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"content": "\u003cp>Every second Saturday in Southeast San Francisco, over a dozen organizations come together to offer much-needed resources to residents of the surrounding neighborhood.\u003c/p>\n\u003cp>At the \u003ca href=\"https://popupvillage.org/\" target=\"_blank\" rel=\"noopener\">Pop-Up Village\u003c/a>, vendors teach healthy recipes and supply the ingredients so folks can make the meals at home. Dental care practitioners and physical therapists offer care and consultations, and barbers give fresh fades and line-ups.\u003c/p>\n\u003cp>Topics of violence prevention and civic responsibility are covered by Uncle Damien of the community action organization \u003ca href=\"https://www.us4usbayarea.org/\" target=\"_blank\" rel=\"noopener\">Us4Us\u003c/a>. And representatives from the \u003ca href=\"https://sfdec.org/\">San Francisco Department of Early Childhood\u003c/a>, as well as members from Tachelle Herron’s \u003ca href=\"https://www.aintiascholar.org/\" target=\"_blank\" rel=\"noopener\">Ain’t I A Scholar\u003c/a> organization, assist with a Youth Future Zone.\u003c/p>\n\u003cfigure id=\"attachment_13955709\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955709\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861.jpg\" alt=\"Chef Will B of WillBHealthy at the Pop-Up Village holds up a piece of fresh produce during a recent gathering.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chef Will B of WillBHealthy at the Pop-Up Village holds up a piece of fresh produce during a recent gathering. \u003ccite>(via The Pop-Up Village)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a constellation of resources,” says KaSelah Crockett, event organizer and head of the nonprofit organizations \u003ca href=\"https://www.compassandkeys.org/\" target=\"_blank\" rel=\"noopener\">Compass & Keys\u003c/a> and the Pop-Up Village’s umbrella organization.\u003c/p>\n\u003cp>This resource pop-up has been held for over seven years at various sites in Oakland and San Francisco. This year’s spring series will be hosted at the \u003ca href=\"https://sfpuc.org/learning/come-visit/southeast-community-center\" target=\"_blank\" rel=\"noopener\">Southeast Community Center\u003c/a> (SECC) at 1550 Evans Ave. in San Francisco, just off Third Street, between the Dogpatch and Hunters Point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Saturday, April 13, in addition to farmers, poets and medical workers, there will be a special focus on reproductive health. April 11 through April 17 is known as Black Maternal Health Week; the week-long campaign, founded by the \u003ca href=\"https://blackmamasmatter.org/bmhw-2024/\">Black Mamas Matter Alliance\u003c/a>, was officially recognized by the federal government last April in \u003ca href=\"https://www.hhs.gov/about/news/2023/04/13/hhs-celebrates-black-maternal-health-week-2023.html\">an official proclamation by President Biden\u003c/a>.\u003c/p>\n\u003cp>The week is a reminder of the inequities in reproductive health. In the United States, African Americans who give birth face a nearly 50% higher rate of \u003ca href=\"https://www.cdc.gov/reproductivehealth/maternalinfanthealth/pretermbirth.htm\" target=\"_blank\" rel=\"noopener\">preterm birth\u003c/a> than white or Hispanic birthing parents; that’s in addition to other health concerns, including higher rates of cervical cancer and postpartum disorder.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/07/05/1186019422/the-black-maternal-mortality-crisis-and-why-it-remains-an-issue\" target=\"_blank\" rel=\"noopener\">These kind of disparities have been evident\u003c/a> since officials started tracking reproductive health statistics nearly 100 years ago, and were \u003ca href=\"https://www.cdc.gov/nchs/data/hestat/maternal-mortality/2021/maternal-mortality-rates-2021.htm\">exacerbated by the pandemic\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13955710\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-scaled.jpg\" alt=\"EBlendz da Barber offers free haircuts to people at the Pop-Up Village.\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">EBlendz da Barber offers free haircuts to people at the Pop-Up Village. \u003ccite>(via The Pop-Up Village)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, the national numbers around reproductive health are mirrored \u003ca href=\"https://www.sf.gov/perinatal-equity-initiative\" target=\"_blank\" rel=\"noopener\">in San Francisco\u003c/a>.\u003c/p>\n\u003cp>“This month we’re focused on Black maternal health, and we have a bunch of vendors coming out,” says Crockett. The list includes the UCSF-supported \u003ca href=\"https://popupvillage.org/partner/san-francisco-respect-initiative-sfri/\" target=\"_blank\" rel=\"noopener\">SF Respect Initiative\u003c/a> and \u003ca href=\"https://pretermbirthca.ucsf.edu/expecting-justice\" target=\"_blank\" rel=\"noopener\">Expecting Justice\u003c/a>, as well as \u003ca href=\"https://birthcompanionscommunitycenter.org/\" target=\"_blank\" rel=\"noopener\">Birth Companions Community Center\u003c/a>, the \u003ca href=\"https://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Homeless Prenatal Program\u003c/a> and others.\u003c/p>\n\u003cp>The presence of organizations such as \u003ca href=\"https://www.thebutterflymovement.com/#/\" target=\"_blank\" rel=\"noopener\">The Butterfly Movement\u003c/a> indicates how reproductive health is about more than giving birth — it’s also about empowerment and economic justice. Led by Executive Director Haile Shaver, as well as CEO and National Director Brandi Mack (who also co-created the Pop-Up Village), the organization brings another layer to the issue: economic sustainability.\u003c/p>\n\u003cp>“This network is a generative economic tool,” says Crockett. “It allows us to be supported, and be in support of one another.”\u003c/p>\n\u003cp>With a background in counseling psychology and family & marriage therapy, Crockett has approached the work of community health from a few different angles. But she believes true healing, and even preventive measures, can come simply with being connected to the neighborhood you’re serving and bringing the resources to the peoples’ doorsteps.\u003c/p>\n\u003cp>She adds that the Pop-Up Village serves as a place to check in, have healthy conversations and even address some heavier topics in a way that’s uplifting and respectful.\u003c/p>\n\u003cp>She sees health not just as a matter of providing care — it’s also a matter of neighbors knowing each other, sharing resources and creating a system of cooperative economics with the neighborhood.\u003c/p>\n\u003cp>“I feel like that’s a better approach to having healthy and sustainable communities,” Crockett says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Pop-Up Village happens every second Saturday of the month (April 13th, May 11th, June 8th), from 1 p.m. to 4:30 p.m., at the Southeast Community Center (1550 Evans Ave., San Francisco). The events are free to all. \u003ca href=\"https://popupvillage.org/\">More information and details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every second Saturday in Southeast San Francisco, over a dozen organizations come together to offer much-needed resources to residents of the surrounding neighborhood.\u003c/p>\n\u003cp>At the \u003ca href=\"https://popupvillage.org/\" target=\"_blank\" rel=\"noopener\">Pop-Up Village\u003c/a>, vendors teach healthy recipes and supply the ingredients so folks can make the meals at home. Dental care practitioners and physical therapists offer care and consultations, and barbers give fresh fades and line-ups.\u003c/p>\n\u003cp>Topics of violence prevention and civic responsibility are covered by Uncle Damien of the community action organization \u003ca href=\"https://www.us4usbayarea.org/\" target=\"_blank\" rel=\"noopener\">Us4Us\u003c/a>. And representatives from the \u003ca href=\"https://sfdec.org/\">San Francisco Department of Early Childhood\u003c/a>, as well as members from Tachelle Herron’s \u003ca href=\"https://www.aintiascholar.org/\" target=\"_blank\" rel=\"noopener\">Ain’t I A Scholar\u003c/a> organization, assist with a Youth Future Zone.\u003c/p>\n\u003cfigure id=\"attachment_13955709\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955709\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861.jpg\" alt=\"Chef Will B of WillBHealthy at the Pop-Up Village holds up a piece of fresh produce during a recent gathering.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_1157-scaled-e1712764268861-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chef Will B of WillBHealthy at the Pop-Up Village holds up a piece of fresh produce during a recent gathering. \u003ccite>(via The Pop-Up Village)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a constellation of resources,” says KaSelah Crockett, event organizer and head of the nonprofit organizations \u003ca href=\"https://www.compassandkeys.org/\" target=\"_blank\" rel=\"noopener\">Compass & Keys\u003c/a> and the Pop-Up Village’s umbrella organization.\u003c/p>\n\u003cp>This resource pop-up has been held for over seven years at various sites in Oakland and San Francisco. This year’s spring series will be hosted at the \u003ca href=\"https://sfpuc.org/learning/come-visit/southeast-community-center\" target=\"_blank\" rel=\"noopener\">Southeast Community Center\u003c/a> (SECC) at 1550 Evans Ave. in San Francisco, just off Third Street, between the Dogpatch and Hunters Point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Saturday, April 13, in addition to farmers, poets and medical workers, there will be a special focus on reproductive health. April 11 through April 17 is known as Black Maternal Health Week; the week-long campaign, founded by the \u003ca href=\"https://blackmamasmatter.org/bmhw-2024/\">Black Mamas Matter Alliance\u003c/a>, was officially recognized by the federal government last April in \u003ca href=\"https://www.hhs.gov/about/news/2023/04/13/hhs-celebrates-black-maternal-health-week-2023.html\">an official proclamation by President Biden\u003c/a>.\u003c/p>\n\u003cp>The week is a reminder of the inequities in reproductive health. In the United States, African Americans who give birth face a nearly 50% higher rate of \u003ca href=\"https://www.cdc.gov/reproductivehealth/maternalinfanthealth/pretermbirth.htm\" target=\"_blank\" rel=\"noopener\">preterm birth\u003c/a> than white or Hispanic birthing parents; that’s in addition to other health concerns, including higher rates of cervical cancer and postpartum disorder.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2023/07/05/1186019422/the-black-maternal-mortality-crisis-and-why-it-remains-an-issue\" target=\"_blank\" rel=\"noopener\">These kind of disparities have been evident\u003c/a> since officials started tracking reproductive health statistics nearly 100 years ago, and were \u003ca href=\"https://www.cdc.gov/nchs/data/hestat/maternal-mortality/2021/maternal-mortality-rates-2021.htm\">exacerbated by the pandemic\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13955710\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-scaled.jpg\" alt=\"EBlendz da Barber offers free haircuts to people at the Pop-Up Village.\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSC06675-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">EBlendz da Barber offers free haircuts to people at the Pop-Up Village. \u003ccite>(via The Pop-Up Village)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, the national numbers around reproductive health are mirrored \u003ca href=\"https://www.sf.gov/perinatal-equity-initiative\" target=\"_blank\" rel=\"noopener\">in San Francisco\u003c/a>.\u003c/p>\n\u003cp>“This month we’re focused on Black maternal health, and we have a bunch of vendors coming out,” says Crockett. The list includes the UCSF-supported \u003ca href=\"https://popupvillage.org/partner/san-francisco-respect-initiative-sfri/\" target=\"_blank\" rel=\"noopener\">SF Respect Initiative\u003c/a> and \u003ca href=\"https://pretermbirthca.ucsf.edu/expecting-justice\" target=\"_blank\" rel=\"noopener\">Expecting Justice\u003c/a>, as well as \u003ca href=\"https://birthcompanionscommunitycenter.org/\" target=\"_blank\" rel=\"noopener\">Birth Companions Community Center\u003c/a>, the \u003ca href=\"https://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Homeless Prenatal Program\u003c/a> and others.\u003c/p>\n\u003cp>The presence of organizations such as \u003ca href=\"https://www.thebutterflymovement.com/#/\" target=\"_blank\" rel=\"noopener\">The Butterfly Movement\u003c/a> indicates how reproductive health is about more than giving birth — it’s also about empowerment and economic justice. Led by Executive Director Haile Shaver, as well as CEO and National Director Brandi Mack (who also co-created the Pop-Up Village), the organization brings another layer to the issue: economic sustainability.\u003c/p>\n\u003cp>“This network is a generative economic tool,” says Crockett. “It allows us to be supported, and be in support of one another.”\u003c/p>\n\u003cp>With a background in counseling psychology and family & marriage therapy, Crockett has approached the work of community health from a few different angles. But she believes true healing, and even preventive measures, can come simply with being connected to the neighborhood you’re serving and bringing the resources to the peoples’ doorsteps.\u003c/p>\n\u003cp>She adds that the Pop-Up Village serves as a place to check in, have healthy conversations and even address some heavier topics in a way that’s uplifting and respectful.\u003c/p>\n\u003cp>She sees health not just as a matter of providing care — it’s also a matter of neighbors knowing each other, sharing resources and creating a system of cooperative economics with the neighborhood.\u003c/p>\n\u003cp>“I feel like that’s a better approach to having healthy and sustainable communities,” Crockett says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Pop-Up Village happens every second Saturday of the month (April 13th, May 11th, June 8th), from 1 p.m. to 4:30 p.m., at the Southeast Community Center (1550 Evans Ave., San Francisco). The events are free to all. \u003ca href=\"https://popupvillage.org/\">More information and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A group of artists who call themselves California Jewish Artists for Palestine have withdrawn their work from a group exhibition opening June 6 at San Francisco’s Contemporary Jewish Museum (CJM).\u003c/p>\n\u003cp>The artists’ decision came after disagreements with CJM leadership over sources of museum funding, as well as how their art would be contextualized in the exhibit \u003ca href=\"https://www.thecjm.org/upcoming_exhibitions\">\u003ci>California Jewish Open\u003c/i>\u003c/a>. The exhibition will now include a blank wall to symbolize the absence of the artists’ perspectives. Their action follows an international wave of pro-Palestinian protests at museums, including one where artists modified their own works at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">Yerba Buena Center for the Arts\u003c/a>, located directly across the street from CJM. [aside postid='arts_13952460,arts_13954119']\u003c/p>\n\u003cp>During the open call for \u003cem>California Jewish Open \u003c/em>late last year, Jewish artists Micah Bazant, Jules Cowan, Rebekah Erev, Rebecca Maria Goldschmidt, Steph Kudisch, Kate Laster, Ava Sayaka Rosen, Sophia Sobko, Arielle Tonkin and Irina Zadov submitted works with pro-Palestinian messages. They expected to be rejected. Instead, guest curator Elissa Strauss chose five of their works for the show, which centers on the theme of connection.\u003c/p>\n\u003cp>The California Jewish Artists for Palestine sent CJM leaders several demands, one of which was to divest from Israeli government funding sources and “pro-Israel philanthropic organizations, funders and board members.” Later, they called on CJM to join the Palestinian Academic and Cultural Boycott of Israel (PACBI), which aims to discourage international institutions from collaborating with Israeli institutions. PACBI is part of the \u003ca href=\"https://bdsmovement.net/what-is-bds\">Boycott, Divestment, Sanctions movement\u003c/a>, which calls for a boycott of Israel until it ends its occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands.\u003c/p>\n\u003cp>In an interview with KQED, Sobko said it would be hypocritical for the museum to feature art criticizing Israel’s bombardment of Gaza “while receiving funding that directly … facilitates the material oppression that we’re trying to raise awareness to stop.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sobko added, “I wish for some ethical clarity and backbone and courage.”\u003c/p>\n\u003cfigure id=\"attachment_13955608\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg\" alt='A spray painted background with brown, black and purple, overlaid with white letters that say \"CA Jewish Artists for Palestine.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘CA Jewish Artists for Palestine,’ 8″ x 8″, papercut and spray paint on paper, 2024 \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The photo piece that Sobko withdrew, \u003ci>The Four Mitzvot of the Queer Soviet Jewish Diaspora\u003c/i>, is a collaboration with Zadov and Aravah Berman-Mirkin under the name Krivoy Kolectiv. It features Ukrainian head scarves embroidered with four mitzvahs, or commandments, including one for a free Palestine.\u003c/p>\n\u003cp>CJM’s interim Executive Director Kerry King told artists it would not join PACBI. In a \u003ca href=\"https://bdsmovement.net/what-is-bds\">press release issued April 5\u003c/a>, the California Jewish Artists for Palestine raised the fact that CJM has previously received funding from the Israeli government. (King said CJM hasn’t received funding from the Consulate General of Israel or other Israeli organizations since 2021.)\u003c/p>\n\u003cp>Additionally, another museum funder, the Helen Diller Family Foundation, has been \u003ca href=\"https://forward.com/news/411355/revealed-canary-mission-blacklist-is-secretly-bankrolled-by-major-jewish/\">accused of funneling money into Canary Mission\u003c/a>, an organization known for doxxing anti-Zionist students and professors.\u003c/p>\n\u003cp>King said many of CJM’s donors have a variety of philanthropic projects that are out of CJM’s control. “We have donors who support the arts and support having a Jewish museum in San Francisco,” she told KQED. Because of these donors, added King, “We are able to do what we do. We’re able to continue to operate and have our doors open.”\u003c/p>\n\u003cfigure id=\"attachment_13955610\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg\" alt=\"A photo of people looking into the distance while waving colorful flags.\" width=\"1100\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-768x512.jpeg 768w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ava Sayaka Rosen, Arielle Tonkin and collaborators. ‘Morocco to the Bay: A diasporic Prayerformance.’ \u003ccite>(M Fields. Albany, California, 2023.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another point of contention between California Jewish Artists for Palestine and museum leaders arose around the wall text that would have accompanied their artworks. Senior Curator Heidi Rabben told KQED that CJM was open to artists using the phrase “anti-Zionist” to describe their political stance, but the parties disagreed on how to contextualize the term, which means different things to different people.\u003c/p>\n\u003cp>In their list of demands, the artists wanted full control over wall text and the right to modify or withdraw their works at any time, which the museum refused. Rabben and King said they disagree with the artists’ characterization of this as censorship in their press release.\u003c/p>\n\u003cp>“We simply asked that they define what they meant in using [‘anti-Zionist’] and include that as well in the statement so that it was very clear,” Rabben said, noting that she respects the artists’ decision to withdraw their work. “What they meant by it, as we understood their work to be about, was not questioning the right of Israel to exist, but to say that they were envisioning Jewish futures outside of nationalism.”\u003c/p>\n\u003cp>Sobko said abstract debates about terminology distract from the real-life suffering of Palestinians.\u003c/p>\n\u003cp>“Zionism [is enacted] as a Jewish ethno-nation state. And then that creates an apartheid system against Palestinians,” Sobko said. “To me, anti-Zionism is … a refusal to create hierarchies of people within militarized nation states, in this case being Jewish supremacy. But I’m also against it on Turtle Island in the United States just as much.”\u003c/p>\n\u003cp>“This is about our Jewishness bringing us here, ethically, to stand up and say, ‘This is unacceptable,’” said fellow collective member Kate Laster, who withdrew a print reading, “No one is free in apartheid. Free Palestine. Solidarity is essential.”\u003c/p>\n\u003cp>“None of our consent can be manufactured to conflate any justification for apartheid, or genocide [of Palestinians],” Laster added.\u003c/p>\n\u003cfigure id=\"attachment_13955611\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg\" alt='A print that says \"No one is free in apartheid. Free Palestine. Solidarity is essential.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘Solidarity is Essential,’ 11″ x 17″, collagraph on paper, 2023. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another artist, Liat Berdugo, separately withdrew from \u003ci>California Jewish Open\u003c/i>, concerned that the exhibit wouldn’t sufficiently address what she describes as the Israeli government weaponizing Jewish grief after the Oct. 7 Hamas attacks to justify the killings and displacement of Palestinians. She said the language in CJM’s contract made her uneasy about whether the message of her work would be lost.\u003c/p>\n\u003cp>The multimedia work Berdugo withdrew, \u003ca href=\"https://www.liatberdugo.com/work/trees\">\u003ci>Seeing It For the Trees\u003c/i>\u003c/a>, examines an Israeli organization that plants trees under the guise of environmentalism. “But really a lot of it is greenwashing,” she said. “Planting forests over the ruins of Palestinian villages strategically to camouflage them … to claim lands that were Palestinian and make them public parks, which then are subject to different legal jurisdictions, and deny the right of return.”\u003c/p>\n\u003cp>The decision to withdraw from the show was difficult for Berdugo, because she specifically wanted a Jewish audience to see her piece. “I think these conversations are necessarily messy,” she said. “Is there a way to have these conversations not on the surface, but on a tectonic level, that identifies structures and systems?”\u003c/p>\n\u003cp>The California Jewish Artists for Palestine are in the early stages of organizing their own exhibition, and say they invite artists, Contemporary Jewish Museum staff and other creative professionals to join them.\u003c/p>\n\u003cp>Sobko describes the collective’s goals with a hopeful vision.\u003c/p>\n\u003cp>“[We’re] putting our energy toward creating something new, visible-izing our perspectives toward drawing that attention to Israeli settler colonialism, apartheid and, obviously, Palestinian resistance and resilience.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was updated to accurately reflect the California Jewish Artists for Palestine’s initial demands of the Contemporary Jewish Museum. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A group of artists who call themselves California Jewish Artists for Palestine have withdrawn their work from a group exhibition opening June 6 at San Francisco’s Contemporary Jewish Museum (CJM).\u003c/p>\n\u003cp>The artists’ decision came after disagreements with CJM leadership over sources of museum funding, as well as how their art would be contextualized in the exhibit \u003ca href=\"https://www.thecjm.org/upcoming_exhibitions\">\u003ci>California Jewish Open\u003c/i>\u003c/a>. The exhibition will now include a blank wall to symbolize the absence of the artists’ perspectives. Their action follows an international wave of pro-Palestinian protests at museums, including one where artists modified their own works at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">Yerba Buena Center for the Arts\u003c/a>, located directly across the street from CJM. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the open call for \u003cem>California Jewish Open \u003c/em>late last year, Jewish artists Micah Bazant, Jules Cowan, Rebekah Erev, Rebecca Maria Goldschmidt, Steph Kudisch, Kate Laster, Ava Sayaka Rosen, Sophia Sobko, Arielle Tonkin and Irina Zadov submitted works with pro-Palestinian messages. They expected to be rejected. Instead, guest curator Elissa Strauss chose five of their works for the show, which centers on the theme of connection.\u003c/p>\n\u003cp>The California Jewish Artists for Palestine sent CJM leaders several demands, one of which was to divest from Israeli government funding sources and “pro-Israel philanthropic organizations, funders and board members.” Later, they called on CJM to join the Palestinian Academic and Cultural Boycott of Israel (PACBI), which aims to discourage international institutions from collaborating with Israeli institutions. PACBI is part of the \u003ca href=\"https://bdsmovement.net/what-is-bds\">Boycott, Divestment, Sanctions movement\u003c/a>, which calls for a boycott of Israel until it ends its occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands.\u003c/p>\n\u003cp>In an interview with KQED, Sobko said it would be hypocritical for the museum to feature art criticizing Israel’s bombardment of Gaza “while receiving funding that directly … facilitates the material oppression that we’re trying to raise awareness to stop.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sobko added, “I wish for some ethical clarity and backbone and courage.”\u003c/p>\n\u003cfigure id=\"attachment_13955608\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg\" alt='A spray painted background with brown, black and purple, overlaid with white letters that say \"CA Jewish Artists for Palestine.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3-Kate-Laster-CA-Jewish-Artists-for-Palestine-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘CA Jewish Artists for Palestine,’ 8″ x 8″, papercut and spray paint on paper, 2024 \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The photo piece that Sobko withdrew, \u003ci>The Four Mitzvot of the Queer Soviet Jewish Diaspora\u003c/i>, is a collaboration with Zadov and Aravah Berman-Mirkin under the name Krivoy Kolectiv. It features Ukrainian head scarves embroidered with four mitzvahs, or commandments, including one for a free Palestine.\u003c/p>\n\u003cp>CJM’s interim Executive Director Kerry King told artists it would not join PACBI. In a \u003ca href=\"https://bdsmovement.net/what-is-bds\">press release issued April 5\u003c/a>, the California Jewish Artists for Palestine raised the fact that CJM has previously received funding from the Israeli government. (King said CJM hasn’t received funding from the Consulate General of Israel or other Israeli organizations since 2021.)\u003c/p>\n\u003cp>Additionally, another museum funder, the Helen Diller Family Foundation, has been \u003ca href=\"https://forward.com/news/411355/revealed-canary-mission-blacklist-is-secretly-bankrolled-by-major-jewish/\">accused of funneling money into Canary Mission\u003c/a>, an organization known for doxxing anti-Zionist students and professors.\u003c/p>\n\u003cp>King said many of CJM’s donors have a variety of philanthropic projects that are out of CJM’s control. “We have donors who support the arts and support having a Jewish museum in San Francisco,” she told KQED. Because of these donors, added King, “We are able to do what we do. We’re able to continue to operate and have our doors open.”\u003c/p>\n\u003cfigure id=\"attachment_13955610\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg\" alt=\"A photo of people looking into the distance while waving colorful flags.\" width=\"1100\" height=\"733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening.jpeg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/1.-Ava-Sayaka-Rosen-Arielle-Tonkin-and-collaborators.-Morocco-to-the-Bay-opening-768x512.jpeg 768w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ava Sayaka Rosen, Arielle Tonkin and collaborators. ‘Morocco to the Bay: A diasporic Prayerformance.’ \u003ccite>(M Fields. Albany, California, 2023.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another point of contention between California Jewish Artists for Palestine and museum leaders arose around the wall text that would have accompanied their artworks. Senior Curator Heidi Rabben told KQED that CJM was open to artists using the phrase “anti-Zionist” to describe their political stance, but the parties disagreed on how to contextualize the term, which means different things to different people.\u003c/p>\n\u003cp>In their list of demands, the artists wanted full control over wall text and the right to modify or withdraw their works at any time, which the museum refused. Rabben and King said they disagree with the artists’ characterization of this as censorship in their press release.\u003c/p>\n\u003cp>“We simply asked that they define what they meant in using [‘anti-Zionist’] and include that as well in the statement so that it was very clear,” Rabben said, noting that she respects the artists’ decision to withdraw their work. “What they meant by it, as we understood their work to be about, was not questioning the right of Israel to exist, but to say that they were envisioning Jewish futures outside of nationalism.”\u003c/p>\n\u003cp>Sobko said abstract debates about terminology distract from the real-life suffering of Palestinians.\u003c/p>\n\u003cp>“Zionism [is enacted] as a Jewish ethno-nation state. And then that creates an apartheid system against Palestinians,” Sobko said. “To me, anti-Zionism is … a refusal to create hierarchies of people within militarized nation states, in this case being Jewish supremacy. But I’m also against it on Turtle Island in the United States just as much.”\u003c/p>\n\u003cp>“This is about our Jewishness bringing us here, ethically, to stand up and say, ‘This is unacceptable,’” said fellow collective member Kate Laster, who withdrew a print reading, “No one is free in apartheid. Free Palestine. Solidarity is essential.”\u003c/p>\n\u003cp>“None of our consent can be manufactured to conflate any justification for apartheid, or genocide [of Palestinians],” Laster added.\u003c/p>\n\u003cfigure id=\"attachment_13955611\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg\" alt='A print that says \"No one is free in apartheid. Free Palestine. Solidarity is essential.\"' width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/2.-Kate-Laster-Solidarity-is-Essential-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kate Laster. ‘Solidarity is Essential,’ 11″ x 17″, collagraph on paper, 2023. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another artist, Liat Berdugo, separately withdrew from \u003ci>California Jewish Open\u003c/i>, concerned that the exhibit wouldn’t sufficiently address what she describes as the Israeli government weaponizing Jewish grief after the Oct. 7 Hamas attacks to justify the killings and displacement of Palestinians. She said the language in CJM’s contract made her uneasy about whether the message of her work would be lost.\u003c/p>\n\u003cp>The multimedia work Berdugo withdrew, \u003ca href=\"https://www.liatberdugo.com/work/trees\">\u003ci>Seeing It For the Trees\u003c/i>\u003c/a>, examines an Israeli organization that plants trees under the guise of environmentalism. “But really a lot of it is greenwashing,” she said. “Planting forests over the ruins of Palestinian villages strategically to camouflage them … to claim lands that were Palestinian and make them public parks, which then are subject to different legal jurisdictions, and deny the right of return.”\u003c/p>\n\u003cp>The decision to withdraw from the show was difficult for Berdugo, because she specifically wanted a Jewish audience to see her piece. “I think these conversations are necessarily messy,” she said. “Is there a way to have these conversations not on the surface, but on a tectonic level, that identifies structures and systems?”\u003c/p>\n\u003cp>The California Jewish Artists for Palestine are in the early stages of organizing their own exhibition, and say they invite artists, Contemporary Jewish Museum staff and other creative professionals to join them.\u003c/p>\n\u003cp>Sobko describes the collective’s goals with a hopeful vision.\u003c/p>\n\u003cp>“[We’re] putting our energy toward creating something new, visible-izing our perspectives toward drawing that attention to Israeli settler colonialism, apartheid and, obviously, Palestinian resistance and resilience.”\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>This story was updated to accurately reflect the California Jewish Artists for Palestine’s initial demands of the Contemporary Jewish Museum. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "YBCA’s Experimental Film Programs Find New Homes at The Lab and CounterPulse",
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"content": "\u003cp>While Yerba Buena Center for the Arts’ screening room continues to sit dark (without any films to illuminate it), the programs originally organized by Gina Basso to accompany the \u003ci>Bay Area Now 9\u003c/i> exhibition have been busy finding other homes.\u003c/p>\n\u003cp>What could be seen as an unfortunate dispersal of all the energy YBCA might have held tight has become an opportunity to visit some of the Bay Area’s great alternative venues. In that vein, last month’s planned \u003ca href=\"https://www.kqed.org/arts/13954375/experimental-animation-shapeshifters-cinema-ybca\">expanded and experimental animation program\u003c/a> played to a packed house at Oakland’s Shapeshifters Cinema. Now, two other interrupted and withdrawn programs are reconvening at The Lab and CounterPulse.\u003c/p>\n\u003cp>First up is \u003ci>\u003ca href=\"https://www.atasite.org/?p=15368\">Untitled: Sound & Images\u003c/a>\u003c/i>, an Artists’ Television Access-curated night of expanded, ethereal cinema at The Lab on April 12. The show features \u003ci>Light Year\u003c/i>, a 16mm film work by the late, beloved artist \u003ca href=\"https://www.kqed.org/arts/13823720/paul-clipson-visionary-filmmaker-and-projectionist-dies-at-53\">Paul Clipson\u003c/a> (soundtrack by Tashi Wada) and live performances from three collaborative pairs: Lisa Mezzacappa and Anjali Sundaram, Amma Ateria and Linda Scobie, Joshua Churchill and Konrad Steiner.\u003c/p>\n\u003cp>https://vimeo.com/85962209\u003c/p>\n\u003cp>Mixing digital and analog media, each live performance includes elements of improvisation that truly make this a one-night-only experience of Bay Area film and sound art — all the more reason to be happy this planned night (originally scheduled for Feb. 24) didn’t simply disappear.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just a week later, Leah Rosenberg’s \u003ci>\u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Color in Twelve Parts\u003c/a>\u003c/i>, a piece commissioned by Basso for the \u003ci>BAN 9\u003c/i> film program, gets a triumphant, complete debut on April 21 at CounterPulse. Halted halfway through its 12-part rollout by the Feb. 15 closure of YBCA, Rosenberg’s series of monochromatic films, mise en scènes with collections of different-hued objects, marks a departure from the artist’s usual mediums of painting, sculpture and site-specific durational performances. (And cake, and drinks — \u003ca href=\"https://www.leahrosenberg.com/\">she does a lot\u003c/a>.)\u003c/p>\n\u003cp>“It really is this video version of all the themes and areas of interest she’s been involved with very deeply for over a decade,” Basso said of Rosenberg’s films last month. “They’re really beautiful and very sumptuous and they’re obviously colorful, but they’re really fun to watch because she put herself in them — all of these videos begin with her painting her studio a different color.”\u003c/p>\n\u003cp>In a neat twist, the \u003ci>Color in Twelve Parts\u003c/i> will be screened twice, with two different live soundtracks performed by artists John Davis and Kim West.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Artists’ Television Access’ ‘Untitled: sound & images’ takes place April 12, 2024, 8–10 p.m. at The Lab (2948 16th St., San Francisco). \u003ca href=\"https://www.atasite.org/?p=15368\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Leah Rosenberg’s ‘Color in Twelve Parts’ screens April 21, 2024, 7:30 p.m. at CounterPulse (80 Turk St., San Francisco). \u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just a week later, Leah Rosenberg’s \u003ci>\u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Color in Twelve Parts\u003c/a>\u003c/i>, a piece commissioned by Basso for the \u003ci>BAN 9\u003c/i> film program, gets a triumphant, complete debut on April 21 at CounterPulse. Halted halfway through its 12-part rollout by the Feb. 15 closure of YBCA, Rosenberg’s series of monochromatic films, mise en scènes with collections of different-hued objects, marks a departure from the artist’s usual mediums of painting, sculpture and site-specific durational performances. (And cake, and drinks — \u003ca href=\"https://www.leahrosenberg.com/\">she does a lot\u003c/a>.)\u003c/p>\n\u003cp>“It really is this video version of all the themes and areas of interest she’s been involved with very deeply for over a decade,” Basso said of Rosenberg’s films last month. “They’re really beautiful and very sumptuous and they’re obviously colorful, but they’re really fun to watch because she put herself in them — all of these videos begin with her painting her studio a different color.”\u003c/p>\n\u003cp>In a neat twist, the \u003ci>Color in Twelve Parts\u003c/i> will be screened twice, with two different live soundtracks performed by artists John Davis and Kim West.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Artists’ Television Access’ ‘Untitled: sound & images’ takes place April 12, 2024, 8–10 p.m. at The Lab (2948 16th St., San Francisco). \u003ca href=\"https://www.atasite.org/?p=15368\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Leah Rosenberg’s ‘Color in Twelve Parts’ screens April 21, 2024, 7:30 p.m. at CounterPulse (80 Turk St., San Francisco). \u003ca href=\"https://www.sfcinematheque.org/screening/color-in-twelve-parts/\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bruce Hornsby Brings New ‘Deep Sea Vents’ Tour to the Bay Area",
"headTitle": "Bruce Hornsby Brings New ‘Deep Sea Vents’ Tour to the Bay Area | KQED",
"content": "\u003cp>Songwriter and musician \u003ca href=\"https://www.brucehornsby.com/\">Bruce Hornsby\u003c/a> has one of \u003ci>the\u003c/i> most recognizable piano intros in music. Those clear, cascading notes on “\u003ca href=\"https://www.youtube.com/watch?v=cOeKidp-iWo\">The Way It Is\u003c/a>,” off the 1986 album of the same name, became a launching pad for a storied career that has traversed genres and had him working with a wide range of collaborations.\u003c/p>\n\u003cp>Those collaborations include some Bay Area ties — like playing with The Grateful Dead in the early ’90s, putting his piano on iconic tracks like Bonnie Raitt’s “\u003ca href=\"https://www.youtube.com/watch?v=nW9Cu6GYqxo\">I Can’t Make You Love Me\u003c/a>,” and being sampled by Tupac for one of the rapper’s biggest songs, “\u003ca href=\"https://www.youtube.com/watch?v=eXvBjCO19QY\">Changes\u003c/a>.”\u003c/p>\n\u003cp>Hornsby’s latest project is a new water-themed album, \u003ca href=\"https://www.brucehornsby.com/deep-sea-vents\">\u003ci>Deep Sea Vents\u003c/i>\u003c/a>, in collaboration with the sextet \u003ca href=\"https://www.ymusicensemble.com/\">yMusic\u003c/a>. Performing together as BrhyM (pronounced “Brim”), they’re headed to San Francisco’s \u003ca href=\"https://www.ticketmaster.com/event/1C005F582CB36991\">Herbst Theatre on April 5\u003c/a> and Santa Rosa’s \u003ca href=\"https://lutherburbankcenter.org/event/bruce-hornsby24/\">Luther Burbank Center for the Arts on April 7\u003c/a>.\u003c/p>\n\u003cp>I talked with Hornsby over Zoom about his Bay Area music memories (which involved pranking the band Journey), the inspiration behind his new album and always exploring different sounds in his music, haters be damned.\u003c/p>\n\u003cp>\u003ci>Interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Ariana Proehl:\u003c/b> \u003cstrong>You’ve performed in the Bay Area a lot over the years. And some may not know that you recorded some of your first album \u003ci>The Way It Is\u003c/i> in Sausalito back in the ’80s. What stands out to you when you look back at that time, recording out here?\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Bruce Hornsby:\u003c/b> The group Journey was working next to us, and so somehow we got it into our heads to start phone pranking Journey. So I did that and called in to speak to [Journey lead guitarist] Neal Schon. I was a young man trying to get an audition for the group, that I referred to as “The Journeys.” “Hi, I’m trying to get an audition with The Journeys, is this Neal Schons?” I was using the pseudonym Melvin “Mooney” Minkins after a guy I went to high school with. So this just went on and on. So much so that in the credits for Journey’s record \u003ci>Raised on Radio\u003c/i>, there’s a special thanks to Melvin Minkins, and that’s why. I was phone pranking their manager, Herbie Herbert. They found out about it, and then they liked it. They got such a kick out of it, they had me phone pranking other people, friends of theirs.\u003c/p>\n\u003cp>I used to phone prank [Jerry] Garcia for that matter, in the later years.\u003c/p>\n\u003cp>\u003cb>Speaking of Jerry Garcia and Bay Area memories, you toured with The Grateful Dead in the early ’90s, playing keyboards for over 100 shows. What are some of your favorite memories playing with them?\u003c/b>\u003c/p>\n\u003cp>Oh, there are so many. Touring through Europe. Just the origin — the first gigs I did with them, I basically came in off the street and started winging it with them with, no rehearsal, at Madison Square Garden. That was crazy. And I used to play in my older brother’s Grateful Dead cover band in Charlottesville, Virginia. The name of the band was Bobby Hi-Test and the Octane Kids. And my brother is Bobby Hornsby. So imagine all those people who used to hang around with us, going to these great alcohol and hippie frat parties at University of Virginia playing Dead covers. Imagine them 16 years later, coming to Madison Square Garden to watch me start playing with that band. It was just an incomparable experience. Truly transcendent.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LTu5BmFFt00\u003c/p>\n\u003cp>\u003cb>Let’s talk about what brings you to the Bay Area this time around – your new album \u003ci>Deep Sea Vents\u003c/i>, with the ensemble yMusic. What sparked this album? \u003c/b>\u003c/p>\n\u003cp>In the fall of 2019, they called me up and asked me if I would do a little five-song tour with them. Then Rob [Moose of yMusic] asked if I’d be interested in writing a song with him that we could play as our encore every night. So I said, “Sure, send me a track.” They sent me this track and I wrote a song called “\u003ca href=\"https://www.youtube.com/watch?v=l--wZYW0Au0\">Deep Sea Vents\u003c/a>.” \u003cspan style=\"font-weight: 400\">We had a great time playing that at our five concerts. And after the last one we said, “hey, let’s keep doing this, let’s keep writing.” \u003c/span>Then a week later, the COVID shutdown occurred. In the fall, we reconvened on the phone. They would send me a track every two months or so. And we just kept on going. I was reading \u003ci>Moby Dick\u003c/i> at the time. And all of a sudden they sent me this track that sounded like the book. So I decided to channel Herman Melville and write this song “The Wild Whaling Life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4vu5cF3YhFg\u003c/p>\n\u003cp>And they sent me another song — their working title was “Duck Hunt.” It starts off with these sort of quacking sounding clarinets and trumpet. I thought, “Well, okay, I’m going to write about the platypus.” Sort of taking my cue from John Lennon’s “\u003ca href=\"https://www.youtube.com/watch?v=Ws5klxbI87I\">I Am the Walrus\u003c/a>.” So I wrote the song “\u003ca href=\"https://youtu.be/IQIorHlOLC0?feature=shared\">Platypus Wow\u003c/a>” over their track. These three songs together signaled very clearly that this record really should have a running theme. And so I decided every song that I write from here on out will be ocean-related or aquatic-related.\u003c/p>\n\u003cp>\u003cb>You’re known for taking your music in all kinds of directions. I scanned some of the YouTube comments for your \u003ci>Deep Sea Vents\u003c/i> album tracks and one fan mentioned loving your music because you’re true to yourself and not a style. Does that resonate? \u003c/b>\u003c/p>\n\u003cp>Well, now you’re being very kind to read the nice comments because there are always naysayers — people who would like me to make the same record stylistically for my entire life. I’m a bit of a restless soul. I’m an old music school nerd and I love so many different types of music. And I’ve just ended up being reached out to by so many people from so many disparate areas of musical life. So consequently, I’ve made bluegrass records \u003ca href=\"https://music.youtube.com/playlist?list=OLAK5uy_kklijAlIjpugeonmOdV-MPNXh9aQXYn3Y\">with Ricky Skaggs\u003c/a>. I’ve made jazz records \u003ca href=\"https://www.youtube.com/watch?v=lnY2NOGdNfg\">with Jack DeJohnette and Christian McBride\u003c/a>, just on and on. And [\u003ci>Deep Sea Vents\u003c/i>] is just another version of all that. Another area to mine and to explore.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hqXDZgxdhyQ\u003c/p>\n\u003cp>I’m always looking for new inspiration. Thirty-nine years into this crazy career, the page is pretty filled in and I don’t like to repeat myself. So I’m interested in the new. I’m interested in the modern. Mind you, I say that, but I also tend to always write a couple of songs that come from the folk world. And that folk world was being mined early on in my music — \u003ci>The Way It Is\u003c/i> record, \u003ci>Scenes from the Southside\u003c/i> record — and I’ve kept on doing that. So hopefully there’s always something for the old-time listener who really isn’t interested in much else than that. But yes, that’s been my life, and it’s been extremely fulfilling. But you were very kind to not cite some of the nasty ones because I always get them. I’ve been getting nasty letters from fans since my second record saying, “How dare you change?” And my reaction was, “Well, okay, but you haven’t seen anything yet.” And that’s been my life.\u003c/p>\n\u003cp>\u003cb>We’re seeing this kind of conversation on the biggest of stages right now, because we just had one of the world’s biggest artists, Beyoncé, making something that people aren’t used to hearing her make with \u003ci>Cowboy Carter\u003c/i>. It will be interesting to see how we continue to evolve as a society in terms of thinking about genre and \u003ci>not\u003c/i> thinking about genre. \u003c/b>\u003c/p>\n\u003cp>I feel that Beyoncé’s record is nodding to the country world, but it’s hardly trying to be that. It is her own thing. It is Beyoncé music that leans now and then into a bit of a country flavor with the instrumentation, say, on the “Texas Hold ’Em” song.\u003c/p>\n\u003cp>\u003cb>Right, and \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/?igsh=OGJlbGx0ODBqemc5\">she even said\u003c/a>, “This ain’t a Country album. This is a ‘Beyoncé’ album.” And so I feel like with you – you have a trend as well of being able to say, you know, this isn’t a “this or that” album, this is a Bruce Hornsby album. And where I go, is where I go.\u003c/b>\u003c/p>\n\u003cp>Well, okay. So I guess we’re kindred spirits, Beyoncé and I [laughter]. I’ll take it, because, of course, she’s absolutely fantastic. And this record [\u003ci>Cowboy Carter\u003c/i>] is more of that same high bar, high level.\u003c/p>\n\u003cp>\u003cb>With all that said, back to the tour at hand: how are you approaching it? Are you staying focused on new music? What can audiences expect?\u003c/b>\u003c/p>\n\u003cp>We are playing three or four old, well-known songs from 1986 to 1992. And Rob Moose [of yMusic] wrote some gorgeous arrangements of these songs. So the concert every night will include that. We’re not just “inflicting modernity” all night. We are also playing those songs, but in a very beautiful and modern fashion.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Bruce Hornsby and yMusic perform as BryhM at the Herbst Theatre (401 Van Ness St., San Francisco) on April 5, and at the Luther Burbank Center for the Arts (50 Mark West Springs Rd., Santa Rosa) on April 7. \u003ca href=\"https://www.brucehornsby.com/tour\">Click here for ticket information\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Songwriter and musician \u003ca href=\"https://www.brucehornsby.com/\">Bruce Hornsby\u003c/a> has one of \u003ci>the\u003c/i> most recognizable piano intros in music. Those clear, cascading notes on “\u003ca href=\"https://www.youtube.com/watch?v=cOeKidp-iWo\">The Way It Is\u003c/a>,” off the 1986 album of the same name, became a launching pad for a storied career that has traversed genres and had him working with a wide range of collaborations.\u003c/p>\n\u003cp>Those collaborations include some Bay Area ties — like playing with The Grateful Dead in the early ’90s, putting his piano on iconic tracks like Bonnie Raitt’s “\u003ca href=\"https://www.youtube.com/watch?v=nW9Cu6GYqxo\">I Can’t Make You Love Me\u003c/a>,” and being sampled by Tupac for one of the rapper’s biggest songs, “\u003ca href=\"https://www.youtube.com/watch?v=eXvBjCO19QY\">Changes\u003c/a>.”\u003c/p>\n\u003cp>Hornsby’s latest project is a new water-themed album, \u003ca href=\"https://www.brucehornsby.com/deep-sea-vents\">\u003ci>Deep Sea Vents\u003c/i>\u003c/a>, in collaboration with the sextet \u003ca href=\"https://www.ymusicensemble.com/\">yMusic\u003c/a>. Performing together as BrhyM (pronounced “Brim”), they’re headed to San Francisco’s \u003ca href=\"https://www.ticketmaster.com/event/1C005F582CB36991\">Herbst Theatre on April 5\u003c/a> and Santa Rosa’s \u003ca href=\"https://lutherburbankcenter.org/event/bruce-hornsby24/\">Luther Burbank Center for the Arts on April 7\u003c/a>.\u003c/p>\n\u003cp>I talked with Hornsby over Zoom about his Bay Area music memories (which involved pranking the band Journey), the inspiration behind his new album and always exploring different sounds in his music, haters be damned.\u003c/p>\n\u003cp>\u003ci>Interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Ariana Proehl:\u003c/b> \u003cstrong>You’ve performed in the Bay Area a lot over the years. And some may not know that you recorded some of your first album \u003ci>The Way It Is\u003c/i> in Sausalito back in the ’80s. What stands out to you when you look back at that time, recording out here?\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Bruce Hornsby:\u003c/b> The group Journey was working next to us, and so somehow we got it into our heads to start phone pranking Journey. So I did that and called in to speak to [Journey lead guitarist] Neal Schon. I was a young man trying to get an audition for the group, that I referred to as “The Journeys.” “Hi, I’m trying to get an audition with The Journeys, is this Neal Schons?” I was using the pseudonym Melvin “Mooney” Minkins after a guy I went to high school with. So this just went on and on. So much so that in the credits for Journey’s record \u003ci>Raised on Radio\u003c/i>, there’s a special thanks to Melvin Minkins, and that’s why. I was phone pranking their manager, Herbie Herbert. They found out about it, and then they liked it. They got such a kick out of it, they had me phone pranking other people, friends of theirs.\u003c/p>\n\u003cp>I used to phone prank [Jerry] Garcia for that matter, in the later years.\u003c/p>\n\u003cp>\u003cb>Speaking of Jerry Garcia and Bay Area memories, you toured with The Grateful Dead in the early ’90s, playing keyboards for over 100 shows. What are some of your favorite memories playing with them?\u003c/b>\u003c/p>\n\u003cp>Oh, there are so many. Touring through Europe. Just the origin — the first gigs I did with them, I basically came in off the street and started winging it with them with, no rehearsal, at Madison Square Garden. That was crazy. And I used to play in my older brother’s Grateful Dead cover band in Charlottesville, Virginia. The name of the band was Bobby Hi-Test and the Octane Kids. And my brother is Bobby Hornsby. So imagine all those people who used to hang around with us, going to these great alcohol and hippie frat parties at University of Virginia playing Dead covers. Imagine them 16 years later, coming to Madison Square Garden to watch me start playing with that band. It was just an incomparable experience. Truly transcendent.\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/LTu5BmFFt00'\n title='//www.youtube.com/embed/LTu5BmFFt00'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Let’s talk about what brings you to the Bay Area this time around – your new album \u003ci>Deep Sea Vents\u003c/i>, with the ensemble yMusic. What sparked this album? \u003c/b>\u003c/p>\n\u003cp>In the fall of 2019, they called me up and asked me if I would do a little five-song tour with them. Then Rob [Moose of yMusic] asked if I’d be interested in writing a song with him that we could play as our encore every night. So I said, “Sure, send me a track.” They sent me this track and I wrote a song called “\u003ca href=\"https://www.youtube.com/watch?v=l--wZYW0Au0\">Deep Sea Vents\u003c/a>.” \u003cspan style=\"font-weight: 400\">We had a great time playing that at our five concerts. And after the last one we said, “hey, let’s keep doing this, let’s keep writing.” \u003c/span>Then a week later, the COVID shutdown occurred. In the fall, we reconvened on the phone. They would send me a track every two months or so. And we just kept on going. I was reading \u003ci>Moby Dick\u003c/i> at the time. And all of a sudden they sent me this track that sounded like the book. So I decided to channel Herman Melville and write this song “The Wild Whaling Life.”\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/4vu5cF3YhFg'\n title='//www.youtube.com/embed/4vu5cF3YhFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And they sent me another song — their working title was “Duck Hunt.” It starts off with these sort of quacking sounding clarinets and trumpet. I thought, “Well, okay, I’m going to write about the platypus.” Sort of taking my cue from John Lennon’s “\u003ca href=\"https://www.youtube.com/watch?v=Ws5klxbI87I\">I Am the Walrus\u003c/a>.” So I wrote the song “\u003ca href=\"https://youtu.be/IQIorHlOLC0?feature=shared\">Platypus Wow\u003c/a>” over their track. These three songs together signaled very clearly that this record really should have a running theme. And so I decided every song that I write from here on out will be ocean-related or aquatic-related.\u003c/p>\n\u003cp>\u003cb>You’re known for taking your music in all kinds of directions. I scanned some of the YouTube comments for your \u003ci>Deep Sea Vents\u003c/i> album tracks and one fan mentioned loving your music because you’re true to yourself and not a style. Does that resonate? \u003c/b>\u003c/p>\n\u003cp>Well, now you’re being very kind to read the nice comments because there are always naysayers — people who would like me to make the same record stylistically for my entire life. I’m a bit of a restless soul. I’m an old music school nerd and I love so many different types of music. And I’ve just ended up being reached out to by so many people from so many disparate areas of musical life. So consequently, I’ve made bluegrass records \u003ca href=\"https://music.youtube.com/playlist?list=OLAK5uy_kklijAlIjpugeonmOdV-MPNXh9aQXYn3Y\">with Ricky Skaggs\u003c/a>. I’ve made jazz records \u003ca href=\"https://www.youtube.com/watch?v=lnY2NOGdNfg\">with Jack DeJohnette and Christian McBride\u003c/a>, just on and on. And [\u003ci>Deep Sea Vents\u003c/i>] is just another version of all that. Another area to mine and to explore.\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/hqXDZgxdhyQ'\n title='//www.youtube.com/embed/hqXDZgxdhyQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’m always looking for new inspiration. Thirty-nine years into this crazy career, the page is pretty filled in and I don’t like to repeat myself. So I’m interested in the new. I’m interested in the modern. Mind you, I say that, but I also tend to always write a couple of songs that come from the folk world. And that folk world was being mined early on in my music — \u003ci>The Way It Is\u003c/i> record, \u003ci>Scenes from the Southside\u003c/i> record — and I’ve kept on doing that. So hopefully there’s always something for the old-time listener who really isn’t interested in much else than that. But yes, that’s been my life, and it’s been extremely fulfilling. But you were very kind to not cite some of the nasty ones because I always get them. I’ve been getting nasty letters from fans since my second record saying, “How dare you change?” And my reaction was, “Well, okay, but you haven’t seen anything yet.” And that’s been my life.\u003c/p>\n\u003cp>\u003cb>We’re seeing this kind of conversation on the biggest of stages right now, because we just had one of the world’s biggest artists, Beyoncé, making something that people aren’t used to hearing her make with \u003ci>Cowboy Carter\u003c/i>. It will be interesting to see how we continue to evolve as a society in terms of thinking about genre and \u003ci>not\u003c/i> thinking about genre. \u003c/b>\u003c/p>\n\u003cp>I feel that Beyoncé’s record is nodding to the country world, but it’s hardly trying to be that. It is her own thing. It is Beyoncé music that leans now and then into a bit of a country flavor with the instrumentation, say, on the “Texas Hold ’Em” song.\u003c/p>\n\u003cp>\u003cb>Right, and \u003ca href=\"https://www.instagram.com/p/C4s6Zr7rlwA/?igsh=OGJlbGx0ODBqemc5\">she even said\u003c/a>, “This ain’t a Country album. This is a ‘Beyoncé’ album.” And so I feel like with you – you have a trend as well of being able to say, you know, this isn’t a “this or that” album, this is a Bruce Hornsby album. And where I go, is where I go.\u003c/b>\u003c/p>\n\u003cp>Well, okay. So I guess we’re kindred spirits, Beyoncé and I [laughter]. I’ll take it, because, of course, she’s absolutely fantastic. And this record [\u003ci>Cowboy Carter\u003c/i>] is more of that same high bar, high level.\u003c/p>\n\u003cp>\u003cb>With all that said, back to the tour at hand: how are you approaching it? Are you staying focused on new music? What can audiences expect?\u003c/b>\u003c/p>\n\u003cp>We are playing three or four old, well-known songs from 1986 to 1992. And Rob Moose [of yMusic] wrote some gorgeous arrangements of these songs. So the concert every night will include that. We’re not just “inflicting modernity” all night. We are also playing those songs, but in a very beautiful and modern fashion.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Bruce Hornsby and yMusic perform as BryhM at the Herbst Theatre (401 Van Ness St., San Francisco) on April 5, and at the Luther Burbank Center for the Arts (50 Mark West Springs Rd., Santa Rosa) on April 7. \u003ca href=\"https://www.brucehornsby.com/tour\">Click here for ticket information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It wasn’t until we all shuffled down the stairs of the Fillmore, ears ringing from an epic two-hour Green Day set, sweat dripping off our shirts and the cold San Francisco night air hitting our bewildered faces, that I realized just what we’d all just witnessed. \u003c/p>\n\u003cp>After all, it’s not often that Green Day, who \u003ca href=\"https://greenday.com/tour\">headline a tour of huge baseball stadiums\u003c/a> later this summer, play a small show at a 1,300-capacity room like the Fillmore. Outside at the 8 p.m. showtime on Tuesday night, over a dozen people walked the sidewalk with hopeful signs: “Dad who needs 1 ticket,” “Name Your Price,” and “Help! Need a ticket to join my wife and 8-year-old stepson for the show… and it’s our wedding anniversary today! Please!!”\u003c/p>\n\u003cfigure id=\"attachment_13955324\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13955324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Christian Williams from San Leandro was one of many hopefuls outside the Green Day show at the Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who did get in, however, were treated to two hours of the Bay Area’s greatest rock ‘n’ roll export (sorry, Metallica), and at one of the country’s best venues, no less.\u003c/p>\n\u003cp>Here’s what I can say definitively. In the past 35 years — starting in 1989, yeesh — I’ve seen Green Day at youth centers, warehouses, house parties, high schools and Rotary Club halls. And though they know how to rock a stadium just fine, they always thrive in small spaces, face-to-face with the crowd and making the tiniest room feel like the entire universe. \u003c/p>\n\u003cfigure id=\"attachment_13955319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore show Tuesday night — a benefit for United Nations Human Rights climate justice initiatives and the Recording Academy’s MusiCares charity — was no exception. As Green Day \u003ca href=\"https://www.youtube.com/watch?v=Ecqil_eZgYs\">had announced\u003c/a> the day prior, they played the entirety of their new album \u003cem>Saviors\u003c/em>, and the entirety of their 2004 opus \u003cem>American Idiot\u003c/em>. Big, anthemic stuff. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But without needing to play to the nosebleed seats in Section 327 above third base, they were able to give focus to epic songs like “Jesus of Suburbia” and “Homecoming.” Dressed in a sport jacket and Cramps T-shirt, Billie Joe Armstrong didn’t have to engage in much rockstar cosplay — for a hometown crowd, he still felt like just plain Billie from Rodeo, who you might bump into at Winchell’s after the Corrupted Morals show at Gilman.\u003c/p>\n\u003cfigure id=\"attachment_13955317\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mike Dirnt performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was evident onstage — what he and Mike and Tré have picked up along the way since those early days — is not only a tight musicianship bordering on the miraculous, but a thespian’s skill for selling their songs and connecting with an audience.\u003c/p>\n\u003cp>[aside postID='arts_13950877']During the \u003cem>Saviors\u003c/em> track “Bobby Sox,” a fan in the second row waved a bisexual flag in fervent recognition of \u003ca href=\"https://americansongwriter.com/billie-joe-armstrong-opens-up-about-being-a-bisexual-icon-discusses-green-days-new-anthem-bobby-sox/\">the song’s love-who-you-want themes\u003c/a>. For “Father to a Son,” echoes were present of Armstrong’s son’s opening band, Ultra Q. Acknowledging the upcoming election that nobody wants to think about, during “Letterbomb,” Billie interjected, “Whose finger do you want to be on the nuclear bomb?!”\u003c/p>\n\u003cp>These sorts of things might come off as corny if they weren’t so sincere. Singing the final lines of the West Contra Costa anthem “Jesus of Suburbia,” about running away from the pain of a broken home, Billie appeared to briefly lose his voice; it was soon apparent that he was instead choking back tears.\u003c/p>\n\u003cfigure id=\"attachment_13955318\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This is how you do it\u003c/em>, Green Day seemed to say on Tuesday. \u003cem>Write songs about your turbulent life, find a supportive circle, stick with your convictions, play damn loud and sing even louder to anyone who’ll listen, in every city around the world, record an unrivaled catalog of songs, and then, when you’re too famous to do so, play at the Fillmore anyway, this place where you once \u003ca href=\"https://www.instagram.com/p/C5RvizvvnLI/\">saw the Replacements and the Church as a teenager and got stoned off a stranger’s joint\u003c/a>, and get out there on stage and scream from the monitors and leap unimaginably high into the air and play like your life depends on it because somewhere, out in the crowd, is another 15-year-old kid with disapproving parents who doesn’t fit in at school, and who needs the same thing you needed when you were baptized into the gospel of rock ‘n’ roll liberation. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13955322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Green Day performs at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show, out on the Fillmore overcrossing above Geary, was living proof of those types of kids: \u003ca href=\"https://www.facebook.com/people/Mary-Jane-Mafia/100086618806194/\">Mary Jane Mafia\u003c/a>, a Green Day tribute band from Fremont playing a pop-up show of covers like “Walking Contradiction” and “2,000 Light Years Away” on the sidewalk to a dancing group of onlookers and a few bemused cops. \u003c/p>\n\u003cp>See, they didn’t get in. They didn’t get to hear Green Day play new songs that have no business being as good as they are, like the \u003ca href=\"https://www.youtube.com/watch?v=UrkDYKwAN-o\">brutally honest\u003c/a> “Dilemma,” or jump in the pit for “St. Jimmy,” or sing along for the zillionth time to encore “Basket Case.” But what Green Day does is a thread, one that weaves from the Clash to the Replacements to Operation Ivy and onward to a thousand bands on sidewalks and in garages around the world. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So yeah — it was a show, but it was also a \u003cem>lineage\u003c/em>. I really wish you coulda seen it. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It wasn’t until we all shuffled down the stairs of the Fillmore, ears ringing from an epic two-hour Green Day set, sweat dripping off our shirts and the cold San Francisco night air hitting our bewildered faces, that I realized just what we’d all just witnessed. \u003c/p>\n\u003cp>After all, it’s not often that Green Day, who \u003ca href=\"https://greenday.com/tour\">headline a tour of huge baseball stadiums\u003c/a> later this summer, play a small show at a 1,300-capacity room like the Fillmore. Outside at the 8 p.m. showtime on Tuesday night, over a dozen people walked the sidewalk with hopeful signs: “Dad who needs 1 ticket,” “Name Your Price,” and “Help! Need a ticket to join my wife and 8-year-old stepson for the show… and it’s our wedding anniversary today! Please!!”\u003c/p>\n\u003cfigure id=\"attachment_13955324\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13955324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Christian Williams from San Leandro was one of many hopefuls outside the Green Day show at the Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who did get in, however, were treated to two hours of the Bay Area’s greatest rock ‘n’ roll export (sorry, Metallica), and at one of the country’s best venues, no less.\u003c/p>\n\u003cp>Here’s what I can say definitively. In the past 35 years — starting in 1989, yeesh — I’ve seen Green Day at youth centers, warehouses, house parties, high schools and Rotary Club halls. And though they know how to rock a stadium just fine, they always thrive in small spaces, face-to-face with the crowd and making the tiniest room feel like the entire universe. \u003c/p>\n\u003cfigure id=\"attachment_13955319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore show Tuesday night — a benefit for United Nations Human Rights climate justice initiatives and the Recording Academy’s MusiCares charity — was no exception. As Green Day \u003ca href=\"https://www.youtube.com/watch?v=Ecqil_eZgYs\">had announced\u003c/a> the day prior, they played the entirety of their new album \u003cem>Saviors\u003c/em>, and the entirety of their 2004 opus \u003cem>American Idiot\u003c/em>. Big, anthemic stuff. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But without needing to play to the nosebleed seats in Section 327 above third base, they were able to give focus to epic songs like “Jesus of Suburbia” and “Homecoming.” Dressed in a sport jacket and Cramps T-shirt, Billie Joe Armstrong didn’t have to engage in much rockstar cosplay — for a hometown crowd, he still felt like just plain Billie from Rodeo, who you might bump into at Winchell’s after the Corrupted Morals show at Gilman.\u003c/p>\n\u003cfigure id=\"attachment_13955317\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mike Dirnt performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was evident onstage — what he and Mike and Tré have picked up along the way since those early days — is not only a tight musicianship bordering on the miraculous, but a thespian’s skill for selling their songs and connecting with an audience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During the \u003cem>Saviors\u003c/em> track “Bobby Sox,” a fan in the second row waved a bisexual flag in fervent recognition of \u003ca href=\"https://americansongwriter.com/billie-joe-armstrong-opens-up-about-being-a-bisexual-icon-discusses-green-days-new-anthem-bobby-sox/\">the song’s love-who-you-want themes\u003c/a>. For “Father to a Son,” echoes were present of Armstrong’s son’s opening band, Ultra Q. Acknowledging the upcoming election that nobody wants to think about, during “Letterbomb,” Billie interjected, “Whose finger do you want to be on the nuclear bomb?!”\u003c/p>\n\u003cp>These sorts of things might come off as corny if they weren’t so sincere. Singing the final lines of the West Contra Costa anthem “Jesus of Suburbia,” about running away from the pain of a broken home, Billie appeared to briefly lose his voice; it was soon apparent that he was instead choking back tears.\u003c/p>\n\u003cfigure id=\"attachment_13955318\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This is how you do it\u003c/em>, Green Day seemed to say on Tuesday. \u003cem>Write songs about your turbulent life, find a supportive circle, stick with your convictions, play damn loud and sing even louder to anyone who’ll listen, in every city around the world, record an unrivaled catalog of songs, and then, when you’re too famous to do so, play at the Fillmore anyway, this place where you once \u003ca href=\"https://www.instagram.com/p/C5RvizvvnLI/\">saw the Replacements and the Church as a teenager and got stoned off a stranger’s joint\u003c/a>, and get out there on stage and scream from the monitors and leap unimaginably high into the air and play like your life depends on it because somewhere, out in the crowd, is another 15-year-old kid with disapproving parents who doesn’t fit in at school, and who needs the same thing you needed when you were baptized into the gospel of rock ‘n’ roll liberation. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13955322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Green Day performs at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show, out on the Fillmore overcrossing above Geary, was living proof of those types of kids: \u003ca href=\"https://www.facebook.com/people/Mary-Jane-Mafia/100086618806194/\">Mary Jane Mafia\u003c/a>, a Green Day tribute band from Fremont playing a pop-up show of covers like “Walking Contradiction” and “2,000 Light Years Away” on the sidewalk to a dancing group of onlookers and a few bemused cops. \u003c/p>\n\u003cp>See, they didn’t get in. They didn’t get to hear Green Day play new songs that have no business being as good as they are, like the \u003ca href=\"https://www.youtube.com/watch?v=UrkDYKwAN-o\">brutally honest\u003c/a> “Dilemma,” or jump in the pit for “St. Jimmy,” or sing along for the zillionth time to encore “Basket Case.” But what Green Day does is a thread, one that weaves from the Clash to the Replacements to Operation Ivy and onward to a thousand bands on sidewalks and in garages around the world. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So yeah — it was a show, but it was also a \u003cem>lineage\u003c/em>. I really wish you coulda seen it. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Amy Sherald Exhibition Is Coming to SFMOMA in November",
"headTitle": "An Amy Sherald Exhibition Is Coming to SFMOMA in November | KQED",
"content": "\u003cfigure id=\"attachment_13955298\" class=\"wp-caption aligncenter\" style=\"max-width: 2039px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-scaled.jpg\" alt=\"portrait of woman in turquoise dress against turquoise background\" width=\"2039\" height=\"2560\" class=\"size-full wp-image-13955298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-scaled.jpg 2039w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-800x1004.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1020x1280.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-768x964.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1224x1536.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1632x2048.jpg 1632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1920x2410.jpg 1920w\" sizes=\"(max-width: 2039px) 100vw, 2039px\">\u003cfigcaption class=\"wp-caption-text\">Amy Sherald, ‘Breonna Taylor,’ 2020. \u003ccite>(Photo by Joseph Hyde; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if you don’t know Amy Sherald’s name, you’ll immediately recognize her work: larger-than-life oil paintings of Black subjects set against colorful backgrounds, their skin rendered in shades of gray. \u003c/p>\n\u003cp>You’ll remember her \u003ca href=\"https://www.kqed.org/arts/13824229/paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery\">official portrait of First Lady Michelle Obama\u003c/a> for the National Portrait Gallery, unveiled the same year Kehinde Wiley painted President Barack Obama. In it, the first lady is seated elegantly in a modernist-printed gown, calmly gazing directly out of the canvas.\u003c/p>\n\u003cp>Equally recognizable is \u003ca href=\"https://www.vanityfair.com/culture/2020/08/amy-sherald-on-making-breonna-taylors-cover-portrait\">her painting of Breonna Taylor\u003c/a>, which appeared on the September 2020 cover of \u003ci>Vanity Fair\u003c/i>, featuring Taylor in an ethereal turquoise dress designed specifically for this posthumous portrait.\u003c/p>\n\u003cp>Both those paintings — and about 50 others made since 2007 — will be included in \u003ci>Amy Sherald: American Sublime\u003c/i>, the New York artist’s first mid-career survey, on view at the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a> Nov. 16, 2024–March 9, 2025. From San Francisco, the exhibition will travel on to the Whitney Museum of American Art in New York. \u003c/p>\n\u003cfigure id=\"attachment_13955290\" class=\"wp-caption aligncenter\" style=\"max-width: 1929px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-scaled.jpg\" alt=\"Two grayscale figures kiss in dramatic pose wearing sailor-like clothes against blue background\" width=\"1929\" height=\"2560\" class=\"size-full wp-image-13955290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-scaled.jpg 1929w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-800x1062.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1020x1354.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-768x1019.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1157x1536.jpg 1157w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1543x2048.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1920x2549.jpg 1920w\" sizes=\"(max-width: 1929px) 100vw, 1929px\">\u003cfigcaption class=\"wp-caption-text\">Amy Sherald, ‘For Love, and for Country,’ 2022. \u003ccite>(Photo by Joseph Hyde; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curated by Sarah Roberts, SFMOMA’s curator and head of painting and sculpture, the exhibition will contextualize Sherald’s work within the canon of American realist and figurative painting, touching on her references to photography, Romanticism and iconic images from U.S. history. (On that last point, Sherald has painted a version of Alfred Eisenstaedt’ 1945 photograph \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/V-J_Day_in_Times_Square\">V-J Day in Times Square\u003c/a>\u003c/i>, swapping the white heterosexual pair for a Black male couple in Navy-adjacent clothing.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I visited Sherald’s 2019 exhibition at Hauser & Wirth, the gallery was absolutely packed with visitors — all eager to take in her straightforward yet effortlessly meticulous paintings. Costuming is crucial to her work: figures are rendered in impeccably stylish outfits, then detached from reality against solid-hued backgrounds. Her buoyant use of color further emphasizes the \u003ca href=\"https://en.wikipedia.org/wiki/Grisaille\">grisaille tones\u003c/a> of her subjects’ skin. \u003c/p>\n\u003cp>This desaturation is the oddest of Sherald’s aesthetic moves, and the results are arresting. Part \u003ci>Pleasantville\u003c/i>, part hand-tinted photograph, it’s an effort on her part to highlight race as a construct, along with other calcified notions of gender, religion and social status. Come November, we’ll get plenty of opportunity to mull over all the issues her work touches on — and how she manages, with such care, to capture the essential qualities of her subjects.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Amy Sherald: American Sublime’ will be on view at the San Francisco Museum of Modern Art Nov. 16, 2024–March 9, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955298\" class=\"wp-caption aligncenter\" style=\"max-width: 2039px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-scaled.jpg\" alt=\"portrait of woman in turquoise dress against turquoise background\" width=\"2039\" height=\"2560\" class=\"size-full wp-image-13955298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-scaled.jpg 2039w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-800x1004.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1020x1280.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-768x964.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1224x1536.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1632x2048.jpg 1632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_Breonna-Taylor-1920x2410.jpg 1920w\" sizes=\"(max-width: 2039px) 100vw, 2039px\">\u003cfigcaption class=\"wp-caption-text\">Amy Sherald, ‘Breonna Taylor,’ 2020. \u003ccite>(Photo by Joseph Hyde; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if you don’t know Amy Sherald’s name, you’ll immediately recognize her work: larger-than-life oil paintings of Black subjects set against colorful backgrounds, their skin rendered in shades of gray. \u003c/p>\n\u003cp>You’ll remember her \u003ca href=\"https://www.kqed.org/arts/13824229/paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery\">official portrait of First Lady Michelle Obama\u003c/a> for the National Portrait Gallery, unveiled the same year Kehinde Wiley painted President Barack Obama. In it, the first lady is seated elegantly in a modernist-printed gown, calmly gazing directly out of the canvas.\u003c/p>\n\u003cp>Equally recognizable is \u003ca href=\"https://www.vanityfair.com/culture/2020/08/amy-sherald-on-making-breonna-taylors-cover-portrait\">her painting of Breonna Taylor\u003c/a>, which appeared on the September 2020 cover of \u003ci>Vanity Fair\u003c/i>, featuring Taylor in an ethereal turquoise dress designed specifically for this posthumous portrait.\u003c/p>\n\u003cp>Both those paintings — and about 50 others made since 2007 — will be included in \u003ci>Amy Sherald: American Sublime\u003c/i>, the New York artist’s first mid-career survey, on view at the \u003ca href=\"https://www.sfmoma.org/\">San Francisco Museum of Modern Art\u003c/a> Nov. 16, 2024–March 9, 2025. From San Francisco, the exhibition will travel on to the Whitney Museum of American Art in New York. \u003c/p>\n\u003cfigure id=\"attachment_13955290\" class=\"wp-caption aligncenter\" style=\"max-width: 1929px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-scaled.jpg\" alt=\"Two grayscale figures kiss in dramatic pose wearing sailor-like clothes against blue background\" width=\"1929\" height=\"2560\" class=\"size-full wp-image-13955290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-scaled.jpg 1929w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-800x1062.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1020x1354.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-768x1019.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1157x1536.jpg 1157w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1543x2048.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Amy-Sherald_For-Love-and-for-Country-1920x2549.jpg 1920w\" sizes=\"(max-width: 1929px) 100vw, 1929px\">\u003cfigcaption class=\"wp-caption-text\">Amy Sherald, ‘For Love, and for Country,’ 2022. \u003ccite>(Photo by Joseph Hyde; Courtesy the artist and Hauser & Wirth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curated by Sarah Roberts, SFMOMA’s curator and head of painting and sculpture, the exhibition will contextualize Sherald’s work within the canon of American realist and figurative painting, touching on her references to photography, Romanticism and iconic images from U.S. history. (On that last point, Sherald has painted a version of Alfred Eisenstaedt’ 1945 photograph \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/V-J_Day_in_Times_Square\">V-J Day in Times Square\u003c/a>\u003c/i>, swapping the white heterosexual pair for a Black male couple in Navy-adjacent clothing.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I visited Sherald’s 2019 exhibition at Hauser & Wirth, the gallery was absolutely packed with visitors — all eager to take in her straightforward yet effortlessly meticulous paintings. Costuming is crucial to her work: figures are rendered in impeccably stylish outfits, then detached from reality against solid-hued backgrounds. Her buoyant use of color further emphasizes the \u003ca href=\"https://en.wikipedia.org/wiki/Grisaille\">grisaille tones\u003c/a> of her subjects’ skin. \u003c/p>\n\u003cp>This desaturation is the oddest of Sherald’s aesthetic moves, and the results are arresting. Part \u003ci>Pleasantville\u003c/i>, part hand-tinted photograph, it’s an effort on her part to highlight race as a construct, along with other calcified notions of gender, religion and social status. Come November, we’ll get plenty of opportunity to mull over all the issues her work touches on — and how she manages, with such care, to capture the essential qualities of her subjects.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Amy Sherald: American Sublime’ will be on view at the San Francisco Museum of Modern Art Nov. 16, 2024–March 9, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This Year’s Ube Fest Will Be More Ube-licious Than Ever",
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"content": "\u003cp>Two years ago, my food writing colleague Luke Tsai noticed \u003ca href=\"https://www.kqed.org/arts/13912001/ube-festival-filipino-kapwa-gardens-yum-yams-san-francisco-marleys-treats\">a significant rise in ube-related events\u003c/a> happening during in the spring. He predicted a delectable future: “We might as well go ahead and designate April as National Ube Month.”\u003c/p>\n\u003cp>Well, he’s right. On Sunday, April 7, San Francisco’s District Six will host their largest ever \u003ca href=\"https://www.eventbrite.com/e/the-ube-festival-tickets-821207883887\">Ube Fest\u003c/a>.\u003c/p>\n\u003cp>Certainly you’ve either heard of or eaten ube at this point. The sweet, starchy and iconically purple yam from the Philippines has had the Bay Area’s most creative foodmakers under a lavender spell for years. But it’s something that has always held weight in the Filipino American community. And at the outdoor market of Ube Fest, a squad of over 20 local vendors will showcase their favorite ingredient’s delicious versatility. \u003c/p>\n\u003cfigure id=\"attachment_13912051\" class=\"wp-caption alignnone\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats.jpeg\" alt=\"Two ube cupcakes, ube pandesals and ube flan cheesecakes, against a white background.\" width=\"1242\" height=\"1235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats.jpeg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-800x795.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-1020x1014.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-160x159.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-768x764.jpeg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">Ube cupcakes, ‘flandesals’ and ube flan cheesecakes — all from Hayward-based Marley’s Treats, where the ube desserts are by far the most popular items. \u003ccite>(Marley's Treats)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m excited that everyone is catching on because it deserves the spotlight,” says Joseph Alcasabas, co-owner of \u003ca href=\"https://www.kqed.org/arts/13898436/uncle-tito-filipino-comfort-food-soma-opening\">SoMa’s cool Filipino American eatery Uncle Tito\u003c/a>, who will be serving two varieties of ube at the festival. “It’s just eye catching out of the gate, right? The bold purple has you wondering what it tastes like. That builds curiosity within foodie culture. And then the taste delivers.”\u003c/p>\n\u003cp>Uncle Tito’s head chef Vincent Dayao will prepare a rice bowl with the rice seasoned using ube and coconut milk to give the white grains a natural purple dye.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And that’s not even the tip of the purple iceberg.\u003c/p>\n\u003cp>Ube salsa on tacos. Ube dessert bars. Ube lemonade. Ube cookies. Ube kettle corn. Ube musubi. Ube pies. Ube nachos? (That last one isn’t actually a thing yet, but it should be — and rest assured that Uncle Tito will be serving their “bistek chistek nachos,” which is a play on a Philly cheesesteak and Filipino bistek in the glorious form of Mexican tortilla chips.)\u003c/p>\n\u003cp>Food vendors will include other San Francisco and East Bay favorites like \u003ca href=\"https://www.instagram.com/senorsisig/?hl=en\">Señor Sisig\u003c/a>, \u003ca href=\"https://www.instagram.com/alpastorpapi415/?hl=en\">Al Pastor Papi\u003c/a> and \u003ca href=\"https://www.instagram.com/marleystreats/?hl=en\">Marley’s Treats\u003c/a>. There will also be DJs, local nonprofits, pop-up clothing and botanical shops, and even a booth to learn more about baseball in the Philippines. \u003c/p>\n\u003cfigure id=\"attachment_13898461\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898461\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-scaled.jpg\" alt=\"Ube buns and Milo banana creme lumpia on a white plate, dusted with powdered sugar.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The ube buns are a collaboration with Valerio’s Tropical Bakeshop, a staple of the local Filipino community. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Recently returned from a lengthy stay in the Philippines, the event’s organizer, Anthony Schlander of \u003ca href=\"https://www.instagram.com/anthonypresents/\">Anthony Presents\u003c/a>, is eager to share his renewed connection to his parents’ homeland with Bay Area eaters and hypebeasts alike.\u003c/p>\n\u003cp>“I took a mental break last year, but I’m going to put my efforts back into food and community events [in the Bay Area] this year,” Schlander says. “[This year’s Ube Festival] will actually be our busiest one ever. Ube is purple gold.”\u003c/p>\n\u003cp>For him, ube is a gateway into learning more about what the Philippines have to offer. It just happens to be a flavorful starting point.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Ube Festival will take place at \u003ca href=\"https://www.instagram.com/districtsixsf/?hl=en\">District Six\u003c/a> (428 11th St., San Francisco) on Sunday, April 7 from 12–5 p.m. \u003ca href=\"https://www.eventbrite.com/e/the-ube-festival-tickets-821207883887\">Tickets are available here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two years ago, my food writing colleague Luke Tsai noticed \u003ca href=\"https://www.kqed.org/arts/13912001/ube-festival-filipino-kapwa-gardens-yum-yams-san-francisco-marleys-treats\">a significant rise in ube-related events\u003c/a> happening during in the spring. He predicted a delectable future: “We might as well go ahead and designate April as National Ube Month.”\u003c/p>\n\u003cp>Well, he’s right. On Sunday, April 7, San Francisco’s District Six will host their largest ever \u003ca href=\"https://www.eventbrite.com/e/the-ube-festival-tickets-821207883887\">Ube Fest\u003c/a>.\u003c/p>\n\u003cp>Certainly you’ve either heard of or eaten ube at this point. The sweet, starchy and iconically purple yam from the Philippines has had the Bay Area’s most creative foodmakers under a lavender spell for years. But it’s something that has always held weight in the Filipino American community. And at the outdoor market of Ube Fest, a squad of over 20 local vendors will showcase their favorite ingredient’s delicious versatility. \u003c/p>\n\u003cfigure id=\"attachment_13912051\" class=\"wp-caption alignnone\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats.jpeg\" alt=\"Two ube cupcakes, ube pandesals and ube flan cheesecakes, against a white background.\" width=\"1242\" height=\"1235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats.jpeg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-800x795.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-1020x1014.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-160x159.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MarleysTreats-768x764.jpeg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">Ube cupcakes, ‘flandesals’ and ube flan cheesecakes — all from Hayward-based Marley’s Treats, where the ube desserts are by far the most popular items. \u003ccite>(Marley's Treats)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m excited that everyone is catching on because it deserves the spotlight,” says Joseph Alcasabas, co-owner of \u003ca href=\"https://www.kqed.org/arts/13898436/uncle-tito-filipino-comfort-food-soma-opening\">SoMa’s cool Filipino American eatery Uncle Tito\u003c/a>, who will be serving two varieties of ube at the festival. “It’s just eye catching out of the gate, right? The bold purple has you wondering what it tastes like. That builds curiosity within foodie culture. And then the taste delivers.”\u003c/p>\n\u003cp>Uncle Tito’s head chef Vincent Dayao will prepare a rice bowl with the rice seasoned using ube and coconut milk to give the white grains a natural purple dye.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that’s not even the tip of the purple iceberg.\u003c/p>\n\u003cp>Ube salsa on tacos. Ube dessert bars. Ube lemonade. Ube cookies. Ube kettle corn. Ube musubi. Ube pies. Ube nachos? (That last one isn’t actually a thing yet, but it should be — and rest assured that Uncle Tito will be serving their “bistek chistek nachos,” which is a play on a Philly cheesesteak and Filipino bistek in the glorious form of Mexican tortilla chips.)\u003c/p>\n\u003cp>Food vendors will include other San Francisco and East Bay favorites like \u003ca href=\"https://www.instagram.com/senorsisig/?hl=en\">Señor Sisig\u003c/a>, \u003ca href=\"https://www.instagram.com/alpastorpapi415/?hl=en\">Al Pastor Papi\u003c/a> and \u003ca href=\"https://www.instagram.com/marleystreats/?hl=en\">Marley’s Treats\u003c/a>. There will also be DJs, local nonprofits, pop-up clothing and botanical shops, and even a booth to learn more about baseball in the Philippines. \u003c/p>\n\u003cfigure id=\"attachment_13898461\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898461\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-scaled.jpg\" alt=\"Ube buns and Milo banana creme lumpia on a white plate, dusted with powdered sugar.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/UncleTito_Valerios-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The ube buns are a collaboration with Valerio’s Tropical Bakeshop, a staple of the local Filipino community. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Recently returned from a lengthy stay in the Philippines, the event’s organizer, Anthony Schlander of \u003ca href=\"https://www.instagram.com/anthonypresents/\">Anthony Presents\u003c/a>, is eager to share his renewed connection to his parents’ homeland with Bay Area eaters and hypebeasts alike.\u003c/p>\n\u003cp>“I took a mental break last year, but I’m going to put my efforts back into food and community events [in the Bay Area] this year,” Schlander says. “[This year’s Ube Festival] will actually be our busiest one ever. Ube is purple gold.”\u003c/p>\n\u003cp>For him, ube is a gateway into learning more about what the Philippines have to offer. It just happens to be a flavorful starting point.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Ube Festival will take place at \u003ca href=\"https://www.instagram.com/districtsixsf/?hl=en\">District Six\u003c/a> (428 11th St., San Francisco) on Sunday, April 7 from 12–5 p.m. \u003ca href=\"https://www.eventbrite.com/e/the-ube-festival-tickets-821207883887\">Tickets are available here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thin Mints. S’mores. Lemon-Ups. Tagalongs. Samoas.\u003c/p>\n\u003cp>If you grew up in the United States of America, you’ve eaten at least a few boxes of Girl Scout Cookies. There might not be anything more discernibly American, in fact, than coughing up some dollar bills for the old-fashioned treats to a group of young girls and their overworked parents in a grocery store parking lot.\u003c/p>\n\u003cp>Now, for the true devotees, Girl Scout Cookies can now be imbibed in a cocktail glass during happy hour at \u003ca href=\"https://www.instagram.com/causwells/?hl=en\">Causwells\u003c/a>, a neighborhood bistro and bar in San Francisco’s Marina District, during the month of April.\u003c/p>\n\u003cfigure id=\"attachment_13955134\" class=\"wp-caption alignnone\" style=\"max-width: 1085px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955134\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF8242.jpg\" alt=\"a cocktail made using ingredients from Girl Scout cookies is displayed at a bar\" width=\"1085\" height=\"1356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF8242.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF8242-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF8242-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF8242-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF8242-768x960.jpg 768w\" sizes=\"(max-width: 1085px) 100vw, 1085px\">\u003cfigcaption class=\"wp-caption-text\">The S’mores cocktail incorporates mezcal, chocolate bitters, vanilla cream and espresso. \u003ccite>(Décanteur Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was literally just walking down Chestnut Street and seeing girl scouts selling cookies, and thinking ‘What could we do to develop our menu with that?’ We bought out the whole stand, and the local troop leader had to bring more from down the street. And from there, it just began by eating a lot of cookies,” Elmer Mejicanos, the bar’s Beverage Director and co-owner, recalls.\u003c/p>\n\u003cp>The limited-time menu, which debuts on Tuesday, April 2, for its second annual iteration, is playfully designed to look like a Girl Scouts Cookie box.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thin Mints are served as vodka with hits of creme de menthe, creme de cacao, fernet and cream (it has a distinctly mint-ish hue, too). Lemon Ups are represented by gin, hazelnut liqueur, and lemon and orange flower water poured over sugar-powdered Japanese shaved ice (to give it that cool lemony kiss). And Adventurefuls? That round cookie of brownie-esque girth? It’ll come as bourbon mixed with vermouth, lemon and mole bitters whisked in egg whites (for that extra creaminess).\u003c/p>\n\u003cp>Mejicanos’ favorite is the Samoa — which mixes rum with organic coconut milk, mint and fresh mandarin in a Tiki-inspired mug. In total, there are six cookies alchemized into cocktail form.\u003c/p>\n\u003cfigure id=\"attachment_13955133\" class=\"wp-caption alignnone\" style=\"max-width: 1085px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955133\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF7989.jpg\" alt=\"a cocktail made using ingredients from Girl Scout cookies is displayed at a bar\" width=\"1085\" height=\"1356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF7989.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF7989-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF7989-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF7989-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF7989-768x960.jpg 768w\" sizes=\"(max-width: 1085px) 100vw, 1085px\">\u003cfigcaption class=\"wp-caption-text\">The Thin Mint features vodka, fernet, cacao and mint. \u003ccite>(Décanteur Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each cocktail incorporates the actual cookies, too — Mejicanos purchased over 250 boxes of each variety from local sellers — with a mix of infusions, syrups and actual shavings from the various cookies to highlight their iconic flavor profiles. A whole cookie garnishes every drink.\u003c/p>\n\u003cp>“The goal was to mimic the flavor without making it too rich or too sweet,” says Mejicanos.\u003c/p>\n\u003cp>Causwells started churning out their Girl Scout Cookie-inspired beverages a year ago, seasonally aligned with the time of year that local girl scouts distribute their cookies. It proved so popular that Causwells decided to bring it back.\u003c/p>\n\u003cp>“It was cool to get the [local girl scouts] to their goal and be involved in the neighborhood that way,” Mejicanos, who has a younger daughter, says. “The moms were really happy. We’re not just riffing on cocktails. We actually want to help out as much as we can.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.instagram.com/causwells/?hl=en\">Causwells\u003c/a> (2346 Chestnut St., San Francisco) will serve their second annual edition of Girl Scout Cookies cocktails from Tuesday, April 2 to Tuesday, April 30. One dollar from every drink purchased will be donated to the Girl Scouts of America Opportunity Fund for girls in low-income households.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thin Mints. S’mores. Lemon-Ups. Tagalongs. Samoas.\u003c/p>\n\u003cp>If you grew up in the United States of America, you’ve eaten at least a few boxes of Girl Scout Cookies. There might not be anything more discernibly American, in fact, than coughing up some dollar bills for the old-fashioned treats to a group of young girls and their overworked parents in a grocery store parking lot.\u003c/p>\n\u003cp>Now, for the true devotees, Girl Scout Cookies can now be imbibed in a cocktail glass during happy hour at \u003ca href=\"https://www.instagram.com/causwells/?hl=en\">Causwells\u003c/a>, a neighborhood bistro and bar in San Francisco’s Marina District, during the month of April.\u003c/p>\n\u003cfigure id=\"attachment_13955134\" class=\"wp-caption alignnone\" style=\"max-width: 1085px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955134\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF8242.jpg\" alt=\"a cocktail made using ingredients from Girl Scout cookies is displayed at a bar\" width=\"1085\" height=\"1356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF8242.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF8242-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF8242-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF8242-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF8242-768x960.jpg 768w\" sizes=\"(max-width: 1085px) 100vw, 1085px\">\u003cfigcaption class=\"wp-caption-text\">The S’mores cocktail incorporates mezcal, chocolate bitters, vanilla cream and espresso. \u003ccite>(Décanteur Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was literally just walking down Chestnut Street and seeing girl scouts selling cookies, and thinking ‘What could we do to develop our menu with that?’ We bought out the whole stand, and the local troop leader had to bring more from down the street. And from there, it just began by eating a lot of cookies,” Elmer Mejicanos, the bar’s Beverage Director and co-owner, recalls.\u003c/p>\n\u003cp>The limited-time menu, which debuts on Tuesday, April 2, for its second annual iteration, is playfully designed to look like a Girl Scouts Cookie box.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thin Mints are served as vodka with hits of creme de menthe, creme de cacao, fernet and cream (it has a distinctly mint-ish hue, too). Lemon Ups are represented by gin, hazelnut liqueur, and lemon and orange flower water poured over sugar-powdered Japanese shaved ice (to give it that cool lemony kiss). And Adventurefuls? That round cookie of brownie-esque girth? It’ll come as bourbon mixed with vermouth, lemon and mole bitters whisked in egg whites (for that extra creaminess).\u003c/p>\n\u003cp>Mejicanos’ favorite is the Samoa — which mixes rum with organic coconut milk, mint and fresh mandarin in a Tiki-inspired mug. In total, there are six cookies alchemized into cocktail form.\u003c/p>\n\u003cfigure id=\"attachment_13955133\" class=\"wp-caption alignnone\" style=\"max-width: 1085px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955133\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF7989.jpg\" alt=\"a cocktail made using ingredients from Girl Scout cookies is displayed at a bar\" width=\"1085\" height=\"1356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF7989.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF7989-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF7989-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF7989-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/DSF7989-768x960.jpg 768w\" sizes=\"(max-width: 1085px) 100vw, 1085px\">\u003cfigcaption class=\"wp-caption-text\">The Thin Mint features vodka, fernet, cacao and mint. \u003ccite>(Décanteur Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each cocktail incorporates the actual cookies, too — Mejicanos purchased over 250 boxes of each variety from local sellers — with a mix of infusions, syrups and actual shavings from the various cookies to highlight their iconic flavor profiles. A whole cookie garnishes every drink.\u003c/p>\n\u003cp>“The goal was to mimic the flavor without making it too rich or too sweet,” says Mejicanos.\u003c/p>\n\u003cp>Causwells started churning out their Girl Scout Cookie-inspired beverages a year ago, seasonally aligned with the time of year that local girl scouts distribute their cookies. It proved so popular that Causwells decided to bring it back.\u003c/p>\n\u003cp>“It was cool to get the [local girl scouts] to their goal and be involved in the neighborhood that way,” Mejicanos, who has a younger daughter, says. “The moms were really happy. We’re not just riffing on cocktails. We actually want to help out as much as we can.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.instagram.com/causwells/?hl=en\">Causwells\u003c/a> (2346 Chestnut St., San Francisco) will serve their second annual edition of Girl Scout Cookies cocktails from Tuesday, April 2 to Tuesday, April 30. One dollar from every drink purchased will be donated to the Girl Scouts of America Opportunity Fund for girls in low-income households.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A.CHAL to Bring Genre-Bending, Bilingual Rap to the Chapel",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">If you’re like me, you might’ve been sleeping on \u003c/span>\u003ca href=\"https://www.instagram.com/a.chal/?hl=en\">\u003cspan style=\"font-weight: 400\">A.CHAL\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — the trippy Peruvian-born wordsmith and producer whose bars switch from English to Spanish to Spanglish and back like a dirt bike churning over an uneven jungle path.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The millennial’s expansive vibe pulls from ’80s synthpop and goth, with underlying hints of trap, corridos tumbados, rock en español and reggaeton. A.CHAL in many ways embodies today’s diverse Latinx musicscape — a broad category that has been propelled into the stratosphere by genre-bending artists like Bad Bunny, Karol G, Kali Uchis, Peso Pluma and so many others.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A.CHAL’s new work could easily fit on a playlist of that caliber. And on Thurs., Apr. 4, he’ll be pulling up to the Bay to perform at \u003ca href=\"https://wl.seetickets.us/event/achal/587924?afflky=TheChapel\">The Chapel\u003c/a> in San Francisco’s Mission District as part of his nationwide tour.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With his latest album release, \u003c/span>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_k6Q7AdJy8rXQy-6OOZt6hUmO9ugSrhUYQ\">\u003ci>\u003cspan style=\"font-weight: 400\">ESPÍRITU\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">A.CHAL — whose family immigrated to Queens, New York when he was only four years old — is entering his prime. After \u003c/span>\u003ca href=\"https://remezcla.com/features/music/interview-a-chal-explores-psychedelic-existentialism-on-espiritu/\">\u003cspan style=\"font-weight: 400\">recently spending two years in his native country\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> exploring the mountainside of Trujillo, Peru, the blossoming artist is hitting his stride and \u003c/span>\u003ca href=\"https://www.rollingstone.com/music/music-features/a-chal-espiritu-new-album-interview-1234979042/\">\u003cspan style=\"font-weight: 400\">garnering national attention\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. At times, A.CHAL sounds like a young Latinx Weeknd. On other tracks, he’s reminiscent of a lazy-flowing Benito. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though he may be new to some West Coast listeners, A.CHAL has been a factor for years. He’s someone that \u003c/span>\u003ca href=\"https://www.instagram.com/thecoldmedina/\">\u003cspan style=\"font-weight: 400\">Cold Medina, a local Mexican and Nicaraguan rapper from Frisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, has had on his radar for some time. Cold Medina will be opening up for A.CHAL on his Bay Area stop.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A few years back when I was a teaching artist at an after-school program, one of my students showed me a song of his and told me I needed to work with him, so this is a little bit of a full circle moment for me in that regard,” Cold Medina says about the upcoming show.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955051\" class=\"wp-caption alignleft\" style=\"max-width: 584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-29-at-6.25.42-PM.png\" alt=\"A Latinx man stands on an outdoor balcony with his sunglasses on while looking downard\" width=\"584\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-29-at-6.25.42-PM.png 584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-29-at-6.25.42-PM-160x197.png 160w\" sizes=\"(max-width: 584px) 100vw, 584px\">\u003cfigcaption class=\"wp-caption-text\">Cold Medina has been involved in the Bay Area’s arts and education scene for years. He’s now opening for A.CHAL, whose music a former student first introduced him to. \u003ccite>(Courtesy Cold Medina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like A.CHAL, Cold Medina’s vibe is at once tropical, chill and clouded by weed smoke. On his 2023 EP, \u003c/span>\u003ca href=\"https://thecoldmedina.bandcamp.com/album/a-quest-called-medina\">\u003ci>\u003cspan style=\"font-weight: 400\">A Quest Called Medina \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">with Vallejo producer \u003c/span>\u003ca href=\"https://www.instagram.com/_sydequest/\">\u003cspan style=\"font-weight: 400\">Sydequest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, he flaunts his conscious lyricism with an array of references to Mexican culture and Bay slang. Parallel to A.CHAL’s journey, Medina has spent his adult years traveling to his ancestral homeland, and it shows in the music, which often references — through either direct language or music video settings — an earnest connection to Latin America.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s a lot more space for Latinx artists to grow their platforms and get some well deserved attention,” Cold Medina says. “The industry still has a narrow view of what a Latinx artist is and can be, [and] with mainstream exposure it can be easy for artists to get pigeonholed. [But] the Latinx experience is very unique and diverse. You are going to get some indigenous perspective and sounds rooted in that experience.”\u003c/span>\u003c/p>\n\u003cp>That spiritual essence will be in full effect when the two bilingual artists synergize on Valencia Street later this week.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/a.chal/?hl=en\">A.CHAL\u003c/a> and \u003ca href=\"https://www.instagram.com/thecoldmedina/\">Cold Medina\u003c/a> will be performing at The Chapel (777 Valencia St., SF) on Thurs. Apr. 4 at 7 p.m. \u003c/span>\u003c/i>\u003ca href=\"https://wl.seetickets.us/event/achal/587924?afflky=TheChapel\">\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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"excerpt": "The Peruvian New York rapper and his SF collaborator Cold Medina embody today's diverse Latinx musical landscape.",
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"title": "A.CHAL to Bring Genre-Bending, Bilingual Rap to the Chapel | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">If you’re like me, you might’ve been sleeping on \u003c/span>\u003ca href=\"https://www.instagram.com/a.chal/?hl=en\">\u003cspan style=\"font-weight: 400\">A.CHAL\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — the trippy Peruvian-born wordsmith and producer whose bars switch from English to Spanish to Spanglish and back like a dirt bike churning over an uneven jungle path.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The millennial’s expansive vibe pulls from ’80s synthpop and goth, with underlying hints of trap, corridos tumbados, rock en español and reggaeton. A.CHAL in many ways embodies today’s diverse Latinx musicscape — a broad category that has been propelled into the stratosphere by genre-bending artists like Bad Bunny, Karol G, Kali Uchis, Peso Pluma and so many others.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A.CHAL’s new work could easily fit on a playlist of that caliber. And on Thurs., Apr. 4, he’ll be pulling up to the Bay to perform at \u003ca href=\"https://wl.seetickets.us/event/achal/587924?afflky=TheChapel\">The Chapel\u003c/a> in San Francisco’s Mission District as part of his nationwide tour.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With his latest album release, \u003c/span>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_k6Q7AdJy8rXQy-6OOZt6hUmO9ugSrhUYQ\">\u003ci>\u003cspan style=\"font-weight: 400\">ESPÍRITU\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">A.CHAL — whose family immigrated to Queens, New York when he was only four years old — is entering his prime. After \u003c/span>\u003ca href=\"https://remezcla.com/features/music/interview-a-chal-explores-psychedelic-existentialism-on-espiritu/\">\u003cspan style=\"font-weight: 400\">recently spending two years in his native country\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> exploring the mountainside of Trujillo, Peru, the blossoming artist is hitting his stride and \u003c/span>\u003ca href=\"https://www.rollingstone.com/music/music-features/a-chal-espiritu-new-album-interview-1234979042/\">\u003cspan style=\"font-weight: 400\">garnering national attention\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. At times, A.CHAL sounds like a young Latinx Weeknd. On other tracks, he’s reminiscent of a lazy-flowing Benito. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though he may be new to some West Coast listeners, A.CHAL has been a factor for years. He’s someone that \u003c/span>\u003ca href=\"https://www.instagram.com/thecoldmedina/\">\u003cspan style=\"font-weight: 400\">Cold Medina, a local Mexican and Nicaraguan rapper from Frisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, has had on his radar for some time. Cold Medina will be opening up for A.CHAL on his Bay Area stop.\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\">“A few years back when I was a teaching artist at an after-school program, one of my students showed me a song of his and told me I needed to work with him, so this is a little bit of a full circle moment for me in that regard,” Cold Medina says about the upcoming show.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955051\" class=\"wp-caption alignleft\" style=\"max-width: 584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-29-at-6.25.42-PM.png\" alt=\"A Latinx man stands on an outdoor balcony with his sunglasses on while looking downard\" width=\"584\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-29-at-6.25.42-PM.png 584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-29-at-6.25.42-PM-160x197.png 160w\" sizes=\"(max-width: 584px) 100vw, 584px\">\u003cfigcaption class=\"wp-caption-text\">Cold Medina has been involved in the Bay Area’s arts and education scene for years. He’s now opening for A.CHAL, whose music a former student first introduced him to. \u003ccite>(Courtesy Cold Medina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like A.CHAL, Cold Medina’s vibe is at once tropical, chill and clouded by weed smoke. On his 2023 EP, \u003c/span>\u003ca href=\"https://thecoldmedina.bandcamp.com/album/a-quest-called-medina\">\u003ci>\u003cspan style=\"font-weight: 400\">A Quest Called Medina \u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">with Vallejo producer \u003c/span>\u003ca href=\"https://www.instagram.com/_sydequest/\">\u003cspan style=\"font-weight: 400\">Sydequest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, he flaunts his conscious lyricism with an array of references to Mexican culture and Bay slang. Parallel to A.CHAL’s journey, Medina has spent his adult years traveling to his ancestral homeland, and it shows in the music, which often references — through either direct language or music video settings — an earnest connection to Latin America.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s a lot more space for Latinx artists to grow their platforms and get some well deserved attention,” Cold Medina says. “The industry still has a narrow view of what a Latinx artist is and can be, [and] with mainstream exposure it can be easy for artists to get pigeonholed. [But] the Latinx experience is very unique and diverse. You are going to get some indigenous perspective and sounds rooted in that experience.”\u003c/span>\u003c/p>\n\u003cp>That spiritual essence will be in full effect when the two bilingual artists synergize on Valencia Street later this week.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/a.chal/?hl=en\">A.CHAL\u003c/a> and \u003ca href=\"https://www.instagram.com/thecoldmedina/\">Cold Medina\u003c/a> will be performing at The Chapel (777 Valencia St., SF) on Thurs. Apr. 4 at 7 p.m. \u003c/span>\u003c/i>\u003ca href=\"https://wl.seetickets.us/event/achal/587924?afflky=TheChapel\">\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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"title": "Pinay Punk Original Lizzie Killian Finds a New Groove With Teens in Trouble",
"headTitle": "Pinay Punk Original Lizzie Killian Finds a New Groove With Teens in Trouble | KQED",
"content": "\u003cp>Lizzie Killian is an overnight success two decades in the making thanks to her new project, Teens in Trouble.\u003c/p>\n\u003cp>The band’s debut full-length album, \u003ca href=\"https://teensintrouble.bandcamp.com/album/whats-mine-2\">\u003cem>What’s Mine \u003c/em>\u003c/a>(out March 29 via \u003ca href=\"https://asianmanrecords.com/\">Asian Man Records\u003c/a>), graduates this Bay Area original from the background to the lead. With contemplative slacker protests in sonically punchy packages, Killian’s songwriting excels with melodic tracks that linger. From the anthemic opening single, “You Don’t Want to Mess with Me,” to the record’s finale, “I’m Not Perfect,” there’s a musical maturity that complements her own journey laid bare on the record.\u003c/p>\n\u003cp>https://youtu.be/EAtv3MtHmis?si=V2sxH5M-rmKC8xff\u003c/p>\n\u003cp>“The weird thing is I’ve just been trying to use this project as a way to dig into my authentic self or whatever, hokey stuff like that, and really trying to tune into what feels good for me,” Killian says.\u003c/p>\n\u003cp>The approach seems to be working: Teens in Trouble recently came off a tour run supporting veteran rockers RX Bandits. “Ever since I’ve been doing that, these opportunities have been presenting themselves,” Killian reflects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Raised in San Francisco’s Outer Sunset district in a Filipino immigrant household, Killian got her first taste of D.I.Y. when she saved enough money to buy her first electric guitar. She spent her teen years waiting outside 21-and-up venues to play with the band she joined, the Filipina-led \u003ca href=\"https://www.youtube.com/watch?v=nunYEBLbrPQ\">Sputterdoll\u003c/a>.\u003c/p>\n\u003cp>“Being a Filipina woman myself, it made me realize there was more than the white guy-fronted bands that I had been listening to, that we can rock just as hard,” she says. [aside postid='arts_13954914']\u003c/p>\n\u003cp>Sputterdoll played Warped Tour’s Shiragirls stage in 2005. They played The Pound — a great rock club out of horror movie central casting on Pier 96 — with Plain White T’s before Plain White T’s churned out a national hit. Of course, rocking DNA Lounge is part of her local lore. Unfortunately, pursuing music caused her to clash with her parents. She eventually worked three jobs to support herself, all while trying to keep her music dreams alive.\u003c/p>\n\u003cp>Once Killian became a certified musical veteran, she noticed her contemporaries in the Bay Area’s music scene mostly moved on or moved out. Teens in Trouble was born from a need to be independent and active, but she was twisting in the wind, and the project immediately stalled.\u003c/p>\n\u003cp>“My brain was so focused on work, that I didn’t know how to write songs anymore. At least, that’s what it felt like,” she says. “There was a point in 2017 where I was like, ‘Maybe that’s it for me. I guess I’m done with music or something.’”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3779175158/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Killian loves to bet on herself, though, and music is her gamble of choice. So in 2022, she doubled-down, asserting herself as a songwriter and performer, launching Teens in Trouble in earnest. Killian’s D.I.Y.-ethos meshes well with the label that signed her. San Jose’s Asian Man Records is Mike Park’s long-running operation out of his mom’s South Bay garage. That support energized Lizzie to assemble musicians to fully realize Teens in Trouble under her guidance.\u003c/p>\n\u003cp>https://youtu.be/9NvLKmCjK30?si=Z5GzC2pYBMEjJ85i\u003c/p>\n\u003cp>Despite moving to Raleigh, North Carolina right before the pandemic, Killian’s Bay Area network has been key to her momentum for \u003cem>What’s Mine\u003c/em>, recorded at District Recording in San Jose.\u003c/p>\n\u003cp>A slew of music videos with her best friend, director and cinematographer Aja Pop (another San Francisco Filipina), have amplified Teens in Trouble’s presence in the Bay and beyond. The visuals for the singles on \u003cem>What’s Mine\u003c/em> — “You Don’t Want to Mess with Me,” “Playlist” and “It’s Up To Me” — all feature Aja Pop’s quirky and dreamy creative signature, inspired by French filmmaker’s Michel Gondry’s work with The White Stripes, and bolster Teens in Trouble’s proper arrival.\u003c/p>\n\u003cp>“I was not at all surprised that [Lizzie] figured it out, and got her act together — so to speak — to make this project happen,” says Pop. “I encourage all my friends to get their act together literally and figuratively because once you got that, that’s a sign of self-love.” [aside postid='arts_13954771']\u003c/p>\n\u003cp>Randy Moore, a San Jose-based bassist and producer, became part of Teens in Trouble through working with Asian Man Records. In a strangers-must-be-friends scenario, Killian entrusted Moore to produce her music — his first time producing an entire album for someone other than himself. A shared love of early Weezer’s vulnerability informed their common goals. Killian’s only directive? If the song didn’t make her move, it had to be reworked.\u003c/p>\n\u003cp>“A lot of the topics Lizzie talks about are vulnerable subjects, but instead of doing a somber overall record, guitars are big, guitars are heavy — we still like to rock out, but we still like to talk about our feelings,” Moore says. “That was the mantra going into it.”\u003c/p>\n\u003cp>Rounding out the lineup are lead guitarist Mike Huguenor of San Jose, whose old band Shinobu was often found on bills with Sputterdoll, and drummer Henry Chadwick from Santa Cruz, now based in Portland.\u003c/p>\n\u003cp>According to Killian, it all happened so fast — assembling a reliable team, getting onto a label, playing shows regularly again and now a full-length album. So it goes for an overnight success decades in the making.\u003c/p>\n\u003cp>“It’s been kind of a wild ride. In some regards, it feels like it went from zero to 100,” Killian says.\u003c/p>\n\u003cp>https://youtu.be/Ly3z1QG5EjM?si=cMm5Gb4FJgmJtkFx\u003c/p>\n\u003cp>Aja Pop adds: ”We’re Filipino-American girls living out our creative fantasies, not only in the Bay Area, but coast to coast, in places you wouldn’t expect.”\u003c/p>\n\u003cp>As for Lizzie’s relationship with her parents?\u003c/p>\n\u003cp>“We get along great now. They love Teens in Trouble,” she says. “Every time I visit, my mom’s always watching the same four videos that are on YouTube right now. I’m like, ‘Mom, we have other songs too, I swear.’” [aside postid='arts_13954854']\u003c/p>\n\u003cp>With \u003cem>What’s Mine\u003c/em>, Killian is making music that would feel at home blasting out of an Outer Sunset garage, from a surf van at Ocean Beach or out of someone’s headphones on the N Judah train on another foggy day of hating work. It’s a cohesive, well-sequenced listen that invites an immediate replay.\u003c/p>\n\u003cp>“That’s kinda funny about putting music out, especially in this time where everything is so visible for people. People are watching my growth as a musician or artist through these releases,” Killian reflects, “which is both scary, but also I’m proud of the music I’m putting out and my progress.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Teens in Trouble celebrates ‘What’s Mine’ with a \u003ca href=\"https://teensintrouble.bandcamp.com/merch/whats-mine-listening-party\">virtual listening party\u003c/a> on Bandcamp on Friday, March 29, at 9.a.m.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The band's debut album 'What's Mine' offers contemplative slacker protests in sonically punchy packages.",
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"title": "Pinay Punk Original Lizzie Killian Finds a New Groove With Teens in Trouble | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lizzie Killian is an overnight success two decades in the making thanks to her new project, Teens in Trouble.\u003c/p>\n\u003cp>The band’s debut full-length album, \u003ca href=\"https://teensintrouble.bandcamp.com/album/whats-mine-2\">\u003cem>What’s Mine \u003c/em>\u003c/a>(out March 29 via \u003ca href=\"https://asianmanrecords.com/\">Asian Man Records\u003c/a>), graduates this Bay Area original from the background to the lead. With contemplative slacker protests in sonically punchy packages, Killian’s songwriting excels with melodic tracks that linger. From the anthemic opening single, “You Don’t Want to Mess with Me,” to the record’s finale, “I’m Not Perfect,” there’s a musical maturity that complements her own journey laid bare on the record.\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/EAtv3MtHmis'\n title='//www.youtube.com/embed/EAtv3MtHmis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The weird thing is I’ve just been trying to use this project as a way to dig into my authentic self or whatever, hokey stuff like that, and really trying to tune into what feels good for me,” Killian says.\u003c/p>\n\u003cp>The approach seems to be working: Teens in Trouble recently came off a tour run supporting veteran rockers RX Bandits. “Ever since I’ve been doing that, these opportunities have been presenting themselves,” Killian reflects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Raised in San Francisco’s Outer Sunset district in a Filipino immigrant household, Killian got her first taste of D.I.Y. when she saved enough money to buy her first electric guitar. She spent her teen years waiting outside 21-and-up venues to play with the band she joined, the Filipina-led \u003ca href=\"https://www.youtube.com/watch?v=nunYEBLbrPQ\">Sputterdoll\u003c/a>.\u003c/p>\n\u003cp>“Being a Filipina woman myself, it made me realize there was more than the white guy-fronted bands that I had been listening to, that we can rock just as hard,” she says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sputterdoll played Warped Tour’s Shiragirls stage in 2005. They played The Pound — a great rock club out of horror movie central casting on Pier 96 — with Plain White T’s before Plain White T’s churned out a national hit. Of course, rocking DNA Lounge is part of her local lore. Unfortunately, pursuing music caused her to clash with her parents. She eventually worked three jobs to support herself, all while trying to keep her music dreams alive.\u003c/p>\n\u003cp>Once Killian became a certified musical veteran, she noticed her contemporaries in the Bay Area’s music scene mostly moved on or moved out. Teens in Trouble was born from a need to be independent and active, but she was twisting in the wind, and the project immediately stalled.\u003c/p>\n\u003cp>“My brain was so focused on work, that I didn’t know how to write songs anymore. At least, that’s what it felt like,” she says. “There was a point in 2017 where I was like, ‘Maybe that’s it for me. I guess I’m done with music or something.’”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3779175158/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Killian loves to bet on herself, though, and music is her gamble of choice. So in 2022, she doubled-down, asserting herself as a songwriter and performer, launching Teens in Trouble in earnest. Killian’s D.I.Y.-ethos meshes well with the label that signed her. San Jose’s Asian Man Records is Mike Park’s long-running operation out of his mom’s South Bay garage. That support energized Lizzie to assemble musicians to fully realize Teens in Trouble under her guidance.\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/9NvLKmCjK30'\n title='//www.youtube.com/embed/9NvLKmCjK30'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite moving to Raleigh, North Carolina right before the pandemic, Killian’s Bay Area network has been key to her momentum for \u003cem>What’s Mine\u003c/em>, recorded at District Recording in San Jose.\u003c/p>\n\u003cp>A slew of music videos with her best friend, director and cinematographer Aja Pop (another San Francisco Filipina), have amplified Teens in Trouble’s presence in the Bay and beyond. The visuals for the singles on \u003cem>What’s Mine\u003c/em> — “You Don’t Want to Mess with Me,” “Playlist” and “It’s Up To Me” — all feature Aja Pop’s quirky and dreamy creative signature, inspired by French filmmaker’s Michel Gondry’s work with The White Stripes, and bolster Teens in Trouble’s proper arrival.\u003c/p>\n\u003cp>“I was not at all surprised that [Lizzie] figured it out, and got her act together — so to speak — to make this project happen,” says Pop. “I encourage all my friends to get their act together literally and figuratively because once you got that, that’s a sign of self-love.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Randy Moore, a San Jose-based bassist and producer, became part of Teens in Trouble through working with Asian Man Records. In a strangers-must-be-friends scenario, Killian entrusted Moore to produce her music — his first time producing an entire album for someone other than himself. A shared love of early Weezer’s vulnerability informed their common goals. Killian’s only directive? If the song didn’t make her move, it had to be reworked.\u003c/p>\n\u003cp>“A lot of the topics Lizzie talks about are vulnerable subjects, but instead of doing a somber overall record, guitars are big, guitars are heavy — we still like to rock out, but we still like to talk about our feelings,” Moore says. “That was the mantra going into it.”\u003c/p>\n\u003cp>Rounding out the lineup are lead guitarist Mike Huguenor of San Jose, whose old band Shinobu was often found on bills with Sputterdoll, and drummer Henry Chadwick from Santa Cruz, now based in Portland.\u003c/p>\n\u003cp>According to Killian, it all happened so fast — assembling a reliable team, getting onto a label, playing shows regularly again and now a full-length album. So it goes for an overnight success decades in the making.\u003c/p>\n\u003cp>“It’s been kind of a wild ride. In some regards, it feels like it went from zero to 100,” Killian says.\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/Ly3z1QG5EjM'\n title='//www.youtube.com/embed/Ly3z1QG5EjM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Aja Pop adds: ”We’re Filipino-American girls living out our creative fantasies, not only in the Bay Area, but coast to coast, in places you wouldn’t expect.”\u003c/p>\n\u003cp>As for Lizzie’s relationship with her parents?\u003c/p>\n\u003cp>“We get along great now. They love Teens in Trouble,” she says. “Every time I visit, my mom’s always watching the same four videos that are on YouTube right now. I’m like, ‘Mom, we have other songs too, I swear.’” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With \u003cem>What’s Mine\u003c/em>, Killian is making music that would feel at home blasting out of an Outer Sunset garage, from a surf van at Ocean Beach or out of someone’s headphones on the N Judah train on another foggy day of hating work. It’s a cohesive, well-sequenced listen that invites an immediate replay.\u003c/p>\n\u003cp>“That’s kinda funny about putting music out, especially in this time where everything is so visible for people. People are watching my growth as a musician or artist through these releases,” Killian reflects, “which is both scary, but also I’m proud of the music I’m putting out and my progress.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Teens in Trouble celebrates ‘What’s Mine’ with a \u003ca href=\"https://teensintrouble.bandcamp.com/merch/whats-mine-listening-party\">virtual listening party\u003c/a> on Bandcamp on Friday, March 29, at 9.a.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-mexican-museum-audit-reopening",
"title": "What’s Going on at San Francisco’s Mexican Museum?",
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"content": "\u003cp>Last week, San Francisco’s city auditor released a \u003ca href=\"https://www.sf.gov/sites/default/files/2024-03/OCII-RED%20The%20Mexican%20Museum%20Audit%20-%20Final%20Report%2003.21.24.pdf\">bombshell report\u003c/a> on San Francisco’s \u003ca href=\"https://www.mexicanmuseum.org/\">Mexican Museum\u003c/a>, claiming the 49-year-old nonprofit has misused city grant funds and made little progress on fundraising to reopen.\u003c/p>\n\u003cp>The museum, meanwhile, says it “respectfully disagrees with much of the purported conclusions.” \u003c/p>\n\u003cp>To even an average observer, the Mexican Museum has had noticeable troubles. It has been without a director since 2015, and without a home since 2018, when it left Fort Mason Center after falling behind on rent. Its new building at the corner of Third and Mission, adjacent to the Contemporary Jewish Museum, SFMOMA and other cultural institutions, remains empty. \u003c/p>\n\u003cp>The audit’s findings, based on a yearlong investigation requested by Supervisor Aaron Peskin, raise questions about the museum’s ability to fundraise for or manage planned interior improvements at 706 Mission St., a city-owned space at the base of a luxury condo building. \u003c/p>\n\u003cp>Despite the findings, and a subsequent \u003ca href=\"https://www.sfchronicle.com/sf/article/s-f-mexican-museum-audit-19324002.php\">\u003ci>San Francisco Chronicle\u003c/i> story\u003c/a>, the museum, currently without dedicated fundraising staff, is determined to open the first phase of its space by the end of 2025. To do so, its board chair Andrew M. Kluger said in an interview with KQED, requires the cooperation of the city. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Supporting and clearing a path for the museum is a no-brainer for the city,” board secretary Xóchitl Castañeda told KQED. “It’s going to be a win-win situation.”\u003c/p>\n\u003cfigure id=\"attachment_13955001\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg\" alt=\"\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-13955001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the Mexican Museum’s planned interior improvements. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The history of the Mexican Museum’s move downtown\u003c/h2>\n\u003cp>The Mexican Museum was founded in 1975 at the corner of Folsom and 15th Streets by the late artist Peter Rodriguez. In 1982, it moved to Fort Mason Center, where it remained for 36 years, amassing a collection of over 16,500 objects, mostly through donations. \u003c/p>\n\u003cp>Museum holdings span 2,500 years of history, from pre-Hispanic objects to contemporary artworks. The museum is dedicated to “the complexity and richness of Latino art and culture throughout the Americas.” \u003c/p>\n\u003cp>[aside postID='arts_13654906']The Mexican Museum has had periods of instability over the past three decades. A planned move to the Yerba Buena neighborhood to join the city’s other major cultural institutions has been in the works since 1993. In the mid-’90s, the museum was rocked by major staff turnover, accusations of misspent grant funds and lackluster fundraising for the planned move. \u003c/p>\n\u003cp>Then, in 2017, a \u003ca href=\"https://www.kqed.org/arts/13654906/mexican-museum-defends-collection-over-authenticity-concerns\">report commissioned by the museum board\u003c/a> found that only 83 of 2,000 artifacts from the museum’s pre-Hispanic collection could be authenticated. But those 80-some objects, the museum argued in a subsequent press release, are “significant and rare — one piece in the collection being so unique that nothing like it exists in Mexico.” \u003c/p>\n\u003cp>Since leaving Fort Mason in 2018, the collection has been in storage. The museum finally took possession of the first four floors of 706 Mission in July 2023. \u003c/p>\n\u003ch2>Were grant funds misused?\u003c/h2>\n\u003cp>The city audit, officially titled “The Mexican Museum Has Not Demonstrated That It Can Meet the City’s Contractual Obligations, and OCII Has Not Effectively Enforced the Museum’s Grant Agreement” has two main findings: misuse of city grant funds and fundraising shortfalls.\u003c/p>\n\u003cp>In 2010, the museum entered into a $10.6 million grant agreement with the city’s \u003ca href=\"https://sfocii.org/homepage-landing\">Office of Community Investment and Infrastructure\u003c/a> (OCII) — funds meant to go towards “predevelopment and interior improvements” at the new location. \u003c/p>\n\u003cp>Only $4 million of that grant has been spent, but the grant agreement expires June 14, 2024, leaving the museum less than three months to spend the remaining $6.6 million. (During the period of the audit, which began in March 2022, the museum says OCII paused all grant reimbursements.)\u003c/p>\n\u003cfigure id=\"attachment_13955004\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg\" alt=\"\" width=\"900\" height=\"600\" class=\"size-full wp-image-13955004\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of planned gallery space in the Mexican Museum. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The audit found that the museum has spent nearly $1 million of that grant on “ineligible and questionable activities,” including duplicate expenses, artwork storage and staff salaries. But a response from OCII tempers those findings, explaining that “some level of funding for [the museum’s] current operations was necessary to ‘benefit’ the proposed project in the former Yerba Buena Center Project Area.”\u003c/p>\n\u003cp>In other words, OCII argues, the grant \u003ci>should\u003c/i> cover things like storage and some operational costs — so that there might still \u003ci>be\u003c/i> a museum to move into 706 Mission.\u003c/p>\n\u003cp>For their part, the Mexican Museum says “all budgets and scope of work were not only approved by OCII staff, but also by the OCII commission.” Its representatives refute one duplicate expense and acknowledge the other as a clerical error “out of hundreds of submittals to OCII.”\u003c/p>\n\u003ch2>Does the museum have adequate funds to reopen?\u003c/h2>\n\u003cp>The audit found that the museum has raised only 2% of the nearly $49.8 million it’s estimated to need to reopen. But the museum says this is an old number, and that the new, lower estimate for construction is actually $38 million.\u003c/p>\n\u003cp>By their calculations, the museum says it still has $19.9 million left to raise. But it has made some progress in its search for new funding sources. “We’re the only museum outside of the Republic of Mexico that was granted a tax deductible status” by Mexico, says board chair Andrew Kluger. That means Mexican companies and individuals can donate up to 7% of the taxes they owe to the museum as a write-off.\u003c/p>\n\u003cp>The museum has employed a fundraising consultant through the end of 2024, and a representative says the museum has received over $200,000 in cash contributions in the past month.\u003c/p>\n\u003cp>Castañeda admits fundraising for the museum has an uphill journey to her dream goal of $100 million. “I need an army of people to help us,” she says. “You know, how many of the museums today — and I’m not just talking about construction, but operations — are in the red area? We need 10 pesos, $10, you know? Any contribution is welcome and will add to our dream of $100 million.”\u003c/p>\n\u003cfigure id=\"attachment_13955002\" class=\"wp-caption aligncenter\" style=\"max-width: 1901px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg\" alt=\"Composite image with empty building at left and gallery renderings at right\" width=\"1901\" height=\"1814\" class=\"size-full wp-image-13955002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg 1901w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-800x763.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1020x973.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-768x733.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1536x1466.jpg 1536w\" sizes=\"(max-width: 1901px) 100vw, 1901px\">\u003cfigcaption class=\"wp-caption-text\">An exhibit included in the audit, showing the museum premises in July 2023 (left) and design plans (right). \u003ccite>(City Services Auditor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Why hasn’t the museum started construction?\n\u003c/h2>\u003cp>The Mexican Museum has a 66-year-lease with the city on the first four floors of 706 Mission (with the option to extend another 33 years), for what breaks down to about ¢.02 a year. But all interior improvements on the 48,000 square-foot space — turning the shell of the building into a climate-controlled art institution — are on the museum. So far, it has made no material progress on those improvements.\u003c/p>\n\u003cp>The museum received keys to the space in July 2023. That was after a lawsuit over a missing staircase was dismissed, with the museum and the city agreeing to work out their differences. The space was built without a public staircase connecting two floors of the museum, as originally planned.\u003c/p>\n\u003cp>As the \u003cem>\u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2023/07/24/mexican-museum-lawsuit-dismissed-audit-s-f.html\">San Francisco Business Times\u003c/a>\u003c/em> reported last year, the city acknowledged that it had intentionally not built the staircase, saying it “planned to sublease only half the space to the Mexican Museum due to growing concerns that the museum’s financial health would not allow it to build out the entire 48,000 square feet as envisioned.”\u003c/p>\n\u003cp>What also hindered interior improvements, the museum says, was the audit itself. “We are all prepared to construct,” says Castañeda. “This audit was impeding us from doing a lot of things … and now we are being blamed for not doing that.”\u003c/p>\n\u003cp>While museum representatives say the OCII’s pause on grant reimbursement did not prevent them from approaching donors over the past year, the audit did cast a shadow over fundraising efforts, causing some donors to put certain time and milestone requirements on their pledges.\u003c/p>\n\u003ch2>What happens now?\u003c/h2>\n\u003cp>The museum says it now needs the support of OCII. In order for their contractors to submit permit applications, it needs to know that OCII will reimburse those expenses.\u003c/p>\n\u003cp>The Controller’s Office will continue to monitor the museum’s progress, following up every six months on the implementation of their recommendations for record-keeping and grant disbursal. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Meanwhile, the Mexican Museum’s representatives affirm that its rightful place is downtown, alongside institutions like the Yerba Buena Center for the Arts and the Museum of the African Diaspora. “We want to decolonize this idea of a museum, traditionally, that is for the elite,” Castañeda says. “This museum is for everybody.”\u003c/p>\n\n",
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"excerpt": "A city audit raises questions about the museum’s future; museum leaders say the audit has delayed their progress on reopening.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, San Francisco’s city auditor released a \u003ca href=\"https://www.sf.gov/sites/default/files/2024-03/OCII-RED%20The%20Mexican%20Museum%20Audit%20-%20Final%20Report%2003.21.24.pdf\">bombshell report\u003c/a> on San Francisco’s \u003ca href=\"https://www.mexicanmuseum.org/\">Mexican Museum\u003c/a>, claiming the 49-year-old nonprofit has misused city grant funds and made little progress on fundraising to reopen.\u003c/p>\n\u003cp>The museum, meanwhile, says it “respectfully disagrees with much of the purported conclusions.” \u003c/p>\n\u003cp>To even an average observer, the Mexican Museum has had noticeable troubles. It has been without a director since 2015, and without a home since 2018, when it left Fort Mason Center after falling behind on rent. Its new building at the corner of Third and Mission, adjacent to the Contemporary Jewish Museum, SFMOMA and other cultural institutions, remains empty. \u003c/p>\n\u003cp>The audit’s findings, based on a yearlong investigation requested by Supervisor Aaron Peskin, raise questions about the museum’s ability to fundraise for or manage planned interior improvements at 706 Mission St., a city-owned space at the base of a luxury condo building. \u003c/p>\n\u003cp>Despite the findings, and a subsequent \u003ca href=\"https://www.sfchronicle.com/sf/article/s-f-mexican-museum-audit-19324002.php\">\u003ci>San Francisco Chronicle\u003c/i> story\u003c/a>, the museum, currently without dedicated fundraising staff, is determined to open the first phase of its space by the end of 2025. To do so, its board chair Andrew M. Kluger said in an interview with KQED, requires the cooperation of the city. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Supporting and clearing a path for the museum is a no-brainer for the city,” board secretary Xóchitl Castañeda told KQED. “It’s going to be a win-win situation.”\u003c/p>\n\u003cfigure id=\"attachment_13955001\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg\" alt=\"\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-13955001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TEN_201_RD_05-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the Mexican Museum’s planned interior improvements. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The history of the Mexican Museum’s move downtown\u003c/h2>\n\u003cp>The Mexican Museum was founded in 1975 at the corner of Folsom and 15th Streets by the late artist Peter Rodriguez. In 1982, it moved to Fort Mason Center, where it remained for 36 years, amassing a collection of over 16,500 objects, mostly through donations. \u003c/p>\n\u003cp>Museum holdings span 2,500 years of history, from pre-Hispanic objects to contemporary artworks. The museum is dedicated to “the complexity and richness of Latino art and culture throughout the Americas.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Mexican Museum has had periods of instability over the past three decades. A planned move to the Yerba Buena neighborhood to join the city’s other major cultural institutions has been in the works since 1993. In the mid-’90s, the museum was rocked by major staff turnover, accusations of misspent grant funds and lackluster fundraising for the planned move. \u003c/p>\n\u003cp>Then, in 2017, a \u003ca href=\"https://www.kqed.org/arts/13654906/mexican-museum-defends-collection-over-authenticity-concerns\">report commissioned by the museum board\u003c/a> found that only 83 of 2,000 artifacts from the museum’s pre-Hispanic collection could be authenticated. But those 80-some objects, the museum argued in a subsequent press release, are “significant and rare — one piece in the collection being so unique that nothing like it exists in Mexico.” \u003c/p>\n\u003cp>Since leaving Fort Mason in 2018, the collection has been in storage. The museum finally took possession of the first four floors of 706 Mission in July 2023. \u003c/p>\n\u003ch2>Were grant funds misused?\u003c/h2>\n\u003cp>The city audit, officially titled “The Mexican Museum Has Not Demonstrated That It Can Meet the City’s Contractual Obligations, and OCII Has Not Effectively Enforced the Museum’s Grant Agreement” has two main findings: misuse of city grant funds and fundraising shortfalls.\u003c/p>\n\u003cp>In 2010, the museum entered into a $10.6 million grant agreement with the city’s \u003ca href=\"https://sfocii.org/homepage-landing\">Office of Community Investment and Infrastructure\u003c/a> (OCII) — funds meant to go towards “predevelopment and interior improvements” at the new location. \u003c/p>\n\u003cp>Only $4 million of that grant has been spent, but the grant agreement expires June 14, 2024, leaving the museum less than three months to spend the remaining $6.6 million. (During the period of the audit, which began in March 2022, the museum says OCII paused all grant reimbursements.)\u003c/p>\n\u003cfigure id=\"attachment_13955004\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg\" alt=\"\" width=\"900\" height=\"600\" class=\"size-full wp-image-13955004\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/TMM-INTERIOR-5_A-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of planned gallery space in the Mexican Museum. \u003ccite>(Courtesy of the Mexican Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The audit found that the museum has spent nearly $1 million of that grant on “ineligible and questionable activities,” including duplicate expenses, artwork storage and staff salaries. But a response from OCII tempers those findings, explaining that “some level of funding for [the museum’s] current operations was necessary to ‘benefit’ the proposed project in the former Yerba Buena Center Project Area.”\u003c/p>\n\u003cp>In other words, OCII argues, the grant \u003ci>should\u003c/i> cover things like storage and some operational costs — so that there might still \u003ci>be\u003c/i> a museum to move into 706 Mission.\u003c/p>\n\u003cp>For their part, the Mexican Museum says “all budgets and scope of work were not only approved by OCII staff, but also by the OCII commission.” Its representatives refute one duplicate expense and acknowledge the other as a clerical error “out of hundreds of submittals to OCII.”\u003c/p>\n\u003ch2>Does the museum have adequate funds to reopen?\u003c/h2>\n\u003cp>The audit found that the museum has raised only 2% of the nearly $49.8 million it’s estimated to need to reopen. But the museum says this is an old number, and that the new, lower estimate for construction is actually $38 million.\u003c/p>\n\u003cp>By their calculations, the museum says it still has $19.9 million left to raise. But it has made some progress in its search for new funding sources. “We’re the only museum outside of the Republic of Mexico that was granted a tax deductible status” by Mexico, says board chair Andrew Kluger. That means Mexican companies and individuals can donate up to 7% of the taxes they owe to the museum as a write-off.\u003c/p>\n\u003cp>The museum has employed a fundraising consultant through the end of 2024, and a representative says the museum has received over $200,000 in cash contributions in the past month.\u003c/p>\n\u003cp>Castañeda admits fundraising for the museum has an uphill journey to her dream goal of $100 million. “I need an army of people to help us,” she says. “You know, how many of the museums today — and I’m not just talking about construction, but operations — are in the red area? We need 10 pesos, $10, you know? Any contribution is welcome and will add to our dream of $100 million.”\u003c/p>\n\u003cfigure id=\"attachment_13955002\" class=\"wp-caption aligncenter\" style=\"max-width: 1901px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg\" alt=\"Composite image with empty building at left and gallery renderings at right\" width=\"1901\" height=\"1814\" class=\"size-full wp-image-13955002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit.jpg 1901w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-800x763.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1020x973.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-768x733.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/OCII-RED-The-Mexican-Museum-Audit-1536x1466.jpg 1536w\" sizes=\"(max-width: 1901px) 100vw, 1901px\">\u003cfigcaption class=\"wp-caption-text\">An exhibit included in the audit, showing the museum premises in July 2023 (left) and design plans (right). \u003ccite>(City Services Auditor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Why hasn’t the museum started construction?\n\u003c/h2>\u003cp>The Mexican Museum has a 66-year-lease with the city on the first four floors of 706 Mission (with the option to extend another 33 years), for what breaks down to about ¢.02 a year. But all interior improvements on the 48,000 square-foot space — turning the shell of the building into a climate-controlled art institution — are on the museum. So far, it has made no material progress on those improvements.\u003c/p>\n\u003cp>The museum received keys to the space in July 2023. That was after a lawsuit over a missing staircase was dismissed, with the museum and the city agreeing to work out their differences. The space was built without a public staircase connecting two floors of the museum, as originally planned.\u003c/p>\n\u003cp>As the \u003cem>\u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2023/07/24/mexican-museum-lawsuit-dismissed-audit-s-f.html\">San Francisco Business Times\u003c/a>\u003c/em> reported last year, the city acknowledged that it had intentionally not built the staircase, saying it “planned to sublease only half the space to the Mexican Museum due to growing concerns that the museum’s financial health would not allow it to build out the entire 48,000 square feet as envisioned.”\u003c/p>\n\u003cp>What also hindered interior improvements, the museum says, was the audit itself. “We are all prepared to construct,” says Castañeda. “This audit was impeding us from doing a lot of things … and now we are being blamed for not doing that.”\u003c/p>\n\u003cp>While museum representatives say the OCII’s pause on grant reimbursement did not prevent them from approaching donors over the past year, the audit did cast a shadow over fundraising efforts, causing some donors to put certain time and milestone requirements on their pledges.\u003c/p>\n\u003ch2>What happens now?\u003c/h2>\n\u003cp>The museum says it now needs the support of OCII. In order for their contractors to submit permit applications, it needs to know that OCII will reimburse those expenses.\u003c/p>\n\u003cp>The Controller’s Office will continue to monitor the museum’s progress, following up every six months on the implementation of their recommendations for record-keeping and grant disbursal. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, the Mexican Museum’s representatives affirm that its rightful place is downtown, alongside institutions like the Yerba Buena Center for the Arts and the Museum of the African Diaspora. “We want to decolonize this idea of a museum, traditionally, that is for the elite,” Castañeda says. “This museum is for everybody.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "green-day-fillmore-sf-get-tickets-livenation",
"title": "Ticket Alert: Green Day Is Playing The Fillmore on April 2",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a> will headline a United Nations Human Rights-backed global climate concert on April 2 at the Fillmore in San Francisco.\u003c/p>\n\u003cp>The intimate event, which is co-hosted by the Recording Academy, aims to bring attention to the inequalities exasperated by climate change.\u003c/p>\n\u003cp>[aside postid='arts_13955312']Ultra Q, an alternative rock band fronted by Billie Joe Armstrong’s son Jakob Danger, will open.\u003c/p>\n\u003cp>Proceeds from the concert will go to United Nations Human Rights climate justice initiatives and a \u003ca href=\"https://www.musicares.org/\">MusiCares\u003c/a> climate fund to benefit musicians affected by climate change.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.righthererightnow.global/\">Right Here, Right Now Global Climate Alliance\u003c/a> will honor Green Day for their “long-standing commitment to social justice and environmental causes,” according to a press release.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As world renowned artists and activists, Green Day continues to leverage its major influence and platform to bring awareness to the impact of climate change on the people and the environment,” Volker Türk, the United Nations High Commissioner for Human Rights said in a statement.\u003c/p>\n\u003cp>“The United Nations was founded in San Francisco almost 80 years ago to safeguard human rights and dignity from crisis and tragedy. It is only fitting that we are back in San Francisco.”\u003c/p>\n\u003cp>“Music is one of humanity’s greatest resources. It moves the world,” Harvey Mason jr., CEO of the Recording Academy added. “And we are grateful for Green Day’s longstanding dedication to promoting social justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tickets for Green Day’s April 2 show at The Fillmore go on sale \u003ca href=\"https://concerts.livenation.com/green-day-san-francisco-california-04-02-2024/event/1C006079927614B5?_gl=1*1qfbzox*_gcl_au*ODk2MjAxNjIuMTcwOTE0NDk2Mw..*_ga*MTM0NTgwNzQuMTcwOTE0NDk2Mw..*_ga_C1T806G4DF*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.*_ga_H1KKSGW33X*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.&_ga=2.49975855.827973097.1711653457-13458074.1709144963\">via LiveNation.com\u003c/a> on March 29, at 12 p.m.\u003c/em> \u003cem>Tickets will not be available from The Fillmore’s box office. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a> will headline a United Nations Human Rights-backed global climate concert on April 2 at the Fillmore in San Francisco.\u003c/p>\n\u003cp>The intimate event, which is co-hosted by the Recording Academy, aims to bring attention to the inequalities exasperated by climate change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ultra Q, an alternative rock band fronted by Billie Joe Armstrong’s son Jakob Danger, will open.\u003c/p>\n\u003cp>Proceeds from the concert will go to United Nations Human Rights climate justice initiatives and a \u003ca href=\"https://www.musicares.org/\">MusiCares\u003c/a> climate fund to benefit musicians affected by climate change.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.righthererightnow.global/\">Right Here, Right Now Global Climate Alliance\u003c/a> will honor Green Day for their “long-standing commitment to social justice and environmental causes,” according to a press release.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As world renowned artists and activists, Green Day continues to leverage its major influence and platform to bring awareness to the impact of climate change on the people and the environment,” Volker Türk, the United Nations High Commissioner for Human Rights said in a statement.\u003c/p>\n\u003cp>“The United Nations was founded in San Francisco almost 80 years ago to safeguard human rights and dignity from crisis and tragedy. It is only fitting that we are back in San Francisco.”\u003c/p>\n\u003cp>“Music is one of humanity’s greatest resources. It moves the world,” Harvey Mason jr., CEO of the Recording Academy added. “And we are grateful for Green Day’s longstanding dedication to promoting social justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tickets for Green Day’s April 2 show at The Fillmore go on sale \u003ca href=\"https://concerts.livenation.com/green-day-san-francisco-california-04-02-2024/event/1C006079927614B5?_gl=1*1qfbzox*_gcl_au*ODk2MjAxNjIuMTcwOTE0NDk2Mw..*_ga*MTM0NTgwNzQuMTcwOTE0NDk2Mw..*_ga_C1T806G4DF*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.*_ga_H1KKSGW33X*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.&_ga=2.49975855.827973097.1711653457-13458074.1709144963\">via LiveNation.com\u003c/a> on March 29, at 12 p.m.\u003c/em> \u003cem>Tickets will not be available from The Fillmore’s box office. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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