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"content": "\u003cp>Books! Zines! Hordes of people! Thursday night saw the opening of the \u003ca href=\"https://sfartbookfair.com/\">SF Art Book Fair\u003c/a>, as much a delight to small-press aficionados as a nightmare for claustrophobics. I can confirm: it was shoulder-to-shoulder \u003cem>packed\u003c/em>.\u003c/p>\n\u003cp>In its seventh year, the fair held at the Minnesota Street Art Project in San Francisco’s Dogpatch district is more popular than ever, underscored by the addition of a second exhibition building (the former McEvoy Foundation for the Arts, up the street). The expansion didn’t alleviate the congestion. It did provide for plenty of exhibitors, however — a total of 145, hawking limited-run books, zines and prints of all styles and subject matter to the beanie-and-tight-jean set.\u003c/p>\n\u003cp>I spent a few hours at the fair, looking for the coolest, weirdest, most intriguing printed matter on offer. Here are eight things that caught my eye.\u003c/p>\n\u003cfigure id=\"attachment_13961365\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mission District,’ published by StreetSalad. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Mission District’\u003c/h2>\n\u003cp>\u003cem>(StreetSalad, $40)\u003c/em>\u003c/p>\n\u003cp>In 1980, out of his shop on 23rd Street in San Francisco, comics legend \u003ca href=\"https://larryrippeeandmollyreaart.blogspot.com/2014/01/gary-arlington.html\">Gary Arlington\u003c/a> began paying neighborhood teenagers to make one-page illustrations. Eventually, he compiled them into a periodical titled \u003cem>The Mission District\u003c/em>, filled with pencil drawings and Chicano-style lettering. Now, StreetSalad’s Tron Martínez has reprinted them, along with the more scrapbook-like \u003cem>Cholo\u003c/em>, out of San José, both perfectly capturing the \u003cem>Teen Angels\u003c/em>-type aesthetic of the cholo and lowrider scenes. As for Gary’s shop, “underground comic book culture really permeated out of there,” said Martínez.\u003c/p>\n\u003cfigure id=\"attachment_13961366\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Emeryville Cool Fun Booklet,’ by Jessalyn Aaland. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Emeryville Cool Fun Booklet’\u003c/h2>\n\u003cp>\u003cem>Jessalyn Aaland (Current Editions, $15)\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2020, four years after moving to Emeryville from Oakland and in the throes of COVID lockdown, Jessalyn Aaland decided to learn more about the history of her new city. Each new rabbit hole resulted in an issue of \u003cem>Emeryville C☺☺L Fun Facts\u003c/em>, a monthly one-page newsletter covering Emeryville’s canneries, labor strikes, 1980s punk scene, public art, streetcar lines and more. With a Risograph printer at home and a pandemic yearning to return to more human ways of connecting, she stapled her insightful, chatty and often hilarious newsletters to poles all around town, adding a phone number at the bottom. \u003cem>Emeryville Cool Fun Booklet\u003c/em> compiles all nine issues, along with responses from readers who called the number. (“An older woman was like, ‘I live alone,’ and told me stories about her landlord,” Aaland said.) I brought it home and devoured it in one sitting.\u003c/p>\n\u003cfigure id=\"attachment_13961364\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Invisible,’ by Barbara Stauffacher Solomon. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Invisible’\u003c/h2>\n\u003cp>\u003cem>Barbara Stauffacher Solomon (Colpa Press, $40)\u003c/em>\u003c/p>\n\u003cp>When Colpa Press’ Luca Antonucci first met \u003ca href=\"https://www.kqed.org/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary\">supergraphics pioneer\u003c/a> Barbara Stauffacher Solomon, she was making her own books at Kinko’s in San Francisco. Now, two months after \u003ca href=\"https://www.nytimes.com/2024/05/08/arts/design/barbara-stauffacher-solomon-dead.html\">Solomon’s death at age 95\u003c/a>, he’s printed their fifth and final book together, spiral-bound in an edition of 200. Made of collages that Stauffacher Solomon cut and pasted directly to a \u003ca href=\"https://www.peopleofprint.com/exhibition/the-swiss-grid/\">Swiss Grid\u003c/a>, \u003cem>The Invisible\u003c/em> was turned in by Stauffacher Solomon just two weeks before her death in May — along with attached instructional notes, handwritten, which Antonucci opted to include. “Scanning them was super emotional,” he said, “almost as if she was talking to me from beyond the grave.”\u003c/p>\n\u003cfigure id=\"attachment_13961371\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘You’re Gonna Miss Me / For Your Love,’ by the Tymes 5. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘You’re Gonna Miss Me / For Your Love’\u003c/h2>\n\u003cp>\u003cem>(The Tymes 5 feat. Michael Jang, $16)\u003c/em>\u003c/p>\n\u003cp>Visitors to this year’s fair may notice a large wheatpaste nearby at 23rd and Tennessee, the handiwork of the dizzingly prolific \u003ca href=\"https://www.kqed.org/arts/13958762/who-is-michael-jang-documentary-michael-jacobs-sf-docfest\">Michael Jang\u003c/a>. A San Francisco photographer, street artist and subtle prankster, Jang once also… \u003cem>played in a 1960s garage band\u003c/em>?! Here’s the proof: a 7″ of The Tymes 5, for which Jang played guitar, recorded in 1965. Covering songs by the 13th Floor Elevators and the Zombies, the band is out of tune, the vocals are overblown, the tempo-challenged drums sound like cardboard boxes. It’s great! “They’ve been selling like crazy — more than we expected,” said Park Life’s Saffron Munkres. The huge wheatpasted advertisement down the street probably doesn’t hurt.\u003c/p>\n\u003cfigure id=\"attachment_13961362\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Bodega Rider,’ by Martha Naranjo Sandoval. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Bodega Rider’\u003c/h2>\n\u003cp>\u003cem>Martha Naranjo Sandoval (Matarile Ediciones, $14)\u003c/em>\u003c/p>\n\u003cp>Not everything at the SF Art Book Fair is local. Distributed by Brooklyn’s Seaton Street Press, this photo zine contains the artist’s self-portraits on coin-operated sidewalk rides outside bodegas in New York City. What captivated me were the range of emotions on Naranjo Sandoval’s face while revisiting these childhood sources of joy: excitement at seeing them, nostalgia for what they once provided, sadness at their decreasing prominence, frustration at aging out of simple pleasures. “She’s publishing for immigrants, specifically, in the diaspora,” said Seaton Street’s Lindsay Buchman, but anyone who spent 90 seconds and 50¢ on a bucking horse stationed outside a storefront will relate.\u003c/p>\n\u003cfigure id=\"attachment_13961368\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘How to Art Book Fair,’ by Paul Shortt \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘How to Art Book Fair’\u003c/h2>\n\u003cp>\u003cem>Paul Shortt (Shortt Editions, $10)\u003c/em>\u003c/p>\n\u003cp>Talk about meta! This guide to art book fairs was being sold at the art book fair by Paul Shortt, who’d woken up Thursday morning at 3:30 a.m. in Florida before flying to San Francisco. “There’s a lot of books that teach you how to make books,” he said, “and not a lot of books that teach you how to \u003cem>sell\u003c/em> books.” (He should know; he’s been to over 50 art book fairs in the past decade.) I’d assumed this zine would be a snarky troll on art book fairs, but no — it’s a practical guide to their ins and outs, drawn from Shortt’s experiences as a vendor (“I’m very clear in the book about my own failures,” he quipped), and input from other veterans of the scene. Most of the advice is uber-specific, while some is refreshingly simple, like “don’t be a jerk.”\u003c/p>\n\u003cfigure id=\"attachment_13961369\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘If You Listen, Music Will Find You: 35mm Photographs of the Bay Area Underground,’ by Ezra Gonzalez. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘If You Listen, Music Will Find You: 35mm Photographs of the Bay Area Underground’\u003c/h2>\n\u003cp>\u003cem>Ezra Gonzalez (Nematode, $30 each)\u003c/em>\u003c/p>\n\u003cp>It’s a guarantee that your older punk friends have complained that music sucks now, or that the scene is dead. To which I always say: go to more shows! Now, there’s a tangible document to rebut those beardy, complainy denim-vest dudes: under the namesake \u003ca href=\"https://www.instagram.com/nematodeworld/\">Nematode\u003c/a>, Bay Area photographer Ezra Gonzalez has published two volumes documenting the local underground music scene. Spanning 2018–2020 and 2021–2023, the photos contain a few recognizable spots (Eli’s Mile High Club, the Rickshaw Stop), but most come from shows at basements, sidewalks and house parties. “It’s been really fun since we got them,” says Matt Brownell, co-owner of \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a> in Oakland. “People pick up the book and say ‘I was at this show!'” Here’s to more photo books documenting the Bay Area’s rich DIY punk scene. (Please do it, \u003ca href=\"https://www.instagram.com/robcoonsphotography/?hl=en\">Rob Coons\u003c/a>!)\u003c/p>\n\u003cfigure id=\"attachment_13961370\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Advertising Shits in Your Head: Strategies for Resistance,’ by Vyvian Raoul and Matt Bonner. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Advertising Shits in Your Head: Strategies for Resistance’\u003c/h2>\n\u003cp>\u003cem>Vyvian Raoul and Matt Bonner (PM Press, $15.95)\u003c/em>\u003c/p>\n\u003cp>While wandering around the Art Book Fair, it’s easy to be seduced by eye-catching book titles (\u003cem>What Is Post-Branding?\u003c/em>, \u003cem>8-Bit Porn Video Games\u003c/em>, \u003cem>Uncreative Writing\u003c/em> by Taylor Swift). Some of these clever titles deliver on their promises, while many do not. This is, in effect, a microcosm of the advertising world! So I was glad to discover that \u003cem>Advertising Shits in Your Head\u003c/em> is backed up by substance as well as humor. Along with a primer on how advertising intrudes on our daily mental lives, the book focuses on “subvertising” — the art of altering, remixing or defacing billboard and poster ads. “A lot of these things, like bus kiosks, are easy to get into. And if it looks like it belongs there, it’ll stay there for a while,” says Dan from Oakland’s PM Press. “It’s a public space! Use it for your own means!”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The SF Art Book Fair continues daily through Sunday, July 21 at the Minnesota Street Project in San Francisco. Admission is free. \u003ca href=\"https://sfartbookfair.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Books! Zines! Hordes of people! Thursday night saw the opening of the \u003ca href=\"https://sfartbookfair.com/\">SF Art Book Fair\u003c/a>, as much a delight to small-press aficionados as a nightmare for claustrophobics. I can confirm: it was shoulder-to-shoulder \u003cem>packed\u003c/em>.\u003c/p>\n\u003cp>In its seventh year, the fair held at the Minnesota Street Art Project in San Francisco’s Dogpatch district is more popular than ever, underscored by the addition of a second exhibition building (the former McEvoy Foundation for the Arts, up the street). The expansion didn’t alleviate the congestion. It did provide for plenty of exhibitors, however — a total of 145, hawking limited-run books, zines and prints of all styles and subject matter to the beanie-and-tight-jean set.\u003c/p>\n\u003cp>I spent a few hours at the fair, looking for the coolest, weirdest, most intriguing printed matter on offer. Here are eight things that caught my eye.\u003c/p>\n\u003cfigure id=\"attachment_13961365\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8219-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mission District,’ published by StreetSalad. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Mission District’\u003c/h2>\n\u003cp>\u003cem>(StreetSalad, $40)\u003c/em>\u003c/p>\n\u003cp>In 1980, out of his shop on 23rd Street in San Francisco, comics legend \u003ca href=\"https://larryrippeeandmollyreaart.blogspot.com/2014/01/gary-arlington.html\">Gary Arlington\u003c/a> began paying neighborhood teenagers to make one-page illustrations. Eventually, he compiled them into a periodical titled \u003cem>The Mission District\u003c/em>, filled with pencil drawings and Chicano-style lettering. Now, StreetSalad’s Tron Martínez has reprinted them, along with the more scrapbook-like \u003cem>Cholo\u003c/em>, out of San José, both perfectly capturing the \u003cem>Teen Angels\u003c/em>-type aesthetic of the cholo and lowrider scenes. As for Gary’s shop, “underground comic book culture really permeated out of there,” said Martínez.\u003c/p>\n\u003cfigure id=\"attachment_13961366\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8225-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Emeryville Cool Fun Booklet,’ by Jessalyn Aaland. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Emeryville Cool Fun Booklet’\u003c/h2>\n\u003cp>\u003cem>Jessalyn Aaland (Current Editions, $15)\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2020, four years after moving to Emeryville from Oakland and in the throes of COVID lockdown, Jessalyn Aaland decided to learn more about the history of her new city. Each new rabbit hole resulted in an issue of \u003cem>Emeryville C☺☺L Fun Facts\u003c/em>, a monthly one-page newsletter covering Emeryville’s canneries, labor strikes, 1980s punk scene, public art, streetcar lines and more. With a Risograph printer at home and a pandemic yearning to return to more human ways of connecting, she stapled her insightful, chatty and often hilarious newsletters to poles all around town, adding a phone number at the bottom. \u003cem>Emeryville Cool Fun Booklet\u003c/em> compiles all nine issues, along with responses from readers who called the number. (“An older woman was like, ‘I live alone,’ and told me stories about her landlord,” Aaland said.) I brought it home and devoured it in one sitting.\u003c/p>\n\u003cfigure id=\"attachment_13961364\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8218-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘The Invisible,’ by Barbara Stauffacher Solomon. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Invisible’\u003c/h2>\n\u003cp>\u003cem>Barbara Stauffacher Solomon (Colpa Press, $40)\u003c/em>\u003c/p>\n\u003cp>When Colpa Press’ Luca Antonucci first met \u003ca href=\"https://www.kqed.org/arts/13957530/barbara-stauffacher-solomon-supergraphics-obituary\">supergraphics pioneer\u003c/a> Barbara Stauffacher Solomon, she was making her own books at Kinko’s in San Francisco. Now, two months after \u003ca href=\"https://www.nytimes.com/2024/05/08/arts/design/barbara-stauffacher-solomon-dead.html\">Solomon’s death at age 95\u003c/a>, he’s printed their fifth and final book together, spiral-bound in an edition of 200. Made of collages that Stauffacher Solomon cut and pasted directly to a \u003ca href=\"https://www.peopleofprint.com/exhibition/the-swiss-grid/\">Swiss Grid\u003c/a>, \u003cem>The Invisible\u003c/em> was turned in by Stauffacher Solomon just two weeks before her death in May — along with attached instructional notes, handwritten, which Antonucci opted to include. “Scanning them was super emotional,” he said, “almost as if she was talking to me from beyond the grave.”\u003c/p>\n\u003cfigure id=\"attachment_13961371\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8258-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘You’re Gonna Miss Me / For Your Love,’ by the Tymes 5. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘You’re Gonna Miss Me / For Your Love’\u003c/h2>\n\u003cp>\u003cem>(The Tymes 5 feat. Michael Jang, $16)\u003c/em>\u003c/p>\n\u003cp>Visitors to this year’s fair may notice a large wheatpaste nearby at 23rd and Tennessee, the handiwork of the dizzingly prolific \u003ca href=\"https://www.kqed.org/arts/13958762/who-is-michael-jang-documentary-michael-jacobs-sf-docfest\">Michael Jang\u003c/a>. A San Francisco photographer, street artist and subtle prankster, Jang once also… \u003cem>played in a 1960s garage band\u003c/em>?! Here’s the proof: a 7″ of The Tymes 5, for which Jang played guitar, recorded in 1965. Covering songs by the 13th Floor Elevators and the Zombies, the band is out of tune, the vocals are overblown, the tempo-challenged drums sound like cardboard boxes. It’s great! “They’ve been selling like crazy — more than we expected,” said Park Life’s Saffron Munkres. The huge wheatpasted advertisement down the street probably doesn’t hurt.\u003c/p>\n\u003cfigure id=\"attachment_13961362\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8209-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Bodega Rider,’ by Martha Naranjo Sandoval. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Bodega Rider’\u003c/h2>\n\u003cp>\u003cem>Martha Naranjo Sandoval (Matarile Ediciones, $14)\u003c/em>\u003c/p>\n\u003cp>Not everything at the SF Art Book Fair is local. Distributed by Brooklyn’s Seaton Street Press, this photo zine contains the artist’s self-portraits on coin-operated sidewalk rides outside bodegas in New York City. What captivated me were the range of emotions on Naranjo Sandoval’s face while revisiting these childhood sources of joy: excitement at seeing them, nostalgia for what they once provided, sadness at their decreasing prominence, frustration at aging out of simple pleasures. “She’s publishing for immigrants, specifically, in the diaspora,” said Seaton Street’s Lindsay Buchman, but anyone who spent 90 seconds and 50¢ on a bucking horse stationed outside a storefront will relate.\u003c/p>\n\u003cfigure id=\"attachment_13961368\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8235-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘How to Art Book Fair,’ by Paul Shortt \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘How to Art Book Fair’\u003c/h2>\n\u003cp>\u003cem>Paul Shortt (Shortt Editions, $10)\u003c/em>\u003c/p>\n\u003cp>Talk about meta! This guide to art book fairs was being sold at the art book fair by Paul Shortt, who’d woken up Thursday morning at 3:30 a.m. in Florida before flying to San Francisco. “There’s a lot of books that teach you how to make books,” he said, “and not a lot of books that teach you how to \u003cem>sell\u003c/em> books.” (He should know; he’s been to over 50 art book fairs in the past decade.) I’d assumed this zine would be a snarky troll on art book fairs, but no — it’s a practical guide to their ins and outs, drawn from Shortt’s experiences as a vendor (“I’m very clear in the book about my own failures,” he quipped), and input from other veterans of the scene. Most of the advice is uber-specific, while some is refreshingly simple, like “don’t be a jerk.”\u003c/p>\n\u003cfigure id=\"attachment_13961369\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8238-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘If You Listen, Music Will Find You: 35mm Photographs of the Bay Area Underground,’ by Ezra Gonzalez. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘If You Listen, Music Will Find You: 35mm Photographs of the Bay Area Underground’\u003c/h2>\n\u003cp>\u003cem>Ezra Gonzalez (Nematode, $30 each)\u003c/em>\u003c/p>\n\u003cp>It’s a guarantee that your older punk friends have complained that music sucks now, or that the scene is dead. To which I always say: go to more shows! Now, there’s a tangible document to rebut those beardy, complainy denim-vest dudes: under the namesake \u003ca href=\"https://www.instagram.com/nematodeworld/\">Nematode\u003c/a>, Bay Area photographer Ezra Gonzalez has published two volumes documenting the local underground music scene. Spanning 2018–2020 and 2021–2023, the photos contain a few recognizable spots (Eli’s Mile High Club, the Rickshaw Stop), but most come from shows at basements, sidewalks and house parties. “It’s been really fun since we got them,” says Matt Brownell, co-owner of \u003ca href=\"https://coneshapetop.com/\">Cone Shape Top\u003c/a> in Oakland. “People pick up the book and say ‘I was at this show!'” Here’s to more photo books documenting the Bay Area’s rich DIY punk scene. (Please do it, \u003ca href=\"https://www.instagram.com/robcoonsphotography/?hl=en\">Rob Coons\u003c/a>!)\u003c/p>\n\u003cfigure id=\"attachment_13961370\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13961370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/IMG_8244-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Advertising Shits in Your Head: Strategies for Resistance,’ by Vyvian Raoul and Matt Bonner. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Advertising Shits in Your Head: Strategies for Resistance’\u003c/h2>\n\u003cp>\u003cem>Vyvian Raoul and Matt Bonner (PM Press, $15.95)\u003c/em>\u003c/p>\n\u003cp>While wandering around the Art Book Fair, it’s easy to be seduced by eye-catching book titles (\u003cem>What Is Post-Branding?\u003c/em>, \u003cem>8-Bit Porn Video Games\u003c/em>, \u003cem>Uncreative Writing\u003c/em> by Taylor Swift). Some of these clever titles deliver on their promises, while many do not. This is, in effect, a microcosm of the advertising world! So I was glad to discover that \u003cem>Advertising Shits in Your Head\u003c/em> is backed up by substance as well as humor. Along with a primer on how advertising intrudes on our daily mental lives, the book focuses on “subvertising” — the art of altering, remixing or defacing billboard and poster ads. “A lot of these things, like bus kiosks, are easy to get into. And if it looks like it belongs there, it’ll stay there for a while,” says Dan from Oakland’s PM Press. “It’s a public space! Use it for your own means!”\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>The SF Art Book Fair continues daily through Sunday, July 21 at the Minnesota Street Project in San Francisco. Admission is free. \u003ca href=\"https://sfartbookfair.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-pocha-late-night-korean-pub-bossam-army-stew-sf",
"title": "Bay Pocha Was Made for a Late-Night Feast With Friends",
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"headTitle": "Bay Pocha Was Made for a Late-Night Feast With Friends | KQED",
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"content": "\u003cfigure id=\"attachment_13961332\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-1.jpg\" alt=\"Illustration: One diner at a Korean restaurant shoves a lettuce wrap into his mouth while another eats noodles from a pot of stew.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bay Pocha sets itself apart from the crowd of Korean pubs by serving big, shareable, celebratory dishes like its bossam (pork belly wraps). The San Francisco restaurant is open until 1 a.m. on weekends. \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>Back in college, my friends and I would eat at the Fontainbleau Diner in Piscataway, New Jersey, every Thursday night after our weekly club meeting. This meant 10 or 20 of us, mostly Asian American, rolling in at 10 p.m. to commandeer a row of pushed-together two-tops. We were loud and giddy, reveling in our Monte Cristos, chicken fingers and root beer floats.\u003c/p>\n\u003cp>Unfortunately, here in the Bay Area, a lot of the late-night restaurants aren’t built for that kind of large-group merrymaking — not when you’re squished up at a \u003ca href=\"https://www.kqed.org/arts/13957143/late-night-japanese-whisky-highball-karaage-sunnyvale-nokori\">tiny bar counter\u003c/a> or, in some cases, there \u003ca href=\"https://www.kqed.org/arts/13959808/golden-boy-pizza-north-beach-sf-late-night\">isn’t any seating at all\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://baypocha.menu11.com/\">Bay Pocha\u003c/a>, a Korean pub on Ocean Avenue near Stonestown, is the exception that proves the rule. Even though it isn’t a particularly big restaurant, a long communal table, spacious enough to fit 20 people, runs down the center of the dining room, and the menu skews toward hearty, shareable dishes: bubbling stews and hot pots, and big platters piled high with braised and stir-fried meats.\u003c/p>\n\u003cp>Named after Korea’s famed “pocha” (or \u003ca href=\"https://la.eater.com/2020/8/13/21366722/koreatown-pojangmacha-street-food-parking-look-outdoor-dining-los-angeles\">pojangmacha\u003c/a>) street carts and semi-outdoor food stalls, Bay Pocha has a similar aesthetic to \u003ca href=\"https://www.kqed.org/arts/13952823/zzan-korean-fried-chicken-late-night-san-francisco\">other Korean pubs in the Bay Area\u003c/a> with its cheery K-pop soundtrack and neon-lit signs advertising soju and Korean beer brands. On weekends, it’s open until 1 a.m. and, on a recent Friday night, it only seemed to get busier and more rambunctious as the night got later.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The broad menu runs through the greatest hits of the kind of booze-friendly food you would find at your standard Bay Area soju bang: Korean fried chicken, cheese corn, tteokbokki. But where Bay Pocha sets itself apart is in its selection of big, celebratory dishes — the kind you’re surprised and delighted to be able to share with a group of friends at 11 o’clock at night. That includes harder-to-find dishes like spicy stir-fried chicken feet and jokbal, a.k.a. braised pig trotters, which Bay Pocha offers in both spicy and non-spicy versions.\u003c/p>\n\u003cfigure id=\"attachment_13961334\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-2.jpg\" alt='Illustration: Facade of a Korean restaurant; the sign reads, \"Bay Pocha.\"' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant is perfect for a late meal with a big group of friends. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But we had mainly come for the hidden star of the menu, the bossam, or braised pork belly wraps, which is probably the dish Bay Pocha is best known for, even though it isn’t listed on the menu — you have to know to ask for it. It’s a huge platter of tender, fatty meat, cut into thick slices and fanned out like a beautiful flower, with a salad of thinly slivered scallions piled in the center. Make sure you also order the ssam set — a plate of lettuce, raw and pickled jalapeños, raw garlic and spicy ssamjang sauce — so that you can eat the pork belly Korean-style, as lettuce wraps.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13961051,arts_13959808,arts_13956218']\u003c/span>\u003c/span>For each ssam, you’ll want a couple of slices of pork, a tangle of scallion salad, a smear of ssamjang, maybe some kimchi and, if you’re like me, an unconscionable amount of garlic. Build each wrap on your plate or do it “freestyle,” the way I learned from watching too many Korean dramas, holding the lettuce leaf in front of your mouth like you’re setting a trap, then \u003ca href=\"https://www.tiktok.com/@plumsoju/video/6799690626007977221?lang=en\">chopsticking all of the other ingredients into the leaf in one smooth motion\u003c/a>. Take it down in one bite if you can. Either way, the result is delicious — unctuous and meaty, spicy and sharp, with enough freshness from the lettuce that you don’t feel weighed down.\u003c/p>\n\u003cp>The other thing the restaurant does well is its ample selection of shareable stews and hot pots, the most striking of which is the army stew, or budae jjigae, a Korean pub staple whose use of American processed foods has its \u003ca href=\"https://www.atlasobscura.com/foods/budae-jjigae-army-stew-spam\">roots in the U.S. post-war military occupation of South Korea\u003c/a>. At Bay Pocha, they light up a portable gas burner, then bring the big pot of bubbling red broth to your table to finish cooking. The soup comes loaded with spicy pork, Spam, sliced up hot dogs, onions, kimchi, tofu, two different kinds of rice cakes, and a big block of instant ramen topped with two slices of American cheese. It is \u003ci>a lot\u003c/i>. But for us, it was pure comfort food. The salty, spicy broth got more and more flavorful as the night went on, and with some white rice on the side to soak up the soup, we stretched the leftovers into two more meals.\u003c/p>\n\u003cp>As if on cue, toward the end of the night, a boisterous, Cantonese-speaking adult volleyball or baseball team in matching red jackets came in and spread themselves out at the long communal table — the same kind of squad I’d go on those late-night diner runs with in college. They were celebrating, or consoling themselves, with a bubbling pot of galbijjim (short rib stew) that the server ceremoniously scorched with a blow torch until the cheese on top was brown-speckled and melty. I wasn’t sure how their night had gone up until then, but it seemed clear that they were ending it in the best possible way.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/baypocha/\">\u003ci>Bay Pocha\u003c/i>\u003c/a>\u003ci> is located at 2642 Ocean Ave. in San Francisco. The restaurant is open Monday through Thursday from 5 p.m.–midnight, Friday and Saturday 5 p.m.–1 a.m. and Sunday 5–11:30 p.m.; it’s also open for lunch 11 a.m.–2 p.m. daily.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13961332\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961332\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-1.jpg\" alt=\"Illustration: One diner at a Korean restaurant shoves a lettuce wrap into his mouth while another eats noodles from a pot of stew.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-1-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bay Pocha sets itself apart from the crowd of Korean pubs by serving big, shareable, celebratory dishes like its bossam (pork belly wraps). The San Francisco restaurant is open until 1 a.m. on weekends. \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>Back in college, my friends and I would eat at the Fontainbleau Diner in Piscataway, New Jersey, every Thursday night after our weekly club meeting. This meant 10 or 20 of us, mostly Asian American, rolling in at 10 p.m. to commandeer a row of pushed-together two-tops. We were loud and giddy, reveling in our Monte Cristos, chicken fingers and root beer floats.\u003c/p>\n\u003cp>Unfortunately, here in the Bay Area, a lot of the late-night restaurants aren’t built for that kind of large-group merrymaking — not when you’re squished up at a \u003ca href=\"https://www.kqed.org/arts/13957143/late-night-japanese-whisky-highball-karaage-sunnyvale-nokori\">tiny bar counter\u003c/a> or, in some cases, there \u003ca href=\"https://www.kqed.org/arts/13959808/golden-boy-pizza-north-beach-sf-late-night\">isn’t any seating at all\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://baypocha.menu11.com/\">Bay Pocha\u003c/a>, a Korean pub on Ocean Avenue near Stonestown, is the exception that proves the rule. Even though it isn’t a particularly big restaurant, a long communal table, spacious enough to fit 20 people, runs down the center of the dining room, and the menu skews toward hearty, shareable dishes: bubbling stews and hot pots, and big platters piled high with braised and stir-fried meats.\u003c/p>\n\u003cp>Named after Korea’s famed “pocha” (or \u003ca href=\"https://la.eater.com/2020/8/13/21366722/koreatown-pojangmacha-street-food-parking-look-outdoor-dining-los-angeles\">pojangmacha\u003c/a>) street carts and semi-outdoor food stalls, Bay Pocha has a similar aesthetic to \u003ca href=\"https://www.kqed.org/arts/13952823/zzan-korean-fried-chicken-late-night-san-francisco\">other Korean pubs in the Bay Area\u003c/a> with its cheery K-pop soundtrack and neon-lit signs advertising soju and Korean beer brands. On weekends, it’s open until 1 a.m. and, on a recent Friday night, it only seemed to get busier and more rambunctious as the night got later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The broad menu runs through the greatest hits of the kind of booze-friendly food you would find at your standard Bay Area soju bang: Korean fried chicken, cheese corn, tteokbokki. But where Bay Pocha sets itself apart is in its selection of big, celebratory dishes — the kind you’re surprised and delighted to be able to share with a group of friends at 11 o’clock at night. That includes harder-to-find dishes like spicy stir-fried chicken feet and jokbal, a.k.a. braised pig trotters, which Bay Pocha offers in both spicy and non-spicy versions.\u003c/p>\n\u003cfigure id=\"attachment_13961334\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13961334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-2.jpg\" alt='Illustration: Facade of a Korean restaurant; the sign reads, \"Bay Pocha.\"' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Untitled_Artwork-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant is perfect for a late meal with a big group of friends. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But we had mainly come for the hidden star of the menu, the bossam, or braised pork belly wraps, which is probably the dish Bay Pocha is best known for, even though it isn’t listed on the menu — you have to know to ask for it. It’s a huge platter of tender, fatty meat, cut into thick slices and fanned out like a beautiful flower, with a salad of thinly slivered scallions piled in the center. Make sure you also order the ssam set — a plate of lettuce, raw and pickled jalapeños, raw garlic and spicy ssamjang sauce — so that you can eat the pork belly Korean-style, as lettuce wraps.\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>For each ssam, you’ll want a couple of slices of pork, a tangle of scallion salad, a smear of ssamjang, maybe some kimchi and, if you’re like me, an unconscionable amount of garlic. Build each wrap on your plate or do it “freestyle,” the way I learned from watching too many Korean dramas, holding the lettuce leaf in front of your mouth like you’re setting a trap, then \u003ca href=\"https://www.tiktok.com/@plumsoju/video/6799690626007977221?lang=en\">chopsticking all of the other ingredients into the leaf in one smooth motion\u003c/a>. Take it down in one bite if you can. Either way, the result is delicious — unctuous and meaty, spicy and sharp, with enough freshness from the lettuce that you don’t feel weighed down.\u003c/p>\n\u003cp>The other thing the restaurant does well is its ample selection of shareable stews and hot pots, the most striking of which is the army stew, or budae jjigae, a Korean pub staple whose use of American processed foods has its \u003ca href=\"https://www.atlasobscura.com/foods/budae-jjigae-army-stew-spam\">roots in the U.S. post-war military occupation of South Korea\u003c/a>. At Bay Pocha, they light up a portable gas burner, then bring the big pot of bubbling red broth to your table to finish cooking. The soup comes loaded with spicy pork, Spam, sliced up hot dogs, onions, kimchi, tofu, two different kinds of rice cakes, and a big block of instant ramen topped with two slices of American cheese. It is \u003ci>a lot\u003c/i>. But for us, it was pure comfort food. The salty, spicy broth got more and more flavorful as the night went on, and with some white rice on the side to soak up the soup, we stretched the leftovers into two more meals.\u003c/p>\n\u003cp>As if on cue, toward the end of the night, a boisterous, Cantonese-speaking adult volleyball or baseball team in matching red jackets came in and spread themselves out at the long communal table — the same kind of squad I’d go on those late-night diner runs with in college. They were celebrating, or consoling themselves, with a bubbling pot of galbijjim (short rib stew) that the server ceremoniously scorched with a blow torch until the cheese on top was brown-speckled and melty. I wasn’t sure how their night had gone up until then, but it seemed clear that they were ending it in the best possible way.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/baypocha/\">\u003ci>Bay Pocha\u003c/i>\u003c/a>\u003ci> is located at 2642 Ocean Ave. in San Francisco. The restaurant is open Monday through Thursday from 5 p.m.–midnight, Friday and Saturday 5 p.m.–1 a.m. and Sunday 5–11:30 p.m.; it’s also open for lunch 11 a.m.–2 p.m. daily.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Presidio’s popular Tunnel Tops Park will be home to a new food hall in 2025, park operators announced Tuesday. \u003c/p>\n\u003cp>\u003ca href=\"http://www.messhallpresidio.com\">The Mess Hall\u003c/a>, in a building adjacent to the park, will house a food hall, bar, cafe and retail market, scheduled to be open each day from 8 a.m. to 8 p.m. It will be located at 201 Halleck St., with the park’s signature views of the Golden Gate Bridge, the Marin Headlands and Alcatraz. \u003c/p>\n\u003cp>While no specific tenants for The Mess Hall have been announced, the Presidio Trust, which operates the park, expects the hall to sell “fast-casual made-to-order meals, grab-and-go prepared options, and a provisions market featuring local specialties, imported favorites, and picnic essentials.”\u003c/p>\n\u003cp>[aside postID='news_11988111']Two out-of-towners have been brought on in key positions. Heading the Mess Hall’s food side is the James Beard Award–winning, Korean American chef \u003ca href=\"https://www.instagram.com/serpicopter/?hl=en\">Peter Serpico\u003c/a>, formerly of Momofuko, as well as his own restaurant, Serpico, in Philadelphia. In charge of the bar is Zach Negin, an owner of the Los Angeles bar Tabula Rasa and the Silverlake Lounge, a live music venue. (Negin is also a partner in San Francisco’s Dolores Deluxe, a corner store in the Mission.) \u003c/p>\n\u003cp>The Mess Hall also operates \u003ca href=\"https://www.messhallmarketoc.com/\">another location\u003c/a> in Orange County. Other current food options adjacent to Tunnel Tops Park include Il Parco, the Italian cafe that specializes in foccacia sourdough pizza, and the Presidio Pop-Up, a regular rotation of food trucks. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Presidio’s popular Tunnel Tops Park will be home to a new food hall in 2025, park operators announced Tuesday. \u003c/p>\n\u003cp>\u003ca href=\"http://www.messhallpresidio.com\">The Mess Hall\u003c/a>, in a building adjacent to the park, will house a food hall, bar, cafe and retail market, scheduled to be open each day from 8 a.m. to 8 p.m. It will be located at 201 Halleck St., with the park’s signature views of the Golden Gate Bridge, the Marin Headlands and Alcatraz. \u003c/p>\n\u003cp>While no specific tenants for The Mess Hall have been announced, the Presidio Trust, which operates the park, expects the hall to sell “fast-casual made-to-order meals, grab-and-go prepared options, and a provisions market featuring local specialties, imported favorites, and picnic essentials.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Two out-of-towners have been brought on in key positions. Heading the Mess Hall’s food side is the James Beard Award–winning, Korean American chef \u003ca href=\"https://www.instagram.com/serpicopter/?hl=en\">Peter Serpico\u003c/a>, formerly of Momofuko, as well as his own restaurant, Serpico, in Philadelphia. In charge of the bar is Zach Negin, an owner of the Los Angeles bar Tabula Rasa and the Silverlake Lounge, a live music venue. (Negin is also a partner in San Francisco’s Dolores Deluxe, a corner store in the Mission.) \u003c/p>\n\u003cp>The Mess Hall also operates \u003ca href=\"https://www.messhallmarketoc.com/\">another location\u003c/a> in Orange County. Other current food options adjacent to Tunnel Tops Park include Il Parco, the Italian cafe that specializes in foccacia sourdough pizza, and the Presidio Pop-Up, a regular rotation of food trucks. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">San Francisco-born artist Paul Solis\u003c/a> first fell in love with hip-hop and basketball as a youth who grew up on the Peninsula during the mall-going culture of the ’90s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back then, Raekwon and Ghostface Killah of the indomitable Wu-Tang Clan were two of the flyest humans to traverse the planet. With tri-colored Polo jackets, Nike visors, baggy jeans and wheat-hued Timberland stompers, the rappers helped to define a New York street aesthetic that is still heralded in fashion circles today. \u003c/span>\u003cspan style=\"font-weight: 400\">Meanwhile, saucy NBA players like Penny Hardaway, Jason Kidd and Charles Barkley began rocking signature pairs of Nikes and revolutionizing the way athletes could express themselves off the court.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis grew obsessed with it all, regularly visiting shops where he could baptize himself in the freshest gear. His go-to spot became Niketown on Post Street, where he would camp out overnight for sought-after footwear and apparel.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LLJdIK6PAbM\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis — whose hip-hop nom de guerre is \u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">JustPaulNow\u003c/a> — has stitched that energy into his most recent album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(named after Nike’s timeless insignia). \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The 11-track project is a sentimental look at the MC’s childhood fascination-turned-spending addiction. Each song is titled after a specific sneaker — or a sneaker-related memory — in Solis’ collection. The Devin Booker 1s. The Air Force 180s. The Uptempos.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960756\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960756\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg\" alt=\"a group of three rappers stand outside in San Francisco-themed apparel\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">ShootYourShot Records co-founders Charles “CeeRock” Ubungen (right) and Paul “JustPaulNow” Solis (center) stand with Fredo Algebra (left) outside of their studio in South San Francisco. \u003ccite>(@80_west_collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Produced by New Zealand’s uber-smooth Kowhai, who connected with Solis online, \u003cem>Swoosh Pack\u003c/em> features Union City battle rapper \u003ca href=\"https://www.instagram.com/fredoalgebra/?hl=en\">Fredo Algebra\u003c/a>, Frisco spitter \u003ca href=\"https://twitter.com/jbillion\">J-Billion\u003c/a> and Solis’ longtime childhood friend, Charles “\u003ca href=\"https://www.instagram.com/ceerock/reels/?locale=%25E5%2588%25B6%25E4%25BD%259C%25E4%25B8%2580%25E4%25B8%25AA%25E9%2598%25BF%25E8%2581%25944%25E9%2585%258BPSGobank%25E9%2593%25B6%25E8%25A1%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597dGXbi%7B%3F%3F%3F%3F1%7DRvPtN%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253Aw.instagram.com%2Fbluegodzi%2F%3Flocale%3D%25E5%2588%25B6%25E4%25BD%259C%25E4%25B8%2580%25E4%25B8%25AA%25E9%2598%25BF%25E8%2581%2594%25E9%2585%258BPSGobank%25E9%2593%25B6%25E8%25A1%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597dGXbi%7B%3F%3F%3F%3F1%7D1VzTx\">CeeRock\u003c/a>” Ubungen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> The LP is a trademark collaboration with Ubungen, who is also a sound engineer and videographer. \u003c/span>It’s not the homegrown duo’s first effort, though. Together, they’ve been \u003cspan style=\"font-weight: 400\">dabbling in Golden Era, boom-bap music and showcasing the Peninsula’s fashion-driven subculture.\u003c/span>\u003c/p>\n\u003ch2>Music meets fashion at Shoot Your Shot Records\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis and Ubungen have known each other since adolescence, and have been in the local circuit for decades. They’ve performed alongside national acts like Curren$y and The Cool Kids, and have established themselves as de facto Bay Area shopping plugs for artists on tour here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 2018, Solis and Ubungen co-founded \u003c/span>\u003ca href=\"https://www.instagram.com/shootyourshotrecords/\">\u003cspan style=\"font-weight: 400\">Shoot Your Shot Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Together, they run the independent label from a DIY studio located on the poetically named Victory Avenue in South San Francisco. It’s where they record music and film a live series called “\u003ca href=\"https://www.youtube.com/@shootyourshotTV\">Hat Chat\u003c/a>” with \u003c/span>\u003cspan style=\"font-weight: 400\">Fredo Algebra\u003c/span>\u003cspan style=\"font-weight: 400\">, a fellow fashionista who designs baseball caps for streetwear boutiques around the country. When their crew isn’t making music, the rappers discuss the Bay’s latest fitted clothing releases and trends on YouTube. They also\u003c/span> occasionally host pop-up events for exclusive drops at spots like \u003ca href=\"https://www.instagram.com/1985gallery/\">Gallery 1985, an independent sneaker shop in Daly City\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Solis delivered no shortage of fashion-forward albums like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Arc’teryx To The Neck\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (a slick reference to the Canadian outdoor apparel company with a dash of Bay Area slang) and regionally popular singles like “Jordan Poole,” a former Golden State Warrior known for his drip.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960760\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg\" alt=\"a pile of Nikes sneakers in the center of an empty room\" width=\"2560\" height=\"1589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1536x954.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-2048x1272.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1920x1192.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From Jordan XIIIs to Nike Foamposites, Paul “JustPaulNow” Solis’s latest album is an ode to his sneaker collection. \u003ccite>(Courtesy Paul Solis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over six years, Shoot Your Shot has evolved into a multimedia platform for like-minded artists. \u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is simply their latest, most polished offering.\u003c/span>\u003c/p>\n\u003ch2>‘The Nikes on my feet keep my cypher complete’\u003c/h2>\n\u003cp>It’s easy for music about the halcyon days to get lost in a meaningless glorification of the past. What \u003cem>Swoosh Pack\u003c/em> excels in, though, is balancing nostalgia with an intimate kind of reflection and vulnerability. \u003cspan style=\"font-weight: 400\">The album is introspective and thoughtful in ways one might not expect for an album dedicated to branded footwear.\u003c/span>\u003c/p>\n\u003cp>In “Campouts,” \u003cspan style=\"font-weight: 400\">Solis references selling sneakers to pay rent and sipping E&J while camping out in Union Square to cop the Jordan Laser 4s and other lionized sneaker releases of yore. The rapper outlines an era of early MySpace, before you could just order UberEats and had to “camp out for kicks with the homies” to be a part of the culture. “Man, I really miss this thing of ours,” he croons on the hook, providing a window into the kind of human connectivity that feels absent today.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XuSyl115XII\u003c/p>\n\u003cp>On the title track, Solis goes even further into his past. Slant rhymes\u003cspan style=\"font-weight: 400\"> like “Just me and my mom on those lonely nights / engulfed in pop culture as an only child” provide a depth that goes beyond a show of bravado and clout chasing. \u003c/span>\u003c/p>\n\u003cp>There are moments of levity and geeking out as well. On “Air Force 180s,” for example, Solis’s flow \u003cspan style=\"font-weight: 400\">is simplistic, clean and to the point: “vintage mountain North Face with the ladder locks from 94 / two tone Rangers [fitted hat] when I step up to the batter’s box… keep a clean fade, Nike Air bubbles what I’m standing on.” [aside postid='arts_13961014']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the unenlightened, it may sound like a litany of gibberish. But for true sultans of coolness, Solis’ outline of individual style are a feast of references — like the ultra-specific fashion terminology of a throwback North Face jacket that features a certain kind of buttoning system for ultimate cold-weather functionality. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the album’s end, it’s easy to appreciate the rapper’s attachment to sneakers and fashion accoutrements as not simply material objects, but as artifacts of memory, of pride, of a time and place that hold power whenever he wears them. \u003c/span>\u003cspan style=\"font-weight: 400\">And we get to wear that power as listeners, too.\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">San Francisco-born artist Paul Solis\u003c/a> first fell in love with hip-hop and basketball as a youth who grew up on the Peninsula during the mall-going culture of the ’90s.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back then, Raekwon and Ghostface Killah of the indomitable Wu-Tang Clan were two of the flyest humans to traverse the planet. With tri-colored Polo jackets, Nike visors, baggy jeans and wheat-hued Timberland stompers, the rappers helped to define a New York street aesthetic that is still heralded in fashion circles today. \u003c/span>\u003cspan style=\"font-weight: 400\">Meanwhile, saucy NBA players like Penny Hardaway, Jason Kidd and Charles Barkley began rocking signature pairs of Nikes and revolutionizing the way athletes could express themselves off the court.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis grew obsessed with it all, regularly visiting shops where he could baptize himself in the freshest gear. His go-to spot became Niketown on Post Street, where he would camp out overnight for sought-after footwear and apparel.\u003c/span>\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/LLJdIK6PAbM'\n title='//www.youtube.com/embed/LLJdIK6PAbM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Solis — whose hip-hop nom de guerre is \u003ca href=\"https://www.instagram.com/justpaulnow/?img_index=1\">JustPaulNow\u003c/a> — has stitched that energy into his most recent album, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(named after Nike’s timeless insignia). \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The 11-track project is a sentimental look at the MC’s childhood fascination-turned-spending addiction. Each song is titled after a specific sneaker — or a sneaker-related memory — in Solis’ collection. The Devin Booker 1s. The Air Force 180s. The Uptempos.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960756\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960756\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg\" alt=\"a group of three rappers stand outside in San Francisco-themed apparel\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh2-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">ShootYourShot Records co-founders Charles “CeeRock” Ubungen (right) and Paul “JustPaulNow” Solis (center) stand with Fredo Algebra (left) outside of their studio in South San Francisco. \u003ccite>(@80_west_collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Produced by New Zealand’s uber-smooth Kowhai, who connected with Solis online, \u003cem>Swoosh Pack\u003c/em> features Union City battle rapper \u003ca href=\"https://www.instagram.com/fredoalgebra/?hl=en\">Fredo Algebra\u003c/a>, Frisco spitter \u003ca href=\"https://twitter.com/jbillion\">J-Billion\u003c/a> and Solis’ longtime childhood friend, Charles “\u003ca href=\"https://www.instagram.com/ceerock/reels/?locale=%25E5%2588%25B6%25E4%25BD%259C%25E4%25B8%2580%25E4%25B8%25AA%25E9%2598%25BF%25E8%2581%25944%25E9%2585%258BPSGobank%25E9%2593%25B6%25E8%25A1%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597dGXbi%7B%3F%3F%3F%3F1%7DRvPtN%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253Aw.instagram.com%2Fbluegodzi%2F%3Flocale%3D%25E5%2588%25B6%25E4%25BD%259C%25E4%25B8%2580%25E4%25B8%25AA%25E9%2598%25BF%25E8%2581%2594%25E9%2585%258BPSGobank%25E9%2593%25B6%25E8%25A1%258C%25E5%25AF%25B9%25E8%25B4%25A6%25E5%258D%2595%25E3%2580%2596%25E5%25AE%25A2%25E6%259C%258D%25E5%25A8%2581%25E4%25BF%25A1%252BTG%252F%25E9%25A3%259E%25E6%259C%25BA%253A%2540buth2788%25E3%2580%2597dGXbi%7B%3F%3F%3F%3F1%7D1VzTx\">CeeRock\u003c/a>” Ubungen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> The LP is a trademark collaboration with Ubungen, who is also a sound engineer and videographer. \u003c/span>It’s not the homegrown duo’s first effort, though. Together, they’ve been \u003cspan style=\"font-weight: 400\">dabbling in Golden Era, boom-bap music and showcasing the Peninsula’s fashion-driven subculture.\u003c/span>\u003c/p>\n\u003ch2>Music meets fashion at Shoot Your Shot Records\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Solis and Ubungen have known each other since adolescence, and have been in the local circuit for decades. They’ve performed alongside national acts like Curren$y and The Cool Kids, and have established themselves as de facto Bay Area shopping plugs for artists on tour here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 2018, Solis and Ubungen co-founded \u003c/span>\u003ca href=\"https://www.instagram.com/shootyourshotrecords/\">\u003cspan style=\"font-weight: 400\">Shoot Your Shot Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Together, they run the independent label from a DIY studio located on the poetically named Victory Avenue in South San Francisco. It’s where they record music and film a live series called “\u003ca href=\"https://www.youtube.com/@shootyourshotTV\">Hat Chat\u003c/a>” with \u003c/span>\u003cspan style=\"font-weight: 400\">Fredo Algebra\u003c/span>\u003cspan style=\"font-weight: 400\">, a fellow fashionista who designs baseball caps for streetwear boutiques around the country. When their crew isn’t making music, the rappers discuss the Bay’s latest fitted clothing releases and trends on YouTube. They also\u003c/span> occasionally host pop-up events for exclusive drops at spots like \u003ca href=\"https://www.instagram.com/1985gallery/\">Gallery 1985, an independent sneaker shop in Daly City\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Solis delivered no shortage of fashion-forward albums like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Arc’teryx To The Neck\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> (a slick reference to the Canadian outdoor apparel company with a dash of Bay Area slang) and regionally popular singles like “Jordan Poole,” a former Golden State Warrior known for his drip.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960760\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg\" alt=\"a pile of Nikes sneakers in the center of an empty room\" width=\"2560\" height=\"1589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1536x954.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-2048x1272.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Swoosh1-1-1920x1192.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">From Jordan XIIIs to Nike Foamposites, Paul “JustPaulNow” Solis’s latest album is an ode to his sneaker collection. \u003ccite>(Courtesy Paul Solis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over six years, Shoot Your Shot has evolved into a multimedia platform for like-minded artists. \u003ci>\u003cspan style=\"font-weight: 400\">Swoosh Pack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is simply their latest, most polished offering.\u003c/span>\u003c/p>\n\u003ch2>‘The Nikes on my feet keep my cypher complete’\u003c/h2>\n\u003cp>It’s easy for music about the halcyon days to get lost in a meaningless glorification of the past. What \u003cem>Swoosh Pack\u003c/em> excels in, though, is balancing nostalgia with an intimate kind of reflection and vulnerability. \u003cspan style=\"font-weight: 400\">The album is introspective and thoughtful in ways one might not expect for an album dedicated to branded footwear.\u003c/span>\u003c/p>\n\u003cp>In “Campouts,” \u003cspan style=\"font-weight: 400\">Solis references selling sneakers to pay rent and sipping E&J while camping out in Union Square to cop the Jordan Laser 4s and other lionized sneaker releases of yore. The rapper outlines an era of early MySpace, before you could just order UberEats and had to “camp out for kicks with the homies” to be a part of the culture. “Man, I really miss this thing of ours,” he croons on the hook, providing a window into the kind of human connectivity that feels absent today.\u003c/span>\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/XuSyl115XII'\n title='//www.youtube.com/embed/XuSyl115XII'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the title track, Solis goes even further into his past. Slant rhymes\u003cspan style=\"font-weight: 400\"> like “Just me and my mom on those lonely nights / engulfed in pop culture as an only child” provide a depth that goes beyond a show of bravado and clout chasing. \u003c/span>\u003c/p>\n\u003cp>There are moments of levity and geeking out as well. On “Air Force 180s,” for example, Solis’s flow \u003cspan style=\"font-weight: 400\">is simplistic, clean and to the point: “vintage mountain North Face with the ladder locks from 94 / two tone Rangers [fitted hat] when I step up to the batter’s box… keep a clean fade, Nike Air bubbles what I’m standing on.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the unenlightened, it may sound like a litany of gibberish. But for true sultans of coolness, Solis’ outline of individual style are a feast of references — like the ultra-specific fashion terminology of a throwback North Face jacket that features a certain kind of buttoning system for ultimate cold-weather functionality. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the album’s end, it’s easy to appreciate the rapper’s attachment to sneakers and fashion accoutrements as not simply material objects, but as artifacts of memory, of pride, of a time and place that hold power whenever he wears them. \u003c/span>\u003cspan style=\"font-weight: 400\">And we get to wear that power as listeners, too.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the fall of 2020, with concert calendars blank for the foreseeable future, something shifted for Ronny Kerr.\u003c/p>\n\u003cp>The musician, record collector and DJ made a habit of taking long, contemplative walks around his neighborhood in West Oakland. Shows by touring bands and big festivals were off the table. So instead, he says, “I just became really interested and invested and curious about what was happening right here.”\u003c/p>\n\u003cp>Kerr, who grew up in Daly City, started scouring the internet for new releases from Bay Area artists. As loosening restrictions began to allow for small outdoor shows, he kept track of upcoming performances. Soon, he was sharing his weekly list of findings with friends.\u003c/p>\n\u003cp>“While everyone else was baking bread for the first time, I was like ‘I wanna start a newsletter about Bay Area music,’” says Kerr. He and his co-founder, longtime friend Elliot Engel, decided to name the project \u003ca href=\"https://whitecrate.org/\">White Crate\u003c/a>, after the crate they transported records in when they DJed together.\u003c/p>\n\u003cfigure id=\"attachment_13960737\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-scaled.jpg\" alt=\"two white men pose together at an outdoor music festival\" width=\"2560\" height=\"2397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-800x749.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-1020x955.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-768x719.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-1536x1438.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-2048x1917.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-1920x1797.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">White Crate co-founders Ronny Kerr (left) and Elliot Engel at Portola Music Festival. \u003ccite>(Courtesy Ronny Kerr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly four years later, \u003ca href=\"https://whitecrate.org/\">White Crate\u003c/a> has become an indispensable resource for Bay Area music fans — and at an incredibly fertile time for local artists. (More on that in a minute.) White Crate has also expanded into so many formats that Kerr and Engel struggle to define it. In addition to the newsletter of show recommendations, there’s a website that publishes daily record reviews and artist interviews, plus a monthly online broadcast on \u003ca href=\"https://www.kqed.org/arts/13926316/hydefm-lower-grand-diy-internet-radio-stations-bay-area-music\">Lower Grand Radio\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Live events, White Crate’s newest venture, have so far included a \u003ca href=\"https://www.sfgate.com/sf-culture/article/grace-cathedral-rock-concert-review-17736176.php\">sold-out Cold Beat concert at Grace Cathedral\u003c/a>, and an ongoing series in which they invite a local artist or label to curate a lineup that highlights the best of their scene.\u003c/p>\n\u003cfigure id=\"attachment_13960734\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960734\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828.jpg\" alt=\"a Black woman with purple hair in a black dress sings into a microphone on a patio\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Qween at WC04, curated by local label 7000COILS. \u003ccite>(Courtesy White Crate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next show in this series, WC05, is set for Saturday, July 13 at El Rio, with a lineup programmed by the Mission District’s own \u003ca href=\"https://www.kqed.org/arts/13816703/can-text-me-records-become-san-franciscos-new-hit-factory\">Text Me Records\u003c/a>. Producer and rapper \u003ca href=\"https://www.instagram.com/mayflowerjammy/?hl=en\">Jammy\u003c/a>, alt-hip-hop artist \u003ca href=\"https://www.instagram.com/whoisrickylake/?hl=en\">Ricky Lake\u003c/a>, Latin Grammy-winning singer \u003ca href=\"https://www.instagram.com/nataliaalafavi?igsh=MzRlODBiNWFlZA%3D%3D\">La Favi\u003c/a> and rapper-actress \u003ca href=\"https://www.instagram.com/tia.nomore/?hl=en\">Tia Nomore\u003c/a> are all set to perform live on the beloved queer bar’s sunny back patio, with DJ sets by \u003ca href=\"https://www.instagram.com/drewwwwwww___/?hl=en\">Drew Banga\u003c/a> and \u003ca href=\"https://www.instagram.com/louielser/?hl=en\">Louie El Ser\u003c/a>. [aside postid='arts_13925905']\u003c/p>\n\u003cp>“When you start doing research, you realize there’s just such a vast constellation of music and creators and community here that no single person can have a full grasp on it,” says Kerr of the guest-curator format. “So we rely on other people to share what’s going on.”\u003c/p>\n\u003cp>From where he’s sitting, what’s going on looks like a renaissance. Four years after the pandemic brought live music to a standstill, in garages and basements, in practice spaces and dive bars, the Bay Area music scene is blossoming once again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8lbx1XrhkfE\u003c/p>\n\u003cp>“The Bay has always had and will always have amazing music, amazing visual art, amazing art in general. But I think it’s kind of a wave system…. and right now we’re in a really good little moment,” says Ricky Lake, whose most recent EP, \u003ca href=\"https://open.spotify.com/album/5r6tsQ17IlJlh0nyQ5pxXb\">\u003cem>Tundra\u003c/em>\u003c/a>, blends indie rock and emo pop sounds with rap. [aside postid='arts_13960603']\u003c/p>\n\u003cp>Despite having lived here for a decade, Lake said he’s recently started going to new venues — like downtown San Francisco speakeasy The Felix — and seeing more cross-Bay collaboration between Oakland and San Francisco crews. He also attributes a lot of the momentum in his particular scene to femme DJs: “I know that’s very specific!” he says with a laugh. “But people like Louie El Ser, and the DJs they’ve put me on to… they go so hard. No matter what else is happening, they’re finding spaces to throw lit events and create scenes that people want to go to.”\u003c/p>\n\u003cp>For La Favi, whose recent EP \u003ca href=\"https://favi.bandcamp.com/album/14-mission\">\u003cem>14 Mission\u003c/em>\u003c/a> takes its name from the bus line and neighborhood of her childhood, the El Rio showcase will be a hometown gig in the truest sense. “I was born and raised in San Francisco, it shaped who I am, my heart and my soul,” she says. While San Francisco has changed drastically since she was a kid, she says, “It’s always cool to see the new young artists that are coming up, the creativity of youth here — there are always little seeds. You just have to nurture them.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ry6Gb1kksmw\u003c/p>\n\u003cp>White Crate co-founder Elliot Engel hypothesizes that the surge of new albums released over the past year is a result of the pandemic’s dormant period.\u003c/p>\n\u003cp>“People were stuck at home, there was a lot of pent-up creativity,” says Engel. “And of course it’s easier now than ever to create music online. I mean, we’re still finding out about albums that were created during 2020 and 2021 that [artists] are just now releasing, and they’re incredibly creative.” [aside postid='arts_13960325']\u003c/p>\n\u003cp>Practically speaking, he adds, the eviction moratorium may have provided an all-too-brief glimpse into a world where artists don’t have to hustle around the clock to make rent: “People were allowed to breathe a little bit.”\u003c/p>\n\u003cp>Whatever the reasons for this resurgence, White Crate is documenting it — a role that feels increasingly important when so many outlets that once covered up-and-coming artists have shuttered. Following the decimation of the Bay Area’s alternative weeklies and the \u003ca href=\"https://www.kqed.org/arts/13901785/the-bay-bridged-longtime-local-music-site-will-close-down-in-october\">demise of indie music site \u003cem>The Bay Bridged\u003c/em>\u003c/a>, very few local media outlets devote significant resources to coverage of even “traditional” arts like the theater or symphony, let alone the scrappy punk bands, electronic music parties and house shows that form the basis of the independent scene.\u003c/p>\n\u003cfigure id=\"attachment_13960724\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960724\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03.jpg\" alt=\"a young person in a peach jumper and long braids smiles behind a DJ board\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">DJ Mizu at WC03. \u003ccite>(Chris Caceres)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Importantly, White Crate’s founders say they’re not trying to grow into a media outlet. They both have full-time jobs, so the project is truly a labor of love. Which, in turn, helps explain why the whole thing has a touch of the nostalgic, DIY energy of a fanzine: They just want you to get to the show. And to celebrate local artists — even though the Fillmore and Fox’s calendars are once again filled with touring bands from around the world.\u003c/p>\n\u003cp>“There are so many great, accessible music venues that you can just pop into, like Thee Stork Club, Kilowatt, Bottom of the Hill, places where you can go and just be immersed among music people,” says Engel, of what he’d suggest to someone looking to discover independent Bay Area music. (Kerr chimes in, suggesting The Lab for the avant-garde scene, and event producers \u003ca href=\"https://www.instagram.com/n.o.b.i.a.s/?hl=en\">No Bias\u003c/a> and \u003ca href=\"https://www.instagram.com/vitamin1k/?hl=en\">Vitamin 1000\u003c/a> for dance music.)\u003c/p>\n\u003cp>“There’s remarkably little gatekeeping here. People are welcomed with open arms,” adds Engel. “It’s a pretty special place.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>WC05 takes place from 3\u003cspan style=\"font-weight: 400\">–\u003c/span>8 p.m. on Saturday, July 13 at El Rio (3158 Mission St., San Francisco). \u003ca href=\"https://www.eventbrite.com/e/wc05-curated-by-text-me-records-tickets-914809127727\">Tickets ($15-$20) and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the fall of 2020, with concert calendars blank for the foreseeable future, something shifted for Ronny Kerr.\u003c/p>\n\u003cp>The musician, record collector and DJ made a habit of taking long, contemplative walks around his neighborhood in West Oakland. Shows by touring bands and big festivals were off the table. So instead, he says, “I just became really interested and invested and curious about what was happening right here.”\u003c/p>\n\u003cp>Kerr, who grew up in Daly City, started scouring the internet for new releases from Bay Area artists. As loosening restrictions began to allow for small outdoor shows, he kept track of upcoming performances. Soon, he was sharing his weekly list of findings with friends.\u003c/p>\n\u003cp>“While everyone else was baking bread for the first time, I was like ‘I wanna start a newsletter about Bay Area music,’” says Kerr. He and his co-founder, longtime friend Elliot Engel, decided to name the project \u003ca href=\"https://whitecrate.org/\">White Crate\u003c/a>, after the crate they transported records in when they DJed together.\u003c/p>\n\u003cfigure id=\"attachment_13960737\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-scaled.jpg\" alt=\"two white men pose together at an outdoor music festival\" width=\"2560\" height=\"2397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-800x749.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-1020x955.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-768x719.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-1536x1438.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-2048x1917.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Ronny-and-Elliot-at-Portola-1-1920x1797.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">White Crate co-founders Ronny Kerr (left) and Elliot Engel at Portola Music Festival. \u003ccite>(Courtesy Ronny Kerr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly four years later, \u003ca href=\"https://whitecrate.org/\">White Crate\u003c/a> has become an indispensable resource for Bay Area music fans — and at an incredibly fertile time for local artists. (More on that in a minute.) White Crate has also expanded into so many formats that Kerr and Engel struggle to define it. In addition to the newsletter of show recommendations, there’s a website that publishes daily record reviews and artist interviews, plus a monthly online broadcast on \u003ca href=\"https://www.kqed.org/arts/13926316/hydefm-lower-grand-diy-internet-radio-stations-bay-area-music\">Lower Grand Radio\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Live events, White Crate’s newest venture, have so far included a \u003ca href=\"https://www.sfgate.com/sf-culture/article/grace-cathedral-rock-concert-review-17736176.php\">sold-out Cold Beat concert at Grace Cathedral\u003c/a>, and an ongoing series in which they invite a local artist or label to curate a lineup that highlights the best of their scene.\u003c/p>\n\u003cfigure id=\"attachment_13960734\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960734\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828.jpg\" alt=\"a Black woman with purple hair in a black dress sings into a microphone on a patio\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Qween-at-WC04-El-Rio-scaled-e1720470466828-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Qween at WC04, curated by local label 7000COILS. \u003ccite>(Courtesy White Crate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next show in this series, WC05, is set for Saturday, July 13 at El Rio, with a lineup programmed by the Mission District’s own \u003ca href=\"https://www.kqed.org/arts/13816703/can-text-me-records-become-san-franciscos-new-hit-factory\">Text Me Records\u003c/a>. Producer and rapper \u003ca href=\"https://www.instagram.com/mayflowerjammy/?hl=en\">Jammy\u003c/a>, alt-hip-hop artist \u003ca href=\"https://www.instagram.com/whoisrickylake/?hl=en\">Ricky Lake\u003c/a>, Latin Grammy-winning singer \u003ca href=\"https://www.instagram.com/nataliaalafavi?igsh=MzRlODBiNWFlZA%3D%3D\">La Favi\u003c/a> and rapper-actress \u003ca href=\"https://www.instagram.com/tia.nomore/?hl=en\">Tia Nomore\u003c/a> are all set to perform live on the beloved queer bar’s sunny back patio, with DJ sets by \u003ca href=\"https://www.instagram.com/drewwwwwww___/?hl=en\">Drew Banga\u003c/a> and \u003ca href=\"https://www.instagram.com/louielser/?hl=en\">Louie El Ser\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When you start doing research, you realize there’s just such a vast constellation of music and creators and community here that no single person can have a full grasp on it,” says Kerr of the guest-curator format. “So we rely on other people to share what’s going on.”\u003c/p>\n\u003cp>From where he’s sitting, what’s going on looks like a renaissance. Four years after the pandemic brought live music to a standstill, in garages and basements, in practice spaces and dive bars, the Bay Area music scene is blossoming once again.\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/8lbx1XrhkfE'\n title='//www.youtube.com/embed/8lbx1XrhkfE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The Bay has always had and will always have amazing music, amazing visual art, amazing art in general. But I think it’s kind of a wave system…. and right now we’re in a really good little moment,” says Ricky Lake, whose most recent EP, \u003ca href=\"https://open.spotify.com/album/5r6tsQ17IlJlh0nyQ5pxXb\">\u003cem>Tundra\u003c/em>\u003c/a>, blends indie rock and emo pop sounds with rap. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite having lived here for a decade, Lake said he’s recently started going to new venues — like downtown San Francisco speakeasy The Felix — and seeing more cross-Bay collaboration between Oakland and San Francisco crews. He also attributes a lot of the momentum in his particular scene to femme DJs: “I know that’s very specific!” he says with a laugh. “But people like Louie El Ser, and the DJs they’ve put me on to… they go so hard. No matter what else is happening, they’re finding spaces to throw lit events and create scenes that people want to go to.”\u003c/p>\n\u003cp>For La Favi, whose recent EP \u003ca href=\"https://favi.bandcamp.com/album/14-mission\">\u003cem>14 Mission\u003c/em>\u003c/a> takes its name from the bus line and neighborhood of her childhood, the El Rio showcase will be a hometown gig in the truest sense. “I was born and raised in San Francisco, it shaped who I am, my heart and my soul,” she says. While San Francisco has changed drastically since she was a kid, she says, “It’s always cool to see the new young artists that are coming up, the creativity of youth here — there are always little seeds. You just have to nurture them.”\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/ry6Gb1kksmw'\n title='//www.youtube.com/embed/ry6Gb1kksmw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>White Crate co-founder Elliot Engel hypothesizes that the surge of new albums released over the past year is a result of the pandemic’s dormant period.\u003c/p>\n\u003cp>“People were stuck at home, there was a lot of pent-up creativity,” says Engel. “And of course it’s easier now than ever to create music online. I mean, we’re still finding out about albums that were created during 2020 and 2021 that [artists] are just now releasing, and they’re incredibly creative.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Practically speaking, he adds, the eviction moratorium may have provided an all-too-brief glimpse into a world where artists don’t have to hustle around the clock to make rent: “People were allowed to breathe a little bit.”\u003c/p>\n\u003cp>Whatever the reasons for this resurgence, White Crate is documenting it — a role that feels increasingly important when so many outlets that once covered up-and-coming artists have shuttered. Following the decimation of the Bay Area’s alternative weeklies and the \u003ca href=\"https://www.kqed.org/arts/13901785/the-bay-bridged-longtime-local-music-site-will-close-down-in-october\">demise of indie music site \u003cem>The Bay Bridged\u003c/em>\u003c/a>, very few local media outlets devote significant resources to coverage of even “traditional” arts like the theater or symphony, let alone the scrappy punk bands, electronic music parties and house shows that form the basis of the independent scene.\u003c/p>\n\u003cfigure id=\"attachment_13960724\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960724\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03.jpg\" alt=\"a young person in a peach jumper and long braids smiles behind a DJ board\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DJ-Mizu-at-WC03-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">DJ Mizu at WC03. \u003ccite>(Chris Caceres)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Importantly, White Crate’s founders say they’re not trying to grow into a media outlet. They both have full-time jobs, so the project is truly a labor of love. Which, in turn, helps explain why the whole thing has a touch of the nostalgic, DIY energy of a fanzine: They just want you to get to the show. And to celebrate local artists — even though the Fillmore and Fox’s calendars are once again filled with touring bands from around the world.\u003c/p>\n\u003cp>“There are so many great, accessible music venues that you can just pop into, like Thee Stork Club, Kilowatt, Bottom of the Hill, places where you can go and just be immersed among music people,” says Engel, of what he’d suggest to someone looking to discover independent Bay Area music. (Kerr chimes in, suggesting The Lab for the avant-garde scene, and event producers \u003ca href=\"https://www.instagram.com/n.o.b.i.a.s/?hl=en\">No Bias\u003c/a> and \u003ca href=\"https://www.instagram.com/vitamin1k/?hl=en\">Vitamin 1000\u003c/a> for dance music.)\u003c/p>\n\u003cp>“There’s remarkably little gatekeeping here. People are welcomed with open arms,” adds Engel. “It’s a pretty special place.”\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>WC05 takes place from 3\u003cspan style=\"font-weight: 400\">–\u003c/span>8 p.m. on Saturday, July 13 at El Rio (3158 Mission St., San Francisco). \u003ca href=\"https://www.eventbrite.com/e/wc05-curated-by-text-me-records-tickets-914809127727\">Tickets ($15-$20) and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jauz-wicked-wise-san-francisco-1015-folsom",
"title": "Jauz Brings His ‘Wicked’ and ‘Wise’ EDM to San Francisco",
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"headTitle": "Jauz Brings His ‘Wicked’ and ‘Wise’ EDM to San Francisco | KQED",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Sam Vogel — an EDM DJ and producer known professionally as \u003c/span>\u003ca href=\"https://www.instagram.com/jauzofficial/?hl=en\">\u003cspan style=\"font-weight: 400\">Jauz\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — regularly performs at electronic music festivals around the world, including meccas like Belgium’s Tomorrowland and New York’s Electric Zoo. And now he’s set to return to the Bay Area, his home turf, when he brings his current tour to 1015 Folsom in San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Vogel, who grew up in Marin, will play two different shows on July 11 and 12. First up is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jauz Presents: The Wicked\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, or “Bass Night” featuring his more aggressive, drum and bass sounds, followed by \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jauz Presents: The Wise\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, or “House Night,” featuring his more melodic, progressive house music.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The tour is inspired by a dystopian narrative he created for his 2018 concept album, \u003c/span>\u003ca href=\"https://www.billboard.com/music/music-news/jauz-the-wise-and-the-wicked-album-breakdown-8473042/\">\u003ci>\u003cspan style=\"font-weight: 400\">The Wise and the Wicked\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. In it, the “Wise” members of society have a more uplifting outlook and want to improve the world, representing the house side of his music, while the “Wicked” are more destructive and anarchic, representing the drum and bass side. He delved deeper into the story with his 2023 albums \u003c/span>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_n4bwjUiXXf-xL_7cK919M2zbGsoMjporU\">\u003ci>\u003cspan style=\"font-weight: 400\">WRATH OF THE WICKED\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=D87Uw6pEjJs&list=OLAK5uy_nclXF9j0y9PakkaRAllXaC2j1QFwdhVgI\">\u003ci>\u003cspan style=\"font-weight: 400\">Rise of the Wise\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PDACKf0eoYU\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My motto since day one has always been ‘music has no boundaries,’ which has kind of represented the idea that one artist can have all these different faces, and that should be something that’s celebrated,” explained Vogel, who founded his own record label, \u003ca href=\"https://www.heybitethis.com/\">Bite This\u003c/a>, in 2017. “That’s why I wanted to create these worlds.” \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Growing up in Marin, Vogel actually favored the heavy metal scene over EDM. He started playing guitar at age 11, inspired by Metallica and other bands coming out of the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I\u003c/span> \u003cspan style=\"font-weight: 400\">used to go just about every Tuesday or Wednesday to the Regency Ballroom [in San Francisco]. That was where all the metal bands that I loved were playing,” Vogel recalled. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/aC7LPL6Mvrk?si=2xNTjCl_ti_AkDFQ\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At first, he wanted to become a professional guitarist. “I’d tried starting so many bands that never really came to anything,” Vogel said. “I [also] tried to record myself as a one man band and that didn’t go very well.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then he had a “light bulb moment” while putting together a short film as part of the \u003c/span>\u003ca href=\"https://www.youtube.com/channel/UCFU-CXRzr5Huj4_bC3USa4Q\">\u003cspan style=\"font-weight: 400\">Academy of Integrated Humanities and New Media (AIM)\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> documentary film program at Tamalpais High School.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I was putting together different pieces of audio — whether it was Foley background music or whatever,” Vogel said. “I looked at one of my friends and said, ‘Man, I wish I could make music like this. Just laying things together, like putting Lego pieces together.’” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His friend pointed across the room to another student making hip-hop beats on his computer. Vogel realized he didn’t have to play guitar or the drums to make music — his computer could be his instrument.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960604\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-800x567.jpg\" alt=\"A male DJ in a white shirt and backwards baseball cap uses DJ equipment on a stage in front of a sea of people.\" width=\"800\" height=\"567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-2048x1451.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1920x1361.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jauz spins on the Twin Peaks Stage during the 2016 Outside Lands Music and Arts Festival at Golden Gate Park on August 6, 2016 in San Francisco. \u003ccite>(FilmMagic via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Four albums and many popular remixes and singles later, Vogel has racked up over 600,000 followers on Instagram and fans from all over the world. Still, nothing compares to his hometown crowd. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’ve talked to so many of my peers and we all feel the same way: the crowds in San Francisco are on a completely different level to just about anywhere else in the country,” Vogel said. “And I don’t know what’s in the water, but they’re really just extra special.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So when he hits the stage at 1015 Folsom for his two-night run, it’ll be with a lot of pride.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s so cool because I get to be like, ‘Yeah, these are my people.’ Like, how rad is that — that where I came from [has] some of the best fans in the world — not just of me, but of all electronic music.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">‘Jauz Presents: The Wicked’ takes place July 11 at 1015 Folsom in San Francisco, followed by ‘The Wise’ on July 12. \u003c/span>\u003c/i>\u003ca href=\"https://jauzofficial.com/tour#music\">\u003ci>\u003cspan style=\"font-weight: 400\">Tickets and details here\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"subhead": "The producer and DJ reflects on his Bay Area roots in the metal scene and loving hometown fans.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Sam Vogel — an EDM DJ and producer known professionally as \u003c/span>\u003ca href=\"https://www.instagram.com/jauzofficial/?hl=en\">\u003cspan style=\"font-weight: 400\">Jauz\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — regularly performs at electronic music festivals around the world, including meccas like Belgium’s Tomorrowland and New York’s Electric Zoo. And now he’s set to return to the Bay Area, his home turf, when he brings his current tour to 1015 Folsom in San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Vogel, who grew up in Marin, will play two different shows on July 11 and 12. First up is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jauz Presents: The Wicked\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, or “Bass Night” featuring his more aggressive, drum and bass sounds, followed by \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jauz Presents: The Wise\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, or “House Night,” featuring his more melodic, progressive house music.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The tour is inspired by a dystopian narrative he created for his 2018 concept album, \u003c/span>\u003ca href=\"https://www.billboard.com/music/music-news/jauz-the-wise-and-the-wicked-album-breakdown-8473042/\">\u003ci>\u003cspan style=\"font-weight: 400\">The Wise and the Wicked\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. In it, the “Wise” members of society have a more uplifting outlook and want to improve the world, representing the house side of his music, while the “Wicked” are more destructive and anarchic, representing the drum and bass side. He delved deeper into the story with his 2023 albums \u003c/span>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_n4bwjUiXXf-xL_7cK919M2zbGsoMjporU\">\u003ci>\u003cspan style=\"font-weight: 400\">WRATH OF THE WICKED\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=D87Uw6pEjJs&list=OLAK5uy_nclXF9j0y9PakkaRAllXaC2j1QFwdhVgI\">\u003ci>\u003cspan style=\"font-weight: 400\">Rise of the Wise\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\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/PDACKf0eoYU'\n title='//www.youtube.com/embed/PDACKf0eoYU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">“My motto since day one has always been ‘music has no boundaries,’ which has kind of represented the idea that one artist can have all these different faces, and that should be something that’s celebrated,” explained Vogel, who founded his own record label, \u003ca href=\"https://www.heybitethis.com/\">Bite This\u003c/a>, in 2017. “That’s why I wanted to create these worlds.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Growing up in Marin, Vogel actually favored the heavy metal scene over EDM. He started playing guitar at age 11, inspired by Metallica and other bands coming out of the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I\u003c/span> \u003cspan style=\"font-weight: 400\">used to go just about every Tuesday or Wednesday to the Regency Ballroom [in San Francisco]. That was where all the metal bands that I loved were playing,” Vogel recalled. \u003c/span>\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/aC7LPL6Mvrk'\n title='//www.youtube.com/embed/aC7LPL6Mvrk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">At first, he wanted to become a professional guitarist. “I’d tried starting so many bands that never really came to anything,” Vogel said. “I [also] tried to record myself as a one man band and that didn’t go very well.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then he had a “light bulb moment” while putting together a short film as part of the \u003c/span>\u003ca href=\"https://www.youtube.com/channel/UCFU-CXRzr5Huj4_bC3USa4Q\">\u003cspan style=\"font-weight: 400\">Academy of Integrated Humanities and New Media (AIM)\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> documentary film program at Tamalpais High School.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I was putting together different pieces of audio — whether it was Foley background music or whatever,” Vogel said. “I looked at one of my friends and said, ‘Man, I wish I could make music like this. Just laying things together, like putting Lego pieces together.’” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His friend pointed across the room to another student making hip-hop beats on his computer. Vogel realized he didn’t have to play guitar or the drums to make music — his computer could be his instrument.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960604\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-800x567.jpg\" alt=\"A male DJ in a white shirt and backwards baseball cap uses DJ equipment on a stage in front of a sea of people.\" width=\"800\" height=\"567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-2048x1451.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1920x1361.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jauz spins on the Twin Peaks Stage during the 2016 Outside Lands Music and Arts Festival at Golden Gate Park on August 6, 2016 in San Francisco. \u003ccite>(FilmMagic via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Four albums and many popular remixes and singles later, Vogel has racked up over 600,000 followers on Instagram and fans from all over the world. Still, nothing compares to his hometown crowd. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’ve talked to so many of my peers and we all feel the same way: the crowds in San Francisco are on a completely different level to just about anywhere else in the country,” Vogel said. “And I don’t know what’s in the water, but they’re really just extra special.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So when he hits the stage at 1015 Folsom for his two-night run, it’ll be with a lot of pride.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s so cool because I get to be like, ‘Yeah, these are my people.’ Like, how rad is that — that where I came from [has] some of the best fans in the world — not just of me, but of all electronic music.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">‘Jauz Presents: The Wicked’ takes place July 11 at 1015 Folsom in San Francisco, followed by ‘The Wise’ on July 12. \u003c/span>\u003c/i>\u003ca href=\"https://jauzofficial.com/tour#music\">\u003ci>\u003cspan style=\"font-weight: 400\">Tickets and details here\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "megan-thee-stallion-stans-hotties-election-biden-trump-san-francisco",
"title": "Megan Thee Stallion Stans Are Salty Over Their Choice of Candidates",
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"headTitle": "Megan Thee Stallion Stans Are Salty Over Their Choice of Candidates | KQED",
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"content": "\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of significant pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>[dropcap]M[/dropcap]egan Thee Stallion fans from the Bay Area and beyond flocked to San Francisco’s Chase Center on June 23 for the rapper’s Hot Girl Summer Tour.\u003c/p>\n\u003cp>As anticipation filled the air outside the arena, we talked with Megan Thee Stallion fans, known as \u003ca href=\"https://www.complex.com/music/a/cmplxkishlal/megan-thee-stallion-fans\">Hotties\u003c/a>, about what they admire about the rap star — and, evidently, what they do \u003cem>not\u003c/em> admire about the candidates in the 2024 Presidential Election.\u003c/p>\n\u003cfigure id=\"attachment_13960247\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abby Nation (left) and her fiancé Emma Gray pose for a portrait outside the Chase Center on Sunday, June 23, 2024, during Megan Thee Stallion’s Hot Girl Summer Tour. Gray said Palestine is among the top concerns on her mind during this election. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emma Gray, who lives near Stockton, came to see Megan Thee Stallion with her fiancé, Abby Nation. “It’s very disappointing that I don’t feel there is a candidate that I can trust to end genocide,” Gray said. “I would vote for a third party, [even if] I know it’s probably not going to result in that person being elected,” she explained. “But I’m also not going to put my vote to someone who is causing so much harm.”\u003c/p>\n\u003cfigure id=\"attachment_13960238\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Left: Adrienne Williams, Erica Williams, Lauryn Major and Jasmine Cannon pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me, the most important thing is to free Palestine,” echoed Lauryn Major, who showed up to the concert with three of her friends. “That’s the only thing that I’m voting on this year.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Adding to Major’s comment, her friend Jasmine Cannon listed some of her priorities: “Ceasefire, reproductive rights, voting access, education, funding libraries, decriminalizing weed and other nonviolent crimes.”\u003c/p>\n\u003cfigure id=\"attachment_13960244\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28.jpg 853w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian, who declined to give her last name, poses for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Christian considers President Biden her only option of the two leading candidates, but is conflicted due to his support of Israel. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christian, who declined to give her last name, flew in for the show from Arkansas. She said she “doesn’t really like either of [the candidates], but Biden is better.” Still, she’s upset by Biden’s continued support of Israel and “sending money to help kill other people […] when we should be helping our citizens.”\u003c/p>\n\u003cfigure id=\"attachment_13960450\" class=\"wp-caption aligncenter\" style=\"max-width: 1746px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych.jpg\" alt=\"\" width=\"1746\" height=\"1280\" class=\"size-full wp-image-13960450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych.jpg 1746w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-1536x1126.jpg 1536w\" sizes=\"(max-width: 1746px) 100vw, 1746px\">\u003cfigcaption class=\"wp-caption-text\">Kierunya Davis, who brought a bouquet of flowers, poses in her custom Megan The Stallion-inspired outfit outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kierunya Davis flew in from Compton bearing gifts for Megan Thee Stallion, who later accepted them on stage. “White men do not speak for the majority,” Davis said. “We deserve better as brown and black people — for somebody to actually make promises and follow through.”\u003c/p>\n\u003cfigure id=\"attachment_13960236\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Cruz (left) and Katarina Ruiz pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Cruz has reproductive and immigration rights front of mind this election year. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Self-identified Hottie Alex Cruz said she’s anxious about the election, “especially with Roe v. Wade recently being overturned.” She said it’s “disappointing that Biden hasn’t been able to do more” regarding reproductive rights and immigration reform, but clarified that she is “probably just going to end up voting for him anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13960231\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960231\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mia Williams poses for a portrait in her Starfire superhero costume outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Williams isn’t happy with the choice of presidential candidates in the upcoming election. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mia Williams, from Seattle, also traveled hundreds of miles to see Megan Thee Stallion. “She stands up for body positivity and she helped push female rap to where it is,” Williams said.\u003c/p>\n\u003cp>When asked about the election, Williams was less hopeful. “I feel like regardless, it’s a bad choice,” she said. “I don’t know how [Joe Biden] could do another four years,” she said, “and [Donald Trump] is just a bigot.” She continued, “Also, he’s a felon now, so I don’t think a felon should be a president.”\u003c/p>\n\u003cfigure id=\"attachment_13960243\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mourice Grey (left) and Karl Daniels pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mourice Grey and Karl Daniels both live in San Leandro, and cited rent control, women’s rights and queer rights as their top concerns this year. “[Trump] broke the law, so he should not get the opportunity,” Daniels noted.\u003c/p>\n\u003cfigure id=\"attachment_13960242\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Left: Iyobosa Igbinake, Ayah Benjamin, Aminah Benjamin, Ifela Hayes pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Benjamin has yet to decide if she’ll be voting this year, and said being a young person today is exhausting. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Decked out in Sailor Mars cosplay, Ayah Benjamin said she “hasn’t made a decision yet” on whether she will vote this year. “Capitalism and being a young person in society is genuinely exhausting,” she expressed with frustration. “Civil rights, humanitarian issues and obviously the genocides globally” are her primary concerns in this election.\u003c/p>\n\u003cfigure id=\"attachment_13960240\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960240\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Destiny Phan (left) and Jeneveive Kongkham pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Megan Thee Stallion show at the Chase Center was Destiny Phan’s first concert. This year’s election will mark another first, as she’s finally old enough to vote. Phan said it’s been “hard to keep up” with politics this year.\u003c/p>\n\u003cfigure id=\"attachment_13960246\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tourean Barnes (right) poses for a portrait with his nephew Javonte Barnes outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Tourean Barnes is unsure if he’ll vote in the next election and said he sees the two leading candidates as entertainers rather than presidents. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Tourean Barnes was there to attend the concert with his nephew Javonte Barnes. “My main issue would be the stability of our democracy,” said Tourean, adding that the two front-running candidates are “more like entertainers than presidents.”\u003c/p>\n\n",
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"title": "Megan Thee Stallion Stans Are Salty Over Their Choice of Candidates | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of significant pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>egan Thee Stallion fans from the Bay Area and beyond flocked to San Francisco’s Chase Center on June 23 for the rapper’s Hot Girl Summer Tour.\u003c/p>\n\u003cp>As anticipation filled the air outside the arena, we talked with Megan Thee Stallion fans, known as \u003ca href=\"https://www.complex.com/music/a/cmplxkishlal/megan-thee-stallion-fans\">Hotties\u003c/a>, about what they admire about the rap star — and, evidently, what they do \u003cem>not\u003c/em> admire about the candidates in the 2024 Presidential Election.\u003c/p>\n\u003cfigure id=\"attachment_13960247\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abby Nation (left) and her fiancé Emma Gray pose for a portrait outside the Chase Center on Sunday, June 23, 2024, during Megan Thee Stallion’s Hot Girl Summer Tour. Gray said Palestine is among the top concerns on her mind during this election. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emma Gray, who lives near Stockton, came to see Megan Thee Stallion with her fiancé, Abby Nation. “It’s very disappointing that I don’t feel there is a candidate that I can trust to end genocide,” Gray said. “I would vote for a third party, [even if] I know it’s probably not going to result in that person being elected,” she explained. “But I’m also not going to put my vote to someone who is causing so much harm.”\u003c/p>\n\u003cfigure id=\"attachment_13960238\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Left: Adrienne Williams, Erica Williams, Lauryn Major and Jasmine Cannon pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me, the most important thing is to free Palestine,” echoed Lauryn Major, who showed up to the concert with three of her friends. “That’s the only thing that I’m voting on this year.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adding to Major’s comment, her friend Jasmine Cannon listed some of her priorities: “Ceasefire, reproductive rights, voting access, education, funding libraries, decriminalizing weed and other nonviolent crimes.”\u003c/p>\n\u003cfigure id=\"attachment_13960244\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28.jpg 853w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian, who declined to give her last name, poses for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Christian considers President Biden her only option of the two leading candidates, but is conflicted due to his support of Israel. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christian, who declined to give her last name, flew in for the show from Arkansas. She said she “doesn’t really like either of [the candidates], but Biden is better.” Still, she’s upset by Biden’s continued support of Israel and “sending money to help kill other people […] when we should be helping our citizens.”\u003c/p>\n\u003cfigure id=\"attachment_13960450\" class=\"wp-caption aligncenter\" style=\"max-width: 1746px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych.jpg\" alt=\"\" width=\"1746\" height=\"1280\" class=\"size-full wp-image-13960450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych.jpg 1746w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-1536x1126.jpg 1536w\" sizes=\"(max-width: 1746px) 100vw, 1746px\">\u003cfigcaption class=\"wp-caption-text\">Kierunya Davis, who brought a bouquet of flowers, poses in her custom Megan The Stallion-inspired outfit outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kierunya Davis flew in from Compton bearing gifts for Megan Thee Stallion, who later accepted them on stage. “White men do not speak for the majority,” Davis said. “We deserve better as brown and black people — for somebody to actually make promises and follow through.”\u003c/p>\n\u003cfigure id=\"attachment_13960236\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Cruz (left) and Katarina Ruiz pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Cruz has reproductive and immigration rights front of mind this election year. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Self-identified Hottie Alex Cruz said she’s anxious about the election, “especially with Roe v. Wade recently being overturned.” She said it’s “disappointing that Biden hasn’t been able to do more” regarding reproductive rights and immigration reform, but clarified that she is “probably just going to end up voting for him anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13960231\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960231\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mia Williams poses for a portrait in her Starfire superhero costume outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Williams isn’t happy with the choice of presidential candidates in the upcoming election. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mia Williams, from Seattle, also traveled hundreds of miles to see Megan Thee Stallion. “She stands up for body positivity and she helped push female rap to where it is,” Williams said.\u003c/p>\n\u003cp>When asked about the election, Williams was less hopeful. “I feel like regardless, it’s a bad choice,” she said. “I don’t know how [Joe Biden] could do another four years,” she said, “and [Donald Trump] is just a bigot.” She continued, “Also, he’s a felon now, so I don’t think a felon should be a president.”\u003c/p>\n\u003cfigure id=\"attachment_13960243\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mourice Grey (left) and Karl Daniels pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mourice Grey and Karl Daniels both live in San Leandro, and cited rent control, women’s rights and queer rights as their top concerns this year. “[Trump] broke the law, so he should not get the opportunity,” Daniels noted.\u003c/p>\n\u003cfigure id=\"attachment_13960242\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Left: Iyobosa Igbinake, Ayah Benjamin, Aminah Benjamin, Ifela Hayes pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Benjamin has yet to decide if she’ll be voting this year, and said being a young person today is exhausting. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Decked out in Sailor Mars cosplay, Ayah Benjamin said she “hasn’t made a decision yet” on whether she will vote this year. “Capitalism and being a young person in society is genuinely exhausting,” she expressed with frustration. “Civil rights, humanitarian issues and obviously the genocides globally” are her primary concerns in this election.\u003c/p>\n\u003cfigure id=\"attachment_13960240\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960240\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Destiny Phan (left) and Jeneveive Kongkham pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Megan Thee Stallion show at the Chase Center was Destiny Phan’s first concert. This year’s election will mark another first, as she’s finally old enough to vote. Phan said it’s been “hard to keep up” with politics this year.\u003c/p>\n\u003cfigure id=\"attachment_13960246\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tourean Barnes (right) poses for a portrait with his nephew Javonte Barnes outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Tourean Barnes is unsure if he’ll vote in the next election and said he sees the two leading candidates as entertainers rather than presidents. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tourean Barnes was there to attend the concert with his nephew Javonte Barnes. “My main issue would be the stability of our democracy,” said Tourean, adding that the two front-running candidates are “more like entertainers than presidents.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Take This Hammer,’ James Baldwin’s KQED Documentary, Just Turned 60",
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"headTitle": "‘Take This Hammer,’ James Baldwin’s KQED Documentary, Just Turned 60 | KQED",
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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>“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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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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"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. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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