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"content": "\u003cp>In 2020 — March 5, to be exact — Joe Sharp and Patty Tang debuted \u003ca href=\"https://www.instagram.com/sf.rasarasa/?hl=en\">Rasa Rasa\u003c/a>, a shiny new food truck with a mission to initiate San Francisco diners into the bold, spice-forward universe of Indonesian home cooking — a universe populated by rich laksa noodle soups, fiery sambals and tenderly slow-cooked beef rendang.\u003c/p>\n\u003cp>Of course, we all know what happened next: Less than two weeks after the truck served its first bowls of laksa at the Parklab Gardens street food park in Mission Bay, COVID-19 pandemic shutdowns hit the Bay Area, and every food business in the region closed for the better part of three months.\u003c/p>\n\u003cp>There’s a sense of poetry, then, to the fact that Sharp and Tang opened their first brick-and-mortar restaurant, \u003ca href=\"https://www.rasarasakitchen.com/\">Rasa Rasa Kitchen\u003c/a>, exactly four years after the truck’s debut. As of March 5, they’ve brought their home-style Indonesian cooking to a sit-down setting in the Mission, with a bigger and even more creative menu.\u003c/p>\n\u003cp>Looking back on those early months of 2020 now, Sharp says, “It was really tough, but we didn’t give up.” Thankfully, business picked up that summer, when everyone was going stir crazy and, for many San Franciscans, takeout from a food truck was the best available option. But in a very real sense, Rasa Rasa fought an uphill battle just to survive its first year.\u003c/p>\n\u003cfigure id=\"attachment_13954943\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954943\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rasa-rasa-exterior.jpg\" alt='Exterior of a restaurant on a street corner, with the sun setting in the background. The sign reads, \"Rasa Rasa.\"' width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rasa-rasa-exterior.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rasa-rasa-exterior-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rasa-rasa-exterior-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rasa-rasa-exterior-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rasa-rasa-exterior-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rasa-rasa-exterior-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rasa-rasa-exterior-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant offers a larger, more family-style menu compared to Rasa Rasa’s original food truck. \u003ccite>(Courtesy of Rasa Rasa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For fans of Indonesian cuisine, the restaurant’s arrival is game-changing news. There have, of course, been a handful of Indonesian restaurants in the Bay Area going back as far as the \u003ca href=\"https://www.kqed.org/arts/13929177/borobudur-first-indonesian-restaurant-san-francisco-el-cerrito-grandmother-essay\">early 1980s\u003c/a>. But until the pandemic spurred a \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/Bay-Area-s-underground-Indonesian-food-scene-is-16263823.php\">new wave\u003c/a> of ambitious food trucks and informal \u003ca href=\"https://www.kqed.org/arts/13908798/bakso-indonesian-street-food-noodle-soup-dgrobak-richmond\">pop-ups\u003c/a>, the cuisine has largely languished in obscurity in our region. From the beginning, Sharp and Tang’s motivation has been to introduce Indonesian food to a wider audience — to, as Sharp puts it, prove to people that it’s “actually very tasty.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On that front, the Rasa Rasa food truck has been a resounding success. Its spicy shrimp laksa, in particular, has built up a dedicated fanbase. When the \u003ca href=\"https://www.sfchronicle.com/projects/best-food-trucks-san-francisco-bay-area/#:~:text=Rasa%20Rasa%20is%20a%20Southeast,a%20faintly%20sweet%20coconut%20broth.\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a> named Rasa Rasa one of the Bay Area’s top food trucks, it praised the noodle soup’s “alluring spice punch tamped with a faintly sweet coconut broth.”\u003c/p>\n\u003cp>So it was a bold decision for Rasa Rasa to not offer the laksa at the restaurant, except perhaps as an occasional weekend special. Sharp says part of their reasoning was that they didn’t want to cannibalize their own business. The food truck is stationed less than two miles away from the restaurant, after all, and they still want customers to have a reason to go to the truck.\u003c/p>\n\u003cp>[aside postID='arts_13908798,arts_13929177,arts_13951914']Beyond that, though, Sharp says the concept behind the restaurant is to serve all of the food in a more traditional family-style format, with large dishes of curry, fried fish and sambal-smothered vegetables placed at the center of the table for everyone to share. Sharp is hoping that old customers who only ever ordered the laksa will come to the restaurant to try Rasa Rasa’s turmeric fried chicken, rica rica (a saucy pork belly stew) and beef rendang.\u003c/p>\n\u003cp>The rendang I tried during my visit was super-savory, tender enough to pull apart with a spoon, with an intricately spiced gravy that proved to be a fantastic vehicle for devouring a large quantity of fragrant coconut rice. Best of all was the little dollop of chunky sambal that came on the side — a chunky, shrimp paste–spiked version, hot enough to set my tongue on fire.\u003c/p>\n\u003cp>Without any prompting, Sharp concedes that his food isn’t strictly “authentic,” mostly to accommodate the more limited palate — and spice tolerance — of most American diners. If, for example, he made the rica rica the way he would serve it in Indonesia, it would be way too spicy for the vast majority of his customers to eat. Instead, he serves the spicy sauce on the side. True chileheads can of course ask for more.\u003c/p>\n\u003cfigure id=\"attachment_13954944\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954944\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rendang-bread-bowl.jpg\" alt=\"Beef rendang overflowing from the inside of a sourdough bread bowl.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rendang-bread-bowl.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rendang-bread-bowl-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rendang-bread-bowl-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rendang-bread-bowl-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rendang-bread-bowl-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rendang-bread-bowl-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rendang-bread-bowl-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Only in San Francisco? Beef rendang served inside a sourdough bread bowl. \u003ccite>(Courtesy of Rasa Rasa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apart from the spice adjustment, Sharp and Tang have also embraced the restaurant’s Northern California home. So, for instance, during dinner service, the gado gado (a kind of salad with both raw and cooked vegetables) comes in a baked tortilla bowl — a nod to the Mission’s vibrant Mexican food scene. And while Rasa Rasa does offer its beef rendang the traditional Indonesian way, over rice, you can also order it served inside the most San Francisco of vessels: a Boudin sourdough bread bowl. The most delicious way to eat this rendang bread bowl, Sharp says, is to just pull it apart with your hands after letting the sauce soak in.\u003c/p>\n\u003cp>According to Sharp, the best thing about opening the restaurant is seeing the way that newcomers to Indonesian food have really embraced the cuisine. He recalls one recent customer’s response to his first rendang: “It’s so good! I feel like I have a parade of spice in my mouth!”\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>\u003ca href=\"https://www.instagram.com/sf.rasarasa/?hl=en\">\u003ci>Rasa Rasa Kitchen\u003c/i>\u003c/a>\u003ci> is open Tuesday through Sunday, 11 a.m.–3 p.m. for lunch and 5 p.m.–9 p.m. for dinner, at 2200 Bryant St. in San Francisco. The Rasa Rasa food truck is open 11 a.m.–8 p.m. daily inside \u003c/i>\u003ca href=\"https://www.instagram.com/parklabgardens/?hl=en\">\u003ci>Parklab Gardens\u003c/i>\u003c/a>\u003ci> at 1379 4th St. in San Francisco.\u003c/i>\u003c/p>\n\n",
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"title": "Rasa Rasa Is a New Indonesian Restaurant in San Francisco | KQED",
"description": "Known for its laksa, the popular food truck just opened its first brick-and-mortar restaurant.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2020 — March 5, to be exact — Joe Sharp and Patty Tang debuted \u003ca href=\"https://www.instagram.com/sf.rasarasa/?hl=en\">Rasa Rasa\u003c/a>, a shiny new food truck with a mission to initiate San Francisco diners into the bold, spice-forward universe of Indonesian home cooking — a universe populated by rich laksa noodle soups, fiery sambals and tenderly slow-cooked beef rendang.\u003c/p>\n\u003cp>Of course, we all know what happened next: Less than two weeks after the truck served its first bowls of laksa at the Parklab Gardens street food park in Mission Bay, COVID-19 pandemic shutdowns hit the Bay Area, and every food business in the region closed for the better part of three months.\u003c/p>\n\u003cp>There’s a sense of poetry, then, to the fact that Sharp and Tang opened their first brick-and-mortar restaurant, \u003ca href=\"https://www.rasarasakitchen.com/\">Rasa Rasa Kitchen\u003c/a>, exactly four years after the truck’s debut. As of March 5, they’ve brought their home-style Indonesian cooking to a sit-down setting in the Mission, with a bigger and even more creative menu.\u003c/p>\n\u003cp>Looking back on those early months of 2020 now, Sharp says, “It was really tough, but we didn’t give up.” Thankfully, business picked up that summer, when everyone was going stir crazy and, for many San Franciscans, takeout from a food truck was the best available option. But in a very real sense, Rasa Rasa fought an uphill battle just to survive its first year.\u003c/p>\n\u003cfigure id=\"attachment_13954943\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954943\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rasa-rasa-exterior.jpg\" alt='Exterior of a restaurant on a street corner, with the sun setting in the background. The sign reads, \"Rasa Rasa.\"' width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rasa-rasa-exterior.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rasa-rasa-exterior-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rasa-rasa-exterior-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rasa-rasa-exterior-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rasa-rasa-exterior-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rasa-rasa-exterior-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rasa-rasa-exterior-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant offers a larger, more family-style menu compared to Rasa Rasa’s original food truck. \u003ccite>(Courtesy of Rasa Rasa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For fans of Indonesian cuisine, the restaurant’s arrival is game-changing news. There have, of course, been a handful of Indonesian restaurants in the Bay Area going back as far as the \u003ca href=\"https://www.kqed.org/arts/13929177/borobudur-first-indonesian-restaurant-san-francisco-el-cerrito-grandmother-essay\">early 1980s\u003c/a>. But until the pandemic spurred a \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/Bay-Area-s-underground-Indonesian-food-scene-is-16263823.php\">new wave\u003c/a> of ambitious food trucks and informal \u003ca href=\"https://www.kqed.org/arts/13908798/bakso-indonesian-street-food-noodle-soup-dgrobak-richmond\">pop-ups\u003c/a>, the cuisine has largely languished in obscurity in our region. From the beginning, Sharp and Tang’s motivation has been to introduce Indonesian food to a wider audience — to, as Sharp puts it, prove to people that it’s “actually very tasty.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On that front, the Rasa Rasa food truck has been a resounding success. Its spicy shrimp laksa, in particular, has built up a dedicated fanbase. When the \u003ca href=\"https://www.sfchronicle.com/projects/best-food-trucks-san-francisco-bay-area/#:~:text=Rasa%20Rasa%20is%20a%20Southeast,a%20faintly%20sweet%20coconut%20broth.\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a> named Rasa Rasa one of the Bay Area’s top food trucks, it praised the noodle soup’s “alluring spice punch tamped with a faintly sweet coconut broth.”\u003c/p>\n\u003cp>So it was a bold decision for Rasa Rasa to not offer the laksa at the restaurant, except perhaps as an occasional weekend special. Sharp says part of their reasoning was that they didn’t want to cannibalize their own business. The food truck is stationed less than two miles away from the restaurant, after all, and they still want customers to have a reason to go to the truck.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Beyond that, though, Sharp says the concept behind the restaurant is to serve all of the food in a more traditional family-style format, with large dishes of curry, fried fish and sambal-smothered vegetables placed at the center of the table for everyone to share. Sharp is hoping that old customers who only ever ordered the laksa will come to the restaurant to try Rasa Rasa’s turmeric fried chicken, rica rica (a saucy pork belly stew) and beef rendang.\u003c/p>\n\u003cp>The rendang I tried during my visit was super-savory, tender enough to pull apart with a spoon, with an intricately spiced gravy that proved to be a fantastic vehicle for devouring a large quantity of fragrant coconut rice. Best of all was the little dollop of chunky sambal that came on the side — a chunky, shrimp paste–spiked version, hot enough to set my tongue on fire.\u003c/p>\n\u003cp>Without any prompting, Sharp concedes that his food isn’t strictly “authentic,” mostly to accommodate the more limited palate — and spice tolerance — of most American diners. If, for example, he made the rica rica the way he would serve it in Indonesia, it would be way too spicy for the vast majority of his customers to eat. Instead, he serves the spicy sauce on the side. True chileheads can of course ask for more.\u003c/p>\n\u003cfigure id=\"attachment_13954944\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954944\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rendang-bread-bowl.jpg\" alt=\"Beef rendang overflowing from the inside of a sourdough bread bowl.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rendang-bread-bowl.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rendang-bread-bowl-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rendang-bread-bowl-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rendang-bread-bowl-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rendang-bread-bowl-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rendang-bread-bowl-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/rendang-bread-bowl-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Only in San Francisco? Beef rendang served inside a sourdough bread bowl. \u003ccite>(Courtesy of Rasa Rasa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Apart from the spice adjustment, Sharp and Tang have also embraced the restaurant’s Northern California home. So, for instance, during dinner service, the gado gado (a kind of salad with both raw and cooked vegetables) comes in a baked tortilla bowl — a nod to the Mission’s vibrant Mexican food scene. And while Rasa Rasa does offer its beef rendang the traditional Indonesian way, over rice, you can also order it served inside the most San Francisco of vessels: a Boudin sourdough bread bowl. The most delicious way to eat this rendang bread bowl, Sharp says, is to just pull it apart with your hands after letting the sauce soak in.\u003c/p>\n\u003cp>According to Sharp, the best thing about opening the restaurant is seeing the way that newcomers to Indonesian food have really embraced the cuisine. He recalls one recent customer’s response to his first rendang: “It’s so good! I feel like I have a parade of spice in my mouth!”\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>\u003ca href=\"https://www.instagram.com/sf.rasarasa/?hl=en\">\u003ci>Rasa Rasa Kitchen\u003c/i>\u003c/a>\u003ci> is open Tuesday through Sunday, 11 a.m.–3 p.m. for lunch and 5 p.m.–9 p.m. for dinner, at 2200 Bryant St. in San Francisco. The Rasa Rasa food truck is open 11 a.m.–8 p.m. daily inside \u003c/i>\u003ca href=\"https://www.instagram.com/parklabgardens/?hl=en\">\u003ci>Parklab Gardens\u003c/i>\u003c/a>\u003ci> at 1379 4th St. in San Francisco.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Your Extremely Bay Area Guide to the 2024 SFFILM Festival",
"headTitle": "Your Extremely Bay Area Guide to the 2024 SFFILM Festival | KQED",
"content": "\u003cp>The time has come to excitedly pore over the \u003ca href=\"https://sffilm.org/2024-festival-program/\">just-announced program for the 67th San Francisco International Film Festival\u003c/a>, taking place April 24–28 at six San Francisco venues and its traditional East Bay outpost, the Berkeley Art Museum and Pacific Film Archive. \u003c/p>\n\u003cp>But first, some changes. You may have clocked the shortened time frame? This year’s five-day festival is less than half the length of last year’s 11-day fest, but the programming remains just as robust, with 82 films screening in total. \u003c/p>\n\u003cp>Anne Lai, SFFILM’s executive director, said Wednesday morning that the new schedule is an experiment in the festival feel and experience. With a more densely packed program, festival goers might bump into each other more often, or take advantage of a neighborhood’s charms without rushing across the width of the city.\u003c/p>\n\u003cp>On that front, the 2024 festival is centered in the Marina and Presidio, at the Premier Theater, Marina Theatre, Walt Disney Family Museum and Vogue Theatre, with special presentations at Dolby Cinema, SFMOMA and Fort Mason’s Gallery 308. In an “Encore Days” presentation, the Roxie Theater will screen a selection of titles curated from the full festival May 2–4, including audience award winners.\u003c/p>\n\u003cp>Now on to the good stuff: a Fremont-made feature, a celebration of Joan Chen, the future of local filmmaking, and so much more! Here’s your guide to five extremely Bay Area screenings to seek out when festival tickets go on sale to the general public on Friday, March 29 at 10 a.m.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/opening-night-didi/\">Dìdi (弟弟)\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 24, 7:00 p.m. at Premier Theater\u003cbr>\nApril 24, 8 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fremont-born Sean Wang is on a roll. \u003cem>Nǎi Nai and Wài Pó\u003c/em>, his charming portrait of his grandmothers, was nominated for \u003ca href=\"https://www.kqed.org/arts/13952306/sean-wang-oscars-grandma-movie-fremont-wai-po-nai-nai\">best documentary short at the Academy Awards\u003c/a>, and \u003ci>Dìdi (弟弟)\u003c/i>, his feature debut, won two audience awards at Sundance. Now, it’s gracing SFFILM’s opening night. \u003c/p>\n\u003cp>Filmed in Fremont and starring mostly first-time actors from the Bay Area, the semi-autobiographical story is set in 2008 (picture AIM chats and MySpace) and follows a 13-year-old Taiwanese American in the awkward and earnest months leading up to freshman year. \u003c/p>\n\u003cp>As a bonus, Wang will take the stage on April 25 at the SFFILM Festival Lounge to \u003ca href=\"https://sffilm.org/event/festival-talk-filmmaking-in-the-bay-area-and-didi-%e5%bc%9f%e5%bc%9f/\">talk about filmmaking in the Bay Area\u003c/a>.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/seeking-mavis-beacon/\">Seeking Mavis Beacon\u003c/a>’\u003c/h2>\n\u003cfigure id=\"attachment_13954884\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000.jpg\" alt=\"Figure leans over light table to look at slide images with magnifying loupe\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13954884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Jazmin Renée Jones’ ‘Seeking Mavis Beacon.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 26, 7:00 p.m. at BAMPFA\u003cbr>\nApril 27, 4 p.m. at Premier Theatre\u003c/i>\u003c/p>\n\u003cp>Yes, \u003ci>that\u003c/i> Mavis Beacon. She of the smiling computer software packaging, who taught typing skills to youngsters of a very particular (*cough, millennial*) generation. Director Jazmin Renée Jones picks up the question of “What ever happened to Mavis Beacon?” in this documentary feature, using novel visual approaches in a “spellbinding cyberspace adventure” that looks at issues of representation, feminism and digital personas while celebrating the beauty of glitch art. \u003c/p>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/a-tribute-to-joan-chen-xiu-xiu-the-sent-down-girl/\">A Tribute to Joan Chen + ‘Xiu Xiu: The Sent Down Girl’\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_13954886\" class=\"wp-caption aligncenter\" style=\"max-width: 2255px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1.jpeg\" alt=\"Young person smiles while laying on grass\" width=\"2255\" height=\"1421\" class=\"size-full wp-image-13954886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1.jpeg 2255w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-800x504.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1020x643.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-160x101.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-768x484.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1536x968.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-2048x1291.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1920x1210.jpeg 1920w\" sizes=\"(max-width: 2255px) 100vw, 2255px\">\u003cfigcaption class=\"wp-caption-text\">A still from Joan Chen’s ‘Xiu Xiu: The Sent Down Girl.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 28, 1 p.m. at Premier Theater\u003c/i>\u003c/p>\n\u003cp>San Francisco legend Joan Chen is more than worthy of a tribute night. The actor, screenwriter, producer and director has double-billing at this year’s festival, playing the role of a mother in \u003ci>Dìdi (弟弟)\u003c/i> (which she also executive produced), and getting her flowers alongside a rare 35mm print of her debut directorial feature, 1998’s \u003ci>Xiu Xiu: The Sent Down Girl\u003c/i>. This coming-of-age melodrama, set at the end of the Cultural Revolution, centers on a young girl left in a bleak Tibetan landscape to learn horse breeding. It was described by Jason Sanders in the 1998 SFFILM program as “austere, uncluttered … \u003ci>Xiu Xiu\u003c/i> achieves a purity of vision not found in most contemporary cinema.”\t\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/counted-out/\">Counted Out\u003c/a>’\u003c/h2>\n\u003cfigure id=\"attachment_13954887\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000.jpg\" alt=\"Students around table in classroom\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13954887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Vicki Abeles’ ‘Counted Out.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 28, 5:00 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Bay Area filmmaker Vicki Abeles, once a Wall Street lawyer, made her documentary directing debut with 2010’s \u003ci>Race to Nowhere\u003c/i>, about students pushed to their limits by the pressure to achieve academically. Now, she’s turned her lens toward the power of math to determine a child’s future in our increasingly algorithm- and data-driven economy. According to SFFILM, \u003ci>Counted Out\u003c/i> debunks the idea of “math people” and shows what can happen for students when the subject becomes more inclusive.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-3-lineages-of-love/\">Shorts 3: Lineages of Love\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 28, 1:30 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13954888\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1.jpg\" alt=\"Older person and young person cuddle in water while swimming\" width=\"1620\" height=\"1080\" class=\"size-full wp-image-13954888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A still from Darian Woehr’s ‘We Exist in Memory.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’ve got two Bay Area titles in this shorts program, which centers stories about love bringing people (and animals!) together even when the powers that be would seek to keep them apart. María Luisa Santos’ \u003ci>a film is a goodbye that never ends\u003c/i> is about a woman waiting for a U.S. visa who befriends a dog named Turbo. And San Francisco-based documentary filmmaker Darian Woehr’s \u003ci>We Exist in Memory\u003c/i> centers on conversations between a displaced grandmother and grandchild. Both Santos and Woehr are expected to attend the screening in person.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-5-family-films-2024/\">Shorts 6: Family Films\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 27 at 10 a.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Note the family-friendly early start time of this program! The program includes a new Pixar short — Searit Kahsay Huluf’s \u003ci>Self\u003c/i>, featuring a blend of stop-motion and computer-generated animation. And San Francisco-based Japanese animator Daisuke ‘Dice’ Tsutsumi has \u003ci>Bottle George\u003c/i>, a sensitive depiction of alcoholism in a family. Both directors are expected to attend the screening in person.\t\t\t\t\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-6-youth-works-2024/\">Shorts 6: Youth Works\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 28, 11 a.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last but absolutely not least, catch this shorts program for a peek at the future of Bay Area filmmaking. Locals Kayen Manovil (\u003ci>FATALE\u003c/i>), Kaiya Jordan (\u003ci>like a stone or flower\u003c/i>) and Kea Morshed (\u003ci>Majid, the Muslim Rapper\u003c/i>) bring their attention to teenage femininity, Asian American artists and an up-and-coming Oakland rapper, respectively. All three directors are expected to attend the screening.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The time has come to excitedly pore over the \u003ca href=\"https://sffilm.org/2024-festival-program/\">just-announced program for the 67th San Francisco International Film Festival\u003c/a>, taking place April 24–28 at six San Francisco venues and its traditional East Bay outpost, the Berkeley Art Museum and Pacific Film Archive. \u003c/p>\n\u003cp>But first, some changes. You may have clocked the shortened time frame? This year’s five-day festival is less than half the length of last year’s 11-day fest, but the programming remains just as robust, with 82 films screening in total. \u003c/p>\n\u003cp>Anne Lai, SFFILM’s executive director, said Wednesday morning that the new schedule is an experiment in the festival feel and experience. With a more densely packed program, festival goers might bump into each other more often, or take advantage of a neighborhood’s charms without rushing across the width of the city.\u003c/p>\n\u003cp>On that front, the 2024 festival is centered in the Marina and Presidio, at the Premier Theater, Marina Theatre, Walt Disney Family Museum and Vogue Theatre, with special presentations at Dolby Cinema, SFMOMA and Fort Mason’s Gallery 308. In an “Encore Days” presentation, the Roxie Theater will screen a selection of titles curated from the full festival May 2–4, including audience award winners.\u003c/p>\n\u003cp>Now on to the good stuff: a Fremont-made feature, a celebration of Joan Chen, the future of local filmmaking, and so much more! Here’s your guide to five extremely Bay Area screenings to seek out when festival tickets go on sale to the general public on Friday, March 29 at 10 a.m.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/opening-night-didi/\">Dìdi (弟弟)\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 24, 7:00 p.m. at Premier Theater\u003cbr>\nApril 24, 8 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fremont-born Sean Wang is on a roll. \u003cem>Nǎi Nai and Wài Pó\u003c/em>, his charming portrait of his grandmothers, was nominated for \u003ca href=\"https://www.kqed.org/arts/13952306/sean-wang-oscars-grandma-movie-fremont-wai-po-nai-nai\">best documentary short at the Academy Awards\u003c/a>, and \u003ci>Dìdi (弟弟)\u003c/i>, his feature debut, won two audience awards at Sundance. Now, it’s gracing SFFILM’s opening night. \u003c/p>\n\u003cp>Filmed in Fremont and starring mostly first-time actors from the Bay Area, the semi-autobiographical story is set in 2008 (picture AIM chats and MySpace) and follows a 13-year-old Taiwanese American in the awkward and earnest months leading up to freshman year. \u003c/p>\n\u003cp>As a bonus, Wang will take the stage on April 25 at the SFFILM Festival Lounge to \u003ca href=\"https://sffilm.org/event/festival-talk-filmmaking-in-the-bay-area-and-didi-%e5%bc%9f%e5%bc%9f/\">talk about filmmaking in the Bay Area\u003c/a>.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/seeking-mavis-beacon/\">Seeking Mavis Beacon\u003c/a>’\u003c/h2>\n\u003cfigure id=\"attachment_13954884\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000.jpg\" alt=\"Figure leans over light table to look at slide images with magnifying loupe\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13954884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SEEKING_MAVIS_BEACON_1_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Jazmin Renée Jones’ ‘Seeking Mavis Beacon.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 26, 7:00 p.m. at BAMPFA\u003cbr>\nApril 27, 4 p.m. at Premier Theatre\u003c/i>\u003c/p>\n\u003cp>Yes, \u003ci>that\u003c/i> Mavis Beacon. She of the smiling computer software packaging, who taught typing skills to youngsters of a very particular (*cough, millennial*) generation. Director Jazmin Renée Jones picks up the question of “What ever happened to Mavis Beacon?” in this documentary feature, using novel visual approaches in a “spellbinding cyberspace adventure” that looks at issues of representation, feminism and digital personas while celebrating the beauty of glitch art. \u003c/p>\n\u003ch2>\u003ca href=\"https://sffilm.org/event/a-tribute-to-joan-chen-xiu-xiu-the-sent-down-girl/\">A Tribute to Joan Chen + ‘Xiu Xiu: The Sent Down Girl’\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_13954886\" class=\"wp-caption aligncenter\" style=\"max-width: 2255px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1.jpeg\" alt=\"Young person smiles while laying on grass\" width=\"2255\" height=\"1421\" class=\"size-full wp-image-13954886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1.jpeg 2255w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-800x504.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1020x643.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-160x101.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-768x484.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1536x968.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-2048x1291.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/XIU_XIU_1-1920x1210.jpeg 1920w\" sizes=\"(max-width: 2255px) 100vw, 2255px\">\u003cfigcaption class=\"wp-caption-text\">A still from Joan Chen’s ‘Xiu Xiu: The Sent Down Girl.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 28, 1 p.m. at Premier Theater\u003c/i>\u003c/p>\n\u003cp>San Francisco legend Joan Chen is more than worthy of a tribute night. The actor, screenwriter, producer and director has double-billing at this year’s festival, playing the role of a mother in \u003ci>Dìdi (弟弟)\u003c/i> (which she also executive produced), and getting her flowers alongside a rare 35mm print of her debut directorial feature, 1998’s \u003ci>Xiu Xiu: The Sent Down Girl\u003c/i>. This coming-of-age melodrama, set at the end of the Cultural Revolution, centers on a young girl left in a bleak Tibetan landscape to learn horse breeding. It was described by Jason Sanders in the 1998 SFFILM program as “austere, uncluttered … \u003ci>Xiu Xiu\u003c/i> achieves a purity of vision not found in most contemporary cinema.”\t\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/counted-out/\">Counted Out\u003c/a>’\u003c/h2>\n\u003cfigure id=\"attachment_13954887\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000.jpg\" alt=\"Students around table in classroom\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13954887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/COUNTED_OUT_1_2000-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Vicki Abeles’ ‘Counted Out.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>April 28, 5:00 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Bay Area filmmaker Vicki Abeles, once a Wall Street lawyer, made her documentary directing debut with 2010’s \u003ci>Race to Nowhere\u003c/i>, about students pushed to their limits by the pressure to achieve academically. Now, she’s turned her lens toward the power of math to determine a child’s future in our increasingly algorithm- and data-driven economy. According to SFFILM, \u003ci>Counted Out\u003c/i> debunks the idea of “math people” and shows what can happen for students when the subject becomes more inclusive.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-3-lineages-of-love/\">Shorts 3: Lineages of Love\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 28, 1:30 p.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13954888\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1.jpg\" alt=\"Older person and young person cuddle in water while swimming\" width=\"1620\" height=\"1080\" class=\"size-full wp-image-13954888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/We-Exist-in-Memory_1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A still from Darian Woehr’s ‘We Exist in Memory.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’ve got two Bay Area titles in this shorts program, which centers stories about love bringing people (and animals!) together even when the powers that be would seek to keep them apart. María Luisa Santos’ \u003ci>a film is a goodbye that never ends\u003c/i> is about a woman waiting for a U.S. visa who befriends a dog named Turbo. And San Francisco-based documentary filmmaker Darian Woehr’s \u003ci>We Exist in Memory\u003c/i> centers on conversations between a displaced grandmother and grandchild. Both Santos and Woehr are expected to attend the screening in person.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-5-family-films-2024/\">Shorts 6: Family Films\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 27 at 10 a.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>Note the family-friendly early start time of this program! The program includes a new Pixar short — Searit Kahsay Huluf’s \u003ci>Self\u003c/i>, featuring a blend of stop-motion and computer-generated animation. And San Francisco-based Japanese animator Daisuke ‘Dice’ Tsutsumi has \u003ci>Bottle George\u003c/i>, a sensitive depiction of alcoholism in a family. Both directors are expected to attend the screening in person.\t\t\t\t\u003c/p>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/shorts-6-youth-works-2024/\">Shorts 6: Youth Works\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 28, 11 a.m. at Marina Theatre\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last but absolutely not least, catch this shorts program for a peek at the future of Bay Area filmmaking. Locals Kayen Manovil (\u003ci>FATALE\u003c/i>), Kaiya Jordan (\u003ci>like a stone or flower\u003c/i>) and Kea Morshed (\u003ci>Majid, the Muslim Rapper\u003c/i>) bring their attention to teenage femininity, Asian American artists and an up-and-coming Oakland rapper, respectively. All three directors are expected to attend the screening.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Students Protest Removal of Art Teachers to San Francisco School Board",
"headTitle": "Students Protest Removal of Art Teachers to San Francisco School Board | KQED",
"content": "\u003cp>A large crowd of high school students, parents, faculty and other supporters spilled onto the sidewalk from the entrance of the San Francisco Unified School District building on Tuesday, chanting: “When teachers are under attack, what do we do? Stand up! Fight back!”\u003c/p>\n\u003cp>Dressed in green, \u003ca href=\"https://www.instagram.com/p/C5AUTHquZVM/?img_index=10\">playing drums and cheering loudly\u003c/a> at the honks of passing cars, the \u003ca href=\"https://www.sfusd.edu/school/ruth-asawa-san-francisco-school-arts\">Ruth Asawa School of the Arts\u003c/a> (RASOTA) students had assembled to protest the March 18 removal of two faculty members from the school’s technical theater department.\u003c/p>\n\u003cp>RASOTA, San Francisco’s only dedicated public high school for the arts, admits students based on audition into one of eight subject areas, which include dance, music, visual arts, theatre and technical theater.\u003c/p>\n\u003cp>The teachers in question are Paul Kwapy, the director of the school’s technical theater program, and Annette Ribeiro, an artist in residence for the costume department. Both have taught at RASOTA for over 13 years. \u003c/p>\n\u003cfigure id=\"attachment_13954840\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000.jpg\" alt='Hand holding hand painted \"Got Tech?\" sign' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A large crowd gathered outside 555 Franklin St. in San Francisco on the evening of March 26, playing drums and chanting. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a March 25 letter to the RASOTA community, Principal Stella Kim and Assistant Superintendent Davina Goldwasser wrote, “We cannot comment on any personnel matters and need to maintain confidentiality, we are not able to provide more details, or a specific timeline.” In public statements and letters to the school board, faculty and parents have alluded to the removals as an overreach by the school district in response to the teachers’ disciplinary handling of a safety incident in class.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What was clear Tuesday evening was just how much RASOTA technical theater students value their two missing teachers — and how well they had mobilized a show of support from other departments. Over 100 people showed up in advance of the night’s school board meeting.\u003c/p>\n\u003cp>Many remained for the meeting’s open session, during which public comment was limited to remarks about third grade literacy. Some tried to comment about the RASOTA situation regardless.\u003c/p>\n\u003cp>“Our teachers cannot truly focus on our students unless they’re fully protected,” said senior technical theater student Angelina Costa to the school board. “Having the same teachers from year to year, that really makes all the difference.” She was cut off at the one-minute mark.\u003c/p>\n\u003cp>Board President Lainie Motamedi thanked the RASOTA students and supporters for their participation. “I do want to note that the board also receives your emails and reads your emails,” she said. “So you have been heard. And we do take those very, very seriously.”\u003c/p>\n\u003cfigure id=\"attachment_13954838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000.jpg\" alt='Young people hold a large painted banner reading \"SOTA needs Kwapy and Annette\"' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The two faculty members were removed from their positions on March 18; the technical theater students have been on strike ever since. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited access to public comment, the RASOTA protestors were able to meet with assistant superintendents, and \u003ca href=\"https://www.instagram.com/p/C5AUTHquZVM/?img_index=2\">report a scheduled meeting\u003c/a> with Superintendent Dr. Matt Wayne to discuss their concerns.\u003c/p>\n\u003cp>Since Monday, some 60 technical theater students at RASOTA have been on strike in protest of the faculty removals.\u003c/p>\n\u003cp>“Tech students will no longer be participating in any shows outside of school hours,” an Instagram account run by the students explains. “Our participation in shows will not resume until our directors Paul Kwapy and Annette Ribeiro return.”\u003c/p>\n\u003cp>[aside postID='news_11978035']That means last weekend’s orchestra performances took place unamplified, without mics or student ushers. Students in the tech department typically run a production’s lighting, sound, sets, costumes and props. The spring semester is a busy one, with dance, music and acting showcases scheduled through the end of the school year. Seniors from the costume department have opted for a photoshoot of their designs in lieu of a regularly scheduled fashion show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we treat our educators as expendable, it’s no wonder that we have over 300 vacancies at the beginning of a school year,” Costa had planned to say to the school board. “When we fail to listen to the concerns of our students, it’s no wonder that we are being forced to close schools due to a lack of enrollment.”\u003c/p>\n\n",
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"excerpt": "More than 100 Ruth Asawa School of the Arts students, faculty and parents protested at the district offices on March 26.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A large crowd of high school students, parents, faculty and other supporters spilled onto the sidewalk from the entrance of the San Francisco Unified School District building on Tuesday, chanting: “When teachers are under attack, what do we do? Stand up! Fight back!”\u003c/p>\n\u003cp>Dressed in green, \u003ca href=\"https://www.instagram.com/p/C5AUTHquZVM/?img_index=10\">playing drums and cheering loudly\u003c/a> at the honks of passing cars, the \u003ca href=\"https://www.sfusd.edu/school/ruth-asawa-san-francisco-school-arts\">Ruth Asawa School of the Arts\u003c/a> (RASOTA) students had assembled to protest the March 18 removal of two faculty members from the school’s technical theater department.\u003c/p>\n\u003cp>RASOTA, San Francisco’s only dedicated public high school for the arts, admits students based on audition into one of eight subject areas, which include dance, music, visual arts, theatre and technical theater.\u003c/p>\n\u003cp>The teachers in question are Paul Kwapy, the director of the school’s technical theater program, and Annette Ribeiro, an artist in residence for the costume department. Both have taught at RASOTA for over 13 years. \u003c/p>\n\u003cfigure id=\"attachment_13954840\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000.jpg\" alt='Hand holding hand painted \"Got Tech?\" sign' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_3_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A large crowd gathered outside 555 Franklin St. in San Francisco on the evening of March 26, playing drums and chanting. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a March 25 letter to the RASOTA community, Principal Stella Kim and Assistant Superintendent Davina Goldwasser wrote, “We cannot comment on any personnel matters and need to maintain confidentiality, we are not able to provide more details, or a specific timeline.” In public statements and letters to the school board, faculty and parents have alluded to the removals as an overreach by the school district in response to the teachers’ disciplinary handling of a safety incident in class.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What was clear Tuesday evening was just how much RASOTA technical theater students value their two missing teachers — and how well they had mobilized a show of support from other departments. Over 100 people showed up in advance of the night’s school board meeting.\u003c/p>\n\u003cp>Many remained for the meeting’s open session, during which public comment was limited to remarks about third grade literacy. Some tried to comment about the RASOTA situation regardless.\u003c/p>\n\u003cp>“Our teachers cannot truly focus on our students unless they’re fully protected,” said senior technical theater student Angelina Costa to the school board. “Having the same teachers from year to year, that really makes all the difference.” She was cut off at the one-minute mark.\u003c/p>\n\u003cp>Board President Lainie Motamedi thanked the RASOTA students and supporters for their participation. “I do want to note that the board also receives your emails and reads your emails,” she said. “So you have been heard. And we do take those very, very seriously.”\u003c/p>\n\u003cfigure id=\"attachment_13954838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000.jpg\" alt='Young people hold a large painted banner reading \"SOTA needs Kwapy and Annette\"' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13954838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/RASOTA_March26_SFUSD_1_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The two faculty members were removed from their positions on March 18; the technical theater students have been on strike ever since. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited access to public comment, the RASOTA protestors were able to meet with assistant superintendents, and \u003ca href=\"https://www.instagram.com/p/C5AUTHquZVM/?img_index=2\">report a scheduled meeting\u003c/a> with Superintendent Dr. Matt Wayne to discuss their concerns.\u003c/p>\n\u003cp>Since Monday, some 60 technical theater students at RASOTA have been on strike in protest of the faculty removals.\u003c/p>\n\u003cp>“Tech students will no longer be participating in any shows outside of school hours,” an Instagram account run by the students explains. “Our participation in shows will not resume until our directors Paul Kwapy and Annette Ribeiro return.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That means last weekend’s orchestra performances took place unamplified, without mics or student ushers. Students in the tech department typically run a production’s lighting, sound, sets, costumes and props. The spring semester is a busy one, with dance, music and acting showcases scheduled through the end of the school year. Seniors from the costume department have opted for a photoshoot of their designs in lieu of a regularly scheduled fashion show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we treat our educators as expendable, it’s no wonder that we have over 300 vacancies at the beginning of a school year,” Costa had planned to say to the school board. “When we fail to listen to the concerns of our students, it’s no wonder that we are being forced to close schools due to a lack of enrollment.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A-1 and Baghead Headline a Rap Show with Heart at SF's SOMArts",
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"content": "\u003cp>On their collab album \u003ci>STEPxSTEP\u003c/i>, San Francisco rapper \u003ca href=\"https://www.instagram.com/adamraps/?hl=en\">A-1\u003c/a> and producer \u003ca href=\"https://www.instagram.com/baghead.fng/?hl=en\">Baghead\u003c/a> strike a balance with finesse. It’s a smart record without being full of itself, and flows naturally between heartfelt self-reflection, rallying cries for justice and a few danceable tracks prime for sun-drenched summer day parties.\u003c/p>\n\u003cp>Bay Area hip-hop fans might’ve missed it when it came out this past December — that notorious dead zone between year-end album lists and the holidays. But there’s now a chance to appreciate it live when the duo headlines San Francisco’s \u003ca href=\"https://posh.vip/e/a1-bags-big-headline-show?t=posh\">SOMArts\u003c/a> on April 6 to celebrate the release and A-1’s birthday.\u003c/p>\n\u003cp>\u003ci>STEPxSTEP\u003c/i> marks a resurgence for A-1, whose thoughtful bars on 2011’s \u003ci>The Book of Adam\u003c/i> established him as a standout in the local rap scene and earned him opportunities to open for heroes like E-40. After a major label deal gone wrong, he stayed mostly quiet, save for a few sporadic singles where he publicly grappled with the roadblocks of pursuing his dreams.\u003c/p>\n\u003cp>Now, he’s hit his stride once again in this collaboration with Baghead, the \u003ca href=\"https://www.kqed.org/arts/tag/family-not-a-group\">Family Not a Group\u003c/a> producer, DJ and community organizer whose clear-eyed commentary on San Francisco gentrification and human rights abuses in Gaza has \u003ca href=\"https://www.instagram.com/p/Cytj0mPvhhk/\">galvanized the local music scene\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3SoR0mOQOVvHwR1RAsri0z?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over Baghead’s smooth and soulful beats, A-1 raps with heart about current social and political upheaval. On “Campaign to Save the Planet,” he reflects on billionaires getting over on the working poor. “What’s the Love For Then?” shares a reminder not to give up, communicated to him by an ancestor in a dream. Party track “H2O,” with a hip-swaying hook perfect for chanting along, and uptempo house song “The Freak Show!” break out of the serious mood and acknowledge that fun is part of liberation. The album concludes with a recording of protesters calling for Palestinian freedom.\u003c/p>\n\u003cp>https://youtu.be/1SskbQhV0Ac?si=UsKm31VXIBF4u0to\u003c/p>\n\u003cp>In this time of collective struggle, \u003ci>STEPxSTEP\u003c/i> is real about what’s happening in the world, and provides a reminder that working towards change takes courage and resolve, and that community and joy are necessary.\u003c/p>\n\u003cp>At the SOMArts show, Baghead and A-1 are joined by \u003ca href=\"https://www.kqed.org/arts/13951286/the-qing-of-queens\">Qing Qi\u003c/a>, a rapper and actress known for her raunchy, unfiltered bars, along with \u003ca href=\"https://www.kqed.org/forum/2010101895281/best-bay-area-music-of-2023\">Afterthought\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13952088/cellski-mr-predicter-live-band-frisco\">Top Chefs\u003c/a>, whose heartwarming hip-hop and jazz stylings inspire listeners to see the best in themselves and each other.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A-1 and Baghead perform with Qing Qi and Afterthought and the Top Chefs on Saturday, April 6, at SOMArts in San Francisco. \u003ca href=\"https://posh.vip/e/a1-bags-big-headline-show?t=posh\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On their collab album \u003ci>STEPxSTEP\u003c/i>, San Francisco rapper \u003ca href=\"https://www.instagram.com/adamraps/?hl=en\">A-1\u003c/a> and producer \u003ca href=\"https://www.instagram.com/baghead.fng/?hl=en\">Baghead\u003c/a> strike a balance with finesse. It’s a smart record without being full of itself, and flows naturally between heartfelt self-reflection, rallying cries for justice and a few danceable tracks prime for sun-drenched summer day parties.\u003c/p>\n\u003cp>Bay Area hip-hop fans might’ve missed it when it came out this past December — that notorious dead zone between year-end album lists and the holidays. But there’s now a chance to appreciate it live when the duo headlines San Francisco’s \u003ca href=\"https://posh.vip/e/a1-bags-big-headline-show?t=posh\">SOMArts\u003c/a> on April 6 to celebrate the release and A-1’s birthday.\u003c/p>\n\u003cp>\u003ci>STEPxSTEP\u003c/i> marks a resurgence for A-1, whose thoughtful bars on 2011’s \u003ci>The Book of Adam\u003c/i> established him as a standout in the local rap scene and earned him opportunities to open for heroes like E-40. After a major label deal gone wrong, he stayed mostly quiet, save for a few sporadic singles where he publicly grappled with the roadblocks of pursuing his dreams.\u003c/p>\n\u003cp>Now, he’s hit his stride once again in this collaboration with Baghead, the \u003ca href=\"https://www.kqed.org/arts/tag/family-not-a-group\">Family Not a Group\u003c/a> producer, DJ and community organizer whose clear-eyed commentary on San Francisco gentrification and human rights abuses in Gaza has \u003ca href=\"https://www.instagram.com/p/Cytj0mPvhhk/\">galvanized the local music scene\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3SoR0mOQOVvHwR1RAsri0z?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over Baghead’s smooth and soulful beats, A-1 raps with heart about current social and political upheaval. On “Campaign to Save the Planet,” he reflects on billionaires getting over on the working poor. “What’s the Love For Then?” shares a reminder not to give up, communicated to him by an ancestor in a dream. Party track “H2O,” with a hip-swaying hook perfect for chanting along, and uptempo house song “The Freak Show!” break out of the serious mood and acknowledge that fun is part of liberation. The album concludes with a recording of protesters calling for Palestinian freedom.\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/1SskbQhV0Ac'\n title='//www.youtube.com/embed/1SskbQhV0Ac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In this time of collective struggle, \u003ci>STEPxSTEP\u003c/i> is real about what’s happening in the world, and provides a reminder that working towards change takes courage and resolve, and that community and joy are necessary.\u003c/p>\n\u003cp>At the SOMArts show, Baghead and A-1 are joined by \u003ca href=\"https://www.kqed.org/arts/13951286/the-qing-of-queens\">Qing Qi\u003c/a>, a rapper and actress known for her raunchy, unfiltered bars, along with \u003ca href=\"https://www.kqed.org/forum/2010101895281/best-bay-area-music-of-2023\">Afterthought\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13952088/cellski-mr-predicter-live-band-frisco\">Top Chefs\u003c/a>, whose heartwarming hip-hop and jazz stylings inspire listeners to see the best in themselves and each other.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A-1 and Baghead perform with Qing Qi and Afterthought and the Top Chefs on Saturday, April 6, at SOMArts in San Francisco. \u003ca href=\"https://posh.vip/e/a1-bags-big-headline-show?t=posh\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Historic Preservation Commission to Vote on Palace Hotel’s Neon Signs",
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"content": "\u003cp>After arguing their case at the end of a marathon five-hour hearing on March 20, neon aficionados will have to wait until April 3 for San Francisco’s Historic Preservation Commission to vote on the future of the Palace Hotel’s iconic neon signs. \u003c/p>\n\u003cp>The hotel received approval in November 2023 to replace the glass tubes of its two “The Palace” signs with “simulated neon” LED lighting, \u003ca href=\"https://www.sfchronicle.com/sf/article/palace-hotel-sign-18601434.php\">as noted in January\u003c/a> by \u003ci>San Francisco Chronicle\u003c/i> urban design critic John Knight. But Randall Ann Homan and Al Barna of \u003ca href=\"https://sfneon.org/\">San Francisco Neon\u003c/a>, a nonprofit that leads neon walking tours, questioned why the building’s owner had seemingly received an over-the-counter permit without a hearing.\u003c/p>\n\u003cp>They raised the point with Supervisor Aaron Peskin, and on March 20, the matter came before the Historic Preservation Commission, along with 211 letters from the public urging the city to prevent the removal of the sign’s neon elements. Barna and four others spoke at the hearing against the LED replacements.\u003c/p>\n\u003cp>The commission did not hear any in-person comment or receive any letters in favor of the proposed LED lighting. With time running short, the vote was delayed until the next meeting. \u003c/p>\n\u003cp>“It’s not only San Franciscans,” Barna says. “We know that people wrote in from Chicago and Denver, Los Angeles, New York City. If you’re interested in neon, this has made national news.”\u003c/p>\n\u003cfigure id=\"attachment_13954789\" class=\"wp-caption aligncenter\" style=\"max-width: 1950px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After.jpeg\" alt=\"Glowing lettering against sky and scaffolding covering lettering\" width=\"1950\" height=\"960\" class=\"size-full wp-image-13954789\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After.jpeg 1950w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-800x394.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-1020x502.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-160x79.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-768x378.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-1536x756.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-1920x945.jpeg 1920w\" sizes=\"(max-width: 1950px) 100vw, 1950px\">\u003cfigcaption class=\"wp-caption-text\">The Palace Hotel’s signs before and after work began to replace the neon tubes with LED lighting. \u003ccite>(Al Barna/SF Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The hotel sits outside the \u003ca href=\"https://sfplanning.s3.amazonaws.com/default/files/publications_reports/Tenderloin+Neon+Signs+Standards.pdf\">Tenderloin Neon Special Sign District\u003c/a>, which was established in 2022 to make it easier to erect new neon signs and repair existing ones. Appreciation of the value of historical signs seems to be on the rise — \u003ca href=\"https://blockclubchicago.org/2023/07/20/chicagos-vintage-signs-have-stronger-protections-under-new-city-ordinance/\">Chicago passed an ordinance\u003c/a> last summer to help preserve signs and murals that are at least 30 years old.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What was so disconcerting in the presentation by the sign company, is they were saying that at that height, you can’t tell the difference,” Homan says. “Why are other building materials considered historic and neon isn’t?”\u003c/p>\n\u003cp>Neon’s glass tubes are bent by hand, she points out, and made of recyclable materials, unlike the plastic in LEDs.\u003c/p>\n\u003cp>The hotel, built in 1878 and rebuilt after the 1906 earthquake and fire, stands at the corner of Market and New Montgomery Streets. Barna says the neon signs, which once read “Sheraton Palace,” have been on top of the seven-story building since 1954. \u003c/p>\n\u003cp>Homan calls the six-foot-tall porcelain enamel letters “the Cadillac of signs.” \u003c/p>\n\u003cp>“LED has its uses, definitely replacing incandescent bulbs, because it is lower-cost,” she says. “But the [electric] draw of the neon sign is much closer to LED.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And LED lighting is, Barna adds, “aesthetically, nowhere near as pleasing.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After arguing their case at the end of a marathon five-hour hearing on March 20, neon aficionados will have to wait until April 3 for San Francisco’s Historic Preservation Commission to vote on the future of the Palace Hotel’s iconic neon signs. \u003c/p>\n\u003cp>The hotel received approval in November 2023 to replace the glass tubes of its two “The Palace” signs with “simulated neon” LED lighting, \u003ca href=\"https://www.sfchronicle.com/sf/article/palace-hotel-sign-18601434.php\">as noted in January\u003c/a> by \u003ci>San Francisco Chronicle\u003c/i> urban design critic John Knight. But Randall Ann Homan and Al Barna of \u003ca href=\"https://sfneon.org/\">San Francisco Neon\u003c/a>, a nonprofit that leads neon walking tours, questioned why the building’s owner had seemingly received an over-the-counter permit without a hearing.\u003c/p>\n\u003cp>They raised the point with Supervisor Aaron Peskin, and on March 20, the matter came before the Historic Preservation Commission, along with 211 letters from the public urging the city to prevent the removal of the sign’s neon elements. Barna and four others spoke at the hearing against the LED replacements.\u003c/p>\n\u003cp>The commission did not hear any in-person comment or receive any letters in favor of the proposed LED lighting. With time running short, the vote was delayed until the next meeting. \u003c/p>\n\u003cp>“It’s not only San Franciscans,” Barna says. “We know that people wrote in from Chicago and Denver, Los Angeles, New York City. If you’re interested in neon, this has made national news.”\u003c/p>\n\u003cfigure id=\"attachment_13954789\" class=\"wp-caption aligncenter\" style=\"max-width: 1950px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After.jpeg\" alt=\"Glowing lettering against sky and scaffolding covering lettering\" width=\"1950\" height=\"960\" class=\"size-full wp-image-13954789\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After.jpeg 1950w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-800x394.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-1020x502.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-160x79.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-768x378.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-1536x756.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-1920x945.jpeg 1920w\" sizes=\"(max-width: 1950px) 100vw, 1950px\">\u003cfigcaption class=\"wp-caption-text\">The Palace Hotel’s signs before and after work began to replace the neon tubes with LED lighting. \u003ccite>(Al Barna/SF Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The hotel sits outside the \u003ca href=\"https://sfplanning.s3.amazonaws.com/default/files/publications_reports/Tenderloin+Neon+Signs+Standards.pdf\">Tenderloin Neon Special Sign District\u003c/a>, which was established in 2022 to make it easier to erect new neon signs and repair existing ones. Appreciation of the value of historical signs seems to be on the rise — \u003ca href=\"https://blockclubchicago.org/2023/07/20/chicagos-vintage-signs-have-stronger-protections-under-new-city-ordinance/\">Chicago passed an ordinance\u003c/a> last summer to help preserve signs and murals that are at least 30 years old.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What was so disconcerting in the presentation by the sign company, is they were saying that at that height, you can’t tell the difference,” Homan says. “Why are other building materials considered historic and neon isn’t?”\u003c/p>\n\u003cp>Neon’s glass tubes are bent by hand, she points out, and made of recyclable materials, unlike the plastic in LEDs.\u003c/p>\n\u003cp>The hotel, built in 1878 and rebuilt after the 1906 earthquake and fire, stands at the corner of Market and New Montgomery Streets. Barna says the neon signs, which once read “Sheraton Palace,” have been on top of the seven-story building since 1954. \u003c/p>\n\u003cp>Homan calls the six-foot-tall porcelain enamel letters “the Cadillac of signs.” \u003c/p>\n\u003cp>“LED has its uses, definitely replacing incandescent bulbs, because it is lower-cost,” she says. “But the [electric] draw of the neon sign is much closer to LED.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And LED lighting is, Barna adds, “aesthetically, nowhere near as pleasing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Zoe Reidy Watts, an Artist Who Embodied ‘Radical Love’",
"headTitle": "Remembering Zoe Reidy Watts, an Artist Who Embodied ‘Radical Love’ | KQED",
"content": "\u003cp>People close to Zoe Nika Reidy Watts remember her for her exuberant energy. At friends’ shows, she’d usually be in the front, cheering the loudest. In poetry workshops, she would volunteer to share first, making others feel comfortable with getting vulnerable, too. And in the ceramics studio, her warmth and enthusiasm left everyone in the room feeling at ease.\u003c/p>\n\u003cp>The young artist’s death is deeply felt in the many creative communities she was a part of in Oakland and San Francisco. On March 1, the 25-year-old was \u003ca href=\"https://www.mercurynews.com/2024/03/08/oakland-man-charged-with-beating-girlfriend-to-death/\">killed in an alleged domestic violence incident\u003c/a> in her boyfriend Victor Frieson III’s Oakland apartment. Frieson is currently being held without bail on murder charges in Santa Rita Jail in Dublin.\u003c/p>\n\u003cp>“Some people grieve alone. I can’t this time around because my friendship with Zoe was so marked and largely defined by our connection to community,” says musician and activist \u003ca href=\"https://www.instagram.com/jadaimani510\">Jada Imani\u003c/a>, who is \u003ca href=\"https://www.instagram.com/p/C4dqWXNxprl/?img_index=5\">organizing a memorial event\u003c/a> for Reidy Watts at Oakland’s Alan Blueford Center for Justice on March 31. A similar gathering was held recently at Clayroom SF, where Reidy Watts was an artist in residence, and another is planned for \u003ca href=\"https://www.instagram.com/p/C4wmHQsRlOU/?img_index=1\">March 21 at her alma mater\u003c/a>, San Francisco State University.\u003c/p>\n\u003cfigure id=\"attachment_13954539\" class=\"wp-caption aligncenter\" style=\"max-width: 1512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954539\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629.jpeg\" alt=\"\" width=\"1512\" height=\"2016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629.jpeg 1512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-1152x1536.jpeg 1152w\" sizes=\"(max-width: 1512px) 100vw, 1512px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Reidy Watts in 2023. \u003ccite>(Eric Peterson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imani describes her connection with Reidy Watts as “cosmic.” The two became close in high school. They shared the same birthday, and bonded over their mixed Black and white heritage and similar upbringing.\u003c/p>\n\u003cp>“So basically we were twins,” Imani says. “We started just doing life together — making our vision boards together, making art together, visiting jams and cyphers and open mics and gatherings together. And healing, really getting into the generational trauma and challenges, and our role on planet Earth and the kind of people we wanted to be, the magic we wanted to conjure.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reidy Watts’ artistic talents and drive were evident early on. As a teen, she joined Youth Speaks’ SPOKES Youth Advisory Board, and began performing at poetry slams. Poet \u003ca href=\"https://www.instagram.com/jtlusong/\">Jean JT Teodoro\u003c/a> was the program coordinator at the time, and remembers her enthusiastic, vibrant presence.\u003c/p>\n\u003cp>“She persevered through a lot of struggle [at home],” Teodoro says, “and she [was] also a role model.”\u003c/p>\n\u003cfigure id=\"attachment_13954541\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954541\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-scaled.jpeg\" alt=\"A young woman lays in the grass at Lake Merritt.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Reidy Watts. \u003ccite>(Sasha Tahergorabi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Teodoro never forgot Reidy Watts’ performance at the 2017 Youth Speaks Teen Poetry Slam, where her verses revealed a sharp analysis of class inequality that was well beyond her years. “She was talking about how people were being exploited [and] commodified, and how there are a wealthy few who are taking too much,” they add.\u003c/p>\n\u003cp>In those days, Reidy Watts had a \u003ca href=\"https://www.youtube.com/@crazygirlheartbreaka\">YouTube channel\u003c/a> where she’d upload videos of herself in her bedroom, reciting poems where she reflected on her personal growth and offered encouraging words for others. Over the years, her love of poetry expanded into rapping and hosting open mics.\u003c/p>\n\u003cp>https://youtu.be/vnPhi8HH-N8?si=REYfE2g82ZPTNeTF\u003c/p>\n\u003cp>“She was so unafraid to put her whole self into her art with no embarrassment, no shame,” says musician \u003ca href=\"https://www.instagram.com/1yciaa\">Lycia Yousfi\u003c/a>, another friend since high school. “You would look at it and be like, ‘I feel something from this.’”\u003c/p>\n\u003cp>Yousfi considered Reidy Watts to be an embodiment of what she calls “radical love.” She was “the first person who really pushed me to be positive and be happy despite the circumstances,” Yousfi says.\u003c/p>\n\u003cp>Photographer and interdisciplinary artist \u003ca href=\"https://www.instagram.com/gaia.te/\">Gaia\u003c/a> also had a spiritual connection with Reidy Watts. With another close friend, they formed a spiritual group called Bay Area Brujxs, where they came together to “learn about different types of Indigenous wisdom, altar building, poetry making, painting,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13954547\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Reidy Watts (center) and friends model hoodies she designed. \u003ccite>(Gaia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her commitment to community was also evident in the way she supported her friends through challenging life circumstances, including abusive relationships and family problems. Her sisterhood, Gaia says, “healed me through one of the hardest things that I’ve ever had to experience.”\u003c/p>\n\u003cp>Gender-based violence was the subject of a body of screen printed work Reidy Watts created in 2019 for an Oakland exhibition called \u003ca href=\"https://rootsartistregistry.com/eve.html?fbclid=IwAR3xkV1m9xl9D9R2ArBZQslbBYIBYtQaxOfRrnxyxRnZ0zaGPJr8I1K-0kE\">\u003cem>EvE: Empowerment vs. Exploitation\u003c/em>\u003c/a>, presented by the arts nonprofit Tea Roots. She made pieces that addressed her Black foremothers’ trauma, and grappled with her mixed identity.\u003c/p>\n\u003cp>A piece called \u003ci>Ghost Ride the Wind\u003c/i> turned the focus to healing. In her artist statement, Reidy Watts wrote: “The image is one of safety. The mother is passing down the secrets of the wind to her children as they look up to their ancestors riding the wind in the sky. It is these moments of beauty … that we feel safe enough to heal from the trauma in our blood.”\u003c/p>\n\u003cp>In 2020, Reidy Watts worked as a screen printing instructor at Mission Cultural Center for Latino Arts. Two years later, she got a job at Clayroom SF as a technician, and became an \u003ca href=\"https://www.instagram.com/clayroomsf/p/CvtHAVlLpS7/?img_index=1\">artist in residence\u003c/a> in 2023. She spent her residency building out a world of amoeba-like ceramic organisms inspired by her love of nature. \u003ca href=\"https://www.instagram.com/cicada.ceramics/?hl=en\">Jonah Nuñez\u003c/a>, the studio manager at the time, says it became clear she was going through difficulties when she missed sessions, but she was determined to push through and complete her exhibition.\u003c/p>\n\u003cp>“I vividly remember her emotions after the show and how proud she was,” he says. “She kept saying that this is only the start. She immediately applied to other residencies. … It was really cool to see how empowered she felt.”\u003c/p>\n\u003cfigure id=\"attachment_13954544\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954544\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-scaled.jpg\" alt=\"A group of friends laugh together. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Reidy Watts’ loved ones remember her magnetic personality. \u003ccite>(Gaia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reidy Watts’ untimely death has left her many communities devastated. It’s also forced conversations about how to address domestic violence within them. Reidy Watts had previously accused Frieson of abuse and sexual assault, according to police. He has a prior conviction for causing serious bodily injury during a battery, and is a registered sex offender.\u003c/p>\n\u003cp>Reidy Watts’ poetry mentor Teodoro and others say there needs to be a cultural shift of men holding other men accountable. “There’s so much in our culture that normalizes violence against women and violence in general,” they say.\u003c/p>\n\u003cp>“Men in their own circles need to tell their friends to stop doing what they’re doing,” says Yousfi. “Their friends, their brothers, their cousins. Because that’s how you get across to someone, when someone who looks and thinks like them is being like, ‘Yo, this is wrong.’”\u003c/p>\n\u003cp>In addition to holding the vigil at Alan Blueford Center on March 31, Jada Imani is rallying Reidy Watts’ friends and supporters to show up to Frieson’s plea hearing at 9 a.m. on April 10 at Oakland’s Wiley W. Manuel Courthouse, wearing T-shirts and buttons with her image.\u003c/p>\n\u003cp>Though highly critical of the criminal justice system and carceral punishment, Imani says it feels like the only choice here. “This world is unfortunately extremely unimaginative and built on violence,” she says. “And I hate to participate in that with this call for a life sentence. However, I feel I have no other choice.”\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>A celebration of life for Zoe Reidy Watts takes place at the Alan Blueford Center for Justice (2434 Telegraph Ave., Oakland) on March 31, 3–6 p.m. There will be an altar, story circle, dancing and more.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>People close to Zoe Nika Reidy Watts remember her for her exuberant energy. At friends’ shows, she’d usually be in the front, cheering the loudest. In poetry workshops, she would volunteer to share first, making others feel comfortable with getting vulnerable, too. And in the ceramics studio, her warmth and enthusiasm left everyone in the room feeling at ease.\u003c/p>\n\u003cp>The young artist’s death is deeply felt in the many creative communities she was a part of in Oakland and San Francisco. On March 1, the 25-year-old was \u003ca href=\"https://www.mercurynews.com/2024/03/08/oakland-man-charged-with-beating-girlfriend-to-death/\">killed in an alleged domestic violence incident\u003c/a> in her boyfriend Victor Frieson III’s Oakland apartment. Frieson is currently being held without bail on murder charges in Santa Rita Jail in Dublin.\u003c/p>\n\u003cp>“Some people grieve alone. I can’t this time around because my friendship with Zoe was so marked and largely defined by our connection to community,” says musician and activist \u003ca href=\"https://www.instagram.com/jadaimani510\">Jada Imani\u003c/a>, who is \u003ca href=\"https://www.instagram.com/p/C4dqWXNxprl/?img_index=5\">organizing a memorial event\u003c/a> for Reidy Watts at Oakland’s Alan Blueford Center for Justice on March 31. A similar gathering was held recently at Clayroom SF, where Reidy Watts was an artist in residence, and another is planned for \u003ca href=\"https://www.instagram.com/p/C4wmHQsRlOU/?img_index=1\">March 21 at her alma mater\u003c/a>, San Francisco State University.\u003c/p>\n\u003cfigure id=\"attachment_13954539\" class=\"wp-caption aligncenter\" style=\"max-width: 1512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954539\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629.jpeg\" alt=\"\" width=\"1512\" height=\"2016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629.jpeg 1512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_7629-1152x1536.jpeg 1152w\" sizes=\"(max-width: 1512px) 100vw, 1512px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Reidy Watts in 2023. \u003ccite>(Eric Peterson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imani describes her connection with Reidy Watts as “cosmic.” The two became close in high school. They shared the same birthday, and bonded over their mixed Black and white heritage and similar upbringing.\u003c/p>\n\u003cp>“So basically we were twins,” Imani says. “We started just doing life together — making our vision boards together, making art together, visiting jams and cyphers and open mics and gatherings together. And healing, really getting into the generational trauma and challenges, and our role on planet Earth and the kind of people we wanted to be, the magic we wanted to conjure.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reidy Watts’ artistic talents and drive were evident early on. As a teen, she joined Youth Speaks’ SPOKES Youth Advisory Board, and began performing at poetry slams. Poet \u003ca href=\"https://www.instagram.com/jtlusong/\">Jean JT Teodoro\u003c/a> was the program coordinator at the time, and remembers her enthusiastic, vibrant presence.\u003c/p>\n\u003cp>“She persevered through a lot of struggle [at home],” Teodoro says, “and she [was] also a role model.”\u003c/p>\n\u003cfigure id=\"attachment_13954541\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954541\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-scaled.jpeg\" alt=\"A young woman lays in the grass at Lake Merritt.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_1891-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Reidy Watts. \u003ccite>(Sasha Tahergorabi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Teodoro never forgot Reidy Watts’ performance at the 2017 Youth Speaks Teen Poetry Slam, where her verses revealed a sharp analysis of class inequality that was well beyond her years. “She was talking about how people were being exploited [and] commodified, and how there are a wealthy few who are taking too much,” they add.\u003c/p>\n\u003cp>In those days, Reidy Watts had a \u003ca href=\"https://www.youtube.com/@crazygirlheartbreaka\">YouTube channel\u003c/a> where she’d upload videos of herself in her bedroom, reciting poems where she reflected on her personal growth and offered encouraging words for others. Over the years, her love of poetry expanded into rapping and hosting open mics.\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/vnPhi8HH-N8'\n title='//www.youtube.com/embed/vnPhi8HH-N8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“She was so unafraid to put her whole self into her art with no embarrassment, no shame,” says musician \u003ca href=\"https://www.instagram.com/1yciaa\">Lycia Yousfi\u003c/a>, another friend since high school. “You would look at it and be like, ‘I feel something from this.’”\u003c/p>\n\u003cp>Yousfi considered Reidy Watts to be an embodiment of what she calls “radical love.” She was “the first person who really pushed me to be positive and be happy despite the circumstances,” Yousfi says.\u003c/p>\n\u003cp>Photographer and interdisciplinary artist \u003ca href=\"https://www.instagram.com/gaia.te/\">Gaia\u003c/a> also had a spiritual connection with Reidy Watts. With another close friend, they formed a spiritual group called Bay Area Brujxs, where they came together to “learn about different types of Indigenous wisdom, altar building, poetry making, painting,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13954547\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/48057411378_2f29dace91_o-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Reidy Watts (center) and friends model hoodies she designed. \u003ccite>(Gaia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her commitment to community was also evident in the way she supported her friends through challenging life circumstances, including abusive relationships and family problems. Her sisterhood, Gaia says, “healed me through one of the hardest things that I’ve ever had to experience.”\u003c/p>\n\u003cp>Gender-based violence was the subject of a body of screen printed work Reidy Watts created in 2019 for an Oakland exhibition called \u003ca href=\"https://rootsartistregistry.com/eve.html?fbclid=IwAR3xkV1m9xl9D9R2ArBZQslbBYIBYtQaxOfRrnxyxRnZ0zaGPJr8I1K-0kE\">\u003cem>EvE: Empowerment vs. Exploitation\u003c/em>\u003c/a>, presented by the arts nonprofit Tea Roots. She made pieces that addressed her Black foremothers’ trauma, and grappled with her mixed identity.\u003c/p>\n\u003cp>A piece called \u003ci>Ghost Ride the Wind\u003c/i> turned the focus to healing. In her artist statement, Reidy Watts wrote: “The image is one of safety. The mother is passing down the secrets of the wind to her children as they look up to their ancestors riding the wind in the sky. It is these moments of beauty … that we feel safe enough to heal from the trauma in our blood.”\u003c/p>\n\u003cp>In 2020, Reidy Watts worked as a screen printing instructor at Mission Cultural Center for Latino Arts. Two years later, she got a job at Clayroom SF as a technician, and became an \u003ca href=\"https://www.instagram.com/clayroomsf/p/CvtHAVlLpS7/?img_index=1\">artist in residence\u003c/a> in 2023. She spent her residency building out a world of amoeba-like ceramic organisms inspired by her love of nature. \u003ca href=\"https://www.instagram.com/cicada.ceramics/?hl=en\">Jonah Nuñez\u003c/a>, the studio manager at the time, says it became clear she was going through difficulties when she missed sessions, but she was determined to push through and complete her exhibition.\u003c/p>\n\u003cp>“I vividly remember her emotions after the show and how proud she was,” he says. “She kept saying that this is only the start. She immediately applied to other residencies. … It was really cool to see how empowered she felt.”\u003c/p>\n\u003cfigure id=\"attachment_13954544\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954544\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-scaled.jpg\" alt=\"A group of friends laugh together. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/IMG_6756-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Reidy Watts’ loved ones remember her magnetic personality. \u003ccite>(Gaia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reidy Watts’ untimely death has left her many communities devastated. It’s also forced conversations about how to address domestic violence within them. Reidy Watts had previously accused Frieson of abuse and sexual assault, according to police. He has a prior conviction for causing serious bodily injury during a battery, and is a registered sex offender.\u003c/p>\n\u003cp>Reidy Watts’ poetry mentor Teodoro and others say there needs to be a cultural shift of men holding other men accountable. “There’s so much in our culture that normalizes violence against women and violence in general,” they say.\u003c/p>\n\u003cp>“Men in their own circles need to tell their friends to stop doing what they’re doing,” says Yousfi. “Their friends, their brothers, their cousins. Because that’s how you get across to someone, when someone who looks and thinks like them is being like, ‘Yo, this is wrong.’”\u003c/p>\n\u003cp>In addition to holding the vigil at Alan Blueford Center on March 31, Jada Imani is rallying Reidy Watts’ friends and supporters to show up to Frieson’s plea hearing at 9 a.m. on April 10 at Oakland’s Wiley W. Manuel Courthouse, wearing T-shirts and buttons with her image.\u003c/p>\n\u003cp>Though highly critical of the criminal justice system and carceral punishment, Imani says it feels like the only choice here. “This world is unfortunately extremely unimaginative and built on violence,” she says. “And I hate to participate in that with this call for a life sentence. However, I feel I have no other choice.”\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>A celebration of life for Zoe Reidy Watts takes place at the Alan Blueford Center for Justice (2434 Telegraph Ave., Oakland) on March 31, 3–6 p.m. There will be an altar, story circle, dancing and more.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sabreena Haque on Marking Transitional Milestones with Henna",
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"headTitle": "Sabreena Haque on Marking Transitional Milestones with Henna | KQED",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003cem>View the full episode transcript.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“People really want something that brings meaning into their life,” says Sabreena Haque, a\u003c/span> well-known \u003ca style=\"color: #41a62a\" href=\"https://www.instagram.com/ritualbydesign/\" target=\"_blank\" rel=\"noopener noreferrer\">henna artist \u003c/a>and burgeoning \u003ca href=\"https://www.instagram.com/ritualbydesigntattoo/\" target=\"_blank\" rel=\"noopener noreferrer\">tattoo artist. \u003c/a>\u003c/p>\n\u003cp>Henna is an important part of wedding rituals and birthday celebrations. Similar to tattoos, henna plays an important role in times of transition.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sabreena says the practice of receiving henna, which involves patiently sitting still and letting the paste sink into your skin, is an opportunity for people to set intentions. “As the henna fades, that’s when the intentions deepen,” she says. \u003c/span>\u003c/p>\n\u003cp>After the paste has faded away, the memories of the experience and thoughts about how to move forward linger.\u003c/p>\n\u003cp>Sabreena’s work is a mixture of calligraphy, defined patterns and artistic touches of nature. Her love of body art goes back to time spent visiting family in Pakistan — specifically wedding hopping with her grandmother, who liked to party.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We would go from wedding home to wedding home,” she says. “And there I started to learn about henna, also known as the mehndi.” \u003c/span>Sabreena practices her craft at weddings and baby showers, and has even expanded to break-up henna and henna for men — “menna”, as she calls it. A few years ago, she jumped into tattoo work.\u003c/p>\n\u003cp>https://www.instagram.com/p/CU8_vOnIC0O/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>Sabreena says there’s a major difference between the act of giving someone henna and giving someone a tattoo, but both involve sitting still, setting intentions and having art added to your body as an act of personal agency.\u003c/p>\n\u003cfigure id=\"attachment_13919164\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919164 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-800x533.jpg\" alt=\"Sabreena Haque sits in Gold Leaf Ink tattoo studio, working on her latest tattoo\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sabreena Haque sits in Gold Leaf Ink tattoo studio, working on her latest tattoo \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week, Sabreena tells us about her family and her craft, and shares what philosophy has seeped into her by way of doing body art for the community.\u003c/p>\n\u003cp>\u003cem>This story was originally published September 16, 2022 as part of \u003c/em>\u003ci>“Permanent Behavior: Getting Tatted in the Bay” a\u003c/i>\u003ca href=\"https://www.kqed.org/arts/13918368/rightnowish-presents-permanent-behavior-getting-tatted-in-the-bay\">\u003cspan class=\"s1\">\u003ci> four-part series\u003c/i>\u003c/span>\u003c/a>\u003ci>, about local tattoo artists.\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3273052895\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Peace and love, I’m your host Pendarvis Harshaw. Today we’re talking to someone who’s got their feet in 2 worlds, when it comes to body art, a vet in one lane and a rookie in another. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">I feel like mastering a craft to being a full amateur. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Sabreena Haque is a renowned mehndi or henna artist. You can usually find her at bridal showers, birthday parties and maternity shoots adorning her client’s with intricate designs, drawn out in a dark brown paste. She even does break-up henna and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">menna\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, aka henna for men. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> I wanted to invite anybody from any walk of life, any gender, to come into my studio and experience this art. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Her craft, originally introduced to her by her Pakistani family members, is full of symmetric shapes and crisp lines. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">With henna we are molding the henna paste on top of the skin almost like frosting a cake. And then with tattooing, you got this vibrating machine and you’re trying to get it in at the perfect angle, the perfect depth, the perfect speed to pull these lines on people’s skin.. It’s different! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Over the past few years, Sabreena has been making the transition from working with the impermanent dyes of henna to the long lasting ink of tattoos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As we continue to explore ideas of impermanence and permanence, through this art that many of us get during life’s transitions, we’re talking to Sabreena about it all.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, roll up your sleeves, we’ve got her story for you. Right after this message. \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Let’s start at the start. How did you get into this form of art?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">So… I was raised in a very traditional South-Asian Pakistani Muslim household and my mother, she would send me to Pakistan with my grandmother. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Grandma was kind of…she liked to party. So we would go from wedding home to wedding home. And there I started to learn about henna, also known as the Mehndi. Mehndi is a term that is used in the South Asian community… And that’s where it kind of started, was wedding hopping with my grandmother. \u003cem>[laughs]\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Nice, grandma was a partier. I like that! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">She was VIP. Everybody knew her and loved her and she loved to be around people and I’m similar. I like to be around people.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Henna is an important part of wedding rituals and birthday celebrations but the original purpose wasn’t just for aesthetics and ceremonies.. It was quite practical actually. Sabreena breaks it all down. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">So back in the day it was for cooling. The plant itself is cooling. So when you mix the plant with lemon juice, sugar and essential oils –That’s how you make a natural henna paste. You apply it on your canvas, which is skin. And that brings the body temperature down. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For bridal henna, it’s almost this time for the bride to just chill and it makes sense, you know, it being a desert art, for it to be used in that sort of medicinal way.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Henna is done by people from so many different backgrounds, right? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, let’s talk about that. I think it’s really important, actually, because henna is a natural plant dye. It is a leaf that grows on a bush and it grows best in arid, dry climates so desert areas. You’ll see it in the Middle East, in Africa, in Southeast Asia. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">India really popularized it with the wedding traditions and introduced it to the world. You know, Indian culture in general is so extra. We just do more, more intricate, more gold, more everything. But if you go to parts of Africa, you’ll see it being done in a very different way. The patterns are different even. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And now, you know, with the internet and everything, now it’s practiced all over the world. And that to me is one of the most beautiful things, is to see how the art has evolved and how different people from different walks of life have used this natural plant dye to sort of bring meaning to their lives and celebrate themselves.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So that naturally brings us to the next question is with that expansion, how do you deal with folks from all around the world doing henna without crossing the line of cultural appropriation?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, I think it’s important with any sort of tradition or cultural practice to educate yourself about where it comes from, you know, just even understanding that the plant grows in desert climates and so it is a desert art, traditionally. \u003c/span>\u003cspan style=\"font-weight: 400\">That’s important and that’s going to help you to do it in a respectful way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that’s really what it boils down to is, you know, what is this person’s intention? Are they celebrating the culture or are they trying to take from the culture or look a certain way or be a certain way? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think that’s part of my journey is to educate people on where it comes from, what it means, those questions that always come up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m all for cultural competency. Yep. Let’s do it. Let’s do it. Yeah! So then the henna once applied, after so many days, it disappears, no?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. There’s a beauty behind that. Right? So, you know, it sets into a part of your skin, and, you know, you have to let it rest on there. The longer you keep that paste on your skin, the darker it’ll be, the longer it’ll last. And then as your skin renews, which is about , depending on the person like, a week to two weeks, 7 to 11 days. That’s when it starts to sort of raise and fade away.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Physically it disappears from the eye. But you told me that there’s something like almost metaphysical or spiritual about it, like seeping in.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. You know once I started to be more focused on doing henna and just, you know, listening to the conversations I was having, people really want something that brings meaning into their life …This is an opportunity for people to set intentions while they receive their henna. And then as the henna fades, that’s when the intentions deepen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Looking through your website, I saw different types of henna that you do and talking to you before you mentioned something that caught me off guard, breakup henna. \u003cem>[laughs]\u003c/em> What, what, what is break up henna?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, being in these times of transition, like break up henna it makes people feel empowered, like this is for me, you know. And on top of that, also, sometimes it attracts positive attention, too, like you’re in a vulnerable place, you get some henna and then, you know, people are seeing it, they’re complimenting it, they’re giving you this good energy. And we all need a little bit of that \u003cem>[laughs] \u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Right, right! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Especially the people breaking up! You know, they need it too…extra.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Have you ever done your own break up henna? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> Oh, my gosh, yes. Henna is like my self-care ritual. You know, it’s my time to slow down and appreciate myself, my body, who I am and where I’ve come. So, I do my best. But, you know, you gotta let it dry. \u003cem>[laughs]\u003c/em> That’s the hardest part.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It sounds like a lot of patience and like self-care time, though.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. Yes. When I was younger, when I was in Pakistan, my aunties would say, you know, whoever has the darkest stain and the cleanest henna is the most patient and graceful because you really have to just slow down and allow the paste to dry and set in.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Be one with your intentions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Mhmm-hmm. You better \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Another thing I saw listed on your site is menna. For those who don’t know what is menna?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Traditionally you see henna as a female identifying practice. So you see the women get it done before the wedding, the women get it done before the holidays. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, you know, I’m a San Francisco artist. I love San Francisco because people can just be themselves. They can express themselves. And I wanted to invite anybody from any walk of life, any gender, to come into my studio and experience this art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of my art is intuitive. So to just sitting with someone and kind of feeling from them what kind of design to do because maybe, you know, maybe they want flowers or maybe they want something bold, you know, they can go anyway.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I mean it’s beautiful work. You know, it looks tribal – is the word that comes to mind. But I’m sure it’s intricate. It’s like in bold the pieces that I’ve seen of it. I also just had a hard time wrapping my mind around me and the homies going to get menna all together at once. It just, you know, as a Black men, it’s not something we would do \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> I don’t really have like a gang of guys coming together, although that sounds really fun. \u003cem>[laughs]\u003c/em> I would support that fully. You know, maybe before a bachelor party or something fun like that. That seems cool. But, you know, I’ll have men come in before, like, they’re going on a boat trip or going to a festival or, you know, before a birthday trip. They’ll come in, like, get something big and just enjoy it, you know? And then it fades. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s dope. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Sticking with her flow, Sabreena’s expanded her toolkit . S\u003c/span>\u003cspan style=\"font-weight: 400\">he hasn’t strayed when it comes to design style, but the application of the art is different now. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The actual tool that you use to apply henna versus the tool that you use for tattooing, I’m assuming a tattoo gun. How did they differ?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Okay, so it’s super different! \u003c/span>\u003cspan style=\"font-weight: 400\">With henna, we are molding the henna paste on top of the skin, almost like frosting a cake. So I’m manipulating the paste to get thick and thin lines on top of the skin. And then with tattooing, we got this vibrating machine, and you’re trying to get it in at the perfect angle, the perfect depth, the perfect speed to put these lines on people’s skin. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> I feel really grateful to be able to have the opportunity to be in this industry. It’s not an easy industry to get into. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s artists that are really interested but maybe may not have that mentorship and working over at Gold Leaf Ink. Being around my teacher, I feel a sense of belonging. I feel like I’m growing and that feels so good, to be able to know that I can continue to grow as an artist and I’m meeting a whole new community of people.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">In doing this series, I’m seeing that it doesn’t always have to be a major point of transition. It can be that, there’s meditative qualities to getting body art done as well. And I think that’s really what I’m interested in, like personally beyond.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\"> You know sometimes you want to feel something that is a choice and that is art and something that reflects your power and your presence in this world and just that reminder on your body. I get it. You know, there’s this feeling that you have when you’re sitting there and getting a tattoo and you just like feeling this on your body. It’s a choice. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s empowering. That’s got to be empowering.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">And then you’ve become an art collector on your body. You’re just collecting art from different artists that that, you know, you like or, you know, just getting dumb shit whatever. At that point, you just have a story for each one, or maybe some doesn’t have a story, but you’re an art collector on your body.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I love it, a walking museum.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> Umm hmm \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Holding on to that idea of henna, the ink, the intentions behind the ink seeping into you, I’m wondering you as an artist, what is, is the past tense of seeping sept? What has been seeping into you as you’ve been doing the work?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\"> What’s really been seeping for me is the need for community, the need for us as humans to connect, us as humans to care for each other on a community level. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That need is almost like survival. You know, I can be here by myself, but if I’m with others and collaborating and creating, like that’s when these major waves of of change can happen, where needs within the communities can be met, because we’re talking about it together\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Body art bringing people together.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s what we do. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s the best.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you Sabreena Haque! You hit us with the cultural lesson, the art philosophy, and the community love. Yup, that’s what we’re here for. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As someone who deals with both long lasting art and art that’s here today and gone tomorrow, as well as someone going through their own personal transitions – thank you! We appreciate you taking some time and chopping it up with us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You all can find Sabreena’s tattoo work on Instagram at \u003c/span>\u003cspan style=\"font-weight: 400\">ritualbydesigntattoo and her henna work is at ritualbydesign.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena and Kyana Moghadam produced this episode. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Suzie Racho and Kyana Moghadam edited this episode.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our engineer is Christopher Beale\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is supported by Sheree Bishop, Jen Chien, Holly Kernan, Cesar Saldaña and Katie Sprenger.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m your host Pendarvis Harshaw! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you haven’t already, check out the other episodes of this series, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Permanent Behavior: Getting Tatted in the Bay\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Y’all take care! Peace. \u003c/span>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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\">\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003cem>View the full episode transcript.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“People really want something that brings meaning into their life,” says Sabreena Haque, a\u003c/span> well-known \u003ca style=\"color: #41a62a\" href=\"https://www.instagram.com/ritualbydesign/\" target=\"_blank\" rel=\"noopener noreferrer\">henna artist \u003c/a>and burgeoning \u003ca href=\"https://www.instagram.com/ritualbydesigntattoo/\" target=\"_blank\" rel=\"noopener noreferrer\">tattoo artist. \u003c/a>\u003c/p>\n\u003cp>Henna is an important part of wedding rituals and birthday celebrations. Similar to tattoos, henna plays an important role in times of transition.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sabreena says the practice of receiving henna, which involves patiently sitting still and letting the paste sink into your skin, is an opportunity for people to set intentions. “As the henna fades, that’s when the intentions deepen,” she says. \u003c/span>\u003c/p>\n\u003cp>After the paste has faded away, the memories of the experience and thoughts about how to move forward linger.\u003c/p>\n\u003cp>Sabreena’s work is a mixture of calligraphy, defined patterns and artistic touches of nature. Her love of body art goes back to time spent visiting family in Pakistan — specifically wedding hopping with her grandmother, who liked to party.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We would go from wedding home to wedding home,” she says. “And there I started to learn about henna, also known as the mehndi.” \u003c/span>Sabreena practices her craft at weddings and baby showers, and has even expanded to break-up henna and henna for men — “menna”, as she calls it. A few years ago, she jumped into tattoo work.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sabreena says there’s a major difference between the act of giving someone henna and giving someone a tattoo, but both involve sitting still, setting intentions and having art added to your body as an act of personal agency.\u003c/p>\n\u003cfigure id=\"attachment_13919164\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919164 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-800x533.jpg\" alt=\"Sabreena Haque sits in Gold Leaf Ink tattoo studio, working on her latest tattoo\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/6ukKQ2-Q-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sabreena Haque sits in Gold Leaf Ink tattoo studio, working on her latest tattoo \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week, Sabreena tells us about her family and her craft, and shares what philosophy has seeped into her by way of doing body art for the community.\u003c/p>\n\u003cp>\u003cem>This story was originally published September 16, 2022 as part of \u003c/em>\u003ci>“Permanent Behavior: Getting Tatted in the Bay” a\u003c/i>\u003ca href=\"https://www.kqed.org/arts/13918368/rightnowish-presents-permanent-behavior-getting-tatted-in-the-bay\">\u003cspan class=\"s1\">\u003ci> four-part series\u003c/i>\u003c/span>\u003c/a>\u003ci>, about local tattoo artists.\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3273052895\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Peace and love, I’m your host Pendarvis Harshaw. Today we’re talking to someone who’s got their feet in 2 worlds, when it comes to body art, a vet in one lane and a rookie in another. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">I feel like mastering a craft to being a full amateur. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Sabreena Haque is a renowned mehndi or henna artist. You can usually find her at bridal showers, birthday parties and maternity shoots adorning her client’s with intricate designs, drawn out in a dark brown paste. She even does break-up henna and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">menna\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, aka henna for men. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> I wanted to invite anybody from any walk of life, any gender, to come into my studio and experience this art. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Her craft, originally introduced to her by her Pakistani family members, is full of symmetric shapes and crisp lines. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">With henna we are molding the henna paste on top of the skin almost like frosting a cake. And then with tattooing, you got this vibrating machine and you’re trying to get it in at the perfect angle, the perfect depth, the perfect speed to pull these lines on people’s skin.. It’s different! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Over the past few years, Sabreena has been making the transition from working with the impermanent dyes of henna to the long lasting ink of tattoos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As we continue to explore ideas of impermanence and permanence, through this art that many of us get during life’s transitions, we’re talking to Sabreena about it all.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, roll up your sleeves, we’ve got her story for you. Right after this message. \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Let’s start at the start. How did you get into this form of art?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">So… I was raised in a very traditional South-Asian Pakistani Muslim household and my mother, she would send me to Pakistan with my grandmother. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Grandma was kind of…she liked to party. So we would go from wedding home to wedding home. And there I started to learn about henna, also known as the Mehndi. Mehndi is a term that is used in the South Asian community… And that’s where it kind of started, was wedding hopping with my grandmother. \u003cem>[laughs]\u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Nice, grandma was a partier. I like that! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">She was VIP. Everybody knew her and loved her and she loved to be around people and I’m similar. I like to be around people.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Henna is an important part of wedding rituals and birthday celebrations but the original purpose wasn’t just for aesthetics and ceremonies.. It was quite practical actually. Sabreena breaks it all down. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">So back in the day it was for cooling. The plant itself is cooling. So when you mix the plant with lemon juice, sugar and essential oils –That’s how you make a natural henna paste. You apply it on your canvas, which is skin. And that brings the body temperature down. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For bridal henna, it’s almost this time for the bride to just chill and it makes sense, you know, it being a desert art, for it to be used in that sort of medicinal way.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Henna is done by people from so many different backgrounds, right? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, let’s talk about that. I think it’s really important, actually, because henna is a natural plant dye. It is a leaf that grows on a bush and it grows best in arid, dry climates so desert areas. You’ll see it in the Middle East, in Africa, in Southeast Asia. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">India really popularized it with the wedding traditions and introduced it to the world. You know, Indian culture in general is so extra. We just do more, more intricate, more gold, more everything. But if you go to parts of Africa, you’ll see it being done in a very different way. The patterns are different even. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And now, you know, with the internet and everything, now it’s practiced all over the world. And that to me is one of the most beautiful things, is to see how the art has evolved and how different people from different walks of life have used this natural plant dye to sort of bring meaning to their lives and celebrate themselves.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So that naturally brings us to the next question is with that expansion, how do you deal with folks from all around the world doing henna without crossing the line of cultural appropriation?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, I think it’s important with any sort of tradition or cultural practice to educate yourself about where it comes from, you know, just even understanding that the plant grows in desert climates and so it is a desert art, traditionally. \u003c/span>\u003cspan style=\"font-weight: 400\">That’s important and that’s going to help you to do it in a respectful way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that’s really what it boils down to is, you know, what is this person’s intention? Are they celebrating the culture or are they trying to take from the culture or look a certain way or be a certain way? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think that’s part of my journey is to educate people on where it comes from, what it means, those questions that always come up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m all for cultural competency. Yep. Let’s do it. Let’s do it. Yeah! So then the henna once applied, after so many days, it disappears, no?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. There’s a beauty behind that. Right? So, you know, it sets into a part of your skin, and, you know, you have to let it rest on there. The longer you keep that paste on your skin, the darker it’ll be, the longer it’ll last. And then as your skin renews, which is about , depending on the person like, a week to two weeks, 7 to 11 days. That’s when it starts to sort of raise and fade away.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Physically it disappears from the eye. But you told me that there’s something like almost metaphysical or spiritual about it, like seeping in.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. You know once I started to be more focused on doing henna and just, you know, listening to the conversations I was having, people really want something that brings meaning into their life …This is an opportunity for people to set intentions while they receive their henna. And then as the henna fades, that’s when the intentions deepen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Looking through your website, I saw different types of henna that you do and talking to you before you mentioned something that caught me off guard, breakup henna. \u003cem>[laughs]\u003c/em> What, what, what is break up henna?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, being in these times of transition, like break up henna it makes people feel empowered, like this is for me, you know. And on top of that, also, sometimes it attracts positive attention, too, like you’re in a vulnerable place, you get some henna and then, you know, people are seeing it, they’re complimenting it, they’re giving you this good energy. And we all need a little bit of that \u003cem>[laughs] \u003c/em>\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Right, right! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Especially the people breaking up! You know, they need it too…extra.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Have you ever done your own break up henna? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> Oh, my gosh, yes. Henna is like my self-care ritual. You know, it’s my time to slow down and appreciate myself, my body, who I am and where I’ve come. So, I do my best. But, you know, you gotta let it dry. \u003cem>[laughs]\u003c/em> That’s the hardest part.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It sounds like a lot of patience and like self-care time, though.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. Yes. When I was younger, when I was in Pakistan, my aunties would say, you know, whoever has the darkest stain and the cleanest henna is the most patient and graceful because you really have to just slow down and allow the paste to dry and set in.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Be one with your intentions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Mhmm-hmm. You better \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Another thing I saw listed on your site is menna. For those who don’t know what is menna?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Traditionally you see henna as a female identifying practice. So you see the women get it done before the wedding, the women get it done before the holidays. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, you know, I’m a San Francisco artist. I love San Francisco because people can just be themselves. They can express themselves. And I wanted to invite anybody from any walk of life, any gender, to come into my studio and experience this art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of my art is intuitive. So to just sitting with someone and kind of feeling from them what kind of design to do because maybe, you know, maybe they want flowers or maybe they want something bold, you know, they can go anyway.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I mean it’s beautiful work. You know, it looks tribal – is the word that comes to mind. But I’m sure it’s intricate. It’s like in bold the pieces that I’ve seen of it. I also just had a hard time wrapping my mind around me and the homies going to get menna all together at once. It just, you know, as a Black men, it’s not something we would do \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> I don’t really have like a gang of guys coming together, although that sounds really fun. \u003cem>[laughs]\u003c/em> I would support that fully. You know, maybe before a bachelor party or something fun like that. That seems cool. But, you know, I’ll have men come in before, like, they’re going on a boat trip or going to a festival or, you know, before a birthday trip. They’ll come in, like, get something big and just enjoy it, you know? And then it fades. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s dope. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Sticking with her flow, Sabreena’s expanded her toolkit . S\u003c/span>\u003cspan style=\"font-weight: 400\">he hasn’t strayed when it comes to design style, but the application of the art is different now. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The actual tool that you use to apply henna versus the tool that you use for tattooing, I’m assuming a tattoo gun. How did they differ?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">Okay, so it’s super different! \u003c/span>\u003cspan style=\"font-weight: 400\">With henna, we are molding the henna paste on top of the skin, almost like frosting a cake. So I’m manipulating the paste to get thick and thin lines on top of the skin. And then with tattooing, we got this vibrating machine, and you’re trying to get it in at the perfect angle, the perfect depth, the perfect speed to put these lines on people’s skin. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> I feel really grateful to be able to have the opportunity to be in this industry. It’s not an easy industry to get into. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s artists that are really interested but maybe may not have that mentorship and working over at Gold Leaf Ink. Being around my teacher, I feel a sense of belonging. I feel like I’m growing and that feels so good, to be able to know that I can continue to grow as an artist and I’m meeting a whole new community of people.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">In doing this series, I’m seeing that it doesn’t always have to be a major point of transition. It can be that, there’s meditative qualities to getting body art done as well. And I think that’s really what I’m interested in, like personally beyond.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\"> You know sometimes you want to feel something that is a choice and that is art and something that reflects your power and your presence in this world and just that reminder on your body. I get it. You know, there’s this feeling that you have when you’re sitting there and getting a tattoo and you just like feeling this on your body. It’s a choice. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s empowering. That’s got to be empowering.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">And then you’ve become an art collector on your body. You’re just collecting art from different artists that that, you know, you like or, you know, just getting dumb shit whatever. At that point, you just have a story for each one, or maybe some doesn’t have a story, but you’re an art collector on your body.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I love it, a walking museum.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque:\u003c/b>\u003cspan style=\"font-weight: 400\"> Umm hmm \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Holding on to that idea of henna, the ink, the intentions behind the ink seeping into you, I’m wondering you as an artist, what is, is the past tense of seeping sept? What has been seeping into you as you’ve been doing the work?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\"> What’s really been seeping for me is the need for community, the need for us as humans to connect, us as humans to care for each other on a community level. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That need is almost like survival. You know, I can be here by myself, but if I’m with others and collaborating and creating, like that’s when these major waves of of change can happen, where needs within the communities can be met, because we’re talking about it together\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Body art bringing people together.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s what we do. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Sabreena Haque: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s the best.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you Sabreena Haque! You hit us with the cultural lesson, the art philosophy, and the community love. Yup, that’s what we’re here for. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As someone who deals with both long lasting art and art that’s here today and gone tomorrow, as well as someone going through their own personal transitions – thank you! We appreciate you taking some time and chopping it up with us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You all can find Sabreena’s tattoo work on Instagram at \u003c/span>\u003cspan style=\"font-weight: 400\">ritualbydesigntattoo and her henna work is at ritualbydesign.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena and Kyana Moghadam produced this episode. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Suzie Racho and Kyana Moghadam edited this episode.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our engineer is Christopher Beale\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is supported by Sheree Bishop, Jen Chien, Holly Kernan, Cesar Saldaña and Katie Sprenger.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m your host Pendarvis Harshaw! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you haven’t already, check out the other episodes of this series, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Permanent Behavior: Getting Tatted in the Bay\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Y’all take care! Peace. \u003c/span>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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\">\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>"
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"title": "San Francisco Symphony Musicians Urge Leadership to Keep Esa-Pekka Salonen",
"headTitle": "San Francisco Symphony Musicians Urge Leadership to Keep Esa-Pekka Salonen | KQED",
"content": "\u003cp>The musicians of the San Francisco Symphony are calling for the Symphony’s board to retain Esa-Pekka Salonen as music director.\u003c/p>\n\u003cp>The Symphony announced on March 14 that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">the upcoming 2024–25 season will be Salonen’s last as music director\u003c/a>, framing the departure as a simple contract expiration.\u003c/p>\n\u003cp>But in a statement shared with KQED, Salonen said, “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>Later that day, the orchestra delivered a bouquet of flowers onstage to Salonen. After a performance on Saturday, musicians stationed outside Davies Symphony Hall distributed flyers to patrons, asking them to email Symphony leadership and “urge them to do what it takes to retain our world-class Maestro.”\u003c/p>\n\u003cfigure id=\"attachment_13954507\" class=\"wp-caption aligncenter\" style=\"max-width: 688px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg\" alt=\"\" width=\"688\" height=\"912\" class=\"size-full wp-image-13954507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg 688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_-160x212.jpg 160w\" sizes=\"(max-width: 688px) 100vw, 688px\">\u003cfigcaption class=\"wp-caption-text\">A flyer distributed outside Davies Symphony Hall on Saturday, March 16, 2024, calling on patrons to urge the Symphony to keep Esa-Pekka Salonen as music director.\u003c/figcaption>\u003c/figure>\n\u003cp>The dispute is widely understood to be about cost-cutting measures. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the flyer and a press release distributed on Monday, orchestra musicians criticized the board’s decision to cancel the orchestra’s European tour and make cuts to its digital projects, educational initiatives and its nightclub-environment series, SoundBox. They added that the cancellations and cuts raise “serious questions about the future of the Symphony.”\u003c/p>\n\u003cp>Through a representative, Salonen declined comment to KQED. \u003c/p>\n\u003cp>[aside postID='arts_13954083']“Esa-Pekka is a force for innovation and experimentation in classical music, and that kind of innovation requires investment,” said Catherine Payne, the Symphony’s piccolo player and a representative from the musicians’ artistic and action committees. \u003c/p>\n\u003cp>Payne believes it’s still feasible for the Symphony board to reverse course and keep Salonen, who, at least to the orchestra, appears to want to stay, should certain conditions be met. According to the musicians’ flyer, Salonen had also personally argued for the Symphony to restore musicians’ salaries to pre-pandemic levels, like other major orchestras have done. \u003c/p>\n\u003cp>The Symphony provided no immediate comment for this story. \u003c/p>\n\u003cp>Musicians argue that the Symphony’s endowment — currently among the largest of American orchestras, at $324.5 million — should be utilized to pay for restoring programs, touring and Salonen’s salary. \u003c/p>\n\u003cp>According to publicly available records that the Symphony is required to file as a nonprofit, Salonen’s total compensation for the fiscal year ending in August of 2021 was $2,065,642, comparable to that of his predecessor, Michael Tilson Thomas. \u003c/p>\n\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large nonprofits are typically hesitant to dip into endowment funds to cover deficits. \u003c/p>\n\u003cp>“But what is the endowment for?” asked Payne. “Is it to fund the music director’s artistic vision, or is it to just sit there and be added to, and grown and grown? The money in the endowment is to fund programing and the kind of projects that the orchestra is known for.”\u003c/p>\n\u003cp>As \u003ca href=\"https://www.yahoo.com/entertainment/esa-pekka-salonens-resignation-san-180044875.html\">classical music critic Mark Swed of the \u003cem>Los Angeles Times\u003c/em> wrote\u003c/a>, “Boards tend to be composed of highly successful individuals who are not always in the habit of listening to others, especially others who want to risk their money.”\u003c/p>\n\u003cp>Matthew Spivey, the Symphony’s CEO, told other outlets last week that he understood Salonen’s decision to leave in the wake of the cuts to programming, and that the organization faced “significant financial pressures” that had become “impossible to ignore.”\u003c/p>\n\u003cp>[aside postID='arts_13953312']Salonen’s tenure began in 2020, during the pandemic, which worsened what Spivey characterized as already existing budget problems. Spivey announced the canceled European tour and other programming cuts to the orchestra in January of this year. \u003c/p>\n\u003cp>Payne said that the musicians have been “deeply troubled” by the board’s decisions, adding that Salonen, who had been attracted to the creative possibilities of the Bay Area’s technology sector, had plans for new digital projects with Apple and Google on the horizon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re really a flagship institution that constantly pushes the boundaries of classical music, and is doing cutting-edge things,” said Payne, who has been with the orchestra for nearly 30 years. “It’s so sad to see all the progress that we’ve made over the decades, and how quickly that is going away.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The musicians of the San Francisco Symphony are calling for the Symphony’s board to retain Esa-Pekka Salonen as music director.\u003c/p>\n\u003cp>The Symphony announced on March 14 that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">the upcoming 2024–25 season will be Salonen’s last as music director\u003c/a>, framing the departure as a simple contract expiration.\u003c/p>\n\u003cp>But in a statement shared with KQED, Salonen said, “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>Later that day, the orchestra delivered a bouquet of flowers onstage to Salonen. After a performance on Saturday, musicians stationed outside Davies Symphony Hall distributed flyers to patrons, asking them to email Symphony leadership and “urge them to do what it takes to retain our world-class Maestro.”\u003c/p>\n\u003cfigure id=\"attachment_13954507\" class=\"wp-caption aligncenter\" style=\"max-width: 688px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg\" alt=\"\" width=\"688\" height=\"912\" class=\"size-full wp-image-13954507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg 688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_-160x212.jpg 160w\" sizes=\"(max-width: 688px) 100vw, 688px\">\u003cfigcaption class=\"wp-caption-text\">A flyer distributed outside Davies Symphony Hall on Saturday, March 16, 2024, calling on patrons to urge the Symphony to keep Esa-Pekka Salonen as music director.\u003c/figcaption>\u003c/figure>\n\u003cp>The dispute is widely understood to be about cost-cutting measures. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the flyer and a press release distributed on Monday, orchestra musicians criticized the board’s decision to cancel the orchestra’s European tour and make cuts to its digital projects, educational initiatives and its nightclub-environment series, SoundBox. They added that the cancellations and cuts raise “serious questions about the future of the Symphony.”\u003c/p>\n\u003cp>Through a representative, Salonen declined comment to KQED. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Esa-Pekka is a force for innovation and experimentation in classical music, and that kind of innovation requires investment,” said Catherine Payne, the Symphony’s piccolo player and a representative from the musicians’ artistic and action committees. \u003c/p>\n\u003cp>Payne believes it’s still feasible for the Symphony board to reverse course and keep Salonen, who, at least to the orchestra, appears to want to stay, should certain conditions be met. According to the musicians’ flyer, Salonen had also personally argued for the Symphony to restore musicians’ salaries to pre-pandemic levels, like other major orchestras have done. \u003c/p>\n\u003cp>The Symphony provided no immediate comment for this story. \u003c/p>\n\u003cp>Musicians argue that the Symphony’s endowment — currently among the largest of American orchestras, at $324.5 million — should be utilized to pay for restoring programs, touring and Salonen’s salary. \u003c/p>\n\u003cp>According to publicly available records that the Symphony is required to file as a nonprofit, Salonen’s total compensation for the fiscal year ending in August of 2021 was $2,065,642, comparable to that of his predecessor, Michael Tilson Thomas. \u003c/p>\n\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large nonprofits are typically hesitant to dip into endowment funds to cover deficits. \u003c/p>\n\u003cp>“But what is the endowment for?” asked Payne. “Is it to fund the music director’s artistic vision, or is it to just sit there and be added to, and grown and grown? The money in the endowment is to fund programing and the kind of projects that the orchestra is known for.”\u003c/p>\n\u003cp>As \u003ca href=\"https://www.yahoo.com/entertainment/esa-pekka-salonens-resignation-san-180044875.html\">classical music critic Mark Swed of the \u003cem>Los Angeles Times\u003c/em> wrote\u003c/a>, “Boards tend to be composed of highly successful individuals who are not always in the habit of listening to others, especially others who want to risk their money.”\u003c/p>\n\u003cp>Matthew Spivey, the Symphony’s CEO, told other outlets last week that he understood Salonen’s decision to leave in the wake of the cuts to programming, and that the organization faced “significant financial pressures” that had become “impossible to ignore.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Salonen’s tenure began in 2020, during the pandemic, which worsened what Spivey characterized as already existing budget problems. Spivey announced the canceled European tour and other programming cuts to the orchestra in January of this year. \u003c/p>\n\u003cp>Payne said that the musicians have been “deeply troubled” by the board’s decisions, adding that Salonen, who had been attracted to the creative possibilities of the Bay Area’s technology sector, had plans for new digital projects with Apple and Google on the horizon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re really a flagship institution that constantly pushes the boundaries of classical music, and is doing cutting-edge things,” said Payne, who has been with the orchestra for nearly 30 years. “It’s so sad to see all the progress that we’ve made over the decades, and how quickly that is going away.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Bring Your Own Big Wheel Race is Back, So Dust Off Those Plastic Trikes",
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"content": "\u003cp>Dust off your squat, plastic vehicles and knee pads, Bay Area, for the time is once again upon us: The annual Bring Your Own Big Wheel race is happening on March 31, 2024.\u003c/p>\n\u003cp>[aside postid='arts_13911589']For those unfamiliar with exactly what BYOBW entails, it’s a hallowed day on which howling humans gather together to watch adults climb onto plastic children’s trikes and hurl themselves down San Francisco’s \u003ci>real\u003c/i> crookedest street. (That is, of course, the tight little Vermont Street wiggle that starts near 20th Street in Potrero Hill.) The event is free, ridiculous and organized by a small group of \u003ca href=\"https://bringyourownbigwheel.com/bring-your-own-big-wheel-2024-22-rolls-in-24-years/\">enthusiasts who could really use some donations\u003c/a> to keep this thing going.\u003c/p>\n\u003cp>In case you’ve never attended, this is what NBC Bay Area caught on camera when it attended last year:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1czwwGYMmJU&t=7s\u003c/p>\n\u003cp>You might be wondering at this juncture how in God’s name this annual Easter Sunday tradition got started. For that, we have to go all the way back to 2000 when a man named John Brumit decided to ride a children’s big wheel down the (infinitely more famous) Lombard Street wiggle. Why? Because San Francisco, that’s why.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After Brumit drew a small crowd, he decided to perform the hilarious stunt every year. This gradually grew into a full-blown race because in this magnificent jester of a city, there can never be too many ways to potentially embarrass and injure ourselves simultaneously in a public forum.\u003c/p>\n\u003cp>Here’s what the race looked like back in 2006:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sWnff376PEI\u003c/p>\n\u003cp>The calamitous competition moved to Vermont Street — with its tighter turns and less pristine paving — in 2009, marking an even greater challenge to racers. There it has remained ever since, save for a short break during the COVID pandemic.\u003c/p>\n\u003cp>\u003ca href=\"https://bringyourownbigwheel.com/events/bring-your-own-big-wheel-2024/?\">Registration is now officially open\u003c/a> for anyone who wants to try their luck in the race. Kids under 13 get to test their hill skills (under close adult supervision please!) 2–3 p.m. Adults ride between 3 and 5 p.m. As usual, plastic trikes are the preferred mode of transportation. Anyone who wants to participate on anything involving a metal frame is asked to pad or tape their conveyance “so that the possibility of fingers being mangled and legs being impaled is lessened on your fellow riders.” Fair.\u003c/p>\n\u003cp>If you look at the speed of these 2009 riders, those rules absolutely make sense:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GFJgs7b_zgU\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>\u003ci>Bring Your Own Big Wheel 2024 takes place March 31, 2024, starting at 2 p.m. \u003ca href=\"https://bringyourownbigwheel.com/registration-checkout/?uts=1710959573#checkout\">Registration is open\u003c/a> now. Check out \u003ca href=\"https://bringyourownbigwheel.com/faq/\">BYOBW’s FAQs\u003c/a> and \u003ca href=\"https://bringyourownbigwheel.com/code-of-conduct/\">code of conduct\u003c/a> to make sure you actually want to do this.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For those unfamiliar with exactly what BYOBW entails, it’s a hallowed day on which howling humans gather together to watch adults climb onto plastic children’s trikes and hurl themselves down San Francisco’s \u003ci>real\u003c/i> crookedest street. (That is, of course, the tight little Vermont Street wiggle that starts near 20th Street in Potrero Hill.) The event is free, ridiculous and organized by a small group of \u003ca href=\"https://bringyourownbigwheel.com/bring-your-own-big-wheel-2024-22-rolls-in-24-years/\">enthusiasts who could really use some donations\u003c/a> to keep this thing going.\u003c/p>\n\u003cp>In case you’ve never attended, this is what NBC Bay Area caught on camera when it attended last year:\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/1czwwGYMmJU'\n title='//www.youtube.com/embed/1czwwGYMmJU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might be wondering at this juncture how in God’s name this annual Easter Sunday tradition got started. For that, we have to go all the way back to 2000 when a man named John Brumit decided to ride a children’s big wheel down the (infinitely more famous) Lombard Street wiggle. Why? Because San Francisco, that’s why.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After Brumit drew a small crowd, he decided to perform the hilarious stunt every year. This gradually grew into a full-blown race because in this magnificent jester of a city, there can never be too many ways to potentially embarrass and injure ourselves simultaneously in a public forum.\u003c/p>\n\u003cp>Here’s what the race looked like back in 2006:\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/sWnff376PEI'\n title='//www.youtube.com/embed/sWnff376PEI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The calamitous competition moved to Vermont Street — with its tighter turns and less pristine paving — in 2009, marking an even greater challenge to racers. There it has remained ever since, save for a short break during the COVID pandemic.\u003c/p>\n\u003cp>\u003ca href=\"https://bringyourownbigwheel.com/events/bring-your-own-big-wheel-2024/?\">Registration is now officially open\u003c/a> for anyone who wants to try their luck in the race. Kids under 13 get to test their hill skills (under close adult supervision please!) 2–3 p.m. Adults ride between 3 and 5 p.m. As usual, plastic trikes are the preferred mode of transportation. Anyone who wants to participate on anything involving a metal frame is asked to pad or tape their conveyance “so that the possibility of fingers being mangled and legs being impaled is lessened on your fellow riders.” Fair.\u003c/p>\n\u003cp>If you look at the speed of these 2009 riders, those rules absolutely make sense:\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/GFJgs7b_zgU'\n title='//www.youtube.com/embed/GFJgs7b_zgU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\u003ci>Bring Your Own Big Wheel 2024 takes place March 31, 2024, starting at 2 p.m. \u003ca href=\"https://bringyourownbigwheel.com/registration-checkout/?uts=1710959573#checkout\">Registration is open\u003c/a> now. Check out \u003ca href=\"https://bringyourownbigwheel.com/faq/\">BYOBW’s FAQs\u003c/a> and \u003ca href=\"https://bringyourownbigwheel.com/code-of-conduct/\">code of conduct\u003c/a> to make sure you actually want to do this.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Vulnerable Yet Strong, August Lee Stevens Envisions ‘Better Places’",
"headTitle": "Vulnerable Yet Strong, August Lee Stevens Envisions ‘Better Places’ | KQED",
"content": "\u003cfigure id=\"attachment_13954078\" class=\"wp-caption aligncenter\" style=\"max-width: 1047px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954078 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708.jpg\" alt=\"A young Black woman pictured from above, laying in a field of grass and surrounded by flowers, photographed with a wide-angle lens.\" width=\"1047\" height=\"698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708.jpg 1047w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-768x512.jpg 768w\" sizes=\"(max-width: 1047px) 100vw, 1047px\">\u003cfigcaption class=\"wp-caption-text\">August Lee Stevens’ new EP, ‘Better Places,’ drops April 5. ‘A lot of the songs that I write are usually me processing different things I’ve gone through, different emotions that I’ve gone through,’ she says. \u003ccite>(Janett Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When you listen to the song “Better Places” by August Lee Stevens, be ready. Light a candle, take a deep breath and maybe even grab a seat on the floor, and prepare to connect with the spirits of those no longer here in physical form.\u003c/p>\n\u003cp>During the six-minute, meditative track, Stevens uses her powerful voice and moving lyrics to create an ode to a fallen schooolmate and their family. Complete with a truly electrifying guitar solo by Jesús Rico, the song inspires a silent prayer; you’ll reflect on people you’ve lost as well.\u003c/p>\n\u003cp>Across the four songs on Stevens’ debut EP \u003cem>Better Places\u003c/em>, the multitalented 24-year-old musician from Hercules shows off her pen game as well as her musicianship. Recorded in collaboration with \u003ca href=\"https://womensaudiomission.org/\" target=\"_blank\" rel=\"noopener\">Women’s Audio Mission\u003c/a> during a residency last year, \u003cem>Better Places\u003c/em> drops April 5. She’ll perform songs from the project on March 21 at \u003ca href=\"https://www.ticketweb.com/event/mara-hruby-with-special-guest-the-new-parish-tickets/13390798?pl=newparish&REFID=clientsitewp&edpPlParam=%3Fpl%3Dnewparish\" target=\"_blank\" rel=\"noopener\">the New Parish in Oakland\u003c/a>, as Stevens will open for well-known singer and songwriter \u003ca href=\"https://linktr.ee/marahruby\" target=\"_blank\" rel=\"noopener\">Mara Hruby\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954079\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954079\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640.jpg\" alt=\"Singer and musician August Lee Stevens lays in a field of grass next to her full-sized keyboard.\" width=\"1080\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-768x512.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">August Lee Stevens. \u003ccite>(Janett Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It marks Stevens’ first time at the New Parish as a main performer instead of a backup singer. “This is the first time I’m doing my own material, with my own band,” she says. “I’m really excited. It’s been my dream for a while.”\u003c/p>\n\u003cp>Stevens is a classically trained pianist who picked up singing during her senior year of high school and mastered the guitar during the pandemic. She began molding her creative talents just around the corner from the New Parish at Oakland School of The Arts, where she attended both middle and high school.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When asked what audience members should expect during the upcoming show, she replies immediately: “Lots of healing and lots of vulnerability.” It’s one thing she and Mara Hruby have in common, she says. “I gravitate towards her because of her gentleness and vulnerability, and that’s something she’s picked up in my music.”\u003c/p>\n\u003cp>In addition to moments where people might be moved to tears, Stevens leaves room for lighthearted jokes as well. “When I’m on stage,” Stevens tells me, “I can’t stop rambling between songs when there’s no music, and I’ll often say some bad puns.” Her band members might get mad at her for it, she says with a laugh, but she doesn’t mind — it’s how she lets her guard down. Sometimes, she’ll even make herself the butt of the joke.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wk8Wj_skMQc\u003c/p>\n\u003cp>But her music is far from comical.\u003c/p>\n\u003cp>Stevens wrote \u003cem>Better Places\u003c/em> over the span of a few years. Its single, “\u003ca href=\"https://augustleestevens.bandcamp.com/track/in-my-head\">In My Head\u003c/a>,” is built around a simple, soulful arrangement that starts slow and builds, allowing Stevens to show off her tonal range and long vocal riffs.\u003c/p>\n\u003cp>Over keys, a smooth drum pattern, a jazzy xylophone and a strong-sounding horn, Stevens sings: “I wish you could see all the beauty that’s left to be found, and what this could be / But we’re fighting with every doubt, so don’t let it be all in my head.” (Stevens says the track was initially inspired by her dog Clyde, a Rhodesian Ridgeback who comes to her shows. “I want him to be famous,” Stevens says.)\u003c/p>\n\u003cp>[aside postID='arts_13953970']The EP’s first track, “Sweet Thing,” is slow with church-like keys and a breathtaking horn. “Keep Trying,” the EP’s most uptempo song, has the vibe of a movie — it could easily soundtrack a transitional montage where the protagonist gets their life together and becomes who they’re born to be.\u003c/p>\n\u003cp>The final track, “Better Places,” is clearly the star of the show. Starting slow, it builds epically, filled with emotion and grief as Stevens sings, “’Cause if we’re moving on, we can’t be weighed down anymore / And we tried another way to find it, only breaking down what was left with our open hands and empty pockets, searching for what we know is there.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E-RTVfNf000\u003c/p>\n\u003cp>Her big vocals continue through the song’s hook of “Better places, better places, better places, we’re going to reach for those better places.” Although made in honor of a fallen former schoolmate, the song is an uplifting example of how beauty can be birthed out of tragedy.\u003c/p>\n\u003cp>She credits Women’s Audio Mission, specifically studio manager and engineer Arielle Flinkman, for providing an environment where she, other women and gender-expansive people can feel comfortable to create. She also worked with Spain-based producer Jake Lloyd to create the project.\u003c/p>\n\u003cp>Stevens, who’s played shows in San Francisco, Santa Cruz and Sacramento, and was recently featured in \u003ca href=\"https://www.instagram.com/p/C4arwrRskHE/\" target=\"_blank\" rel=\"noopener\">NPR’s Tiny Desk\u003c/a> submission roundup, is clear: this project is an opportunity to showcase who she is as an artist.\u003c/p>\n\u003cp>[aside postID='arts_13953475']“A lot of the songs that I write are usually me processing different things I’ve gone through, different emotions that I’ve gone through,” reflects Stevens. “I feel like I have trouble speaking in person, and so sometimes it gives me the chance to go back and reflect about it — to know what I wanted to say, or to know what I was actually feeling,” says Stevens.\u003c/p>\n\u003cp>A poet and prose writer on top of being a musician, Stevens says it’s never too late to express yourself.\u003c/p>\n\u003cp>“There’s power in speaking your truth when you deem it a good time, when it feels comfortable and safe for you,” says Stevens. “That’s the main message that I hope people get from the music, that knowing it’s not too late to talk about what’s going on. You should talk about it at some point, you should express it at some point. And,” adds Stevens, emphasizing the power of personal choice, “\u003cem>you\u003c/em> should determine when and how \u003cem>you\u003c/em> do that.”\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>August Lee Stevens performs at the New Parish in Oakland on Thursday, March 21, at 9 p.m. \u003ca href=\"https://www.ticketweb.com/event/mara-hruby-with-special-guest-the-new-parish-tickets/13390798\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954078\" class=\"wp-caption aligncenter\" style=\"max-width: 1047px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13954078 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708.jpg\" alt=\"A young Black woman pictured from above, laying in a field of grass and surrounded by flowers, photographed with a wide-angle lens.\" width=\"1047\" height=\"698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708.jpg 1047w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2708-768x512.jpg 768w\" sizes=\"(max-width: 1047px) 100vw, 1047px\">\u003cfigcaption class=\"wp-caption-text\">August Lee Stevens’ new EP, ‘Better Places,’ drops April 5. ‘A lot of the songs that I write are usually me processing different things I’ve gone through, different emotions that I’ve gone through,’ she says. \u003ccite>(Janett Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When you listen to the song “Better Places” by August Lee Stevens, be ready. Light a candle, take a deep breath and maybe even grab a seat on the floor, and prepare to connect with the spirits of those no longer here in physical form.\u003c/p>\n\u003cp>During the six-minute, meditative track, Stevens uses her powerful voice and moving lyrics to create an ode to a fallen schooolmate and their family. Complete with a truly electrifying guitar solo by Jesús Rico, the song inspires a silent prayer; you’ll reflect on people you’ve lost as well.\u003c/p>\n\u003cp>Across the four songs on Stevens’ debut EP \u003cem>Better Places\u003c/em>, the multitalented 24-year-old musician from Hercules shows off her pen game as well as her musicianship. Recorded in collaboration with \u003ca href=\"https://womensaudiomission.org/\" target=\"_blank\" rel=\"noopener\">Women’s Audio Mission\u003c/a> during a residency last year, \u003cem>Better Places\u003c/em> drops April 5. She’ll perform songs from the project on March 21 at \u003ca href=\"https://www.ticketweb.com/event/mara-hruby-with-special-guest-the-new-parish-tickets/13390798?pl=newparish&REFID=clientsitewp&edpPlParam=%3Fpl%3Dnewparish\" target=\"_blank\" rel=\"noopener\">the New Parish in Oakland\u003c/a>, as Stevens will open for well-known singer and songwriter \u003ca href=\"https://linktr.ee/marahruby\" target=\"_blank\" rel=\"noopener\">Mara Hruby\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13954079\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954079\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640.jpg\" alt=\"Singer and musician August Lee Stevens lays in a field of grass next to her full-sized keyboard.\" width=\"1080\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240211_ALS-2640-768x512.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">August Lee Stevens. \u003ccite>(Janett Perez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It marks Stevens’ first time at the New Parish as a main performer instead of a backup singer. “This is the first time I’m doing my own material, with my own band,” she says. “I’m really excited. It’s been my dream for a while.”\u003c/p>\n\u003cp>Stevens is a classically trained pianist who picked up singing during her senior year of high school and mastered the guitar during the pandemic. She began molding her creative talents just around the corner from the New Parish at Oakland School of The Arts, where she attended both middle and high school.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When asked what audience members should expect during the upcoming show, she replies immediately: “Lots of healing and lots of vulnerability.” It’s one thing she and Mara Hruby have in common, she says. “I gravitate towards her because of her gentleness and vulnerability, and that’s something she’s picked up in my music.”\u003c/p>\n\u003cp>In addition to moments where people might be moved to tears, Stevens leaves room for lighthearted jokes as well. “When I’m on stage,” Stevens tells me, “I can’t stop rambling between songs when there’s no music, and I’ll often say some bad puns.” Her band members might get mad at her for it, she says with a laugh, but she doesn’t mind — it’s how she lets her guard down. Sometimes, she’ll even make herself the butt of the joke.\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/Wk8Wj_skMQc'\n title='//www.youtube.com/embed/Wk8Wj_skMQc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But her music is far from comical.\u003c/p>\n\u003cp>Stevens wrote \u003cem>Better Places\u003c/em> over the span of a few years. Its single, “\u003ca href=\"https://augustleestevens.bandcamp.com/track/in-my-head\">In My Head\u003c/a>,” is built around a simple, soulful arrangement that starts slow and builds, allowing Stevens to show off her tonal range and long vocal riffs.\u003c/p>\n\u003cp>Over keys, a smooth drum pattern, a jazzy xylophone and a strong-sounding horn, Stevens sings: “I wish you could see all the beauty that’s left to be found, and what this could be / But we’re fighting with every doubt, so don’t let it be all in my head.” (Stevens says the track was initially inspired by her dog Clyde, a Rhodesian Ridgeback who comes to her shows. “I want him to be famous,” Stevens says.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The EP’s first track, “Sweet Thing,” is slow with church-like keys and a breathtaking horn. “Keep Trying,” the EP’s most uptempo song, has the vibe of a movie — it could easily soundtrack a transitional montage where the protagonist gets their life together and becomes who they’re born to be.\u003c/p>\n\u003cp>The final track, “Better Places,” is clearly the star of the show. Starting slow, it builds epically, filled with emotion and grief as Stevens sings, “’Cause if we’re moving on, we can’t be weighed down anymore / And we tried another way to find it, only breaking down what was left with our open hands and empty pockets, searching for what we know is there.”\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/E-RTVfNf000'\n title='//www.youtube.com/embed/E-RTVfNf000'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Her big vocals continue through the song’s hook of “Better places, better places, better places, we’re going to reach for those better places.” Although made in honor of a fallen former schoolmate, the song is an uplifting example of how beauty can be birthed out of tragedy.\u003c/p>\n\u003cp>She credits Women’s Audio Mission, specifically studio manager and engineer Arielle Flinkman, for providing an environment where she, other women and gender-expansive people can feel comfortable to create. She also worked with Spain-based producer Jake Lloyd to create the project.\u003c/p>\n\u003cp>Stevens, who’s played shows in San Francisco, Santa Cruz and Sacramento, and was recently featured in \u003ca href=\"https://www.instagram.com/p/C4arwrRskHE/\" target=\"_blank\" rel=\"noopener\">NPR’s Tiny Desk\u003c/a> submission roundup, is clear: this project is an opportunity to showcase who she is as an artist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“A lot of the songs that I write are usually me processing different things I’ve gone through, different emotions that I’ve gone through,” reflects Stevens. “I feel like I have trouble speaking in person, and so sometimes it gives me the chance to go back and reflect about it — to know what I wanted to say, or to know what I was actually feeling,” says Stevens.\u003c/p>\n\u003cp>A poet and prose writer on top of being a musician, Stevens says it’s never too late to express yourself.\u003c/p>\n\u003cp>“There’s power in speaking your truth when you deem it a good time, when it feels comfortable and safe for you,” says Stevens. “That’s the main message that I hope people get from the music, that knowing it’s not too late to talk about what’s going on. You should talk about it at some point, you should express it at some point. And,” adds Stevens, emphasizing the power of personal choice, “\u003cem>you\u003c/em> should determine when and how \u003cem>you\u003c/em> do that.”\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>August Lee Stevens performs at the New Parish in Oakland on Thursday, March 21, at 9 p.m. \u003ca href=\"https://www.ticketweb.com/event/mara-hruby-with-special-guest-the-new-parish-tickets/13390798\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "5 Infamous Moments From the St. Francis Hotel’s 120-Year History",
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"content": "\u003cp>There was nothing low key about the opening of the St. Francis Hotel in March 1904. Built directly overlooking San Francisco’s Union Square, the hotel cost $2.5 million to construct (that’s $87 million in 2024 money) and $400,000 to furnish (nearly $14 million now).\u003c/p>\n\u003cp>That year, \u003cem>The San Francisco Call and Post\u003c/em> raved: “Its construction has been so designed that all the suites are light and airy and its interior domestic arrangements are unrivaled in the West.” The hotel celebrated its opening night with a glitzy party for 600 of the most fashionable people in the city, who spent the evening sipping on Moet & Chandon White Seal champagne.\u003c/p>\n\u003cfigure id=\"attachment_13954256\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240315_162322-1-scaled-e1710782681924.jpg\" alt=\"Three mechanized contraptions stand in a line against a white wall.\" width=\"1920\" height=\"1392\">\u003cfigcaption class=\"wp-caption-text\">The coin washing machine, as seen in the new St. Francis Museum. \u003ccite>(Rae Alexandra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since then, the St. Francis has been so married to keeping up appearances that in 1934, it even started washing the coins that passed through its coffers, lest staff and guests get their white gloves sullied. That kind of attention to detail has attracted famous and distinguished guests ever since — including Charlie Chaplin and Queen Elizabeth II. But it hasn’t all been smooth sailing.\u003c/p>\n\u003cp>Here are five infamous incidents from the St. Francis Hotel’s long history.\u003c/p>\n\u003ch2>The Fatty Arbuckle scandal\u003c/h2>\n\u003cp>Easily the most notorious thing to happen at the St. Francis Hotel transpired on Sept. 5, 1921. During a Labor Day party thrown by movie star Roscoe “Fatty” Arbuckle, a young actress named Virginia Rappe suffered a ruptured bladder and died shortly afterwards. Arbuckle was accused of sexual assault and manslaughter, prompting both the rumor mill and Prohibition-era morality police to kick into high gear. His two first trials resulted in hung juries. Arbuckle was found not guilty after a third round in court, but by then his reputation lay in ruins.\u003c/p>\n\u003cfigure id=\"attachment_13953917\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13953917 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-1536x1087.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-2048x1449.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-1920x1359.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe ‘Fatty’ Arbuckle (third from right) in San Francisco at one of his three manslaughter trials. \u003ccite>(Library of Congress/Corbis/ VCG via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arbuckle had rented adjoining rooms 1219, 1220 and 1221 on Labor Day and there were people moving between all of them. The enduring mystery around what happened to Rappe in room 1219 was caused by a combination of conflicting accounts from witnesses, two different versions of events from Arbuckle himself (he was married at the time), as well as confusion on the part of a gravely ill Rappe. The most detailed and painstakingly analyzed summary can be found in \u003ca href=\"https://www.abebooks.com/servlet/BookDetailsPL?bi=31754040004&cm_sp=rec-_-pd_hw_o_1-_-bdp&ref_=pd_hw_o_1\">Greg Merritt’s book, \u003cem>Room 1219\u003c/em>\u003c/a>. In it, Merritt concludes that Rappe’s bladder injury probably resulted from a combination of preexisting conditions (she lived with chronic cystitis) and an act of intimacy between Arbuckle and Rappe that started consensually.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the four days between the incident and Rappe’s death, Rappe told her nurses that she had already been “suffering for six weeks from internal trouble” at the time of her encounter with Arbuckle and that her pain was the result of “relations with her sweetheart,” Henry Lehrman. Rappe told one nurse that her contact with Arbuckle had been consensual, but she also asked that the nurse determine whether or not she’d been assaulted while unconscious.\u003c/p>\n\u003cp>In the end, Arbuckle’s final jury concluded:\u003c/p>\n\u003cblockquote>\u003cp>Acquittal is not enough for Roscoe Arbuckle. We feel that a great injustice has been done him. We feel also that it was only our plain duty to give him this exoneration, under the evidence, for there was not the slightest proof adduced to connect him in any way with the commission of a crime.\u003c/p>\u003c/blockquote>\n\u003cp>Though blacklisted for years, Arbuckle’s career recovered somewhat in the early 1930s. He didn’t live long enough to enjoy it though. He died of a heart attack, aged 46, in 1933. His last breath was taken inside a room at New York’s Park Central Hotel.\u003c/p>\n\u003cfigure id=\"attachment_13954257\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954257\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1219-today-scaled-e1710783111622.jpg\" alt=\"A modern hotel room with a queen sized bed.\" width=\"1920\" height=\"1551\">\u003cfigcaption class=\"wp-caption-text\">The infamous room 1219, as it looks today. \u003ccite>(Rae Alexandra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Al Jolson’s death in Arbuckle’s suite\u003c/h2>\n\u003cp>Nearly 30 years after Arbuckle made those three adjoining rooms on the 12th floor famous, Al Jolson — a singer best known today for his performances in blackface — got into trouble in the same suite. On Oct. 17, 1950, after an evening spent dining at \u003ca href=\"https://www.yelp.com/biz/tarantinos-restaurant-san-francisco\">Tarantino’s\u003c/a> in Fisherman’s Wharf, Jolson and two friends returned to his rooms to play cards.\u003c/p>\n\u003cp>Midway through a game of gin rummy in the parlor (1220), Jolson complained of chest pains and put himself to bed in 1221. Minutes later, he called to his friends with the words “Boys, this is it.” When a nurse arrived to check on Jolson, she found him fumbling and moaning. He apparently joked with her, “I must be dead — I can’t find a pulse.” By the time two doctors arrived, Jolson truly was at death’s door. His last words were, “Well boys, I’m going.”\u003c/p>\n\u003cp>[aside postid='arts_13952258']Louis Sobol, Jolson’s cousin-in-law, published a column in the \u003cem>San Francisco Examiner\u003c/em> a week after the 67-year-old’s death, stating that Jolson had been dealing with heart issues recently, but was optimistic about the future. That positivity may have been spurred by his 27-year-old wife, Erle.\u003c/p>\n\u003cp>Sobol wrote that after a recent doctor’s visit: “[Jolson] proudly boasted to pals at the Hillcrest Country Club: ‘Doc examining me said I’ll live to be 90 … I told him I was going to be the first guy in show business to live to be 100.’”\u003c/p>\n\u003ch2>The death of Henry S. Crocker\u003c/h2>\n\u003cp>Long before Rappe and Jolson’s final stays, the first major death to happen at the St. Francis came on July 18, 1904, just four months after the hotel opened. Prominent printing and stationery businessman Henry Crocker was the younger brother of railroad magnate Charles Crocker, whose heirs built the St. Francis.\u003c/p>\n\u003cp>Henry, his wife and son were some of the first permanent residents at the St. Francis and it’s there that Henry died, aged 72, after a short illness. His will and the distribution of his large estate dominated newspapers for weeks after his death.\u003c/p>\n\u003ch2>Gerald Ford’s almost-assassination\u003c/h2>\n\u003cfigure id=\"attachment_13953960\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953960\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-515402780-scaled-e1710285563457.jpg\" alt=\"A white woman in pale blue 1970s-era clothing sits in the rear of a brown car.\" width=\"1920\" height=\"1264\">\u003cfigcaption class=\"wp-caption-text\">Sara Jane Moore leaves San Mateo County Jail for a court appointment in San Francisco after attempting to assassinate President Gerald Ford outside the St. Francis Hotel. \u003ccite>(Bettmann/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Sept. 22, 1975, Gerald Ford finished a TV interview in the hotel’s MacArthur Suite, made his way six floors down with Secret Service agents and his advisor (Donald Rumsfeld!), and exited onto Post Street. Approximately 40 feet away, Sara Jane Moore was waiting for the president in a crowd of onlookers.\u003c/p>\n\u003cp>[aside postid='arts_13932525']That morning, Moore had purchased a brand new .38 pistol; police confiscated her own revolver the day before. It was 17 days after Manson Family member Squeaky Fromme attempted to kill Ford in Sacramento, and Moore, driven by radical political views and a belief in violent revolution, was determined to get the job done. Moore fired two shots at the president, the first of which narrowly missed his head. The second — fired as a bystander dived on Moore to stop her — hit a 42-year-old taxi driver named John Ludwig, who survived.\u003c/p>\n\u003cp>At her trial, Judge Samuel Conti made it clear that only the gun’s inaccurate sight prevented the 45-year-old from actually shooting the president. Moore stated in court that her actions were “a correct expression of my anger.” She went on to serve 32 years at \u003ca href=\"https://www.latimes.com/california/story/2024-03-12/fbi-raid-warden-ousted-dublin-california-womens-prison\">Dublin’s women’s prison\u003c/a> before she was released in 2007, a year after Ford’s death. On her release, Moore said she was glad she hadn’t succeeded in killing him.\u003c/p>\n\u003ch2>The fire\u003c/h2>\n\u003cfigure id=\"attachment_13953958\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473.jpg\" alt=\"A sepia-toned photograph of a tall, burned out building with two towers intact and a third under construction.\" width=\"1000\" height=\"758\" class=\"size-full wp-image-13953958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473-768x582.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">The hotel undergoing reconstruction after the post-earthquake 1906 fire gutted the property. \u003ccite>(OpenSFHistory/wnp27.5473)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On April 18, 1906, the St. Francis survived San Francisco’s 5:12 a.m. earthquake just fine. So much so that opera star \u003ca href=\"https://en.wikipedia.org/wiki/Enrico_Caruso\">Enrico Caruso\u003c/a> was served breakfast at the hotel later that morning. (After experiencing that day, Caruso swore he’d never come back to the city again — and he didn’t.)\u003c/p>\n\u003cp>That morning calm didn’t last, however. The hotel — along with its third tower, not long under construction — was soon engulfed in flames. But in many ways, the St. Francis became a symbol of the city’s tenacious rebuilding efforts. Just three months after the destruction, the annual dinner of the Merchants’ Association was given in the hotel’s banquet hall, even though it remained in terrible, charred shape and was surrounded by rubble.\u003c/p>\n\u003cp>[aside postid='arts_13912438']The St. Francis also carried the distinction of giving San Francisco its very own rebuilding mascot — a fox terrier that belonged to wine cellar manager James Hall. The dog was locked in the cellar when fire overtook the building, and it took five days for the hotel to stop smoldering enough for Hall to find out his pet’s fate.\u003c/p>\n\u003cp>“One of the first things to greet his startled gaze,” the \u003cem>San Francisco Chronicle\u003c/em> reported on May 27, 1906, “was the little fox terrier crouched beneath some machinery. The heat in the wine cellar must have been intense, but the little animal had managed to escape the flames and come out of the ordeal unsinged, although nearly dead from thirst and hunger. With tender care, Hall nursed the dog back to good health and spirits and not many days after his rescue, he was as cheerful and lively as before the fire.”\u003c/p>\n\u003cp>The dog’s survival gave a boost to beleaguered San Franciscans; he was renamed “Francis” in honor of the hotel that trapped yet saved him. Francis remains a fixture — in spirit at least — in the hotel today.\u003c/p>\n\u003cfigure id=\"attachment_13954255\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954255\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-1536x713.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-2048x951.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-1920x891.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): A book and soft toy honoring Francis, for sale at the hotel today; a photo of the real-life Francis; a painted depiction of Francis that adorns the wall of a new lounge in the hotel. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>\u003cem>As part of its 120th anniversary, the Westin St. Francis Hotel is opening a new museum on March 22, 2024, featuring memorabilia, artifacts and the coin-washing machine. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Hotel historian Howard Mutz leads free tours of the hotel every Saturday, starting under the clock of the Tower Lobby at 11 a.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There was nothing low key about the opening of the St. Francis Hotel in March 1904. Built directly overlooking San Francisco’s Union Square, the hotel cost $2.5 million to construct (that’s $87 million in 2024 money) and $400,000 to furnish (nearly $14 million now).\u003c/p>\n\u003cp>That year, \u003cem>The San Francisco Call and Post\u003c/em> raved: “Its construction has been so designed that all the suites are light and airy and its interior domestic arrangements are unrivaled in the West.” The hotel celebrated its opening night with a glitzy party for 600 of the most fashionable people in the city, who spent the evening sipping on Moet & Chandon White Seal champagne.\u003c/p>\n\u003cfigure id=\"attachment_13954256\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240315_162322-1-scaled-e1710782681924.jpg\" alt=\"Three mechanized contraptions stand in a line against a white wall.\" width=\"1920\" height=\"1392\">\u003cfigcaption class=\"wp-caption-text\">The coin washing machine, as seen in the new St. Francis Museum. \u003ccite>(Rae Alexandra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since then, the St. Francis has been so married to keeping up appearances that in 1934, it even started washing the coins that passed through its coffers, lest staff and guests get their white gloves sullied. That kind of attention to detail has attracted famous and distinguished guests ever since — including Charlie Chaplin and Queen Elizabeth II. But it hasn’t all been smooth sailing.\u003c/p>\n\u003cp>Here are five infamous incidents from the St. Francis Hotel’s long history.\u003c/p>\n\u003ch2>The Fatty Arbuckle scandal\u003c/h2>\n\u003cp>Easily the most notorious thing to happen at the St. Francis Hotel transpired on Sept. 5, 1921. During a Labor Day party thrown by movie star Roscoe “Fatty” Arbuckle, a young actress named Virginia Rappe suffered a ruptured bladder and died shortly afterwards. Arbuckle was accused of sexual assault and manslaughter, prompting both the rumor mill and Prohibition-era morality police to kick into high gear. His two first trials resulted in hung juries. Arbuckle was found not guilty after a third round in court, but by then his reputation lay in ruins.\u003c/p>\n\u003cfigure id=\"attachment_13953917\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13953917 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-1536x1087.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-2048x1449.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-1920x1359.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe ‘Fatty’ Arbuckle (third from right) in San Francisco at one of his three manslaughter trials. \u003ccite>(Library of Congress/Corbis/ VCG via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arbuckle had rented adjoining rooms 1219, 1220 and 1221 on Labor Day and there were people moving between all of them. The enduring mystery around what happened to Rappe in room 1219 was caused by a combination of conflicting accounts from witnesses, two different versions of events from Arbuckle himself (he was married at the time), as well as confusion on the part of a gravely ill Rappe. The most detailed and painstakingly analyzed summary can be found in \u003ca href=\"https://www.abebooks.com/servlet/BookDetailsPL?bi=31754040004&cm_sp=rec-_-pd_hw_o_1-_-bdp&ref_=pd_hw_o_1\">Greg Merritt’s book, \u003cem>Room 1219\u003c/em>\u003c/a>. In it, Merritt concludes that Rappe’s bladder injury probably resulted from a combination of preexisting conditions (she lived with chronic cystitis) and an act of intimacy between Arbuckle and Rappe that started consensually.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the four days between the incident and Rappe’s death, Rappe told her nurses that she had already been “suffering for six weeks from internal trouble” at the time of her encounter with Arbuckle and that her pain was the result of “relations with her sweetheart,” Henry Lehrman. Rappe told one nurse that her contact with Arbuckle had been consensual, but she also asked that the nurse determine whether or not she’d been assaulted while unconscious.\u003c/p>\n\u003cp>In the end, Arbuckle’s final jury concluded:\u003c/p>\n\u003cblockquote>\u003cp>Acquittal is not enough for Roscoe Arbuckle. We feel that a great injustice has been done him. We feel also that it was only our plain duty to give him this exoneration, under the evidence, for there was not the slightest proof adduced to connect him in any way with the commission of a crime.\u003c/p>\u003c/blockquote>\n\u003cp>Though blacklisted for years, Arbuckle’s career recovered somewhat in the early 1930s. He didn’t live long enough to enjoy it though. He died of a heart attack, aged 46, in 1933. His last breath was taken inside a room at New York’s Park Central Hotel.\u003c/p>\n\u003cfigure id=\"attachment_13954257\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954257\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1219-today-scaled-e1710783111622.jpg\" alt=\"A modern hotel room with a queen sized bed.\" width=\"1920\" height=\"1551\">\u003cfigcaption class=\"wp-caption-text\">The infamous room 1219, as it looks today. \u003ccite>(Rae Alexandra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Al Jolson’s death in Arbuckle’s suite\u003c/h2>\n\u003cp>Nearly 30 years after Arbuckle made those three adjoining rooms on the 12th floor famous, Al Jolson — a singer best known today for his performances in blackface — got into trouble in the same suite. On Oct. 17, 1950, after an evening spent dining at \u003ca href=\"https://www.yelp.com/biz/tarantinos-restaurant-san-francisco\">Tarantino’s\u003c/a> in Fisherman’s Wharf, Jolson and two friends returned to his rooms to play cards.\u003c/p>\n\u003cp>Midway through a game of gin rummy in the parlor (1220), Jolson complained of chest pains and put himself to bed in 1221. Minutes later, he called to his friends with the words “Boys, this is it.” When a nurse arrived to check on Jolson, she found him fumbling and moaning. He apparently joked with her, “I must be dead — I can’t find a pulse.” By the time two doctors arrived, Jolson truly was at death’s door. His last words were, “Well boys, I’m going.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Louis Sobol, Jolson’s cousin-in-law, published a column in the \u003cem>San Francisco Examiner\u003c/em> a week after the 67-year-old’s death, stating that Jolson had been dealing with heart issues recently, but was optimistic about the future. That positivity may have been spurred by his 27-year-old wife, Erle.\u003c/p>\n\u003cp>Sobol wrote that after a recent doctor’s visit: “[Jolson] proudly boasted to pals at the Hillcrest Country Club: ‘Doc examining me said I’ll live to be 90 … I told him I was going to be the first guy in show business to live to be 100.’”\u003c/p>\n\u003ch2>The death of Henry S. Crocker\u003c/h2>\n\u003cp>Long before Rappe and Jolson’s final stays, the first major death to happen at the St. Francis came on July 18, 1904, just four months after the hotel opened. Prominent printing and stationery businessman Henry Crocker was the younger brother of railroad magnate Charles Crocker, whose heirs built the St. Francis.\u003c/p>\n\u003cp>Henry, his wife and son were some of the first permanent residents at the St. Francis and it’s there that Henry died, aged 72, after a short illness. His will and the distribution of his large estate dominated newspapers for weeks after his death.\u003c/p>\n\u003ch2>Gerald Ford’s almost-assassination\u003c/h2>\n\u003cfigure id=\"attachment_13953960\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953960\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-515402780-scaled-e1710285563457.jpg\" alt=\"A white woman in pale blue 1970s-era clothing sits in the rear of a brown car.\" width=\"1920\" height=\"1264\">\u003cfigcaption class=\"wp-caption-text\">Sara Jane Moore leaves San Mateo County Jail for a court appointment in San Francisco after attempting to assassinate President Gerald Ford outside the St. Francis Hotel. \u003ccite>(Bettmann/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Sept. 22, 1975, Gerald Ford finished a TV interview in the hotel’s MacArthur Suite, made his way six floors down with Secret Service agents and his advisor (Donald Rumsfeld!), and exited onto Post Street. Approximately 40 feet away, Sara Jane Moore was waiting for the president in a crowd of onlookers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That morning, Moore had purchased a brand new .38 pistol; police confiscated her own revolver the day before. It was 17 days after Manson Family member Squeaky Fromme attempted to kill Ford in Sacramento, and Moore, driven by radical political views and a belief in violent revolution, was determined to get the job done. Moore fired two shots at the president, the first of which narrowly missed his head. The second — fired as a bystander dived on Moore to stop her — hit a 42-year-old taxi driver named John Ludwig, who survived.\u003c/p>\n\u003cp>At her trial, Judge Samuel Conti made it clear that only the gun’s inaccurate sight prevented the 45-year-old from actually shooting the president. Moore stated in court that her actions were “a correct expression of my anger.” She went on to serve 32 years at \u003ca href=\"https://www.latimes.com/california/story/2024-03-12/fbi-raid-warden-ousted-dublin-california-womens-prison\">Dublin’s women’s prison\u003c/a> before she was released in 2007, a year after Ford’s death. On her release, Moore said she was glad she hadn’t succeeded in killing him.\u003c/p>\n\u003ch2>The fire\u003c/h2>\n\u003cfigure id=\"attachment_13953958\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473.jpg\" alt=\"A sepia-toned photograph of a tall, burned out building with two towers intact and a third under construction.\" width=\"1000\" height=\"758\" class=\"size-full wp-image-13953958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473-768x582.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">The hotel undergoing reconstruction after the post-earthquake 1906 fire gutted the property. \u003ccite>(OpenSFHistory/wnp27.5473)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On April 18, 1906, the St. Francis survived San Francisco’s 5:12 a.m. earthquake just fine. So much so that opera star \u003ca href=\"https://en.wikipedia.org/wiki/Enrico_Caruso\">Enrico Caruso\u003c/a> was served breakfast at the hotel later that morning. (After experiencing that day, Caruso swore he’d never come back to the city again — and he didn’t.)\u003c/p>\n\u003cp>That morning calm didn’t last, however. The hotel — along with its third tower, not long under construction — was soon engulfed in flames. But in many ways, the St. Francis became a symbol of the city’s tenacious rebuilding efforts. Just three months after the destruction, the annual dinner of the Merchants’ Association was given in the hotel’s banquet hall, even though it remained in terrible, charred shape and was surrounded by rubble.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The St. Francis also carried the distinction of giving San Francisco its very own rebuilding mascot — a fox terrier that belonged to wine cellar manager James Hall. The dog was locked in the cellar when fire overtook the building, and it took five days for the hotel to stop smoldering enough for Hall to find out his pet’s fate.\u003c/p>\n\u003cp>“One of the first things to greet his startled gaze,” the \u003cem>San Francisco Chronicle\u003c/em> reported on May 27, 1906, “was the little fox terrier crouched beneath some machinery. The heat in the wine cellar must have been intense, but the little animal had managed to escape the flames and come out of the ordeal unsinged, although nearly dead from thirst and hunger. With tender care, Hall nursed the dog back to good health and spirits and not many days after his rescue, he was as cheerful and lively as before the fire.”\u003c/p>\n\u003cp>The dog’s survival gave a boost to beleaguered San Franciscans; he was renamed “Francis” in honor of the hotel that trapped yet saved him. Francis remains a fixture — in spirit at least — in the hotel today.\u003c/p>\n\u003cfigure id=\"attachment_13954255\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954255\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-1536x713.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-2048x951.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-1920x891.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): A book and soft toy honoring Francis, for sale at the hotel today; a photo of the real-life Francis; a painted depiction of Francis that adorns the wall of a new lounge in the hotel. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>\u003cem>As part of its 120th anniversary, the Westin St. Francis Hotel is opening a new museum on March 22, 2024, featuring memorabilia, artifacts and the coin-washing machine. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Hotel historian Howard Mutz leads free tours of the hotel every Saturday, starting under the clock of the Tower Lobby at 11 a.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photographer-david-johnson-obituary-san-francisco-black-culture",
"title": "Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97",
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"headTitle": "Photographer David Johnson, Who Chronicled San Francisco’s Black Culture, Dies at 97 | KQED",
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"content": "\u003cp>David Johnson generally wasn’t interested in people posing for his camera.\u003c/p>\n\u003cp>As the photographer and civil rights activist put it in a \u003ca href=\"https://www.youtube.com/watch?v=u0Lcv7xyh-w\">2017 interview\u003c/a> at the University of California, Berkeley: “A big smiling photograph? That wasn’t my style.”\u003c/p>\n\u003cp>Johnson died at his home in Greenbrae, north of San Francisco, earlier this month. According to his stepdaughter, he was suffering from advanced dementia and had pneumonia. He was 97 years old.\u003c/p>\n\u003cp>[aside postID='arts_13950886']Johnson was the first Black student of the famous nature \u003ca href=\"https://www.npr.org/sections/pictureshow/2011/10/07/141149616/retracing-the-steps-of-ansel-adams\">photographer Ansel Adams\u003c/a> and became known as one of the foremost chroniclers of San Francisco’s Black urban culture.\u003c/p>\n\u003cp>In one of his most famous images, shot early in his career in 1946, Johnson depicts a street corner in San Francisco’s Fillmore District — once a hub for the city’s thriving Black community \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">until redevelopment later in the century\u003c/a> forced nearly all of them out.\u003c/p>\n\u003cfigure id=\"attachment_13954239\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg\" alt=\"Black-and-white photograph of busy street corner with pedestrian, car and bus traffic\" width=\"2016\" height=\"2560\" class=\"size-full wp-image-13954239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1920x2438.jpg 1920w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">‘Looking South on Fillmore, 1946,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image has energetic angles and stark contrasts of light and shadow. And it’s shot from above. In the UC Berkeley interview, Johnson said he clambered up four stories on a nearby construction scaffold to get it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I focused my camera and took one photograph,” Johnson said. “I was kind of anxious to get this little job over with and go back down to the ground.”\u003c/p>\n\u003ch3>A tough childhood\u003c/h3>\n\u003cp>Johnson was born in 1926 in Jacksonville, Florida, to an impoverished single mother who handed her baby off to be raised by a cousin.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.kqed.org/forum/201307251030/photographer-david-johnson-capturing-san-franciscos-black-community-in-the-1940s-and-50s\">2013 interview\u003c/a> with KQED, Johnson said he got his first camera by selling magazine subscriptions door-to-door.\u003c/p>\n\u003cp>“I just started snapping pictures around the neighborhood. And I got kind of fascinated with that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13954237\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg\" alt=\"Portrait of older person sitting in front of framed photo of young person\" width=\"1758\" height=\"2560\" class=\"size-full wp-image-13954237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1020x1485.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-768x1118.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1055x1536.jpg 1055w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1407x2048.jpg 1407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1920x2796.jpg 1920w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">David Johnson in 2023 with one of his photographs, ‘Clarence,’ at an award luncheon at UC Berkeley honoring the photographer. \u003ccite>(Peg Skorpinski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson was drafted into the U.S. Navy right out of high school. He was stationed in San Francisco, where he fell in love with the city, and was then sent to the Philippines for the remainder of World War II. After returning, he wanted to develop his photography skills in college.\u003c/p>\n\u003cp>It was 1946, and budding photographers were clamoring to get into the program that master lensman Adams had just launched at the California School of Fine Arts in San Francisco (later known as the San Francisco Art Institute). Its star-studded faculty included Minor White, Imogen Cunningham, Edward Weston and Dorothea Lange.\u003c/p>\n\u003ch3>San Francisco-bound\u003c/h3>\n\u003cp>Johnson wanted in. So he sent Adams a letter.\u003c/p>\n\u003cp>“I wrote to Ansel and said, ‘I’m interested in studying photography. I have the GI Bill. And I would like for you to evaluate my [application].’ Ansel wrote me back and said, ‘There are no vacancies in the class,’” he told KQED.\u003c/p>\n\u003cp>But a student dropped out, making room for Johnson.\u003c/p>\n\u003cp>He hopped on a segregated train that took him from Jacksonville to San Francisco. After living in Adams’ house for a while, he eventually found a low-rent room in the Fillmore District and started taking lots of photos.\u003c/p>\n\u003cfigure id=\"attachment_13954240\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg\" alt=\"Signed black-and-white photograph of woman posing with children on a stage\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13954240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Eartha Kitt with Neighborhood Children, 1947,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of these images appeared decades later in a \u003ca href=\"https://www.youtube.com/watch?v=a8h2meDtdm8&t=186s\">KQED documentary\u003c/a> about the Fillmore’s status — and eventual demise — as one of the country’s most vibrant Black neighborhoods.\u003c/p>\n\u003cp>[aside postID='news_11957757']“He would go to the clubs in the evenings, take incredible photographs of musicians,” said Christine Hult-Lewis, the pictorial curator of special collections at UC Berkeley’s Bancroft Library, which houses the \u003ca href=\"https://search.library.berkeley.edu/discovery/fulldisplay?context=L&vid=01UCS_BER:UCB&search_scope=DN_and_CI&tab=Default_UCLibrarySearch&docid=alma991036750439706532\">David Johnson archive\u003c/a>. “He had very easy relationships with people in the barbershops and the folks in the churches and folks on the streets.”\u003c/p>\n\u003cp>Johnson said his college instructors encouraged these pursuits.\u003c/p>\n\u003cp>“Growing up, most of the photographs I have seen of Black people were just not very complimentary,” he told KQED. “I said, ‘My photographs will have Black people photographed in a dignified manner.’”\u003c/p>\n\u003ch3>Documenting street life, famous figures and civil rights\u003c/h3>\n\u003cp>Hult-Lewis said that as a freelance press photographer, Johnson took candid photos of Black celebrities who came to town, such as Nat King Cole, Paul Robeson and Langston Hughes.\u003c/p>\n\u003cfigure id=\"attachment_13954241\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg\" alt=\"Black-and-white photo of a man signing a book held by another person\" width=\"2560\" height=\"2197\" class=\"size-full wp-image-13954241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1536x1318.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-2048x1758.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1920x1648.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Nat King Cole at Fairmont Hotel, 1949,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he used his camera to spark conversations about civil rights.\u003c/p>\n\u003cp>“There’s one really iconic photograph of a woman listening to a speech and she’s got kind of a dubious look on her face, but in her glasses are reflected the American flag,” Hult-Lewis said. “There’s another incredible photograph of a young African American boy sitting, holding an American flag in the embrace of a sculpture of Abraham Lincoln.”\u003c/p>\n\u003cp>Johnson also often participated in direct political action. He attended the 1963 March on Washington, and organized the first Black caucus at the University of California, San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13954242\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg\" alt=\"Black-and-white photo of American flag reflected in woman's glasses in a crowd\" width=\"1896\" height=\"2560\" class=\"size-full wp-image-13954242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1137x1536.jpg 1137w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1516x2048.jpg 1516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1920x2593.jpg 1920w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">‘Reflections in Glasses, 1963,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was part of a group that successfully sued the San Francisco Unified School District to compel them to more fully desegregate the schools,” Hult-Lewis said.\u003c/p>\n\u003cp>Johnson never became a big name like his teacher Adams. By the 1980s he’d stopped taking photos altogether.\u003c/p>\n\u003cp>But interest in Johnson’s work has grown in recent years, as cities across the country grapple with the negative impacts that urban redevelopment can have. His work is in the collection of major institutions, including the \u003ca href=\"https://www.sfmoma.org/artist/David_S._Johnson/\">San Francisco Museum of Modern Art\u003c/a>, and was the subject of a \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/david-johnson-zone-1945-1965\">solo exhibition\u003c/a> at San Francisco City Hall in 2022.\u003c/p>\n\u003cp>“The photographs tell life, life as it was then, life that cannot be duplicated or recreated in today,” Johnson’s wife, Jacqueline Sue, told KQED in 2013. “It’s a marker of history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Johnson generally wasn’t interested in people posing for his camera.\u003c/p>\n\u003cp>As the photographer and civil rights activist put it in a \u003ca href=\"https://www.youtube.com/watch?v=u0Lcv7xyh-w\">2017 interview\u003c/a> at the University of California, Berkeley: “A big smiling photograph? That wasn’t my style.”\u003c/p>\n\u003cp>Johnson died at his home in Greenbrae, north of San Francisco, earlier this month. According to his stepdaughter, he was suffering from advanced dementia and had pneumonia. He was 97 years old.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Johnson was the first Black student of the famous nature \u003ca href=\"https://www.npr.org/sections/pictureshow/2011/10/07/141149616/retracing-the-steps-of-ansel-adams\">photographer Ansel Adams\u003c/a> and became known as one of the foremost chroniclers of San Francisco’s Black urban culture.\u003c/p>\n\u003cp>In one of his most famous images, shot early in his career in 1946, Johnson depicts a street corner in San Francisco’s Fillmore District — once a hub for the city’s thriving Black community \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">until redevelopment later in the century\u003c/a> forced nearly all of them out.\u003c/p>\n\u003cfigure id=\"attachment_13954239\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg\" alt=\"Black-and-white photograph of busy street corner with pedestrian, car and bus traffic\" width=\"2016\" height=\"2560\" class=\"size-full wp-image-13954239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1920x2438.jpg 1920w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">‘Looking South on Fillmore, 1946,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image has energetic angles and stark contrasts of light and shadow. And it’s shot from above. In the UC Berkeley interview, Johnson said he clambered up four stories on a nearby construction scaffold to get it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I focused my camera and took one photograph,” Johnson said. “I was kind of anxious to get this little job over with and go back down to the ground.”\u003c/p>\n\u003ch3>A tough childhood\u003c/h3>\n\u003cp>Johnson was born in 1926 in Jacksonville, Florida, to an impoverished single mother who handed her baby off to be raised by a cousin.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.kqed.org/forum/201307251030/photographer-david-johnson-capturing-san-franciscos-black-community-in-the-1940s-and-50s\">2013 interview\u003c/a> with KQED, Johnson said he got his first camera by selling magazine subscriptions door-to-door.\u003c/p>\n\u003cp>“I just started snapping pictures around the neighborhood. And I got kind of fascinated with that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13954237\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg\" alt=\"Portrait of older person sitting in front of framed photo of young person\" width=\"1758\" height=\"2560\" class=\"size-full wp-image-13954237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1020x1485.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-768x1118.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1055x1536.jpg 1055w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1407x2048.jpg 1407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1920x2796.jpg 1920w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">David Johnson in 2023 with one of his photographs, ‘Clarence,’ at an award luncheon at UC Berkeley honoring the photographer. \u003ccite>(Peg Skorpinski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson was drafted into the U.S. Navy right out of high school. He was stationed in San Francisco, where he fell in love with the city, and was then sent to the Philippines for the remainder of World War II. After returning, he wanted to develop his photography skills in college.\u003c/p>\n\u003cp>It was 1946, and budding photographers were clamoring to get into the program that master lensman Adams had just launched at the California School of Fine Arts in San Francisco (later known as the San Francisco Art Institute). Its star-studded faculty included Minor White, Imogen Cunningham, Edward Weston and Dorothea Lange.\u003c/p>\n\u003ch3>San Francisco-bound\u003c/h3>\n\u003cp>Johnson wanted in. So he sent Adams a letter.\u003c/p>\n\u003cp>“I wrote to Ansel and said, ‘I’m interested in studying photography. I have the GI Bill. And I would like for you to evaluate my [application].’ Ansel wrote me back and said, ‘There are no vacancies in the class,’” he told KQED.\u003c/p>\n\u003cp>But a student dropped out, making room for Johnson.\u003c/p>\n\u003cp>He hopped on a segregated train that took him from Jacksonville to San Francisco. After living in Adams’ house for a while, he eventually found a low-rent room in the Fillmore District and started taking lots of photos.\u003c/p>\n\u003cfigure id=\"attachment_13954240\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg\" alt=\"Signed black-and-white photograph of woman posing with children on a stage\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13954240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Eartha Kitt with Neighborhood Children, 1947,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of these images appeared decades later in a \u003ca href=\"https://www.youtube.com/watch?v=a8h2meDtdm8&t=186s\">KQED documentary\u003c/a> about the Fillmore’s status — and eventual demise — as one of the country’s most vibrant Black neighborhoods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He would go to the clubs in the evenings, take incredible photographs of musicians,” said Christine Hult-Lewis, the pictorial curator of special collections at UC Berkeley’s Bancroft Library, which houses the \u003ca href=\"https://search.library.berkeley.edu/discovery/fulldisplay?context=L&vid=01UCS_BER:UCB&search_scope=DN_and_CI&tab=Default_UCLibrarySearch&docid=alma991036750439706532\">David Johnson archive\u003c/a>. “He had very easy relationships with people in the barbershops and the folks in the churches and folks on the streets.”\u003c/p>\n\u003cp>Johnson said his college instructors encouraged these pursuits.\u003c/p>\n\u003cp>“Growing up, most of the photographs I have seen of Black people were just not very complimentary,” he told KQED. “I said, ‘My photographs will have Black people photographed in a dignified manner.’”\u003c/p>\n\u003ch3>Documenting street life, famous figures and civil rights\u003c/h3>\n\u003cp>Hult-Lewis said that as a freelance press photographer, Johnson took candid photos of Black celebrities who came to town, such as Nat King Cole, Paul Robeson and Langston Hughes.\u003c/p>\n\u003cfigure id=\"attachment_13954241\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg\" alt=\"Black-and-white photo of a man signing a book held by another person\" width=\"2560\" height=\"2197\" class=\"size-full wp-image-13954241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1536x1318.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-2048x1758.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1920x1648.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Nat King Cole at Fairmont Hotel, 1949,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he used his camera to spark conversations about civil rights.\u003c/p>\n\u003cp>“There’s one really iconic photograph of a woman listening to a speech and she’s got kind of a dubious look on her face, but in her glasses are reflected the American flag,” Hult-Lewis said. “There’s another incredible photograph of a young African American boy sitting, holding an American flag in the embrace of a sculpture of Abraham Lincoln.”\u003c/p>\n\u003cp>Johnson also often participated in direct political action. He attended the 1963 March on Washington, and organized the first Black caucus at the University of California, San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13954242\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg\" alt=\"Black-and-white photo of American flag reflected in woman's glasses in a crowd\" width=\"1896\" height=\"2560\" class=\"size-full wp-image-13954242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1137x1536.jpg 1137w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1516x2048.jpg 1516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1920x2593.jpg 1920w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">‘Reflections in Glasses, 1963,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was part of a group that successfully sued the San Francisco Unified School District to compel them to more fully desegregate the schools,” Hult-Lewis said.\u003c/p>\n\u003cp>Johnson never became a big name like his teacher Adams. By the 1980s he’d stopped taking photos altogether.\u003c/p>\n\u003cp>But interest in Johnson’s work has grown in recent years, as cities across the country grapple with the negative impacts that urban redevelopment can have. His work is in the collection of major institutions, including the \u003ca href=\"https://www.sfmoma.org/artist/David_S._Johnson/\">San Francisco Museum of Modern Art\u003c/a>, and was the subject of a \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/david-johnson-zone-1945-1965\">solo exhibition\u003c/a> at San Francisco City Hall in 2022.\u003c/p>\n\u003cp>“The photographs tell life, life as it was then, life that cannot be duplicated or recreated in today,” Johnson’s wife, Jacqueline Sue, told KQED in 2013. “It’s a marker of history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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