in a mortgage bank north of San Diego, he opened a baseball academy in Georgia. He was planning a larger academy but financing from suburban Fairburn fell through.\u003c/p>\n\u003cp>Christenson decided to get back into baseball and worked his way up the Athletics organization, managing Class A Beloit (2013) and Stockton (2014), Double-A Midland (2015-16) and Triple-A Nashville (2017). He became Melvin’s bench coach with the A’s from 2018-21, moved to San Diego with Melvin as bench coach in 2022 and associate manager in 2023, then followed Melvin to the Giants this season.\u003c/p>\n\u003cp>“He is very analytic oriented, and that organization was like that,” Melvin said. “It was a perfect fit at the perfect time. Obviously, I brought him everywhere I’ve gone.”\u003c/p>\n\u003cp>Christenson restarted flamboyant penmanship in 2014 at Stockton, inspired by the fancy lineup cards of Jerry Narron and Don Wakamatsu, both former managers who also coached. Narron’s creative cards started with Baltimore in 1993, and he appreciates having the imprint of an innovator.\u003c/p>\n\u003cp>“Imitation is the highest form of flattery, so I appreciate it,” Narron said.\u003c/p>\n\u003cp>Wakamatsu’s lineup cards gained limelight when Kansas City reached the 2014 World Series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The reason I started in the first place was I remembered when I first got to my first game in the big leagues with the White Sox and they gave me my lineup card and it meant something to me,” Wakamatsu said. “When I started doing Sharpie pens, like everybody else at the time, I just didn’t like the look of it. Kind of an old-school baseball guy and I started playing around with it. My first ones were awfully rough and I think I got a little bit better as I went along.”\u003c/p>\n\u003cp>Christenson takes a bag with writing implements and ink cartridges on the road. He uses Elegant Writer felt tip markers from Speedball and also some with metal tips.\u003c/p>\n\u003cp>Most lineup cards take about 15 minutes, but more intricate designs can stretch drafting to 30.\u003c/p>\n\u003cp>“Nothing too long, just a little Zen moment, kind of get you away from the grinding-on-the-numbers part of the game and just kind of lets my mind relax,” Christenson said.\u003c/p>\n\u003cp>If a player comes up sore during batting practice and is scratched, Christenson is ready to revise.\u003c/p>\n\u003cp>“Usually I’ll take another lineup card and if it’s in the 7 hole, I’ll write the correct name in the 7 hole, then I’ll just cut it out, glue it over the top so the water marks line up. Unless you really look at it, you can’t tell,” he said.\u003c/p>\n\u003cp>San Francisco sells a majority of Christenson’s lineup cards in the Giants’ “From the Clubhouse” store at Oracle Park starting at $75, with price dependent on the game and milestones.\u003c/p>\n\u003cp>Melvin has several framed lineup cards in his study.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I don’t know how he has the time with all that he has to do,” Melvin said. “The players come out to the dugout at times and the first thing they want to look at is what’s the different calligraphy on the lineup card today.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "juneteenth-2024-events-list-san-francisco-bay-area",
"title": "Juneteenth Celebrations in San Francisco and Around the Bay",
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"headTitle": "Juneteenth Celebrations in San Francisco and Around the Bay | KQED",
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"content": "\u003cp>When San Francisco hosted its first official city-supported Juneteenth parade down Market Street last year, Dr. Sheryl Davis witnessed its significance firsthand.\u003c/p>\n\u003cp>Davis is the executive director of the city’s Human Rights Commission, which puts on the parade, and she knew what it meant to those in San Francisco’s African-American community who’ve organized independent community Juneteenth celebrations for years.\u003c/p>\n\u003cp>“For them it was huge,” said Davis. “The parade was legitimizing. They felt like all of the sudden they were welcome — even with everything that was happening and all of the different challenges, now that Black people could have a parade down Market Street, it’s a symbol of freedom.”\u003c/p>\n\u003cp>This year, the celebration of Black culture is back — and the lineup is stacked.\u003c/p>\n\u003cp>This weekend’s parade kicks off from Market and Spear Streets at 11 a.m. on Saturday, June 8, ending at the Civic Center Plaza at noon for a festival headlined by Larry June, Rapsody and Goapele. The lineup also includes the Fillmore Jazz Ambassadors, San Francisco’s poet laureate Tongo Eisen-Martin, Frisco’s own DJ Red Corvette, Martin Luther and more.\u003c/p>\n\u003cfigure id=\"attachment_13959246\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1.jpg\" alt=\"African American woman in black attire standing behind a microphone at a podium during an indoor event in San Francisco.\" width=\"1280\" height=\"1093\" class=\"size-full wp-image-13959246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1-800x683.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1-1020x871.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1-768x656.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Sheryl Davis speaking at a convening in San Francisco, discussing Historically Black Colleges and Universities in February of 2024. \u003ccite>(Courtesy of the San Francisco Human Rights Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>We Still Here\u003c/h2>\n\u003cp>Davis says the event’s goal is to both bring people back to San Francisco and celebrate the folks who still call the city home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Celebrating Black culture in a city where the \u003ca href=\"https://www.sfexaminer.com/news/the-city/how-black-san-francisco-has-dwindled-since-harlem-west-days/article_42b6f538-d5a4-11ee-85ea-df19cc90bd0d.html\" target=\"_blank\" rel=\"noopener\">African-American population\u003c/a> has dropped 50% in the past 50 years presents a conflict, Davis says.\u003c/p>\n\u003cp>“When you have a diminishing population of people and you hold an event to celebrate that culture, if people don’t turn out like they do for a Warriors parade, does the city then say it’s not worth it?” asks Davis. “What is our end goal for holding this parade?”\u003c/p>\n\u003cp>To some, Davis says, that answer might be financial. To others, the answer might be a matter of “enough” people showing up. Davis doesn’t see it that way.\u003c/p>\n\u003cp>“The people in the parade are grateful to be seen, whether it’s by one person or one thousand. And to know the streets were shut down to celebrate their culture — in a town where people often talk about how many Black folks have left the city, but they don’t mention the people who still live here.”\u003c/p>\n\u003cfigure id=\"attachment_13958715\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960.jpg\" alt=\"\" width=\"960\" height=\"640\" class=\"size-full wp-image-13958715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">People hop aboard a cable car during last year’s San Francisco Juneteenth parade. \u003ccite>(Courtesy of the San Francisco Human Rights Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘How It’s Really Done’\u003c/h2>\n\u003cp>Juneteenth became a federal holiday three years ago, but the history of its celebration in San Francisco goes back to the 1940s.\u003c/p>\n\u003cp>In June of 1945, Wesley Johnson, Sr. wore a white cowboy hat as he rode through the Fillmore on a white horse. It was his way of bringing the celebration of Juneteenth — a day commemorating the delayed notification to western states that enslaved Africans in America had become legally free — to the city.\u003c/p>\n\u003cp>Like many African Americans involved in the Great Migration, Johnson Sr. was born in Texas and moved to San Francisco in the early 1900s for work. Along with his labor, he brought culture.\u003c/p>\n\u003cp>“I want to bring my corner of Texas to San Francisco and show them how it’s really done,” reads a quote from Johnson Sr. on the city’s \u003ca href=\"https://www.sfcjuneteenth.org/\" target=\"_blank\" rel=\"noopener\">Juneteenth page\u003c/a>.\u003c/p>\n\u003ch2>Juneteenth Events Around the Bay\u003c/h2>\n\u003cp>The San Francisco Human Rights Commission is backing a handful of events to commemorate Juneteenth. The list includes \u003ca href=\"https://www.sfcjuneteenth.org/events/mayor-london-breeds-official-juneteenth-kickoff\" target=\"_blank\" rel=\"noopener\">Mayor London Breed’s Official Juneteenth Kickoff\u003c/a> event on June 14, the SF Black Wall Street Gala on June 14 and the Juneteenth Festival in the Bayview on June 16.\u003c/p>\n\u003cp>In addition to the City of San Francisco’s Juneteenth events there will be a number of happenings around town, including the Juneteenth celebration on \u003ca href=\"https://www.onetreasureisland.org/events/juneteenth-celebration\">Treasure Island\u003c/a> on June 15 and SF \u003ca href=\"https://www.sfjazz.org/juneteenth/?gad_source=1&gclid=CjwKCAjwgdayBhBQEiwAXhMxtqbGxzmhjodiAjAt29DeAGMxB7BzNghfnh7LNCll-mnj--2Xbs2hjxoCdp0QAvD_BwE\">Jazz’s Juneteenth event \u003c/a>on June 19.\u003c/p>\n\u003cfigure id=\"attachment_13958721\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038.jpg\" alt=\"Man on stage with a microphone and sunglasses, rapping to a full crowd of smiling faces on a sunny day at a festival.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13958721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 will be big steppin’ at San Francisco’s 2024 Juneteenth parade and festival. \u003ccite>(Courtesy of the San Francisco Human Rights Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.moadsf.org/event/free-admission-day-kp-thrive-moad-celebrate-juneteenth\" target=\"_blank\" rel=\"noopener\">The MoAd will host a free admission day\u003c/a> and a series of events during the month of June, including Drag Story Hour with \u003ca href=\"https://www.kqed.org/news/1765/the-california-report-magazine\">Black Benetar\u003c/a>, a film screening of \u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-city-of-a-million-dreams-parading-for-the-dead-in-new-orleans\">City of a Million Dreams: Parading for the Dead in New Orleans\u003c/a> and a tour of oil pastel landscapes by the artist Rachel Jones. Free admission day is Saturday, June 8.\u003c/p>\n\u003cp>\u003ca href=\"https://www.oigc.org/cal/2nd-freight-juneteenth\" target=\"_blank\" rel=\"noopener\">The Oakland Interfaith Gospel Choir\u003c/a> will celebrate Juneteenth for the second year in a row with a special performance. Founded in 1986 to honor Black gospel tradition, the choir brings together over 300 singers whose ages range from five to 100. The performance will take place Saturday, June 15 at \u003ca href=\"https://thefreight.org/\">Freight and Salvage\u003c/a> in Berkeley.\u003c/p>\n\u003cp>Eight blocks of the Fillmore District will feature music, carnival games, a hair and fashion show and more for the annual \u003ca href=\"https://juneteenth-sf.org/\" target=\"_blank\" rel=\"noopener\">Juneteenth SF Freedom Celebration\u003c/a>. On Saturday, June 15, over 50 food and retail vendors, classic cars and the L.A. R&B group The Whispers will come together for the holiday.\u003c/p>\n\u003cp>\u003ca href=\"https://vallejojuneteenth.com/\" target=\"_blank\" rel=\"noopener\">The 34th annual Juneteenth celebration in Vallejo\u003c/a> will include a parade, a youth art contest and a paint party. The festival and parade is on June 15 at the Barbara Kondylis Waterfront Green.\u003c/p>\n\u003cp>The \u003ca href=\"https://healdsburgjazz.org/festival-schedule/june-15/\" target=\"_blank\" rel=\"noopener\">Healdsburg Jazz Festival\u003c/a> is honoring Juneteenth on June 15 with a quintet, a sextet, drum workshops and drinks from the Nubian Cafe Collective at Healdsburg Plaza. Performers include Houston Person and Steve Turre.\u003c/p>\n\u003cp>On June 15 renowned vocalist Marsha Ambrosius is set to headline \u003ca href=\"https://www.sjaacsa.org/juneteenth/home\" target=\"_blank\" rel=\"noopener\">the 43rd annual Juneteenth Festival in downtown San Jose\u003c/a>, as the event will also feature the marching bands of Florida A&M University and Alabama State University.\u003c/p>\n\u003cfigure id=\"attachment_13959247\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download.jpg\" alt='A set of balloons reads \"JUNETEENTH\" in golden lettering overhead, as two event attendees pose for a photo in the foreground.' width=\"1280\" height=\"854\" class=\"size-full wp-image-13959247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-768x512.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Sheryl Davis and Shakirah Simley, executive director of Booker T. Washington Community Service Center in San Francisco, pose for a photo at Juneteenth on the Waterfront at the Ferry Plaza Farmers Market in 2021. \u003ccite>(Photo by Foodwise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://berkeleyjuneteenth.org/\" target=\"_blank\" rel=\"noopener\">The Berkeley Juneteenth Festival\u003c/a> on June 16 at Adeline St. and Alcatraz Ave is bringing live music on two stages, a zone for kids to do STEM activities and face painting and food vendors.\u003c/p>\n\u003cp>\u003ca href=\"https://www.antiochca.gov/juneteenth/\" target=\"_blank\" rel=\"noopener\">During the Antioch Juneteenth\u003c/a> event there will be carnival games, live performances by Nzuri Soul and the Ariel Marin Band and a rock climbing wall at Williamson Ranch Park on Sunday, June 16.\u003c/p>\n\u003cp>The Oakland Museum of California is hosting a \u003ca href=\"https://museumca.org/event/hella-juneteenth-the-cookout/\" target=\"_blank\" rel=\"noopener\">Hella Juneteenth “The Cookout,”\u003c/a> which will feature sets from DJs \u003ca href=\"https://www.instagram.com/fattonyrap/\">Fat Tony\u003c/a>, \u003ca href=\"https://www.instagram.com/djdarlingcool/\">Darling Cool\u003c/a> and \u003ca href=\"https://www.instagram.com/djken_z_o/\">DJ Kenzo\u003c/a>. Cookout goers will enjoy music in the OMCA garden and food from chef Michele McQueen of the museum’s cafe Town Fare. Tickets for the event on June 19 will include access to all of OMCA’s galleries.\u003c/p>\n\u003cp>\u003ca href=\"https://juneteenthcommunityfestival.info/about\" target=\"_blank\" rel=\"noopener\">The family-friendly Marin City Juneteenth Festival\u003c/a> will host an African Marketplace featuring apparel, jewelry and art from small businesses, will crown a community kind and queen and will provide supervised childcare for the kiddos at Rocky Graham Park on Saturday, June 22.\u003c/p>\n\u003cp>In Richmond, community members are holding a \u003ca href=\"https://www.ci.richmond.ca.us/4665/Richmond-Juneteenth-Festival\" target=\"_blank\" rel=\"noopener\">Juneteenth Family Day Parade and Festival\u003c/a> to uplift peace and unity in their neighborhoods on Saturday, June 22 at Nicholl Park.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Juneteenth events compiled by Olivia Cruz Mayeda.\u003c/em>\u003c/p>\n\n",
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"excerpt": "An official parade down Market Street, a giant outdoor concert and more Juneteenth events in the Bay Area.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When San Francisco hosted its first official city-supported Juneteenth parade down Market Street last year, Dr. Sheryl Davis witnessed its significance firsthand.\u003c/p>\n\u003cp>Davis is the executive director of the city’s Human Rights Commission, which puts on the parade, and she knew what it meant to those in San Francisco’s African-American community who’ve organized independent community Juneteenth celebrations for years.\u003c/p>\n\u003cp>“For them it was huge,” said Davis. “The parade was legitimizing. They felt like all of the sudden they were welcome — even with everything that was happening and all of the different challenges, now that Black people could have a parade down Market Street, it’s a symbol of freedom.”\u003c/p>\n\u003cp>This year, the celebration of Black culture is back — and the lineup is stacked.\u003c/p>\n\u003cp>This weekend’s parade kicks off from Market and Spear Streets at 11 a.m. on Saturday, June 8, ending at the Civic Center Plaza at noon for a festival headlined by Larry June, Rapsody and Goapele. The lineup also includes the Fillmore Jazz Ambassadors, San Francisco’s poet laureate Tongo Eisen-Martin, Frisco’s own DJ Red Corvette, Martin Luther and more.\u003c/p>\n\u003cfigure id=\"attachment_13959246\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1.jpg\" alt=\"African American woman in black attire standing behind a microphone at a podium during an indoor event in San Francisco.\" width=\"1280\" height=\"1093\" class=\"size-full wp-image-13959246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1-800x683.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1-1020x871.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1-768x656.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Sheryl Davis speaking at a convening in San Francisco, discussing Historically Black Colleges and Universities in February of 2024. \u003ccite>(Courtesy of the San Francisco Human Rights Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>We Still Here\u003c/h2>\n\u003cp>Davis says the event’s goal is to both bring people back to San Francisco and celebrate the folks who still call the city home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Celebrating Black culture in a city where the \u003ca href=\"https://www.sfexaminer.com/news/the-city/how-black-san-francisco-has-dwindled-since-harlem-west-days/article_42b6f538-d5a4-11ee-85ea-df19cc90bd0d.html\" target=\"_blank\" rel=\"noopener\">African-American population\u003c/a> has dropped 50% in the past 50 years presents a conflict, Davis says.\u003c/p>\n\u003cp>“When you have a diminishing population of people and you hold an event to celebrate that culture, if people don’t turn out like they do for a Warriors parade, does the city then say it’s not worth it?” asks Davis. “What is our end goal for holding this parade?”\u003c/p>\n\u003cp>To some, Davis says, that answer might be financial. To others, the answer might be a matter of “enough” people showing up. Davis doesn’t see it that way.\u003c/p>\n\u003cp>“The people in the parade are grateful to be seen, whether it’s by one person or one thousand. And to know the streets were shut down to celebrate their culture — in a town where people often talk about how many Black folks have left the city, but they don’t mention the people who still live here.”\u003c/p>\n\u003cfigure id=\"attachment_13958715\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960.jpg\" alt=\"\" width=\"960\" height=\"640\" class=\"size-full wp-image-13958715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/ratio3x2_960-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">People hop aboard a cable car during last year’s San Francisco Juneteenth parade. \u003ccite>(Courtesy of the San Francisco Human Rights Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘How It’s Really Done’\u003c/h2>\n\u003cp>Juneteenth became a federal holiday three years ago, but the history of its celebration in San Francisco goes back to the 1940s.\u003c/p>\n\u003cp>In June of 1945, Wesley Johnson, Sr. wore a white cowboy hat as he rode through the Fillmore on a white horse. It was his way of bringing the celebration of Juneteenth — a day commemorating the delayed notification to western states that enslaved Africans in America had become legally free — to the city.\u003c/p>\n\u003cp>Like many African Americans involved in the Great Migration, Johnson Sr. was born in Texas and moved to San Francisco in the early 1900s for work. Along with his labor, he brought culture.\u003c/p>\n\u003cp>“I want to bring my corner of Texas to San Francisco and show them how it’s really done,” reads a quote from Johnson Sr. on the city’s \u003ca href=\"https://www.sfcjuneteenth.org/\" target=\"_blank\" rel=\"noopener\">Juneteenth page\u003c/a>.\u003c/p>\n\u003ch2>Juneteenth Events Around the Bay\u003c/h2>\n\u003cp>The San Francisco Human Rights Commission is backing a handful of events to commemorate Juneteenth. The list includes \u003ca href=\"https://www.sfcjuneteenth.org/events/mayor-london-breeds-official-juneteenth-kickoff\" target=\"_blank\" rel=\"noopener\">Mayor London Breed’s Official Juneteenth Kickoff\u003c/a> event on June 14, the SF Black Wall Street Gala on June 14 and the Juneteenth Festival in the Bayview on June 16.\u003c/p>\n\u003cp>In addition to the City of San Francisco’s Juneteenth events there will be a number of happenings around town, including the Juneteenth celebration on \u003ca href=\"https://www.onetreasureisland.org/events/juneteenth-celebration\">Treasure Island\u003c/a> on June 15 and SF \u003ca href=\"https://www.sfjazz.org/juneteenth/?gad_source=1&gclid=CjwKCAjwgdayBhBQEiwAXhMxtqbGxzmhjodiAjAt29DeAGMxB7BzNghfnh7LNCll-mnj--2Xbs2hjxoCdp0QAvD_BwE\">Jazz’s Juneteenth event \u003c/a>on June 19.\u003c/p>\n\u003cfigure id=\"attachment_13958721\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038.jpg\" alt=\"Man on stage with a microphone and sunglasses, rapping to a full crowd of smiling faces on a sunny day at a festival.\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13958721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/JuneteenthDay32023-08038-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 will be big steppin’ at San Francisco’s 2024 Juneteenth parade and festival. \u003ccite>(Courtesy of the San Francisco Human Rights Commission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.moadsf.org/event/free-admission-day-kp-thrive-moad-celebrate-juneteenth\" target=\"_blank\" rel=\"noopener\">The MoAd will host a free admission day\u003c/a> and a series of events during the month of June, including Drag Story Hour with \u003ca href=\"https://www.kqed.org/news/1765/the-california-report-magazine\">Black Benetar\u003c/a>, a film screening of \u003ca href=\"https://www.moadsf.org/event/film-screening-discussion-city-of-a-million-dreams-parading-for-the-dead-in-new-orleans\">City of a Million Dreams: Parading for the Dead in New Orleans\u003c/a> and a tour of oil pastel landscapes by the artist Rachel Jones. Free admission day is Saturday, June 8.\u003c/p>\n\u003cp>\u003ca href=\"https://www.oigc.org/cal/2nd-freight-juneteenth\" target=\"_blank\" rel=\"noopener\">The Oakland Interfaith Gospel Choir\u003c/a> will celebrate Juneteenth for the second year in a row with a special performance. Founded in 1986 to honor Black gospel tradition, the choir brings together over 300 singers whose ages range from five to 100. The performance will take place Saturday, June 15 at \u003ca href=\"https://thefreight.org/\">Freight and Salvage\u003c/a> in Berkeley.\u003c/p>\n\u003cp>Eight blocks of the Fillmore District will feature music, carnival games, a hair and fashion show and more for the annual \u003ca href=\"https://juneteenth-sf.org/\" target=\"_blank\" rel=\"noopener\">Juneteenth SF Freedom Celebration\u003c/a>. On Saturday, June 15, over 50 food and retail vendors, classic cars and the L.A. R&B group The Whispers will come together for the holiday.\u003c/p>\n\u003cp>\u003ca href=\"https://vallejojuneteenth.com/\" target=\"_blank\" rel=\"noopener\">The 34th annual Juneteenth celebration in Vallejo\u003c/a> will include a parade, a youth art contest and a paint party. The festival and parade is on June 15 at the Barbara Kondylis Waterfront Green.\u003c/p>\n\u003cp>The \u003ca href=\"https://healdsburgjazz.org/festival-schedule/june-15/\" target=\"_blank\" rel=\"noopener\">Healdsburg Jazz Festival\u003c/a> is honoring Juneteenth on June 15 with a quintet, a sextet, drum workshops and drinks from the Nubian Cafe Collective at Healdsburg Plaza. Performers include Houston Person and Steve Turre.\u003c/p>\n\u003cp>On June 15 renowned vocalist Marsha Ambrosius is set to headline \u003ca href=\"https://www.sjaacsa.org/juneteenth/home\" target=\"_blank\" rel=\"noopener\">the 43rd annual Juneteenth Festival in downtown San Jose\u003c/a>, as the event will also feature the marching bands of Florida A&M University and Alabama State University.\u003c/p>\n\u003cfigure id=\"attachment_13959247\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download.jpg\" alt='A set of balloons reads \"JUNETEENTH\" in golden lettering overhead, as two event attendees pose for a photo in the foreground.' width=\"1280\" height=\"854\" class=\"size-full wp-image-13959247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-768x512.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Sheryl Davis and Shakirah Simley, executive director of Booker T. Washington Community Service Center in San Francisco, pose for a photo at Juneteenth on the Waterfront at the Ferry Plaza Farmers Market in 2021. \u003ccite>(Photo by Foodwise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://berkeleyjuneteenth.org/\" target=\"_blank\" rel=\"noopener\">The Berkeley Juneteenth Festival\u003c/a> on June 16 at Adeline St. and Alcatraz Ave is bringing live music on two stages, a zone for kids to do STEM activities and face painting and food vendors.\u003c/p>\n\u003cp>\u003ca href=\"https://www.antiochca.gov/juneteenth/\" target=\"_blank\" rel=\"noopener\">During the Antioch Juneteenth\u003c/a> event there will be carnival games, live performances by Nzuri Soul and the Ariel Marin Band and a rock climbing wall at Williamson Ranch Park on Sunday, June 16.\u003c/p>\n\u003cp>The Oakland Museum of California is hosting a \u003ca href=\"https://museumca.org/event/hella-juneteenth-the-cookout/\" target=\"_blank\" rel=\"noopener\">Hella Juneteenth “The Cookout,”\u003c/a> which will feature sets from DJs \u003ca href=\"https://www.instagram.com/fattonyrap/\">Fat Tony\u003c/a>, \u003ca href=\"https://www.instagram.com/djdarlingcool/\">Darling Cool\u003c/a> and \u003ca href=\"https://www.instagram.com/djken_z_o/\">DJ Kenzo\u003c/a>. Cookout goers will enjoy music in the OMCA garden and food from chef Michele McQueen of the museum’s cafe Town Fare. Tickets for the event on June 19 will include access to all of OMCA’s galleries.\u003c/p>\n\u003cp>\u003ca href=\"https://juneteenthcommunityfestival.info/about\" target=\"_blank\" rel=\"noopener\">The family-friendly Marin City Juneteenth Festival\u003c/a> will host an African Marketplace featuring apparel, jewelry and art from small businesses, will crown a community kind and queen and will provide supervised childcare for the kiddos at Rocky Graham Park on Saturday, June 22.\u003c/p>\n\u003cp>In Richmond, community members are holding a \u003ca href=\"https://www.ci.richmond.ca.us/4665/Richmond-Juneteenth-Festival\" target=\"_blank\" rel=\"noopener\">Juneteenth Family Day Parade and Festival\u003c/a> to uplift peace and unity in their neighborhoods on Saturday, June 22 at Nicholl Park.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Juneteenth events compiled by Olivia Cruz Mayeda.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The thing is, I’d started to get desensitized to school shootings. Where once I devoured every detail in the news reports, trying to make sense of the senseless, lately I have scrolled right past. Maybe this has happened to you, too. If so, you know the strange guilt of it. The \u003cem>I care, but I cannot care right now\u003c/em> of it.\u003c/p>\n\u003cp>Is this how “normalization” works? \u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>\u003c/em>, an opera about a school shooting that made its U.S. premiere on Saturday at San Francisco Opera, does not let you look away from the horror that has, yes, become normalized in America. It does so without being preachy, or didactic. Written by the Finnish composer Kaija Saariaho, who died before its San Francisco opening, it is, hands down, the most moving contemporary opera I’ve ever seen.\u003c/p>\n\u003cfigure id=\"attachment_13959106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13959106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Claire de Sévigné as the Mother-in-Law (Patricia), Miles Mykkanen as the Bridegroom (Tuomas), Lilian Farahani as the Bride (Stela), Ruxandra Donose as the Waitress (Tereza), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story opens at a wedding rehearsal dinner, where the bride, Stela (played by Lilian Farahani) is thrilled to soon be married to Tuomas (Miles Mykkanen). Meanwhile, a catering waitress, Tereza (Ruxandra Donose), recognizes Tuomas as the brother of the man who committed a mass shooting at her daughter’s school, 10 years prior.\u003c/p>\n\u003cp>While Tereza, as well as the groom’s parents, wrestle with what to tell the bride, seven figures haunt the wedding. Six are students. One is a teacher. In a series of soliloquies and flashbacks, on a revolving two-story turntable set that morphs between wedding venue and school, the students and teacher contrast the joy of the upcoming nuptials with the terror of the shooting.\u003c/p>\n\u003cfigure id=\"attachment_13959124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg\" alt=\"\" width=\"1920\" height=\"1425\" class=\"size-full wp-image-13959124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-800x594.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1536x1140.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Claire de Sévigné as the Mother-in-Law (Patricia) and Rod Gilfry as the Father-in-Law (Henrik); at right, Vilma Jää as Student #1 (Markéta) and Ruxandra Donose as the Waitress (Tereza) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Louise Bakker spares us the shooting itself. You will, to be sure, see red streaks of blood. You will see panic, and lifeless young bodies slumped against a classroom wall. (On opening night, as these visuals multiplied, I noticed only three people walk out; the rest, rapt, couldn’t look away.)\u003c/p>\n\u003cp>Nearly as agonizing is the characters’ ongoing trauma, its complex layers fearlessly probed by librettist Sofi Oksanen. The waitress resents the shooter’s family for the audacity to carry on with a future that they don’t deserve, while the parents of the groom, and of his brother the shooter, fight incessantly.\u003c/p>\n\u003cfigure id=\"attachment_13959101\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani as the Bride (Stela), Miles Mykkanen as the Bridegroom (Tuomas), Claire de Sévigné as the Mother-in-Law (Patricia), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students who survived the shooting can’t stand to be in large crowds now, or sit with their back to a door. They teach themselves to stop talking about the shooting, even though it is the only thing they can think about. For the teacher (Lucy Shelton), her very purpose has evaporated. All knowledge feels useless after the shooting, she sings, in an anguished voice: “Each textbook, stupid. Each exam, superfluous.”\u003c/p>\n\u003cp>\u003cem>Innocence\u003c/em> is about this loss. Not just a loss of innocence but a loss of sense or meaning. A loss, caused by guns, of our common bonds. \u003c/p>\n\u003cfigure id=\"attachment_13959118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg\" alt=\"\" width=\"1920\" height=\"1427\" class=\"size-full wp-image-13959118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1536x1142.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Camilo Delgado Díaz as Student #5 (Jerónimo); at right, Julie Hega as Student #3 (Iris) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this would be powerful enough on its own. But in the fourth act, we are forced to ask: who is really innocent? As new, shocking twists are revealed by students Iris and Markéta (Julie Hega and Vilma Jää, both mesmerizing talents), and as further context is added by the groom, his parents and even a priest (Kristinn Sigmundsson), the pain of the shooting becomes more entrenched. \u003c/p>\n\u003cp>Elevating all of this is Saariaho’s angular, modern-sounding score, matching the mood and timeliness of its subject perfectly. Jää’s usage of Finnish folk singing adds to the story’s realism, while an off-stage chorus and surround-sound effects lend further gravitas to the tension, discomfort and sorrow. Over time, the revolving set designed by Chloe Lamford transforms entirely. All together, it’s an opera that feels like a movie, both in style and length; the whole thing runs just an hour and 48 minutes. \u003c/p>\n\u003cfigure id=\"attachment_13959097\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Vilma Jää as Student #1 (Markéta) (center) with Lucy Shelton as the Teacher, and Rowan Kievits as Student #4 (Anton) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver / San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Innocence\u003c/em> is based on a 2008 school shooting that occurred in Saariaho’s native Finland. At the time, this was a rarity for the country, but two months ago, just outside Helsinki, a \u003ca href=\"https://www.bbc.com/news/world-europe-68724991\">12 year-old brought a gun to school and shot a classmate dead\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, I can’t count the number of school shootings in America. Can you? Since Columbine in 1999, there have been \u003ca href=\"https://www.security.org/blog/a-timeline-of-school-shootings-since-columbine/\">118 active shooter incidents reported at K–12 schools in the United States\u003c/a>. A total of 1,243 have been injured, and 440 people killed. Teachers, children, all with futures. All shot down dead.\u003c/p>\n\u003cp>This was supposed to be an opera review, I know. But as a work of art, \u003cem>Innocence\u003c/em> is just that masterful, to shake you out of your complacency, to keep you thinking about it for days afterward. And to never take a school shooting for granted again. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>’ runs through June 21 at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/innocence/\">Details here\u003c/a>. SF Opera has also convened \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Beyond Innocence\u003c/a>, a series of panel discussions on gun violence and its effects. \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Details here\u003c/a>.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The thing is, I’d started to get desensitized to school shootings. Where once I devoured every detail in the news reports, trying to make sense of the senseless, lately I have scrolled right past. Maybe this has happened to you, too. If so, you know the strange guilt of it. The \u003cem>I care, but I cannot care right now\u003c/em> of it.\u003c/p>\n\u003cp>Is this how “normalization” works? \u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>\u003c/em>, an opera about a school shooting that made its U.S. premiere on Saturday at San Francisco Opera, does not let you look away from the horror that has, yes, become normalized in America. It does so without being preachy, or didactic. Written by the Finnish composer Kaija Saariaho, who died before its San Francisco opening, it is, hands down, the most moving contemporary opera I’ve ever seen.\u003c/p>\n\u003cfigure id=\"attachment_13959106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13959106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A0991.1920-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Claire de Sévigné as the Mother-in-Law (Patricia), Miles Mykkanen as the Bridegroom (Tuomas), Lilian Farahani as the Bride (Stela), Ruxandra Donose as the Waitress (Tereza), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story opens at a wedding rehearsal dinner, where the bride, Stela (played by Lilian Farahani) is thrilled to soon be married to Tuomas (Miles Mykkanen). Meanwhile, a catering waitress, Tereza (Ruxandra Donose), recognizes Tuomas as the brother of the man who committed a mass shooting at her daughter’s school, 10 years prior.\u003c/p>\n\u003cp>While Tereza, as well as the groom’s parents, wrestle with what to tell the bride, seven figures haunt the wedding. Six are students. One is a teacher. In a series of soliloquies and flashbacks, on a revolving two-story turntable set that morphs between wedding venue and school, the students and teacher contrast the joy of the upcoming nuptials with the terror of the shooting.\u003c/p>\n\u003cfigure id=\"attachment_13959124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg\" alt=\"\" width=\"1920\" height=\"1425\" class=\"size-full wp-image-13959124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-800x594.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1047-1536x1140.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Claire de Sévigné as the Mother-in-Law (Patricia) and Rod Gilfry as the Father-in-Law (Henrik); at right, Vilma Jää as Student #1 (Markéta) and Ruxandra Donose as the Waitress (Tereza) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Louise Bakker spares us the shooting itself. You will, to be sure, see red streaks of blood. You will see panic, and lifeless young bodies slumped against a classroom wall. (On opening night, as these visuals multiplied, I noticed only three people walk out; the rest, rapt, couldn’t look away.)\u003c/p>\n\u003cp>Nearly as agonizing is the characters’ ongoing trauma, its complex layers fearlessly probed by librettist Sofi Oksanen. The waitress resents the shooter’s family for the audacity to carry on with a future that they don’t deserve, while the parents of the groom, and of his brother the shooter, fight incessantly.\u003c/p>\n\u003cfigure id=\"attachment_13959101\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959101\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A9204-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Lilian Farahani as the Bride (Stela), Miles Mykkanen as the Bridegroom (Tuomas), Claire de Sévigné as the Mother-in-Law (Patricia), and Rod Gilfry as the Father-in-Law (Henrik) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The students who survived the shooting can’t stand to be in large crowds now, or sit with their back to a door. They teach themselves to stop talking about the shooting, even though it is the only thing they can think about. For the teacher (Lucy Shelton), her very purpose has evaporated. All knowledge feels useless after the shooting, she sings, in an anguished voice: “Each textbook, stupid. Each exam, superfluous.”\u003c/p>\n\u003cp>\u003cem>Innocence\u003c/em> is about this loss. Not just a loss of innocence but a loss of sense or meaning. A loss, caused by guns, of our common bonds. \u003c/p>\n\u003cfigure id=\"attachment_13959118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg\" alt=\"\" width=\"1920\" height=\"1427\" class=\"size-full wp-image-13959118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/74A1022.dip_-1536x1142.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">At left, Camilo Delgado Díaz as Student #5 (Jerónimo); at right, Julie Hega as Student #3 (Iris) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this would be powerful enough on its own. But in the fourth act, we are forced to ask: who is really innocent? As new, shocking twists are revealed by students Iris and Markéta (Julie Hega and Vilma Jää, both mesmerizing talents), and as further context is added by the groom, his parents and even a priest (Kristinn Sigmundsson), the pain of the shooting becomes more entrenched. \u003c/p>\n\u003cp>Elevating all of this is Saariaho’s angular, modern-sounding score, matching the mood and timeliness of its subject perfectly. Jää’s usage of Finnish folk singing adds to the story’s realism, while an off-stage chorus and surround-sound effects lend further gravitas to the tension, discomfort and sorrow. Over time, the revolving set designed by Chloe Lamford transforms entirely. All together, it’s an opera that feels like a movie, both in style and length; the whole thing runs just an hour and 48 minutes. \u003c/p>\n\u003cfigure id=\"attachment_13959097\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/75A8850-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" />\u003cfigcaption class=\"wp-caption-text\">Vilma Jää as Student #1 (Markéta) (center) with Lucy Shelton as the Teacher, and Rowan Kievits as Student #4 (Anton) in ‘Innocence’ at SF Opera. \u003ccite>(Cory Weaver / San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Innocence\u003c/em> is based on a 2008 school shooting that occurred in Saariaho’s native Finland. At the time, this was a rarity for the country, but two months ago, just outside Helsinki, a \u003ca href=\"https://www.bbc.com/news/world-europe-68724991\">12 year-old brought a gun to school and shot a classmate dead\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, I can’t count the number of school shootings in America. Can you? Since Columbine in 1999, there have been \u003ca href=\"https://www.security.org/blog/a-timeline-of-school-shootings-since-columbine/\">118 active shooter incidents reported at K–12 schools in the United States\u003c/a>. A total of 1,243 have been injured, and 440 people killed. Teachers, children, all with futures. All shot down dead.\u003c/p>\n\u003cp>This was supposed to be an opera review, I know. But as a work of art, \u003cem>Innocence\u003c/em> is just that masterful, to shake you out of your complacency, to keep you thinking about it for days afterward. And to never take a school shooting for granted again. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sfopera.com/operas/innocence/\">Innocence\u003c/a>’ runs through June 21 at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/innocence/\">Details here\u003c/a>. SF Opera has also convened \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Beyond Innocence\u003c/a>, a series of panel discussions on gun violence and its effects. \u003ca href=\"https://www.sfopera.com/beyond-innocence\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "swagger-like-us-queer-hip-hop-nightlife-san-francisco",
"title": "How Swagger Like Us Pushed Queer Hip-Hop Forward in SF",
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"content": "\u003cp>[dropcap]O[/dropcap]n July 29, 2012, a family function was born on the patio of San Francisco’s El Rio.\u003c/p>\n\u003cp>Rapper MicahTron, who grew up in Hunters Point, struck a pose onstage in a silk bomber jacket, encouraging an ecstatic queer crowd sporting shaved sides, crop tops and improbably tight denim to “\u003ca href=\"https://soundcloud.com/micahtron/use-it-like-a-bumper-2\">back it up, use it like a bumper\u003c/a>.” Her set followed a wraithlike performance by Tosh Basco, formerly known as boychild, an art star of the freak-drag movement that enraptured the city. Basco entranced the audience in a neon-green look consisting of little more than fishnets and happy face stickers. The event’s co-mastermind Kelly Lovemonster generously distributed hugs and booty pops, ensuring a certain atmosphere in their whisper of a gray tank top.\u003c/p>\n\u003cp>“We did this because we wanted to support our community,” says Lovemonster, who is now living on the other side of the world in Australia. “I helped run and produce \u003ca href=\"https://www.swaggersf.com/\">Swagger Like Us\u003c/a> because I really thought this was an important space to hold.”\u003c/p>\n\u003cp>DJs played a joyful, aerobic collection of beats: Club-remixed R&B divas rubbed up against queer artists from niche subgenres of the nationwide hip-hop diaspora. The event’s namesake, the chest-out line from M.I.A.’s “\u003ca href=\"https://www.youtube.com/watch?v=ewRjZoRtu0Y\">Paper Planes\u003c/a>” that \u003ca href=\"https://youtu.be/Im4tnRlJcXc?si=IHAkMCPr19JLJBwc\">Jay-Z and T.I. had spun into their own banger\u003c/a>, boomed out over the lemon trees that flanked the neighborhood bar’s dance floor. \u003cem>No one on the corner has swagger like us\u003c/em>, indeed.\u003c/p>\n\u003cp>Twelve years later, Swagger Like Us is now wrapping up its monthly format with a finale at El Rio on June 2. On a giggly, time-zone-spanning video call I had with the party’s two co-founders, Lovemonster brings up some thoughts occasioned by chapters on Black San Francisco in David Talbot’s history book \u003cem>Season of the Witch\u003c/em>. “I was thinking about places like the Fillmore and thinking of Swagger as a space for Black folks, and Black queer folks in particular, to say that we still exist,” they say.\u003c/p>\n\u003cfigure id=\"attachment_13958452\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958452\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Swagger Like Us in May 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from a truly significant decade-plus of supporting the financial viability of queer hip-hop artists, this may well be Swagger’s true legacy in a city that has largely failed to hold the line for its Black community. “A space for us to congregate, a space for us to celebrate,” they smile.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That long-ago debut twirl took place years before Swagger started selling out 1,000-person venues with indelible Pride events featuring larger-than-life allies like Trina and Leikeli47. But if you knew, you knew: Those of us who attended that first edition could absolutely clock a new chapter in queer San Francisco hip-hop history.\u003c/p>\n\u003cp>As Swagger’s finale approaches, it seems like a good moment to reflect on what the party has meant for its artists and attendees. (This may not mean goodbye forever: Organizers hint that they might be back in the future for special events.)\u003c/p>\n\u003cp>[dropcap]“T[/dropcap]he community that has formed around Swagger Like Us is nothing short of beautiful, vibrant, colorful and inclusive. It’s been a beautiful journey, and I feel incredibly humbled by the trust that David and Kelly have placed in me,” says acclaimed vogue dancer and queer socialite \u003ca href=\"https://www.instagram.com/sirjoq/?hl=en\">Jocquese Whitfield\u003c/a>, who has been hosting the party since that way-back first edition.\u003c/p>\n\u003cfigure id=\"attachment_13958450\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958450\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jocquese Whitfield at Swagger Like Us in 2018. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The party’s debut came mere months after a little-known “\u003ca href=\"https://www.youtube.com/watch?v=bC6gTNKl-ak\">212\u003c/a>” ingénue named Azealia Banks nonchalantly told \u003cem>The New York Times\u003c/em> she was a bisexual. This was years before Lil Nas X came out with his 2019 track “\u003ca href=\"https://www.youtube.com/watch?v=eLgxYjZEflI\">C7osure\u003c/a>,” a release that arguably \u003ca href=\"https://www.revolt.tv/article/2019-07-05/93134/lil-nas-x-on-the-backlash-of-confirming-his-sexuality-im-not-angry-or-anything\">ushered in the era of the mainstream gay rapper\u003c/a>.\u003c/p>\n\u003cp>Nowadays, queer hip-hop has taken definite steps out of the underground. Streaming algorithms suggest \u003ca href=\"https://www.autostraddle.com/the-sounds-of-gen-z-five-queer-rappers-making-waves/\">LGBTQ+ performers\u003c/a> like Doechii and Ice Spice, and veteran MCs Queen Latifah and Da Brat have finally gone public with their decided lack of heterosexuality, to the delight of legions.\u003c/p>\n\u003cp>Swagger was born to book queer hip-hop’s rising stars long before the majors were ready. On national tours as one half of the queer electro-pop duo \u003ca href=\"https://www.instagram.com/doubleduchess/\">Double Duchess\u003c/a>, davOmakesbeats realized their home of San Francisco lacked inclusive, Black and Brown community functions that would “get” the lyrics and moves he and Krylon Superstar were delivering on stage. davO’s own Caucasity aside, the beats-obsessed, Maryland-born DJ wanted to feel that energy in his adopted City by the Bay.\u003c/p>\n\u003cp>“When I came to California, I would play Baltimore club tracks and no one would know what they were,” remembers davO, who was also the founder of the sweaty Chinatown basement party Blood Sweat and Queers. “I didn’t get it. I was like, ‘Not everybody listens to this?’”\u003c/p>\n\u003cfigure id=\"attachment_13958451\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958451\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">India Sky performs at Swagger Like Us in 2019. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If it’s queer, immaculate vibes you’re looking for, you could do much worse than seek out davO’s eventual collaborator, Lovemonster. The multi-hyphenate creative with Haitian roots started producing events with their “Love canvases,” paint-spattered, clothing-optional performance-happenings they convened while attending their home state of New Jersey’s Rutgers University.\u003c/p>\n\u003cp>Today, they are successful curator and party producer in Sydney, Australia, where they live with their partner Spencer Dezart-Smith (a.k.a. boyfriend) — one of the founding DJs of Swagger Like Us — and their son. True to form, one of Lovemonster’s current events, Leak Your Own Nudes, is an underwear party. By the time they came together with davO over starting a new monthly function, Lovemonster was already a local nightlife heartthrob who curated the inclusive and foxy “go-go babes” at El Rio’s marquee soul music Saturday afternoon monthly, Hard French.\u003c/p>\n\u003cp>[dropcap]I[/dropcap] see now that this was one of the many golden ages of SF queer nightlife. In the early ’10s, you could drink affordably potent cocktails while grinding with sexy weirdos every night of the week: DJ Stanley Frank’s Viennetta Discotheque on Mondays, High Fantasy at Aunt Charlie’s on Tuesdays, Booty Call Wednesdays at Q Bar, Thursday nights at DJ Bus Station John’s Tubesteak Connection and avant-garde drag cabaret Club Something on Fridays at The Stud’s original location.\u003c/p>\n\u003cp>After a breakup, I wound up living with Lovemonster, Hard French promoter Tom Temprano and a passel of other sparkly queers and their pets in a ramshackle flat on South Van Ness Avenue. An easy drunken stumble from El Rio, our lair was the designated after for, uh, releasing the energy of the bar’s daylight-hour parties. Despite a preponderance of shenanigans, we all got along surprisingly lovingly. The last of us didn’t leave that house until many years later, when the front staircase collapsed.\u003c/p>\n\u003cp>[aside postid='arts_13938947']Even amid so much festivity, Swagger filled a void. Nearly every decade since hip-hop’s birth, Bay Area queers have made space in a genre that, much like the world at large, is all too often hampered by heteronormative rigidity. In the ’80s, Page Hodel’s The Box hosted Queen Latifah, over three decades before she came out officially. In the ’90s, DJ Olga T gave birth to the eternal (27+ years running!) Mango at El Rio. Juba Kalamka of Deep Dickollective produced the first edition of the PeaceOUT World Homo Hop Festival in 2001, and in 2003, Oakland’s electric fundraiser-dance-party Ships in the Night set sail.\u003c/p>\n\u003cp>Though Swagger is indubitably part of this proud legacy, its founders were more focused on creating a proper Bay Area stop for the countrywide queer hip-hop circuit. Their first edition featured local nightlife stars, but the crew was soon introducing growing crowds to their next Soundcloud addictions. Early lineups featured Nola bounce queens Katey Red and Sissy Nobby; UNIIQU3’s defiant Jersey club; NYC ballroom giants MikeQ and Byrell the Great; Baltimore rappers DDm and TT the Artist; and the cadre of brilliant queer hip-hop artists who at the time always seemed painfully close to breaking the genre’s glass ceiling: Le1f, Zebra Katz, Cakes Da Killa and even Princess Nokia, who delivered an early performance of “Tomboy” to the Swagger crowd at Oasis.\u003c/p>\n\u003cfigure id=\"attachment_13958453\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Swagger Like Us in May 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of these names are now Bay Area party regulars. At least in part, that’s due to their initial Swagger bookings. Eventually, the sound expanded to run the gamut of Black-rooted genres, including baile funk, the reggaeton of Mexico City’s Rosa Pistola and Latin club. The CDMX party I hosted (I’m telling you, it runs in the family), Traición, came up for a Swagger crossover Folsom Street Fair afterparty in 2017.\u003c/p>\n\u003cp>“It was the first time that I had been welcomed by a space that was so queer and Black,” remembers Saturn Risin9. The Hercules-raised performer had come up through what she calls San Francisco’s “universal” nightlife spaces, all-comer dance parties like Lights Down Low and Blow Up. “But at that time, I needed to connect with people like me,” she continues.\u003c/p>\n\u003cp>Swagger was there at every shift in her career, providing a stage for Saturn’s early, elaborate choreographies and eventually, her sets of breathy, club-ready R&B tracks that davO produced on \u003ca href=\"https://www.sfchronicle.com/music/article/Molly-House-Records-aims-to-take-LGBTQ-artists-11100671.php\">Molly House Records\u003c/a>, founded in 2017 to provide yet more amplification for the party’s talented collaborators. “It was a beautiful space for me to find ways to nurture others, and find out how I needed to be nurtured,” she recalls.\u003c/p>\n\u003cp>“It felt amazing to be celebrated as a Black queer artist in the city that I was born in,” says self-proclaimed “hyphy spiritual” and second-generation San Francisco rapper A.M.K, who adds that her Swagger appearances netted her exposure that led to out-of-state gigs. “Swagger Like Us represents the diversity and the love of the Bay Area,” A.M.K concludes.[aside postid='arts_13928057']\u003c/p>\n\u003cp>But throwing a BIPOC hip-hop party in San Francisco has never been all positivity, as generations of promoters who’ve encountered manic police surveillance and hostile venue owners know. Lovemonster recalls an insurance company who jacked up rates for a major event when they found out Swagger’s genre of preference.\u003c/p>\n\u003cp>And the city’s evolution meant many from the event’s original crowd eventually moved out. “The only changes to the party have been by virtue of the city’s changes, which is to be expected,” says davO, who is now back in Maryland working as an addiction counselor and life coach. He left SF in 2018, the same year Lovemonster and boyfriend decamped to start their Australian family.\u003c/p>\n\u003cfigure id=\"attachment_13958454\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958454\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Swagger Like Us in March 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luckily, a younger generation carried on with the show, hosting and eventually becoming the new face of the party. “I think Jocquese and I were synonymous on the Swagger stage because we were its little siblings,” says Saturn. “Like, if davO and Kelly were the Kardashians, we were the Kendall and Kylie.” That they have given new life to Swagger over the last six years reminds me that as one person’s San Francisco recedes, another’s celebration of the city is just starting to pop.\u003c/p>\n\u003cp>But also: “There’s a beginning and end to everything,” says Lovemonster, explaining away the end of the 12-year monthly that provided a place to dance, flirt and link when it was needed most. “Like, it’s just literally the cycle of life.”\u003c/p>\n\u003cp>There are sure to be a few tears when davO spins his classic Swagger closer “Choose Me,” a sweet, sunny Cobra Krames remix of UGK and Outkast’s “Int’l Players Anthem.” (“I just chose everybody!” davO exclaims when asked how the track made it into his heavy rotation.) Still, don’t think the finale of Swagger’s last season at El Rio will have more sad than swag.\u003c/p>\n\u003cp>At least, not according to its headliner, Cakes Da Killa: “I’m honored to be in the mix for the last hurrah, and I hope everyone pulls up and shows out.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/swagger-like-us-presents-tickets-845752437307\">Swagger Like Us\u003c/a> will host its final monthly edition at El Rio (3158 Mission, San Francisco) on Sunday, June 2, 3-8 p.m. Tickets will be available at the door for $25. There will be an after-party at The Stud (1123-1125 Folsom Street, San Francisco) from 8 p.m.-2 a.m. \u003ca href=\"https://www.eventbrite.com/e/swagger-like-us-presents-the-after-party-tickets-907486976977?aff=oddtdtcreator\">Tickets available online\u003c/a> for $20, $25 at the door. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n July 29, 2012, a family function was born on the patio of San Francisco’s El Rio.\u003c/p>\n\u003cp>Rapper MicahTron, who grew up in Hunters Point, struck a pose onstage in a silk bomber jacket, encouraging an ecstatic queer crowd sporting shaved sides, crop tops and improbably tight denim to “\u003ca href=\"https://soundcloud.com/micahtron/use-it-like-a-bumper-2\">back it up, use it like a bumper\u003c/a>.” Her set followed a wraithlike performance by Tosh Basco, formerly known as boychild, an art star of the freak-drag movement that enraptured the city. Basco entranced the audience in a neon-green look consisting of little more than fishnets and happy face stickers. The event’s co-mastermind Kelly Lovemonster generously distributed hugs and booty pops, ensuring a certain atmosphere in their whisper of a gray tank top.\u003c/p>\n\u003cp>“We did this because we wanted to support our community,” says Lovemonster, who is now living on the other side of the world in Australia. “I helped run and produce \u003ca href=\"https://www.swaggersf.com/\">Swagger Like Us\u003c/a> because I really thought this was an important space to hold.”\u003c/p>\n\u003cp>DJs played a joyful, aerobic collection of beats: Club-remixed R&B divas rubbed up against queer artists from niche subgenres of the nationwide hip-hop diaspora. The event’s namesake, the chest-out line from M.I.A.’s “\u003ca href=\"https://www.youtube.com/watch?v=ewRjZoRtu0Y\">Paper Planes\u003c/a>” that \u003ca href=\"https://youtu.be/Im4tnRlJcXc?si=IHAkMCPr19JLJBwc\">Jay-Z and T.I. had spun into their own banger\u003c/a>, boomed out over the lemon trees that flanked the neighborhood bar’s dance floor. \u003cem>No one on the corner has swagger like us\u003c/em>, indeed.\u003c/p>\n\u003cp>Twelve years later, Swagger Like Us is now wrapping up its monthly format with a finale at El Rio on June 2. On a giggly, time-zone-spanning video call I had with the party’s two co-founders, Lovemonster brings up some thoughts occasioned by chapters on Black San Francisco in David Talbot’s history book \u003cem>Season of the Witch\u003c/em>. “I was thinking about places like the Fillmore and thinking of Swagger as a space for Black folks, and Black queer folks in particular, to say that we still exist,” they say.\u003c/p>\n\u003cfigure id=\"attachment_13958452\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958452\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_8657-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Swagger Like Us in May 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from a truly significant decade-plus of supporting the financial viability of queer hip-hop artists, this may well be Swagger’s true legacy in a city that has largely failed to hold the line for its Black community. “A space for us to congregate, a space for us to celebrate,” they smile.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That long-ago debut twirl took place years before Swagger started selling out 1,000-person venues with indelible Pride events featuring larger-than-life allies like Trina and Leikeli47. But if you knew, you knew: Those of us who attended that first edition could absolutely clock a new chapter in queer San Francisco hip-hop history.\u003c/p>\n\u003cp>As Swagger’s finale approaches, it seems like a good moment to reflect on what the party has meant for its artists and attendees. (This may not mean goodbye forever: Organizers hint that they might be back in the future for special events.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">“T\u003c/span>\u003c/p>\u003cp>he community that has formed around Swagger Like Us is nothing short of beautiful, vibrant, colorful and inclusive. It’s been a beautiful journey, and I feel incredibly humbled by the trust that David and Kelly have placed in me,” says acclaimed vogue dancer and queer socialite \u003ca href=\"https://www.instagram.com/sirjoq/?hl=en\">Jocquese Whitfield\u003c/a>, who has been hosting the party since that way-back first edition.\u003c/p>\n\u003cfigure id=\"attachment_13958450\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958450\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/SirJoQ_Jenn-Wong_12-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jocquese Whitfield at Swagger Like Us in 2018. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The party’s debut came mere months after a little-known “\u003ca href=\"https://www.youtube.com/watch?v=bC6gTNKl-ak\">212\u003c/a>” ingénue named Azealia Banks nonchalantly told \u003cem>The New York Times\u003c/em> she was a bisexual. This was years before Lil Nas X came out with his 2019 track “\u003ca href=\"https://www.youtube.com/watch?v=eLgxYjZEflI\">C7osure\u003c/a>,” a release that arguably \u003ca href=\"https://www.revolt.tv/article/2019-07-05/93134/lil-nas-x-on-the-backlash-of-confirming-his-sexuality-im-not-angry-or-anything\">ushered in the era of the mainstream gay rapper\u003c/a>.\u003c/p>\n\u003cp>Nowadays, queer hip-hop has taken definite steps out of the underground. Streaming algorithms suggest \u003ca href=\"https://www.autostraddle.com/the-sounds-of-gen-z-five-queer-rappers-making-waves/\">LGBTQ+ performers\u003c/a> like Doechii and Ice Spice, and veteran MCs Queen Latifah and Da Brat have finally gone public with their decided lack of heterosexuality, to the delight of legions.\u003c/p>\n\u003cp>Swagger was born to book queer hip-hop’s rising stars long before the majors were ready. On national tours as one half of the queer electro-pop duo \u003ca href=\"https://www.instagram.com/doubleduchess/\">Double Duchess\u003c/a>, davOmakesbeats realized their home of San Francisco lacked inclusive, Black and Brown community functions that would “get” the lyrics and moves he and Krylon Superstar were delivering on stage. davO’s own Caucasity aside, the beats-obsessed, Maryland-born DJ wanted to feel that energy in his adopted City by the Bay.\u003c/p>\n\u003cp>“When I came to California, I would play Baltimore club tracks and no one would know what they were,” remembers davO, who was also the founder of the sweaty Chinatown basement party Blood Sweat and Queers. “I didn’t get it. I was like, ‘Not everybody listens to this?’”\u003c/p>\n\u003cfigure id=\"attachment_13958451\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958451\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IndiaSky_Jenn-Wong_8-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">India Sky performs at Swagger Like Us in 2019. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If it’s queer, immaculate vibes you’re looking for, you could do much worse than seek out davO’s eventual collaborator, Lovemonster. The multi-hyphenate creative with Haitian roots started producing events with their “Love canvases,” paint-spattered, clothing-optional performance-happenings they convened while attending their home state of New Jersey’s Rutgers University.\u003c/p>\n\u003cp>Today, they are successful curator and party producer in Sydney, Australia, where they live with their partner Spencer Dezart-Smith (a.k.a. boyfriend) — one of the founding DJs of Swagger Like Us — and their son. True to form, one of Lovemonster’s current events, Leak Your Own Nudes, is an underwear party. By the time they came together with davO over starting a new monthly function, Lovemonster was already a local nightlife heartthrob who curated the inclusive and foxy “go-go babes” at El Rio’s marquee soul music Saturday afternoon monthly, Hard French.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp> see now that this was one of the many golden ages of SF queer nightlife. In the early ’10s, you could drink affordably potent cocktails while grinding with sexy weirdos every night of the week: DJ Stanley Frank’s Viennetta Discotheque on Mondays, High Fantasy at Aunt Charlie’s on Tuesdays, Booty Call Wednesdays at Q Bar, Thursday nights at DJ Bus Station John’s Tubesteak Connection and avant-garde drag cabaret Club Something on Fridays at The Stud’s original location.\u003c/p>\n\u003cp>After a breakup, I wound up living with Lovemonster, Hard French promoter Tom Temprano and a passel of other sparkly queers and their pets in a ramshackle flat on South Van Ness Avenue. An easy drunken stumble from El Rio, our lair was the designated after for, uh, releasing the energy of the bar’s daylight-hour parties. Despite a preponderance of shenanigans, we all got along surprisingly lovingly. The last of us didn’t leave that house until many years later, when the front staircase collapsed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even amid so much festivity, Swagger filled a void. Nearly every decade since hip-hop’s birth, Bay Area queers have made space in a genre that, much like the world at large, is all too often hampered by heteronormative rigidity. In the ’80s, Page Hodel’s The Box hosted Queen Latifah, over three decades before she came out officially. In the ’90s, DJ Olga T gave birth to the eternal (27+ years running!) Mango at El Rio. Juba Kalamka of Deep Dickollective produced the first edition of the PeaceOUT World Homo Hop Festival in 2001, and in 2003, Oakland’s electric fundraiser-dance-party Ships in the Night set sail.\u003c/p>\n\u003cp>Though Swagger is indubitably part of this proud legacy, its founders were more focused on creating a proper Bay Area stop for the countrywide queer hip-hop circuit. Their first edition featured local nightlife stars, but the crew was soon introducing growing crowds to their next Soundcloud addictions. Early lineups featured Nola bounce queens Katey Red and Sissy Nobby; UNIIQU3’s defiant Jersey club; NYC ballroom giants MikeQ and Byrell the Great; Baltimore rappers DDm and TT the Artist; and the cadre of brilliant queer hip-hop artists who at the time always seemed painfully close to breaking the genre’s glass ceiling: Le1f, Zebra Katz, Cakes Da Killa and even Princess Nokia, who delivered an early performance of “Tomboy” to the Swagger crowd at Oasis.\u003c/p>\n\u003cfigure id=\"attachment_13958453\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958453\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_9107-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Swagger Like Us in May 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of these names are now Bay Area party regulars. At least in part, that’s due to their initial Swagger bookings. Eventually, the sound expanded to run the gamut of Black-rooted genres, including baile funk, the reggaeton of Mexico City’s Rosa Pistola and Latin club. The CDMX party I hosted (I’m telling you, it runs in the family), Traición, came up for a Swagger crossover Folsom Street Fair afterparty in 2017.\u003c/p>\n\u003cp>“It was the first time that I had been welcomed by a space that was so queer and Black,” remembers Saturn Risin9. The Hercules-raised performer had come up through what she calls San Francisco’s “universal” nightlife spaces, all-comer dance parties like Lights Down Low and Blow Up. “But at that time, I needed to connect with people like me,” she continues.\u003c/p>\n\u003cp>Swagger was there at every shift in her career, providing a stage for Saturn’s early, elaborate choreographies and eventually, her sets of breathy, club-ready R&B tracks that davO produced on \u003ca href=\"https://www.sfchronicle.com/music/article/Molly-House-Records-aims-to-take-LGBTQ-artists-11100671.php\">Molly House Records\u003c/a>, founded in 2017 to provide yet more amplification for the party’s talented collaborators. “It was a beautiful space for me to find ways to nurture others, and find out how I needed to be nurtured,” she recalls.\u003c/p>\n\u003cp>“It felt amazing to be celebrated as a Black queer artist in the city that I was born in,” says self-proclaimed “hyphy spiritual” and second-generation San Francisco rapper A.M.K, who adds that her Swagger appearances netted her exposure that led to out-of-state gigs. “Swagger Like Us represents the diversity and the love of the Bay Area,” A.M.K concludes.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But throwing a BIPOC hip-hop party in San Francisco has never been all positivity, as generations of promoters who’ve encountered manic police surveillance and hostile venue owners know. Lovemonster recalls an insurance company who jacked up rates for a major event when they found out Swagger’s genre of preference.\u003c/p>\n\u003cp>And the city’s evolution meant many from the event’s original crowd eventually moved out. “The only changes to the party have been by virtue of the city’s changes, which is to be expected,” says davO, who is now back in Maryland working as an addiction counselor and life coach. He left SF in 2018, the same year Lovemonster and boyfriend decamped to start their Australian family.\u003c/p>\n\u003cfigure id=\"attachment_13958454\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958454\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/IMG_6104-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Swagger Like Us in March 2024. \u003ccite>(Jennifer Wong @takeover.tokyo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luckily, a younger generation carried on with the show, hosting and eventually becoming the new face of the party. “I think Jocquese and I were synonymous on the Swagger stage because we were its little siblings,” says Saturn. “Like, if davO and Kelly were the Kardashians, we were the Kendall and Kylie.” That they have given new life to Swagger over the last six years reminds me that as one person’s San Francisco recedes, another’s celebration of the city is just starting to pop.\u003c/p>\n\u003cp>But also: “There’s a beginning and end to everything,” says Lovemonster, explaining away the end of the 12-year monthly that provided a place to dance, flirt and link when it was needed most. “Like, it’s just literally the cycle of life.”\u003c/p>\n\u003cp>There are sure to be a few tears when davO spins his classic Swagger closer “Choose Me,” a sweet, sunny Cobra Krames remix of UGK and Outkast’s “Int’l Players Anthem.” (“I just chose everybody!” davO exclaims when asked how the track made it into his heavy rotation.) Still, don’t think the finale of Swagger’s last season at El Rio will have more sad than swag.\u003c/p>\n\u003cp>At least, not according to its headliner, Cakes Da Killa: “I’m honored to be in the mix for the last hurrah, and I hope everyone pulls up and shows out.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/swagger-like-us-presents-tickets-845752437307\">Swagger Like Us\u003c/a> will host its final monthly edition at El Rio (3158 Mission, San Francisco) on Sunday, June 2, 3-8 p.m. Tickets will be available at the door for $25. There will be an after-party at The Stud (1123-1125 Folsom Street, San Francisco) from 8 p.m.-2 a.m. \u003ca href=\"https://www.eventbrite.com/e/swagger-like-us-presents-the-after-party-tickets-907486976977?aff=oddtdtcreator\">Tickets available online\u003c/a> for $20, $25 at the door. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Amid Upheaval, a New CEO Steps in at Yerba Buena Center for the Arts",
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"content": "\u003cp>A new CEO has stepped in to lead \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a> (YBCA), the embattled San Francisco arts organization whose \u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">previous interim CEO abruptly resigned\u003c/a> in March during the fallout of a pro-Palestinian protest.\u003c/p>\n\u003cp>Jim Rettew, the new interim CEO, has previously held five interim leadership roles at various nonprofits. His background as a crisis management expert will be put to the test at YBCA, which has been embroiled in controversy since a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">Feb. 15 protest\u003c/a> during which eight artists spray painted and draped pro-Palestinian messages onto their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13958014\" class=\"wp-caption aligncenter\" style=\"max-width: 906px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg\" alt=\"\" width=\"906\" height=\"1155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg 906w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-768x979.jpg 768w\" sizes=\"auto, (max-width: 906px) 100vw, 906px\">\u003cfigcaption class=\"wp-caption-text\">Jim Rettew is YBCA’s new interim CEO. \u003ccite>(Jim Rettew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the protest, former interim CEO Sara Fenske Bahat and the board closed the galleries, which remained shuttered for a month. In open letters, \u003ca href=\"https://docs.google.com/document/d/1ZAoljeQycemJrzYNDyVoSN0gc6ogp5B3jUzj77qua2g/edit\">artists\u003c/a> and \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">staff\u003c/a> accused YBCA leaders of censorship. Bahat resigned on March 3, citing “antisemitic backlash” and “the actions of some of our own employees” in her letter to the board. (Staff and leadership denied each other’s allegations.) San Francisco Supervisor Hillary Ronen, meanwhile, voiced support for the artists, and proposed an examination of the city’s support of YBCA at an upcoming Board of Supervisors meeting.\u003c/p>\n\u003cp>[aside postid='arts_13952460,arts_13953653']YBCA reopened in mid-March, but the turmoil continued. At least nine staff members have resigned in protest, according to employee comments during a public meeting. And YBCA now faces scrutiny from San Francisco’s Director of Cultural Affairs, who has proposed changes that would drastically alter how YBCA operates.\u003c/p>\n\u003cp>In an email interview, Rettew told KQED that he sees rebuilding public trust as one of YBCA’s biggest challenges, and that he’s spent his first few weeks on the job listening to employees.\u003c/p>\n\u003cp>“I’m now using those essential conversations to work with our staff to help deliver on the promises and aspirations of our organization,” he wrote. “I think that in many ways, the protest on Feb. 15 was a reflection of people asking the question: what do people expect from a cultural institution in 2024? We are working tirelessly to try to answer that question, and to create a space that is authentic and valuable to the public.”\u003c/p>\n\u003cfigure id=\"attachment_13954248\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Artists Against Genocide (B.A.A.A.G.) member Paz G displays design options at a screen-printing event artists organized outside of YBCA while the art center was closed in March 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An art center on taxpayer-funded property\u003c/h2>\n\u003cp>YBCA is under particular scrutiny because the private nonprofit enjoys significant, taxpayer-funded subsidies from the City and County of San Francisco. It occupies a city-owned building, rent free, on public land under a contract that’s subject to renewal through 2094. YBCA has also received tens of millions in taxpayer dollars since its founding in 1993; according to its most recent financial report, for fiscal year 2023, about 6% of its revenue and support came from the City and County of San Francisco. [ad fullwidth]\u003c/p>\n\u003cp>Yerba Buena Gardens Conservancy, another nonprofit, manages the YBCA property, acting as an intermediary between YBCA and the city. In exchange for financial support and subsidies, YBCA is contractually obligated to offer “high-quality artistic programming to San Francisco residents and visitors.”\u003c/p>\n\u003cp>At the Conservancy’s most recent public board meeting on April 10, San Francisco’s Director of Cultural Affairs, Ralph Remington, sharply criticized YBCA for what he considers its failure to do so.\u003c/p>\n\u003cp>“With the level of subsidy YBCA receives … they should have been operating and maintaining the cultural facilities in a way that presents themselves as a world-class performing arts presenting, producing, exhibiting organization,” Remington said. “You’d have to go back into the distant past to see when that actually happened.”\u003c/p>\n\u003cfigure id=\"attachment_13958015\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958015\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Director of Cultural Affairs Ralph Remington said YBCA needs to be ‘reined in’ at a recent board meeting. \u003ccite>(Aminda Villa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, YBCA significantly reduced its film programming in 2018 after \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">laying off the two-person department\u003c/a>. In 2020, it launched the \u003ca href=\"https://www.kqed.org/arts/13880296/ybca-launches-artist-power-center-resource-for-financially-struggling-artists\">Artist Power Center\u003c/a>, an online platform meant to connect artists to grants and job opportunities; it has since sunsetted that project.\u003c/p>\n\u003cp>“It turned into some kind of weird thinktank that should’ve been out in the woods somewhere, maybe,” said Remington at the Conservancy board meeting. “But for the level of public subsidy in the middle of the city … YBCA, in my opinion, needs to be reined in.”\u003c/p>\n\u003cp>At the board meeting, Remington contrasted YBCA with SOMArts, a significantly less resourced nonprofit that’s also located in a city-owned building. While YBCA enjoys a spacious, modern, centrally located facility, SOMArts needs significant seismic improvements, and is in a much less desirable location, below a freeway underpass and away from BART and downtown offices. [aside postid='arts_13955613']\u003c/p>\n\u003cp>“I would put on the table that we could move SOMArts into YBCA to share with SOMA Pilipinas,” said Remington, referring to another vibrant, less resourced arts organization, “and they could activate the building.”\u003c/p>\n\u003cp>In a follow-up interview, Remington told KQED that these proposals are in their “embryonic” stages. He credited the Feb. 15 protesters, who now call themselves Bay Area Artists Against Genocide, with spurring important conversations about reforms at YBCA.\u003c/p>\n\u003cp>“I think the activists ultimately were successful because they drew attention to the issues at YBCA; they drew attention to the issue that they were actually protesting about,” he said in a video call. “And they brought about ultimate change that will happen with that organization as a result of these bold actions. … This is why civil disobedience and protest and having your voice heard is so important.”\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstators chant during a protest calling for a ceasefire in Gaza at the show ‘Bay Area Now’ at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staff members reveal a schism with leadership\u003c/h2>\n\u003cp>During the April 10 Conservancy board meeting, a handful of YBCA staff members spoke out during public comment, painting an image of broken trust between the art center’s leadership and YBCA workers. The employees said that, even amid leadership changes, they’ve spent years building relationships with artists and the public, and they now feel those relationships are in jeopardy due to the actions of the board and former CEO.\u003c/p>\n\u003cp>Rettew told KQED that he sees rebuilding trust with staff as one of his first priorities. (He declined to comment on recent staff resignations.) He also said that he’s working to make sure the art center fulfills its commitment to the city and its visitors.\u003c/p>\n\u003cp>“I cannot undo decisions that were made, or change what happened,” he said. “What I can do is help this organization move forward with integrity.” [aside postid='arts_13956575']\u003c/p>\n\u003cp>When asked about issues raised in the Feb. 15 protest, Rettew said YBCA would not join the Palestinian Campaign for an Academic and Cultural Boycott of Israel (PACBI), as artists demanded. (The boycott encourages international institutions to divest from Israeli institutions until Israel ends its siege and occupation of Gaza and the West Bank, among other conditions.)\u003c/p>\n\u003cp>When asked if YBCA would take a different approach to political messages in artists’ work, Rettew didn’t specify any changes. But he said that the censorship allegations “remain one of the most challenging and contentious issues of the past few months,” and underscored the institutions’ need to balance artistic expression with curatorial context.\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rettew is now focused on YBCA’s upcoming programming. “I recognize that it is now our job to prove ourselves as a trustworthy partner to the community, and to artists, and the way that we will do that is by doubling down on our commitment to put on engaging and thought-provoking exhibitions, by filling our theater as many nights as possible, by putting together compelling public programs, and by working with our neighbors to continue the important work of bringing people downtown to the Yerba Buena District,” he wrote.\u003c/p>\n\u003cp>YBCA’s next exhibition, a \u003ca href=\"https://ybca.org/ybca-announces-nick-dong-11-to-88-an-immersive-solo-exhibition/\">solo show by Oakland artist Nick Dong\u003c/a>, opens on June 6 and will be on view through Aug. 25. A spring dance festival presented by San Francisco Ballet School is slated for May 22-24; there’s also a free, all-ages art workshop scheduled for May 22.\u003c/p>\n\u003cp>Meanwhile, Remington hopes the Yerba Buena Gardens Conservancy will arrive at a plan of action for YBCA by the fall. The proposed San Francisco Board of Supervisors public hearing on censorship allegations at YBCA has not been scheduled.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new CEO has stepped in to lead \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a> (YBCA), the embattled San Francisco arts organization whose \u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">previous interim CEO abruptly resigned\u003c/a> in March during the fallout of a pro-Palestinian protest.\u003c/p>\n\u003cp>Jim Rettew, the new interim CEO, has previously held five interim leadership roles at various nonprofits. His background as a crisis management expert will be put to the test at YBCA, which has been embroiled in controversy since a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">Feb. 15 protest\u003c/a> during which eight artists spray painted and draped pro-Palestinian messages onto their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13958014\" class=\"wp-caption aligncenter\" style=\"max-width: 906px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg\" alt=\"\" width=\"906\" height=\"1155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg 906w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-768x979.jpg 768w\" sizes=\"auto, (max-width: 906px) 100vw, 906px\">\u003cfigcaption class=\"wp-caption-text\">Jim Rettew is YBCA’s new interim CEO. \u003ccite>(Jim Rettew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the protest, former interim CEO Sara Fenske Bahat and the board closed the galleries, which remained shuttered for a month. In open letters, \u003ca href=\"https://docs.google.com/document/d/1ZAoljeQycemJrzYNDyVoSN0gc6ogp5B3jUzj77qua2g/edit\">artists\u003c/a> and \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">staff\u003c/a> accused YBCA leaders of censorship. Bahat resigned on March 3, citing “antisemitic backlash” and “the actions of some of our own employees” in her letter to the board. (Staff and leadership denied each other’s allegations.) San Francisco Supervisor Hillary Ronen, meanwhile, voiced support for the artists, and proposed an examination of the city’s support of YBCA at an upcoming Board of Supervisors meeting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>YBCA reopened in mid-March, but the turmoil continued. At least nine staff members have resigned in protest, according to employee comments during a public meeting. And YBCA now faces scrutiny from San Francisco’s Director of Cultural Affairs, who has proposed changes that would drastically alter how YBCA operates.\u003c/p>\n\u003cp>In an email interview, Rettew told KQED that he sees rebuilding public trust as one of YBCA’s biggest challenges, and that he’s spent his first few weeks on the job listening to employees.\u003c/p>\n\u003cp>“I’m now using those essential conversations to work with our staff to help deliver on the promises and aspirations of our organization,” he wrote. “I think that in many ways, the protest on Feb. 15 was a reflection of people asking the question: what do people expect from a cultural institution in 2024? We are working tirelessly to try to answer that question, and to create a space that is authentic and valuable to the public.”\u003c/p>\n\u003cfigure id=\"attachment_13954248\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Artists Against Genocide (B.A.A.A.G.) member Paz G displays design options at a screen-printing event artists organized outside of YBCA while the art center was closed in March 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An art center on taxpayer-funded property\u003c/h2>\n\u003cp>YBCA is under particular scrutiny because the private nonprofit enjoys significant, taxpayer-funded subsidies from the City and County of San Francisco. It occupies a city-owned building, rent free, on public land under a contract that’s subject to renewal through 2094. YBCA has also received tens of millions in taxpayer dollars since its founding in 1993; according to its most recent financial report, for fiscal year 2023, about 6% of its revenue and support came from the City and County of San Francisco. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yerba Buena Gardens Conservancy, another nonprofit, manages the YBCA property, acting as an intermediary between YBCA and the city. In exchange for financial support and subsidies, YBCA is contractually obligated to offer “high-quality artistic programming to San Francisco residents and visitors.”\u003c/p>\n\u003cp>At the Conservancy’s most recent public board meeting on April 10, San Francisco’s Director of Cultural Affairs, Ralph Remington, sharply criticized YBCA for what he considers its failure to do so.\u003c/p>\n\u003cp>“With the level of subsidy YBCA receives … they should have been operating and maintaining the cultural facilities in a way that presents themselves as a world-class performing arts presenting, producing, exhibiting organization,” Remington said. “You’d have to go back into the distant past to see when that actually happened.”\u003c/p>\n\u003cfigure id=\"attachment_13958015\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958015\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Director of Cultural Affairs Ralph Remington said YBCA needs to be ‘reined in’ at a recent board meeting. \u003ccite>(Aminda Villa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, YBCA significantly reduced its film programming in 2018 after \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">laying off the two-person department\u003c/a>. In 2020, it launched the \u003ca href=\"https://www.kqed.org/arts/13880296/ybca-launches-artist-power-center-resource-for-financially-struggling-artists\">Artist Power Center\u003c/a>, an online platform meant to connect artists to grants and job opportunities; it has since sunsetted that project.\u003c/p>\n\u003cp>“It turned into some kind of weird thinktank that should’ve been out in the woods somewhere, maybe,” said Remington at the Conservancy board meeting. “But for the level of public subsidy in the middle of the city … YBCA, in my opinion, needs to be reined in.”\u003c/p>\n\u003cp>At the board meeting, Remington contrasted YBCA with SOMArts, a significantly less resourced nonprofit that’s also located in a city-owned building. While YBCA enjoys a spacious, modern, centrally located facility, SOMArts needs significant seismic improvements, and is in a much less desirable location, below a freeway underpass and away from BART and downtown offices. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I would put on the table that we could move SOMArts into YBCA to share with SOMA Pilipinas,” said Remington, referring to another vibrant, less resourced arts organization, “and they could activate the building.”\u003c/p>\n\u003cp>In a follow-up interview, Remington told KQED that these proposals are in their “embryonic” stages. He credited the Feb. 15 protesters, who now call themselves Bay Area Artists Against Genocide, with spurring important conversations about reforms at YBCA.\u003c/p>\n\u003cp>“I think the activists ultimately were successful because they drew attention to the issues at YBCA; they drew attention to the issue that they were actually protesting about,” he said in a video call. “And they brought about ultimate change that will happen with that organization as a result of these bold actions. … This is why civil disobedience and protest and having your voice heard is so important.”\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstators chant during a protest calling for a ceasefire in Gaza at the show ‘Bay Area Now’ at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staff members reveal a schism with leadership\u003c/h2>\n\u003cp>During the April 10 Conservancy board meeting, a handful of YBCA staff members spoke out during public comment, painting an image of broken trust between the art center’s leadership and YBCA workers. The employees said that, even amid leadership changes, they’ve spent years building relationships with artists and the public, and they now feel those relationships are in jeopardy due to the actions of the board and former CEO.\u003c/p>\n\u003cp>Rettew told KQED that he sees rebuilding trust with staff as one of his first priorities. (He declined to comment on recent staff resignations.) He also said that he’s working to make sure the art center fulfills its commitment to the city and its visitors.\u003c/p>\n\u003cp>“I cannot undo decisions that were made, or change what happened,” he said. “What I can do is help this organization move forward with integrity.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When asked about issues raised in the Feb. 15 protest, Rettew said YBCA would not join the Palestinian Campaign for an Academic and Cultural Boycott of Israel (PACBI), as artists demanded. (The boycott encourages international institutions to divest from Israeli institutions until Israel ends its siege and occupation of Gaza and the West Bank, among other conditions.)\u003c/p>\n\u003cp>When asked if YBCA would take a different approach to political messages in artists’ work, Rettew didn’t specify any changes. But he said that the censorship allegations “remain one of the most challenging and contentious issues of the past few months,” and underscored the institutions’ need to balance artistic expression with curatorial context.\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rettew is now focused on YBCA’s upcoming programming. “I recognize that it is now our job to prove ourselves as a trustworthy partner to the community, and to artists, and the way that we will do that is by doubling down on our commitment to put on engaging and thought-provoking exhibitions, by filling our theater as many nights as possible, by putting together compelling public programs, and by working with our neighbors to continue the important work of bringing people downtown to the Yerba Buena District,” he wrote.\u003c/p>\n\u003cp>YBCA’s next exhibition, a \u003ca href=\"https://ybca.org/ybca-announces-nick-dong-11-to-88-an-immersive-solo-exhibition/\">solo show by Oakland artist Nick Dong\u003c/a>, opens on June 6 and will be on view through Aug. 25. A spring dance festival presented by San Francisco Ballet School is slated for May 22-24; there’s also a free, all-ages art workshop scheduled for May 22.\u003c/p>\n\u003cp>Meanwhile, Remington hopes the Yerba Buena Gardens Conservancy will arrive at a plan of action for YBCA by the fall. The proposed San Francisco Board of Supervisors public hearing on censorship allegations at YBCA has not been scheduled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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