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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Let \u003ca href=\"https://www.instagram.com/paintergeorge415/\" target=\"_blank\" rel=\"noopener\">George Crampton Glassanos\u003c/a> tell it, he isn’t an artist.\u003c/p>\n\u003cp>Despite this, he’s painted numerous signs and murals throughout San Francisco’s Mission district— including one depicting a fly, black, droptop lowrider in front of the once beloved eatery, \u003ca href=\"https://www.doggiediner.info/\">Doggie Diner\u003c/a> and another of the legendary, charismatic gorilla logo of union-made work clothing company, Ben Davis.\u003c/p>\n\u003cp>George is firm on this: he isn’t an artist, he’s a painter.\u003c/p>\n\u003cfigure id=\"attachment_13953121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13953121 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-800x600.jpg\" alt=\"Person in plaid button-up shirt standing in front of the Ben Davis sign, where the iconic logo of a yellow gorilla with a charismatic smile serves as the main image, and the words "World's Toughest Work Clothing" sits atop the sign. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Harry Crampton Glassanos standing in front of the Ben Davis sign he restored. (Pendarvis Harshaw/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>His work, full of eye-catching colors and symbols representative of the Mission’s culture, is utilitarian in nature. It’s born out of both a need to serve others, and George’s personal urge to create.\u003c/p>\n\u003cp>Raised on Lexington and San Carlos streets, George was an imaginative kid. His parents introduced him to the creative process and gave him basic art tools and a foundation to express himself (including comic books like \u003ca href=\"https://www.youtube.com/watch?v=lTYzqHRqRQU\">Love and Rockets\u003c/a>). That coupled with his memories of frequenting eateries and hanging out with friends, serves as the backdrop to his work.\u003c/p>\n\u003cp>Even when he wasn’t outside, George’s unique perspective on his neighborhood was further tailored by watching the world through a window overlooking 18th and Valencia streets. From that perch he began to create.\u003c/p>\n\u003cfigure id=\"attachment_13953179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-800x533.jpg\" alt=\"A person wearing sunglasses holds up a jacket with "International Longshoremen's Warehousemen's Union" written on it.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Harry Crampton Glassanos holds up his International Longshoremen’s and Warehouse’s Union (ILWU) jacket in front of a mural he painted in Clarion Alley in San Francisco’s Mission District on Nov. 28, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years later, George is a proud member of \u003ca href=\"https://www.ilwu.org/\" target=\"_blank\" rel=\"noopener\">The International Longshoremen’s and Warehousemen’s Union (ILWU).\u003c/a> He gets creative inspiration from getting up early to take in the sunrise and listen to the birds. He’s also driven by the need to advocate for the rights of working class people, locally and abroad. This all adds to his paintings and drawings, but don’t call it artwork.\u003c/p>\n\u003cp>He recently stopped by KQED’s headquarters to share a bit of his story, then he took us on a short ride to see a few of his hand painted signs and murals— his work.\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=KQINC8150831467\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey, what’s up Rightnowish listeners. It’s the dream team Pendarvis Harshaw\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena, host: \u003c/b>\u003cspan style=\"font-weight: 400\">and Marisol Medina-Cadena!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Today’s episode has us locked in The Mission, starting at a parking lot off 18th and Valencia. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s where I caught up with painter\u003c/span> \u003cspan style=\"font-weight: 400\">George Crampton Glassanos putting the final touches on his latest mural. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That parking lot is near and dear to George because it’s the main intersection where he grew up \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">This street’s completely changed. You know, it’s like you’re in the Marina now or something. It’s completely wacky. I don’t think anyone ever thought it was going to be like this when I was a kid, you know? Growing up right here, Valencia Street was no man’s land, given the few auto body shops. But it was like a lot of gas stations, auto, uh, used car lots, a lot of appliance stores. Which is cool that we’re painting this mural on, on the Cherin’s, in the Cherin’s parking lot. Cherin’s has been here since 1892. They sell refrigerators and washing machines and stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I remember this whole street just being like, a crazy mix of working class people, you know, different families. There was a guy next door to us that lived on the ground floor, corner apartment, right there on Lexington. And his family came up from the South during World War II to work in the shipyards. We had all different types of neighbors from different countries, you know. It wasn’t just Latinos. There’s a lot of Asian folks and I do remember Eastern Europeans in the neighborhood. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">George’s memories of the way the neighborhood was back iin the 90s, find their way into his work. Living in the bay, where murals are a-plenty, I think we residents take these large scale works of art for granted. They become like wallpaper. But when you stop to really look at the stories these walls tell, you can learn a lot about a place, its history and the people who came before us.\u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassnos:\u003c/b> \u003cspan style=\"font-weight: 400\">To be able to paint right here on this corner has been a real treat, completely different from painting at home, you know. Painting outside, you you’re on a ladder and there’s cars flying by and people walking by, and it’s a whole other experience than painting on a canvas at home. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">George and his friend named the mural the “Four-Fifteenth Dimension.” It portrays a night out at a drive-in movie theater. Parked lowriders face a projection screen. And in each corner is a depiction of different Mission institutions like Doggie Diner, Hunt’s Donuts, and the 500 Club. It looks like a scene straight out of a comic book.\u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b> \u003cspan style=\"font-weight: 400\">I wanted to stick with, like, the theme of, like, new and old and, like, ancient civilizations fitting in with, like, modern or, you know, 1980’s burger stand. So I put the pyramid in just to kind of pay respects to, you know, the people that were here before us. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We’ll hear more about George Crampton Glassanos’ work and the message of caretaking that he’s spreading, right after this message.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I thought we could start by just talking about your… your threads. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Because every time I see you in the mission, you’re always wearing really cool outfits. Like jackets. \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> So what are you wearing today? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">I wore a Pendleton. I dressed up because I wear my work clothes all week long, so when the weekend rolls around, I like to put on a nice outfit. It’s also the, you know, it’s that time of year it’s cold out, and Pendleton keeps you warm. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Well, back in November, when we first started talking to you, I caught up with you and your friend, 18th and Valencia. \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Painting that mural. It’s finished now. So what’s the reception been like?\u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">The other day I drove by it after high school got out, up at Mission High school. And there’s a big group of kids in there, you know, with their backpacks and skateboards, and they were all checking it out, so that makes me feel good, driving by and seeing the youth checking it out. That’s who it’s for: it’s for the kids. And, you know, my neighbors that are still there on that street that I grew up on a lot of… a lot of people left. A lot of people got pushed out. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> Why is that street corner significant to you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> I have memories of standing in the window as a kid, and I came up to, like, right at right to, like, the window sill when I was a kid. So I’d sit there in that fucking window for hours, and I’d look at cars driving by on the street, and my mom was like, “I couldn’t figure out what your obsession was with cars.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And we chewed on the window sill and, you know, this, like, lead paint, okay?And so, I just sit up there in that window, chewing on the window sill, and I could see that parking lot from my window. And across from the parking lot there was another, empty lot. It’s a condo now, but that was a used car dealership.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So I had a whole view of that street, and there was a puddle that would form across the street from my house. And this was back in the day, so they had rush hour. They make you move your car at a certain time in the afternoon. It was like commute hours, so there’d be no cars on 18th. It was like four lanes, two lanes going down and two lanes going up. And you’d watch cars come tearing down the street and hit this puddle and it would soak people on the sidewalk. So that was our entertainment, you know, we’d sit up there and we’d laugh at people getting splashed. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> That’s very Looney Tunes behavior. \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Looney, looney. Yeah, Looney Tune behavior. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">All of those memories hold significance to me. And part of growing up in the neighborhood and, being able to paint in that parking lot, it’s crazy. We were evicted out of that apartment at a certain point, but 18th Street was a big part of my upbringing, and it was such a beautiful community. All different kinds of people from every walk of life living around us really embodied what the mission used to be, you know. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">This was the 90s? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">This was the 90s. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Thank you for sharing that. That’s beautiful. Paint that picture for us, everything from the window sill to the interactions in the community.\u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Man… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And you mentioned your mother and as I understand that both of your parents are artists. \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">They are, yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. And I’m wondering, what role did they play in shaping you as an artist? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">My dad would get off of work and he’d come home and draw with us, or on the weekends we’d draw together. And, you know, my mom always encouraged art in the house. We always had art materials laying around. They didn’t stick me in front of the TV, they stuck me in front of a drawing pad. Which I hated, you know, because I, you know, you’d go to school and I would be talking about TV and stuff, but now I’m very grateful for it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You hear that, parents?\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> And then on top of providing the resources, were there any specific techniques that they showed you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, my dad would sit down with me and show me how to, like, crosshatch and shade. And, I remember my mom showing me, shad— like, how to shadow, like, “look a lamp is pointed at this, uh, cylinder. Your shadow is going to come off this side.” So they taught me stuff like that. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My father had a huge comic book collection when I was a kid. Every Friday after work, he’d come home, we’d walk up Mission from 18th Street to 23rd. There’s a comic book shop on 23rd and Bartlett. He’d grab a stack of comic books, and that’s where I got a lot of inspiration from to, you know, like, underground comics and Spain Rodriguez, R. Crumb. My mom had a big collection of the Hernandez brothers comics called \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Love and Rockets\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When they were like, doing something in the other room, I’d get, I’d grab the ladder and go up to the shelf and pull down on R. Crumb book and run off into my room. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I like that whole, that whole underground comic scene, but then combining that with, like, everyday life in the neighborhood, you know, like cars cruising on Mission, Muni busses. That’s when it, like, it clicked for me and I was like, this is what I want to draw and paint. And then from then on, I was like, you know, coming up with wacky scenarios in my head, probably all that lead paint I chewed. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was, it goes back to the window. I was, I promise you, I was thinking that it goes back to the kid in the window, you know? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It does, you know? Yeah, I like having a good time with it. Like painting that mural on 18th Street. We were just joking with each other all day long, coming up with crazy scenarios and then painting them. We didn’t map anything out. We kind of just showed up there and started painting, and that’s what we came up with. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I got to give my high school teachers a lot of credit too, because, they played, I went to School of the Arts here in San Francisco, and they played a huge role in, you know, kind of shaping me and teaching me.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was stuck in a rut, you know, this was like ninth grade. I didn’t, I had all these fucking teachers telling me to do these, like, still lifes of fruit, like a vase with flowers and I hated it. And I had this one teacher tell me, “Just draw what you want to draw.” So I did, like, a popsicle man pushing a cart, but he’s a skeleton, you know. I put him in front of, like, a produce market on 23rd and Mission and that’s when my creativity flourished. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">At what point did young George, who used to draw and then eventually went to high school, when did he claim the title of an artist? When did you see yourself as such? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">I still don’t like considering myself an artist. I just consider myself a painter. It’s fine to be called an artist, but I feel weird about, like, giving yourself that title. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So you not an artist, a painter, and and you walked in today with this beautiful piece that you did with a ballpoint pen. It’s beautiful, black and white, a 1937 Chevy bomber.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> yeah, yeah, \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">..in front of a panaderia. This piece, that’s not painting, and so you’re still not an artist?\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a drawing. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a drawing?! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Come on! \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">A ballpoint pen drawing. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You went through two ballpoint pens in making this drawing? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I did, yeah. I like to just work with whatever I got laying around, you know, and I think that’s important for a lot of people that create. You don’t need a $50 set of acrylic paint. You don’t need a canvas. Pick up a piece of cardboard or a piece of plywood off the street and just draw on it, or pick up a Sharpie and draw something on a wall. I think once people break through that boundary of being like, oh you know, I don’t have the right supplies or this or that, you can start rolling from there, you know. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I love it. I was going to ask for some words of wisdom for the creatives out there, but that’s it: just create. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> So you’re a member of the ILWU, the International Longshore Workers Union. Talk to us about how that influences your creative practice. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> Being right on the waterfront under these huge cranes and trucks and machines and all of that’s super inspirational to me. Also, being up at like 4 or 5 in the morning, you see all different kinds of crazy shit on your way to work. And all of that plays a role in inspiration, you know, crazy sunrises and trains and freeways. And I take parts from my day to day surroundings and put them into my paintings at the end of the day. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Was it a big deal to get into the ILWU because from what I understood, like you can only get in if you have a relative in. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Well my dad’s right hand man for a long time, for a number of years, worked with my father. He put his name on the list in ‘99. They did uh… off-the-street hires, and he didn’t get a call until mid 2000, like ‘12, ‘10. When he became registered he got an interest card and he passed that along to me. So that was how I got in there. You know it’s been a, it’s a blessing. You know, have the benefits and the security. It’s a good gig. I feel lucky to be down there. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">You posted on Instagram about the the local chapter passing a resolution calling for a cease fire in Gaza?\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Can you talk about how organizing that came to be? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, it’s long overdue. In the past, our union has stood steadfast with dismantling apartheid in South Africa. And, we always stick up for, you know, the workers that get the lower end of the stick and the people that- oppressed people around the world. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our chairman of the Young Workers Committee, Bo Logo, you need to be at a certain level of seniority within the union to push forward a resolution, and he has that position. So he drafted up the resolution and pushed it forward, and it passed unanimously. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s a big deal! \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">And we, to my knowledge, are the only local that pushed forward a resolution for the ceasefire. And we’ve always been kind of more the-we’ve been more militant and radical here in the Bay area. And this is where, this is where the longshoremen started, you know. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">During the general strike. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> General strike, a number of ports along the West Coast, you know, went on strike. And we… we were founded in ‘37. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> It makes sense that the I-W-L-U… Sorry.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, ILWU, yeah.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> it’s hard to roll off the tongue. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">But, yeah. You know, they were so staunchly opposed to South African apartheid because in the 30s, not staunchly, it was a battle, but they were about integration when a lot of other unions weren’t. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah and a lot of the African Americans, you know, were brought in to scab, scab and to take the work over. And, Harry bridges said, look, if if we all come together, we’re all going to work together. We’re all workers, and, we’re going to get benefits and we’re going to get what we want. His promise was at the end of the day, there’d be a Black guy and a white guy on the dock together. And that’s what, you know, that was the start of the integration. And, today, my union’s 85% African-American. Yeah, we got a rich history. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We did a march on Market Street with the farm workers during the grape strike. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> In the 60s? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, in the 60s, our drill team met Martin Luther King at the airport and provided a security for him when he came to visit. We are super involved with the Black Panthers and um…\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">A couple of years ago, you guys gave Angela Davis, like, honorary status. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, yeah, yeah, our sister, Angela Davis, she’s an honorary member. Danny Glover was inducted recently. So there’s all this history within the union. And, when I got my letter in the mail for my safety training and my drug test and everything it was like a dream come true. I couldn’t think of a better union to be part of. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Also sounds like you have this like deep responsibility to others and to the city, in the land and the people. And I feel like that kind of shows up in the work you do to restore, like classic signs in the mission, like I’m thinking about the iconic Ben Davis mural, by Arik’s, or it was that Arik’s Supply Co before, they had an electrical fire and burned down. Can you talk about what led you to restore that mural? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t think we’re the first to restore it. I restored it with a friend of mine, Charlie. But it’s kind of our civic duty, you know. We think of it as, like, community service. So, you know, driving by it and seeing that, how it was, it needed to be fixed. And it’s been holding up pretty good. We’ve done it twice. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">When did you first do it, in 2016?\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> Sometime around then. I can’t remember the exact year, but we went down there early in the morning with a drop cloth and a ladder, and we didn’t want an audience. We wanted to get in and out as fast as possible. So we started early, but we had people thanking us and offering to buy us beer and whatever. And it felt good, you know, doing something like that for the neighborhood. And we didn’t expect anything in return from it. We just love that sign. We’ve seen it for so long that… It almost felt like it was… It was like a mandatory thing for us to do. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You mentioned folks were hitting the horn and offering to buy you beer. Like for folks who don’t know, why is this sign so significant to Frisco kids? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s on the corner of Mission and Valencia, right where Mission and Valencia butt into each other. But that gorilla has been there ever, you know, it’s been there as long as I’ve been alive. And he’s grinning at you, and, it’s a symbol of resilience and resistance and in my opinion, you know, like a fading image of the working class here in San Francisco. And, it’s a killer sign. Glad that it’s still there. It’s a church now, I think. Did you see that? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I don’t know if you know this, but the church owners said to the bar, bar owners next door that they will keep the mural\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Cool. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> They’re not going to touch it because they understand it has important value. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it’s our savior, Ben Davis. Right? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Our Lord and Savior. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What was your relationship like with the, with the brand? When did you start rocking the gear? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> We went out and bought Ben Davis shirts and like fifth or sixth grade, like me and a group of my friends because, my, my older, my friend’s older brother would wear it and we thought it was so cool. You know, we love striped Ben Davis shirts with the… the little zipper that came down on the, you know, with the collar. We all would wear Ben Davis to school. The school decided we can’t wear it, you can’t wear your Ben Davis no more because it’s, uh, street gang clothing.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If I can remember correctly, a group of our dads went, went down there and talked to school and said, there’s no way you guys make them… can’t make them wear it. Where? Like, my friend’s dad was a muffler guy and he wore it. And my other friend’s dad was the janitor at the school and he wore it. So it was like, this has nothing to do with that, you know? So we won. We won our right to wear Ben Davis. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s beautiful. That’s what my, you know, fighting the system at a young age. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’ve been wearing it ever since. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The process of hand painting something. Why is that important to you? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s not cookie cutter, printed out on a printer or vinyl banner and you see so much of that now. Everything’s so digitalized now. So the importance of a hand-painted sign is it has character. You know, lines aren’t perfect. There’s drips. There’s paint on the sidewalk, You know.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> The texture!\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s texture. There’s years of, you know, oh there’s been someone leaning against it in this corner so there’s a mark on it now. And you don’t get that with a vinyl banner. The sun, the sun will end up destroying it, and then it’ll be flapping there and…the signs really hold a lot of value, you know. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> You pay a lot of attention to preserving technique, preserving culture through signs, iconography. I’m wondering, is there someone or a group of people you’re trying to pass your skills onto? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s just part of being from the city and growing up here. And, anyone that wants to pick up a brush and learn and, you know, just do it. I’m happy to teach you. I’ll show you as much as I know, you know. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> But I guess it’s not only just like the technique. It’s like you’re… maybe you’re teaching people like, a perspective, like a way to go about your business. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. And I just kind of try to show, this sign’s been around since the 40s or the 50. So let’s preserve it. But I also don’t, you know, I’m not, I’m not here to tell people what to do either so… \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> I get that. Yeah, yeah. Do you have your eyes set on another sign? I mean, I know you also take care of the Lucca’s Ravioli one. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it got graffitied on, so we touch that up. All these places were like places that I’d go and walk to with my mom when I was a little kid. You know, my brother in the stroller. And I’d be walking along, and I just like keeping an eye on things. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> What about, I guess, can I volunteer you one, put it on your radar? It’s that burger joint on mission, but over in the Excelsior, like on Silver. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, you’re talking about “Joe Grinds His Fresh Chuck Daily.” Cable Car Joe’s? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. Like that needs some love. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton-Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, that sign was too cool. Yeah. I never even ate a burger in there because we were when we were kids. They’re like, oh, those burgers are like 15 bucks. You know, when you’re young, you want to, like, buy some weed and like a 40, and you’d probably going to end up, like, splitting a burrito with three other people or something. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, you got to maximize.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Priorities. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, yeah.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you for sharing that. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. Thank you. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Much appreciation to George Crampton Glassanos for bringing us into your world. For real tho! You drove us around in your truck and gave us a tour of basically your hall of fame… of murals. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’re itching to see George’s work in person, I highly recommend you get yourself to 24th street or Mission & 18th. He’s got a bunch of pieces up on the walls. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And to keep up with him online, his Instagram handle is @paintergeorge415\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This episode was hosted by Marisol Medina-Cadena and myself, Pendarvis Harshaw. It was produced by Marisol Medina-Cadena. Chris Hambrick is our fierce editor. Christopher Beale is our wizard of an engineer. Sheree Bishop is the Rightnowish production intern. Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Get out and see some art, hit the streets y’all. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED Production.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace.\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\">\u003c/p>\n\u003cp>\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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"excerpt": "Let George Crampton Glassanos tell it, he isn't an artist. He's a painter.",
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"title": "George Crampton Glassanos has Pendletons, Paint and Passion | KQED",
"description": "George Crampton Glassanos says he isn't an artist, he's a painter. Despite this assertion, his work is full of eye-catching colors and symbols representative of San Francisco's Mission district culture. It's born out of both a need to serve others, and George's personal urge to create. He's also driven by the need to advocate for the rights of working class people locally and abroad. This all adds to his paintings and drawings, but don't call it artwork. He recently stopped by KQED's headquarters to share a bit of his story, then he took us on a short ride to see a few of his hand painted signs and murals.",
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"socialDescription": "George Crampton Glassanos says he isn't an artist, he's a painter. Despite this assertion, his work is full of eye-catching colors and symbols representative of San Francisco's Mission district culture. It's born out of both a need to serve others, and George's personal urge to create. He's also driven by the need to advocate for the rights of working class people locally and abroad. This all adds to his paintings and drawings, but don't call it artwork. He recently stopped by KQED's headquarters to share a bit of his story, then he took us on a short ride to see a few of his hand painted signs and murals.",
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"headline": "George Crampton Glassanos has Pendletons, Paint and Passion",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Let \u003ca href=\"https://www.instagram.com/paintergeorge415/\" target=\"_blank\" rel=\"noopener\">George Crampton Glassanos\u003c/a> tell it, he isn’t an artist.\u003c/p>\n\u003cp>Despite this, he’s painted numerous signs and murals throughout San Francisco’s Mission district— including one depicting a fly, black, droptop lowrider in front of the once beloved eatery, \u003ca href=\"https://www.doggiediner.info/\">Doggie Diner\u003c/a> and another of the legendary, charismatic gorilla logo of union-made work clothing company, Ben Davis.\u003c/p>\n\u003cp>George is firm on this: he isn’t an artist, he’s a painter.\u003c/p>\n\u003cfigure id=\"attachment_13953121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13953121 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-800x600.jpg\" alt=\"Person in plaid button-up shirt standing in front of the Ben Davis sign, where the iconic logo of a yellow gorilla with a charismatic smile serves as the main image, and the words "World's Toughest Work Clothing" sits atop the sign. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GeorgeCramptonGlassanos_PhotosByPendarvisH_3-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Harry Crampton Glassanos standing in front of the Ben Davis sign he restored. (Pendarvis Harshaw/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>His work, full of eye-catching colors and symbols representative of the Mission’s culture, is utilitarian in nature. It’s born out of both a need to serve others, and George’s personal urge to create.\u003c/p>\n\u003cp>Raised on Lexington and San Carlos streets, George was an imaginative kid. His parents introduced him to the creative process and gave him basic art tools and a foundation to express himself (including comic books like \u003ca href=\"https://www.youtube.com/watch?v=lTYzqHRqRQU\">Love and Rockets\u003c/a>). That coupled with his memories of frequenting eateries and hanging out with friends, serves as the backdrop to his work.\u003c/p>\n\u003cp>Even when he wasn’t outside, George’s unique perspective on his neighborhood was further tailored by watching the world through a window overlooking 18th and Valencia streets. From that perch he began to create.\u003c/p>\n\u003cfigure id=\"attachment_13953179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-800x533.jpg\" alt=\"A person wearing sunglasses holds up a jacket with "International Longshoremen's Warehousemen's Union" written on it.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/231128-GeorgeCramptonGlassanos-09-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Harry Crampton Glassanos holds up his International Longshoremen’s and Warehouse’s Union (ILWU) jacket in front of a mural he painted in Clarion Alley in San Francisco’s Mission District on Nov. 28, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years later, George is a proud member of \u003ca href=\"https://www.ilwu.org/\" target=\"_blank\" rel=\"noopener\">The International Longshoremen’s and Warehousemen’s Union (ILWU).\u003c/a> He gets creative inspiration from getting up early to take in the sunrise and listen to the birds. He’s also driven by the need to advocate for the rights of working class people, locally and abroad. This all adds to his paintings and drawings, but don’t call it artwork.\u003c/p>\n\u003cp>He recently stopped by KQED’s headquarters to share a bit of his story, then he took us on a short ride to see a few of his hand painted signs and murals— his work.\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=KQINC8150831467\" 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> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey, what’s up Rightnowish listeners. It’s the dream team Pendarvis Harshaw\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena, host: \u003c/b>\u003cspan style=\"font-weight: 400\">and Marisol Medina-Cadena!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Today’s episode has us locked in The Mission, starting at a parking lot off 18th and Valencia. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s where I caught up with painter\u003c/span> \u003cspan style=\"font-weight: 400\">George Crampton Glassanos putting the final touches on his latest mural. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That parking lot is near and dear to George because it’s the main intersection where he grew up \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">This street’s completely changed. You know, it’s like you’re in the Marina now or something. It’s completely wacky. I don’t think anyone ever thought it was going to be like this when I was a kid, you know? Growing up right here, Valencia Street was no man’s land, given the few auto body shops. But it was like a lot of gas stations, auto, uh, used car lots, a lot of appliance stores. Which is cool that we’re painting this mural on, on the Cherin’s, in the Cherin’s parking lot. Cherin’s has been here since 1892. They sell refrigerators and washing machines and stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I remember this whole street just being like, a crazy mix of working class people, you know, different families. There was a guy next door to us that lived on the ground floor, corner apartment, right there on Lexington. And his family came up from the South during World War II to work in the shipyards. We had all different types of neighbors from different countries, you know. It wasn’t just Latinos. There’s a lot of Asian folks and I do remember Eastern Europeans in the neighborhood. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">George’s memories of the way the neighborhood was back iin the 90s, find their way into his work. Living in the bay, where murals are a-plenty, I think we residents take these large scale works of art for granted. They become like wallpaper. But when you stop to really look at the stories these walls tell, you can learn a lot about a place, its history and the people who came before us.\u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassnos:\u003c/b> \u003cspan style=\"font-weight: 400\">To be able to paint right here on this corner has been a real treat, completely different from painting at home, you know. Painting outside, you you’re on a ladder and there’s cars flying by and people walking by, and it’s a whole other experience than painting on a canvas at home. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">George and his friend named the mural the “Four-Fifteenth Dimension.” It portrays a night out at a drive-in movie theater. Parked lowriders face a projection screen. And in each corner is a depiction of different Mission institutions like Doggie Diner, Hunt’s Donuts, and the 500 Club. It looks like a scene straight out of a comic book.\u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b> \u003cspan style=\"font-weight: 400\">I wanted to stick with, like, the theme of, like, new and old and, like, ancient civilizations fitting in with, like, modern or, you know, 1980’s burger stand. So I put the pyramid in just to kind of pay respects to, you know, the people that were here before us. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We’ll hear more about George Crampton Glassanos’ work and the message of caretaking that he’s spreading, right after this message.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I thought we could start by just talking about your… your threads. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Because every time I see you in the mission, you’re always wearing really cool outfits. Like jackets. \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> So what are you wearing today? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">I wore a Pendleton. I dressed up because I wear my work clothes all week long, so when the weekend rolls around, I like to put on a nice outfit. It’s also the, you know, it’s that time of year it’s cold out, and Pendleton keeps you warm. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Well, back in November, when we first started talking to you, I caught up with you and your friend, 18th and Valencia. \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Painting that mural. It’s finished now. So what’s the reception been like?\u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">The other day I drove by it after high school got out, up at Mission High school. And there’s a big group of kids in there, you know, with their backpacks and skateboards, and they were all checking it out, so that makes me feel good, driving by and seeing the youth checking it out. That’s who it’s for: it’s for the kids. And, you know, my neighbors that are still there on that street that I grew up on a lot of… a lot of people left. A lot of people got pushed out. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> Why is that street corner significant to you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> I have memories of standing in the window as a kid, and I came up to, like, right at right to, like, the window sill when I was a kid. So I’d sit there in that fucking window for hours, and I’d look at cars driving by on the street, and my mom was like, “I couldn’t figure out what your obsession was with cars.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And we chewed on the window sill and, you know, this, like, lead paint, okay?And so, I just sit up there in that window, chewing on the window sill, and I could see that parking lot from my window. And across from the parking lot there was another, empty lot. It’s a condo now, but that was a used car dealership.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So I had a whole view of that street, and there was a puddle that would form across the street from my house. And this was back in the day, so they had rush hour. They make you move your car at a certain time in the afternoon. It was like commute hours, so there’d be no cars on 18th. It was like four lanes, two lanes going down and two lanes going up. And you’d watch cars come tearing down the street and hit this puddle and it would soak people on the sidewalk. So that was our entertainment, you know, we’d sit up there and we’d laugh at people getting splashed. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> That’s very Looney Tunes behavior. \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Looney, looney. Yeah, Looney Tune behavior. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">All of those memories hold significance to me. And part of growing up in the neighborhood and, being able to paint in that parking lot, it’s crazy. We were evicted out of that apartment at a certain point, but 18th Street was a big part of my upbringing, and it was such a beautiful community. All different kinds of people from every walk of life living around us really embodied what the mission used to be, you know. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">This was the 90s? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">This was the 90s. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Thank you for sharing that. That’s beautiful. Paint that picture for us, everything from the window sill to the interactions in the community.\u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Man… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And you mentioned your mother and as I understand that both of your parents are artists. \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">They are, yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. And I’m wondering, what role did they play in shaping you as an artist? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">My dad would get off of work and he’d come home and draw with us, or on the weekends we’d draw together. And, you know, my mom always encouraged art in the house. We always had art materials laying around. They didn’t stick me in front of the TV, they stuck me in front of a drawing pad. Which I hated, you know, because I, you know, you’d go to school and I would be talking about TV and stuff, but now I’m very grateful for it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You hear that, parents?\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> And then on top of providing the resources, were there any specific techniques that they showed you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, my dad would sit down with me and show me how to, like, crosshatch and shade. And, I remember my mom showing me, shad— like, how to shadow, like, “look a lamp is pointed at this, uh, cylinder. Your shadow is going to come off this side.” So they taught me stuff like that. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My father had a huge comic book collection when I was a kid. Every Friday after work, he’d come home, we’d walk up Mission from 18th Street to 23rd. There’s a comic book shop on 23rd and Bartlett. He’d grab a stack of comic books, and that’s where I got a lot of inspiration from to, you know, like, underground comics and Spain Rodriguez, R. Crumb. My mom had a big collection of the Hernandez brothers comics called \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Love and Rockets\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When they were like, doing something in the other room, I’d get, I’d grab the ladder and go up to the shelf and pull down on R. Crumb book and run off into my room. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I like that whole, that whole underground comic scene, but then combining that with, like, everyday life in the neighborhood, you know, like cars cruising on Mission, Muni busses. That’s when it, like, it clicked for me and I was like, this is what I want to draw and paint. And then from then on, I was like, you know, coming up with wacky scenarios in my head, probably all that lead paint I chewed. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I was, it goes back to the window. I was, I promise you, I was thinking that it goes back to the kid in the window, you know? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It does, you know? Yeah, I like having a good time with it. Like painting that mural on 18th Street. We were just joking with each other all day long, coming up with crazy scenarios and then painting them. We didn’t map anything out. We kind of just showed up there and started painting, and that’s what we came up with. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I got to give my high school teachers a lot of credit too, because, they played, I went to School of the Arts here in San Francisco, and they played a huge role in, you know, kind of shaping me and teaching me.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was stuck in a rut, you know, this was like ninth grade. I didn’t, I had all these fucking teachers telling me to do these, like, still lifes of fruit, like a vase with flowers and I hated it. And I had this one teacher tell me, “Just draw what you want to draw.” So I did, like, a popsicle man pushing a cart, but he’s a skeleton, you know. I put him in front of, like, a produce market on 23rd and Mission and that’s when my creativity flourished. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">At what point did young George, who used to draw and then eventually went to high school, when did he claim the title of an artist? When did you see yourself as such? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">I still don’t like considering myself an artist. I just consider myself a painter. It’s fine to be called an artist, but I feel weird about, like, giving yourself that title. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> So you not an artist, a painter, and and you walked in today with this beautiful piece that you did with a ballpoint pen. It’s beautiful, black and white, a 1937 Chevy bomber.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> yeah, yeah, \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">..in front of a panaderia. This piece, that’s not painting, and so you’re still not an artist?\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a drawing. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a drawing?! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Come on! \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">A ballpoint pen drawing. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You went through two ballpoint pens in making this drawing? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I did, yeah. I like to just work with whatever I got laying around, you know, and I think that’s important for a lot of people that create. You don’t need a $50 set of acrylic paint. You don’t need a canvas. Pick up a piece of cardboard or a piece of plywood off the street and just draw on it, or pick up a Sharpie and draw something on a wall. I think once people break through that boundary of being like, oh you know, I don’t have the right supplies or this or that, you can start rolling from there, you know. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I love it. I was going to ask for some words of wisdom for the creatives out there, but that’s it: just create. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> So you’re a member of the ILWU, the International Longshore Workers Union. Talk to us about how that influences your creative practice. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> Being right on the waterfront under these huge cranes and trucks and machines and all of that’s super inspirational to me. Also, being up at like 4 or 5 in the morning, you see all different kinds of crazy shit on your way to work. And all of that plays a role in inspiration, you know, crazy sunrises and trains and freeways. And I take parts from my day to day surroundings and put them into my paintings at the end of the day. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Was it a big deal to get into the ILWU because from what I understood, like you can only get in if you have a relative in. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Well my dad’s right hand man for a long time, for a number of years, worked with my father. He put his name on the list in ‘99. They did uh… off-the-street hires, and he didn’t get a call until mid 2000, like ‘12, ‘10. When he became registered he got an interest card and he passed that along to me. So that was how I got in there. You know it’s been a, it’s a blessing. You know, have the benefits and the security. It’s a good gig. I feel lucky to be down there. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">You posted on Instagram about the the local chapter passing a resolution calling for a cease fire in Gaza?\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Can you talk about how organizing that came to be? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, it’s long overdue. In the past, our union has stood steadfast with dismantling apartheid in South Africa. And, we always stick up for, you know, the workers that get the lower end of the stick and the people that- oppressed people around the world. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our chairman of the Young Workers Committee, Bo Logo, you need to be at a certain level of seniority within the union to push forward a resolution, and he has that position. So he drafted up the resolution and pushed it forward, and it passed unanimously. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s a big deal! \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">And we, to my knowledge, are the only local that pushed forward a resolution for the ceasefire. And we’ve always been kind of more the-we’ve been more militant and radical here in the Bay area. And this is where, this is where the longshoremen started, you know. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">During the general strike. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> General strike, a number of ports along the West Coast, you know, went on strike. And we… we were founded in ‘37. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> It makes sense that the I-W-L-U… Sorry.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, ILWU, yeah.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> it’s hard to roll off the tongue. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">But, yeah. You know, they were so staunchly opposed to South African apartheid because in the 30s, not staunchly, it was a battle, but they were about integration when a lot of other unions weren’t. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah and a lot of the African Americans, you know, were brought in to scab, scab and to take the work over. And, Harry bridges said, look, if if we all come together, we’re all going to work together. We’re all workers, and, we’re going to get benefits and we’re going to get what we want. His promise was at the end of the day, there’d be a Black guy and a white guy on the dock together. And that’s what, you know, that was the start of the integration. And, today, my union’s 85% African-American. Yeah, we got a rich history. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We did a march on Market Street with the farm workers during the grape strike. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> In the 60s? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, in the 60s, our drill team met Martin Luther King at the airport and provided a security for him when he came to visit. We are super involved with the Black Panthers and um…\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">A couple of years ago, you guys gave Angela Davis, like, honorary status. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, yeah, yeah, our sister, Angela Davis, she’s an honorary member. Danny Glover was inducted recently. So there’s all this history within the union. And, when I got my letter in the mail for my safety training and my drug test and everything it was like a dream come true. I couldn’t think of a better union to be part of. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Also sounds like you have this like deep responsibility to others and to the city, in the land and the people. And I feel like that kind of shows up in the work you do to restore, like classic signs in the mission, like I’m thinking about the iconic Ben Davis mural, by Arik’s, or it was that Arik’s Supply Co before, they had an electrical fire and burned down. Can you talk about what led you to restore that mural? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t think we’re the first to restore it. I restored it with a friend of mine, Charlie. But it’s kind of our civic duty, you know. We think of it as, like, community service. So, you know, driving by it and seeing that, how it was, it needed to be fixed. And it’s been holding up pretty good. We’ve done it twice. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">When did you first do it, in 2016?\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> Sometime around then. I can’t remember the exact year, but we went down there early in the morning with a drop cloth and a ladder, and we didn’t want an audience. We wanted to get in and out as fast as possible. So we started early, but we had people thanking us and offering to buy us beer and whatever. And it felt good, you know, doing something like that for the neighborhood. And we didn’t expect anything in return from it. We just love that sign. We’ve seen it for so long that… It almost felt like it was… It was like a mandatory thing for us to do. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You mentioned folks were hitting the horn and offering to buy you beer. Like for folks who don’t know, why is this sign so significant to Frisco kids? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s on the corner of Mission and Valencia, right where Mission and Valencia butt into each other. But that gorilla has been there ever, you know, it’s been there as long as I’ve been alive. And he’s grinning at you, and, it’s a symbol of resilience and resistance and in my opinion, you know, like a fading image of the working class here in San Francisco. And, it’s a killer sign. Glad that it’s still there. It’s a church now, I think. Did you see that? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> I don’t know if you know this, but the church owners said to the bar, bar owners next door that they will keep the mural\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Cool. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> They’re not going to touch it because they understand it has important value. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it’s our savior, Ben Davis. Right? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Our Lord and Savior. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What was your relationship like with the, with the brand? When did you start rocking the gear? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> We went out and bought Ben Davis shirts and like fifth or sixth grade, like me and a group of my friends because, my, my older, my friend’s older brother would wear it and we thought it was so cool. You know, we love striped Ben Davis shirts with the… the little zipper that came down on the, you know, with the collar. We all would wear Ben Davis to school. The school decided we can’t wear it, you can’t wear your Ben Davis no more because it’s, uh, street gang clothing.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If I can remember correctly, a group of our dads went, went down there and talked to school and said, there’s no way you guys make them… can’t make them wear it. Where? Like, my friend’s dad was a muffler guy and he wore it. And my other friend’s dad was the janitor at the school and he wore it. So it was like, this has nothing to do with that, you know? So we won. We won our right to wear Ben Davis. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s beautiful. That’s what my, you know, fighting the system at a young age. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’ve been wearing it ever since. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The process of hand painting something. Why is that important to you? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s not cookie cutter, printed out on a printer or vinyl banner and you see so much of that now. Everything’s so digitalized now. So the importance of a hand-painted sign is it has character. You know, lines aren’t perfect. There’s drips. There’s paint on the sidewalk, You know.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> The texture!\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s texture. There’s years of, you know, oh there’s been someone leaning against it in this corner so there’s a mark on it now. And you don’t get that with a vinyl banner. The sun, the sun will end up destroying it, and then it’ll be flapping there and…the signs really hold a lot of value, you know. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> You pay a lot of attention to preserving technique, preserving culture through signs, iconography. I’m wondering, is there someone or a group of people you’re trying to pass your skills onto? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s just part of being from the city and growing up here. And, anyone that wants to pick up a brush and learn and, you know, just do it. I’m happy to teach you. I’ll show you as much as I know, you know. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> But I guess it’s not only just like the technique. It’s like you’re… maybe you’re teaching people like, a perspective, like a way to go about your business. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. And I just kind of try to show, this sign’s been around since the 40s or the 50. So let’s preserve it. But I also don’t, you know, I’m not, I’m not here to tell people what to do either so… \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\"> I get that. Yeah, yeah. Do you have your eyes set on another sign? I mean, I know you also take care of the Lucca’s Ravioli one. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, it got graffitied on, so we touch that up. All these places were like places that I’d go and walk to with my mom when I was a little kid. You know, my brother in the stroller. And I’d be walking along, and I just like keeping an eye on things. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> What about, I guess, can I volunteer you one, put it on your radar? It’s that burger joint on mission, but over in the Excelsior, like on Silver. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, you’re talking about “Joe Grinds His Fresh Chuck Daily.” Cable Car Joe’s? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Yes. Like that needs some love. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton-Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, that sign was too cool. Yeah. I never even ate a burger in there because we were when we were kids. They’re like, oh, those burgers are like 15 bucks. You know, when you’re young, you want to, like, buy some weed and like a 40, and you’d probably going to end up, like, splitting a burrito with three other people or something. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, you got to maximize.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Priorities. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, yeah.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you for sharing that. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>George Crampton Glassanos: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. Thank you. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Much appreciation to George Crampton Glassanos for bringing us into your world. For real tho! You drove us around in your truck and gave us a tour of basically your hall of fame… of murals. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’re itching to see George’s work in person, I highly recommend you get yourself to 24th street or Mission & 18th. He’s got a bunch of pieces up on the walls. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And to keep up with him online, his Instagram handle is @paintergeorge415\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This episode was hosted by Marisol Medina-Cadena and myself, Pendarvis Harshaw. It was produced by Marisol Medina-Cadena. Chris Hambrick is our fierce editor. Christopher Beale is our wizard of an engineer. Sheree Bishop is the Rightnowish production intern. Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Get out and see some art, hit the streets y’all. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED Production.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace.\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\">\u003c/p>\n\u003cp>\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": "The Wattis Institute Hires Ballroom Marfa's Daisy Nam as Director",
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"content": "\u003cp>Daisy Nam, the current director of Ballroom Marfa in Texas, has been hired as the new director and chief curator of the Wattis Institute for Contemporary Arts at \u003ca href=\"https://www.kqed.org/arts/tag/california-college-of-the-arts\">California College of the Arts\u003c/a> (CCA) in San Francisco.\u003c/p>\n\u003cp>Since 2020, Nam has served at the nationally renowned \u003ca href=\"https://www.ballroommarfa.org/\">Ballroom Marfa\u003c/a>, in Marfa, Tex., first as a curator and, in 2022, as its director. She replaces the Wattis’ interim director Jeanne Gerrity, who stepped in after last year’s departure of longtime director Anthony Huberman.\u003c/p>\n\u003cp>[aside postID='arts_13953032']As for the leap from a small town in Texas with a population of 1,788 to a large city over 400 times the size, Nam — who previously held arts positions at Harvard, Columbia University and the Guggenheim Museum in New York — isn’t too worried. \u003c/p>\n\u003cp>“One thing that’s really special about being in such a remote place is sharing that landscape with artists and seeing them respond to what they’re maybe not used to,” she says. “So many artists live in big cities, but it reminds me that artists respond to many different contexts. I’m sure that the artists I work with will want to respond to the city of San Francisco as well.”\u003c/p>\n\u003cp>In a statement, recently appointed CCA president David Howse said that Nam’s “impressive track record, deep understanding of contemporary art and commitment to artistic innovation align perfectly with the Institute’s mission. I am confident that under her guidance, the Wattis will continue to be a pivotal space for artistic exploration and discourse. \u003c/p>\n\u003cfigure id=\"attachment_13877081\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CCA-Montgomery-Campus-Entrance.jpg\" alt=\"As classes move online, college students are questioning the value of their education.\" width=\"1000\" height=\"664\" class=\"size-full wp-image-13877081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CCA-Montgomery-Campus-Entrance.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CCA-Montgomery-Campus-Entrance-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CCA-Montgomery-Campus-Entrance-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CCA-Montgomery-Campus-Entrance-768x510.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">California College of the Arts will expand in 2024, leading to a relocation of its Wattis Institute. \u003ccite>(Courtesy CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nam comes to the Wattis during a time of transition. Later this year, the space will open in a new location as part of a CCA expansion project led by the local architecture firm Studio Gang.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The new Wattis’ size will be “clearly much smaller, footprint-wise,” than the current Wattis, which is situated blocks away from campus, Nam says. But she expects new energy to the space once it’s “in the center of art-making,” citing its new proximity to students and their studios. \u003c/p>\n\u003cp>As for any changes the general public can expect from Wattis’ programming under her leadership, Nam offers that the Wattis has sometimes been more conceptual than she herself will likely be once she enters the role. \u003c/p>\n\u003cp>[aside postID='arts_13925875']“I think there’s a time and a place for that type of work. For me, though, I tend to work with artists who are more connected to the world in many ways, responding to what’s happening in the world right now,” she says. As an example, she mentions that at Ballroom Marfa currently is an installation by Guadalupe Maravilla, “and he’s working with ideas around migration in Texas.” Nam plans to continue to engage with immigration in upcoming exhibitions at the Wattis. \u003c/p>\n\u003cp>As for the greater Bay Area art scene, Nam is excited to join what she calls “a new chapter” in Bay Area art, with new curators, like her, who’ve moved to San Francisco. Having grown up in Los Angeles, and with a sister who went to UC Berkeley, she names the Cantor Arts Center at Stanford, KADIST in San Francisco, the small Chinatown gallery Micki Meng and others as examples of the vibrant scene here. \u003c/p>\n\u003cp>CCA was founded in the East Bay in 1907; its alumni include Robert Arneson, Robert Bechtle, Susan O’Malley and David Ireland. It enrolls approximately 1,500 students in San Francisco’s Design District, between Potrero Hill and Mission Bay. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nam’s first day at Wattis is April 1. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Daisy Nam, the current director of Ballroom Marfa in Texas, has been hired as the new director and chief curator of the Wattis Institute for Contemporary Arts at \u003ca href=\"https://www.kqed.org/arts/tag/california-college-of-the-arts\">California College of the Arts\u003c/a> (CCA) in San Francisco.\u003c/p>\n\u003cp>Since 2020, Nam has served at the nationally renowned \u003ca href=\"https://www.ballroommarfa.org/\">Ballroom Marfa\u003c/a>, in Marfa, Tex., first as a curator and, in 2022, as its director. She replaces the Wattis’ interim director Jeanne Gerrity, who stepped in after last year’s departure of longtime director Anthony Huberman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As for the leap from a small town in Texas with a population of 1,788 to a large city over 400 times the size, Nam — who previously held arts positions at Harvard, Columbia University and the Guggenheim Museum in New York — isn’t too worried. \u003c/p>\n\u003cp>“One thing that’s really special about being in such a remote place is sharing that landscape with artists and seeing them respond to what they’re maybe not used to,” she says. “So many artists live in big cities, but it reminds me that artists respond to many different contexts. I’m sure that the artists I work with will want to respond to the city of San Francisco as well.”\u003c/p>\n\u003cp>In a statement, recently appointed CCA president David Howse said that Nam’s “impressive track record, deep understanding of contemporary art and commitment to artistic innovation align perfectly with the Institute’s mission. I am confident that under her guidance, the Wattis will continue to be a pivotal space for artistic exploration and discourse. \u003c/p>\n\u003cfigure id=\"attachment_13877081\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CCA-Montgomery-Campus-Entrance.jpg\" alt=\"As classes move online, college students are questioning the value of their education.\" width=\"1000\" height=\"664\" class=\"size-full wp-image-13877081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CCA-Montgomery-Campus-Entrance.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CCA-Montgomery-Campus-Entrance-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CCA-Montgomery-Campus-Entrance-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CCA-Montgomery-Campus-Entrance-768x510.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">California College of the Arts will expand in 2024, leading to a relocation of its Wattis Institute. \u003ccite>(Courtesy CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nam comes to the Wattis during a time of transition. Later this year, the space will open in a new location as part of a CCA expansion project led by the local architecture firm Studio Gang.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco resident and \u003ca href=\"https://www.kpbs.org/news/arts-culture/2007/07/21/john-waters-the-sultan-of-sleaze-speaks\">sultan of sleaze\u003c/a> John Waters is \u003ca href=\"https://www.worldofreel.com/blog/2024/2/26/aubrey-plaza-set-to-star-in-john-waters-liarmouth\">reported\u003c/a> to soon begin production on his first feature film in 20 years — with Aubrey Plaza in the lead role.\u003c/p>\n\u003cp>\u003cem>Liarmouth\u003c/em>, based on Waters’ 2022 “feel-bad romance” novel of the same name, follows a duplicitous scammer, Marsha Sprinkle, who alienates her boyfriend and immediate family through awful, criminal behavior.\u003c/p>\n\u003cp>Plaza told \u003cem>Dazed\u003c/em> in 2022 that she was \u003ca href=\"https://www.dazeddigital.com/film-tv/article/57276/1/aubrey-plaza-emily-the-criminal-interview\">throwing herself at Waters’ feet to play Marsha\u003c/a>: “I emailed him immediately and said, ‘You better let me audition for you. I even look like the girl on the cover,’” she said. “I’ll do anything to get the part. And I mean \u003cem>anything\u003c/em>.”\u003c/p>\n\u003cp>[aside postID='arts_13951325']Filming for \u003cem>Liarmouth\u003c/em> will begin later this year in Waters’ hometown of Baltimore.\u003c/p>\n\u003cp>Waters, a \u003ca href=\"https://oaklandside.org/2022/10/07/thee-stork-club-new-bar-opening-oakland/\">spiritual godfather to Thee Stork Club\u003c/a> and annual \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">emcee at the Mosswood Meltdown music festival\u003c/a> in Oakland, had planned to begin filming in 2022 before the Hollywood strikes by actors and screenwriters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Known for films like \u003cem>Pink Flamingos\u003c/em>, \u003cem>Polyester\u003c/em> and \u003cem>Crybaby\u003c/em>, Waters last directed a film, the Tracey Ullman-starring \u003cem>A Dirty Shame\u003c/em>, in 2004.\u003c/p>\n\n",
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"content": "\u003cp>At one-year-old \u003ca href=\"https://www.instagram.com/damansarasf/\">Damansara\u003c/a> in Noe Valley, it’s tough to choose between the Central Malaysian regional specialties on the menu, including laksa noodle soup, nasi lemak coconut rice with crispy chicken, or Dungeness crab slicked in chili sauce. But pastry obsessives will spot a special treat buried in the small plates section, simply called a curry puff. Upon closer scrutiny, there’s a note: only two per table. Never allowed for takeout. So you’ll have to come in and sit down to appreciate the details of this pastry, which features a spiralized dough, prettily crimped edge and belly full of emphatically seasoned potato.\u003c/p>\n\u003cp>Some people mistakenly call them samosas or empanadas, which annoys \u003ca href=\"https://www.kqed.org/arts/13871153/the-hustle-tracy-goh-damansara-malasian-food\">chef Tracy Goh\u003c/a>. These are curry puffs, or karipap, and “back in Malaysia, it was my favorite tea-time snack,” she says. Her family would enjoy the puffs in the late afternoon with a cup of tea, coffee or Milo chocolate malt after picking them up from local street vendors that specialized in deep-frying these crisp, golden morsels. They could be deceptively skimpy on the filling — sometimes Goh would buy what appeared to be a nice puff, then bite into mostly air.\u003c/p>\n\u003cp>Goh had never made curry puffs until after moving to San Francisco, when she missed them so desperately, she attempted to learn the “intimidating” dough. Today she makes them true to the snacks she grew up with in Malaysia, with a specific spice profile and flaky crust. But she includes a couple of concessions to San Franciscans, specifically a bigger size and a dipping sauce. She estimates hers are triple the size and stuffed to the seams. “It’s an American size and weight version of what I would like back in Malaysia,” Goh says.\u003c/p>\n\u003cfigure id=\"attachment_13953089\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953089\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-hands.jpg\" alt=\"Two hands break apart a curry puff.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-hands.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-hands-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-hands-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-hands-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-hands-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-hands-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-hands-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">One adjustment to the traditional Malaysian recipe: These puffs are bigger and have more filling. \u003ccite>(Aron Pruiett/Limitless Media, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goh toasts and grinds her own Malaysian curry blend, a long list of about 10 spices and aromatics, including tangy fenugreek and bright coriander. Along with aromatic curry leaves, those spices season a simple potato filling. Sometimes she mixes in chicken and tucks in a wedge of hard-boiled egg, but the filling should be starchy to hold in juices. (There is another version called epok epok with spicy sardines, but despite the tinned fish trend, Goh is not convinced that Noe Valley is ready yet.) The dough is typically made with margarine in Malaysia, but she prefers vegetable shortening, which keeps the fryer clean.\u003c/p>\n\u003cp>It’s the layering of the dough and the hand shaping of the pastries that make it a labor of love. Goh actually starts with two different doughs, an oil-based dough and a hot water dough, wrapping the former inside the latter, which creates the lamination or layers. Then she flattens it into a rectangle, “rolls it up like a carpet” and repeats several times, to get that spiral pattern. Finally she slices the “carpet” into round cross sections, flips each piece cut-side down and rolls them to less than 2 millimeters thick. Then you have to crimp it around the filling firm and tight, like you mean it — people who are good at pinching dumplings understand. Lightly pressing with a fork won’t work, she says. “The idea is to lock the pastry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13916794,arts_13871153']\u003c/span>Goh has tried training her team, but it’s a heartbreak when a curry puff splits open in the deep fryer. So she does all of the laminating and shaping personally, and it takes about three hours to stuff a batch of 24 curry puffs. So that’s why it’s a limited menu item, exclusively sold in house, even though guests get salty when they sell out on a busy Saturday night.\u003c/p>\n\u003cp>Finally, yes, okay, it comes with a curry sauce for dunking. Back home, Goh would snack on curry puffs simply the way they are, well seasoned and dry. But in San Francisco, she got tired of diners asking, “‘Is this supposed to come with a sauce?’” She blames the samosa confusion, which leaves them reaching for a chutney. So she hands them the same spice blend whisked into coconut milk.\u003c/p>\n\u003cp>But whether or not you choose to dunk, each puff is a small revelation: You get to crunch down through the crisp edge that’s twisted like a rope, rip into the spiralized crust that breaks into flakes and sink into the well seasoned potato with warm curry spices.\u003c/p>\n\u003cfigure id=\"attachment_13953091\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953091\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-overhead.jpg\" alt=\"Overhead view of a curry puff shows its distinctive spiral pattern.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-overhead.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-overhead-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-overhead-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-overhead-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-overhead-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-overhead-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-overhead-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">There’s a limit of two curry puffs per table, dine-in only. \u003ccite>(Aron Pruiett/Limitless Media, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curry puffs cross cultures in Southeast Asia, and you can spot different versions on other menus around San Francisco. \u003ca href=\"https://www.instagram.com/p/CzCGvfivWcd/\">Dabao Singapore\u003c/a> sometimes makes a buttery baked triangle. Many Thai restaurants make sweeter versions, like the curry puffs at \u003ca href=\"http://lersros.com/wp-content/uploads/2023/05/LERS_ROS_Dinner_Menu.pdf\">Ler Ros\u003c/a> or so-called samosas at \u003ca href=\"https://www.farmhousetogo.com/product/samosa/89\">Farmhouse Thai\u003c/a>, and \u003ca href=\"https://www.instagram.com/nari_sf/p/CrtGpcpLS53/\">Nari\u003c/a> serves a fancy puff with duck confit. They’ve even traveled to Hong Kong, where they take the form of curry pies like the tender and crumbly version you can find at \u003ca href=\"https://www.yelp.com/biz_photos/lung-fung-bakery-san-francisco?select=ZS18ukKlojooP4t8bvZqSg\">Lung Fung Bakery\u003c/a>.\u003c/p>\n\u003cp>And there are plenty of shortcuts. Curry puffs can be made with purchased curry powders, curry pastes and frozen dough, ditching the spiral, and streamlined for takeout. But they’re not so often done well and in this specific Malaysian style. “When people see the pastry, they say it’s beautiful,” Goh says. “Then they taste it, and they start coming back.”\u003c/p>\n\u003cp>\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\">\u003cbr>\n\u003cem>\u003ca href=\"https://damansarasf.com/\">Damansara\u003c/a> is open Wednesday through Sunday, 5 to 9 p.m., at 1781 Church St. in San Francisco\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At one-year-old \u003ca href=\"https://www.instagram.com/damansarasf/\">Damansara\u003c/a> in Noe Valley, it’s tough to choose between the Central Malaysian regional specialties on the menu, including laksa noodle soup, nasi lemak coconut rice with crispy chicken, or Dungeness crab slicked in chili sauce. But pastry obsessives will spot a special treat buried in the small plates section, simply called a curry puff. Upon closer scrutiny, there’s a note: only two per table. Never allowed for takeout. So you’ll have to come in and sit down to appreciate the details of this pastry, which features a spiralized dough, prettily crimped edge and belly full of emphatically seasoned potato.\u003c/p>\n\u003cp>Some people mistakenly call them samosas or empanadas, which annoys \u003ca href=\"https://www.kqed.org/arts/13871153/the-hustle-tracy-goh-damansara-malasian-food\">chef Tracy Goh\u003c/a>. These are curry puffs, or karipap, and “back in Malaysia, it was my favorite tea-time snack,” she says. Her family would enjoy the puffs in the late afternoon with a cup of tea, coffee or Milo chocolate malt after picking them up from local street vendors that specialized in deep-frying these crisp, golden morsels. They could be deceptively skimpy on the filling — sometimes Goh would buy what appeared to be a nice puff, then bite into mostly air.\u003c/p>\n\u003cp>Goh had never made curry puffs until after moving to San Francisco, when she missed them so desperately, she attempted to learn the “intimidating” dough. Today she makes them true to the snacks she grew up with in Malaysia, with a specific spice profile and flaky crust. But she includes a couple of concessions to San Franciscans, specifically a bigger size and a dipping sauce. She estimates hers are triple the size and stuffed to the seams. “It’s an American size and weight version of what I would like back in Malaysia,” Goh says.\u003c/p>\n\u003cfigure id=\"attachment_13953089\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953089\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-hands.jpg\" alt=\"Two hands break apart a curry puff.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-hands.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-hands-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-hands-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-hands-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-hands-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-hands-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-hands-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">One adjustment to the traditional Malaysian recipe: These puffs are bigger and have more filling. \u003ccite>(Aron Pruiett/Limitless Media, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goh toasts and grinds her own Malaysian curry blend, a long list of about 10 spices and aromatics, including tangy fenugreek and bright coriander. Along with aromatic curry leaves, those spices season a simple potato filling. Sometimes she mixes in chicken and tucks in a wedge of hard-boiled egg, but the filling should be starchy to hold in juices. (There is another version called epok epok with spicy sardines, but despite the tinned fish trend, Goh is not convinced that Noe Valley is ready yet.) The dough is typically made with margarine in Malaysia, but she prefers vegetable shortening, which keeps the fryer clean.\u003c/p>\n\u003cp>It’s the layering of the dough and the hand shaping of the pastries that make it a labor of love. Goh actually starts with two different doughs, an oil-based dough and a hot water dough, wrapping the former inside the latter, which creates the lamination or layers. Then she flattens it into a rectangle, “rolls it up like a carpet” and repeats several times, to get that spiral pattern. Finally she slices the “carpet” into round cross sections, flips each piece cut-side down and rolls them to less than 2 millimeters thick. Then you have to crimp it around the filling firm and tight, like you mean it — people who are good at pinching dumplings understand. Lightly pressing with a fork won’t work, she says. “The idea is to lock the pastry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Goh has tried training her team, but it’s a heartbreak when a curry puff splits open in the deep fryer. So she does all of the laminating and shaping personally, and it takes about three hours to stuff a batch of 24 curry puffs. So that’s why it’s a limited menu item, exclusively sold in house, even though guests get salty when they sell out on a busy Saturday night.\u003c/p>\n\u003cp>Finally, yes, okay, it comes with a curry sauce for dunking. Back home, Goh would snack on curry puffs simply the way they are, well seasoned and dry. But in San Francisco, she got tired of diners asking, “‘Is this supposed to come with a sauce?’” She blames the samosa confusion, which leaves them reaching for a chutney. So she hands them the same spice blend whisked into coconut milk.\u003c/p>\n\u003cp>But whether or not you choose to dunk, each puff is a small revelation: You get to crunch down through the crisp edge that’s twisted like a rope, rip into the spiralized crust that breaks into flakes and sink into the well seasoned potato with warm curry spices.\u003c/p>\n\u003cfigure id=\"attachment_13953091\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953091\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-overhead.jpg\" alt=\"Overhead view of a curry puff shows its distinctive spiral pattern.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-overhead.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-overhead-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-overhead-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-overhead-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-overhead-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-overhead-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/currypuff-overhead-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">There’s a limit of two curry puffs per table, dine-in only. \u003ccite>(Aron Pruiett/Limitless Media, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curry puffs cross cultures in Southeast Asia, and you can spot different versions on other menus around San Francisco. \u003ca href=\"https://www.instagram.com/p/CzCGvfivWcd/\">Dabao Singapore\u003c/a> sometimes makes a buttery baked triangle. Many Thai restaurants make sweeter versions, like the curry puffs at \u003ca href=\"http://lersros.com/wp-content/uploads/2023/05/LERS_ROS_Dinner_Menu.pdf\">Ler Ros\u003c/a> or so-called samosas at \u003ca href=\"https://www.farmhousetogo.com/product/samosa/89\">Farmhouse Thai\u003c/a>, and \u003ca href=\"https://www.instagram.com/nari_sf/p/CrtGpcpLS53/\">Nari\u003c/a> serves a fancy puff with duck confit. They’ve even traveled to Hong Kong, where they take the form of curry pies like the tender and crumbly version you can find at \u003ca href=\"https://www.yelp.com/biz_photos/lung-fung-bakery-san-francisco?select=ZS18ukKlojooP4t8bvZqSg\">Lung Fung Bakery\u003c/a>.\u003c/p>\n\u003cp>And there are plenty of shortcuts. Curry puffs can be made with purchased curry powders, curry pastes and frozen dough, ditching the spiral, and streamlined for takeout. But they’re not so often done well and in this specific Malaysian style. “When people see the pastry, they say it’s beautiful,” Goh says. “Then they taste it, and they start coming back.”\u003c/p>\n\u003cp>\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\">\u003cbr>\n\u003cem>\u003ca href=\"https://damansarasf.com/\">Damansara\u003c/a> is open Wednesday through Sunday, 5 to 9 p.m., at 1781 Church St. in San Francisco\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Suzanne Ciani Turns Grace Cathedral Into an Otherworldly House of Worship",
"headTitle": "Suzanne Ciani Turns Grace Cathedral Into an Otherworldly House of Worship | KQED",
"content": "\u003cp>Even before \u003ca href=\"https://www.kqed.org/forum/2010101904787/electronic-music-composer-suzanne-ciani-celebrates-groundbreaking-career\">Suzanne Ciani\u003c/a> played one note inside \u003ca href=\"https://www.kqed.org/arts/tag/grace-cathedral\">Grace Cathedral\u003c/a>, her headlining show on Saturday night felt like an \u003cem>event\u003c/em>. Outside, the full moon glistened behind the Top of the Mark, explosions of Lunar New Year fireworks reverberated from Chinatown below and a long line for her concert snaked down California Street on Nob Hill.\u003c/p>\n\u003cp>Ciani, the \u003ca href=\"https://www.kqed.org/forum/2010101904787/electronic-music-composer-suzanne-ciani-celebrates-groundbreaking-career\">groundbreaking analog synth composer\u003c/a> and Bay Area treasure, was here to celebrate the 40th anniversary of her debut studio album \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=RusmM57kAJ4&list=PLJPztq7aAo9yis1OnYgI04ex2WVp0zBWo\">Seven Waves\u003c/a>\u003c/em>. As the sold-out crowd made of mostly 30- and 40-somethings filed into the cathedral — outfitted with quadraphonic speakers for the occasion — dozens took photos of the high ceilings, Ciani’s synthesizer and even the tech specs on the back of the speakers themselves.\u003c/p>\n\u003cfigure id=\"attachment_13952973\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Suzanne Ciani speaks prior to her performance of ‘Seven Waves’ at Grace Cathedral in San Francisco on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ciani, who lives in Bolinas, welcomed her many friends in attendance, and introduced her Buchla 200e as “this instrument I’ve been playing for the past millions of years.” Then the 77-year-old icon sat down, started sending \u003cem>Seven Waves\u003c/em>’ distinct ocean wave sounds across the cathedral walls — bathed in light patterns — and took the audience on a journey.\u003c/p>\n\u003cp>Instead of performing a straight re-creation of the album, Ciani introduced an array of themes from \u003cem>Seven Waves\u003c/em>’ original multitracks, and over them hatched spontaneous compositions. Released in 1984, \u003cem>Seven Waves\u003c/em> is full of wondrous melodies, deep bass often in counterpoint and arpeggios typical of the New Age era. (I hesitate to say it, but in my brain, it’s filed next to \u003ca href=\"https://youtu.be/SCJKdajjYYM?si=qwv0KbyzMjaSWgdN\">Ray Lynch’s \u003cem>Deep Breakfast\u003c/em>\u003c/a>.) On Saturday night, however, her improvised deconstructions turned it into an entirely new, eerie, invigorating work for 2024.\u003c/p>\n\u003cfigure id=\"attachment_13952981\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-LIGHTS-GIF-MD-KQED.gif\" alt=\"\" width=\"2000\" height=\"1333\">\u003cfigcaption class=\"wp-caption-text\">A light projection show on the vaulted ceiling of Grace Cathedral in San Francisco as Suzanne Ciani performs on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immediately it became clear just how much Ciani is an influence on modern film composers like Atticus Ross and Cliff Martinez, as well as recent darkwave bands like Kavinsky or Com Truise. Even more in focus was Ciani’s command of dynamics. Soft passages stayed soft; no small feat considering Grace Cathedral’s famous seven-second delay, and she knew just when to drop a sharp bass stab to rattle the pews.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a while, the music worked its magic on the audience’s various mindstates (the announcer had acknowledged that “ushers are here to make sure you have the best trip possible”). A series of tones in 6/8 time evoked seagulls flying over the ocean; a syncopated, fuzzy bass provided the foundation for what sounded like disembodied human voices humorously trying to hold a conversation.\u003c/p>\n\u003cfigure id=\"attachment_13952970\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952970\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People file into Grace Cathedral in San Francisco to watch Suzanne Ciani perform Particles & Waves on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, Ciani whittled her music down to pure percussive elements. Mixed with white noise, these transformed into near-gunshot sounds. As they fired out of successive speakers on either side of the nave, it felt for several minutes like being in the middle of a battlefield.\u003c/p>\n\u003cp>What came next? Peace, of course. Waves, waves and more waves, taking on new life with each audio ripple across the tall walls.\u003c/p>\n\u003cfigure id=\"attachment_13952971\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans make photos of Suzanne Ciani’s Buchla 200e at Grace Cathedral in San Francisco on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cathedral is a haven for the spiritual. The synthesizer is a box for the mechanical. But with someone like Ciani in charge, mixing the two proved powerful, nearly human, as if the French Gothic building itself were speaking.\u003c/p>\n\u003cp>It even proved romantic. By the concert’s end, in the back, I counted five couples sitting with their arm around each other, head rested on the other’s shoulders, gazing into the sound and dreaming about forever.\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>\n\u003cp>\u003cem>Suzanne Ciani performed as part of the Noise Pop Festival, which continues through March 3; \u003ca href=\"https://noisepopfest.com/\">details here\u003c/a>. Ambient synth composer Steve Roach revisits his 1984 album ‘Structures From Silence’ at Grace Cathedral on April 6; \u003ca href=\"https://ageofreflections.com/Calendar\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even before \u003ca href=\"https://www.kqed.org/forum/2010101904787/electronic-music-composer-suzanne-ciani-celebrates-groundbreaking-career\">Suzanne Ciani\u003c/a> played one note inside \u003ca href=\"https://www.kqed.org/arts/tag/grace-cathedral\">Grace Cathedral\u003c/a>, her headlining show on Saturday night felt like an \u003cem>event\u003c/em>. Outside, the full moon glistened behind the Top of the Mark, explosions of Lunar New Year fireworks reverberated from Chinatown below and a long line for her concert snaked down California Street on Nob Hill.\u003c/p>\n\u003cp>Ciani, the \u003ca href=\"https://www.kqed.org/forum/2010101904787/electronic-music-composer-suzanne-ciani-celebrates-groundbreaking-career\">groundbreaking analog synth composer\u003c/a> and Bay Area treasure, was here to celebrate the 40th anniversary of her debut studio album \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=RusmM57kAJ4&list=PLJPztq7aAo9yis1OnYgI04ex2WVp0zBWo\">Seven Waves\u003c/a>\u003c/em>. As the sold-out crowd made of mostly 30- and 40-somethings filed into the cathedral — outfitted with quadraphonic speakers for the occasion — dozens took photos of the high ceilings, Ciani’s synthesizer and even the tech specs on the back of the speakers themselves.\u003c/p>\n\u003cfigure id=\"attachment_13952973\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-07-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Suzanne Ciani speaks prior to her performance of ‘Seven Waves’ at Grace Cathedral in San Francisco on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ciani, who lives in Bolinas, welcomed her many friends in attendance, and introduced her Buchla 200e as “this instrument I’ve been playing for the past millions of years.” Then the 77-year-old icon sat down, started sending \u003cem>Seven Waves\u003c/em>’ distinct ocean wave sounds across the cathedral walls — bathed in light patterns — and took the audience on a journey.\u003c/p>\n\u003cp>Instead of performing a straight re-creation of the album, Ciani introduced an array of themes from \u003cem>Seven Waves\u003c/em>’ original multitracks, and over them hatched spontaneous compositions. Released in 1984, \u003cem>Seven Waves\u003c/em> is full of wondrous melodies, deep bass often in counterpoint and arpeggios typical of the New Age era. (I hesitate to say it, but in my brain, it’s filed next to \u003ca href=\"https://youtu.be/SCJKdajjYYM?si=qwv0KbyzMjaSWgdN\">Ray Lynch’s \u003cem>Deep Breakfast\u003c/em>\u003c/a>.) On Saturday night, however, her improvised deconstructions turned it into an entirely new, eerie, invigorating work for 2024.\u003c/p>\n\u003cfigure id=\"attachment_13952981\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-LIGHTS-GIF-MD-KQED.gif\" alt=\"\" width=\"2000\" height=\"1333\">\u003cfigcaption class=\"wp-caption-text\">A light projection show on the vaulted ceiling of Grace Cathedral in San Francisco as Suzanne Ciani performs on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immediately it became clear just how much Ciani is an influence on modern film composers like Atticus Ross and Cliff Martinez, as well as recent darkwave bands like Kavinsky or Com Truise. Even more in focus was Ciani’s command of dynamics. Soft passages stayed soft; no small feat considering Grace Cathedral’s famous seven-second delay, and she knew just when to drop a sharp bass stab to rattle the pews.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a while, the music worked its magic on the audience’s various mindstates (the announcer had acknowledged that “ushers are here to make sure you have the best trip possible”). A series of tones in 6/8 time evoked seagulls flying over the ocean; a syncopated, fuzzy bass provided the foundation for what sounded like disembodied human voices humorously trying to hold a conversation.\u003c/p>\n\u003cfigure id=\"attachment_13952970\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952970\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">People file into Grace Cathedral in San Francisco to watch Suzanne Ciani perform Particles & Waves on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, Ciani whittled her music down to pure percussive elements. Mixed with white noise, these transformed into near-gunshot sounds. As they fired out of successive speakers on either side of the nave, it felt for several minutes like being in the middle of a battlefield.\u003c/p>\n\u003cp>What came next? Peace, of course. Waves, waves and more waves, taking on new life with each audio ripple across the tall walls.\u003c/p>\n\u003cfigure id=\"attachment_13952971\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952971\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240224-SUZANNE-CIANI-AT-GRACE-CATHEDRAL-MD-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans make photos of Suzanne Ciani’s Buchla 200e at Grace Cathedral in San Francisco on Feb. 24, 2024. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cathedral is a haven for the spiritual. The synthesizer is a box for the mechanical. But with someone like Ciani in charge, mixing the two proved powerful, nearly human, as if the French Gothic building itself were speaking.\u003c/p>\n\u003cp>It even proved romantic. By the concert’s end, in the back, I counted five couples sitting with their arm around each other, head rested on the other’s shoulders, gazing into the sound and dreaming about forever.\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>\n\u003cp>\u003cem>Suzanne Ciani performed as part of the Noise Pop Festival, which continues through March 3; \u003ca href=\"https://noisepopfest.com/\">details here\u003c/a>. Ambient synth composer Steve Roach revisits his 1984 album ‘Structures From Silence’ at Grace Cathedral on April 6; \u003ca href=\"https://ageofreflections.com/Calendar\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is a specific and toxic level of melancholia that comes with modern life.\u003c/p>\n\u003cp>Certainly, having the world at one’s literal fingertips makes for infinite possibilities. No longer do archaic fossils of culture dominate society — think about the last time you needed to buy a concert or sports ticket in person, or when you last sat in a bookstore reading a novel or magazine with pages that required physical turning.\u003c/p>\n\u003cp>Today, phones, tablets or a trusty laptop provide every creature comfort known to humanity, and tech’s capabilities expand with each new update. But at what cost? Are we, in our yearning for more knowledge with blaring rapidity, simply feeding the beast? Frailty, thy name is algorithm!\u003c/p>\n\u003cfigure id=\"attachment_13952875\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121.jpg\" alt=\"\" width=\"1278\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121.jpg 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-1022x1536.jpg 1022w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">BD Wong (M) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In playwright Kate Attwell’s world premiere of \u003cem>Big Data\u003c/em>, commissioned and presented by American Conservatory Theater in San Francisco, modern society’s horrors take the form of the dastardly-yet-dashing “M” (B.D. Wong), an automated puppet master who readily loads his subjects with thoughts and ideas that veer from inspired to toxic. “M” is random as all get out – knocking on stranger’s doors to simply hang out, seducing a young man and offering pleasures of the flesh, and subtly convincing an older couple that their time on this Earth has surpassed its useful life.\u003c/p>\n\u003cp>Director Pam MacKinnon’s meticulous attention to detail provides effective, steady subtlety inside Attwell’s staccato-ish dialogue. Occasionally, the script has a propensity to drone into one-note, ineffective territory, especially within stretches of the first act. This is not a fault of the cast, which is universally terrific. Both Sam (Gabriel Brown) and Timmy (Michael Phillis) are handsome, married millennials whose polyamorous dealings veer outside of simple physicality. Those invited inside their velvet, lustful ropes didn’t plan for the baggage of loneliness that both carry.\u003c/p>\n\u003cfigure id=\"attachment_13952876\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952876\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Gabriel Brown (Sam), Rosie Hallett (Lucy), and Michael Phillis (Timmy) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, a sense of unease persists between medical professional Lucy (Rosie Hallett) and husband Max (Jomar Tagatac). While Lucy easily gives every ounce of herself to big tech, her cell phone notifications going off incessantly, Max is much more concerned with old school natural dangers like earthquakes and flooding. Together, the mix of infertility, home economics and large loans turn the couple into carbon and oxygen balls of mass agita.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The distinct nature of each act is intentional. Whereas the first act establishes five characters, all with their own issues, the second introduces two new characters entirely, revealing the ways in which the aforementioned folks connect. As the older parentals, Didi (Julia McNeal) and her husband Joe (Harold Surratt) don’t carry the same relationship to tech as their younger counterparts, but are nonetheless affected mightily by its constant presence.\u003c/p>\n\u003cp>Didi and Joe refuse to succumb to the new vanguard without a fight, thanks to Joe’s gargantuan cement truck that creates a physical barrier to the tech devices they’re actively shunning. (That smart thermometer is no match for concrete.)\u003c/p>\n\u003cfigure id=\"attachment_13952878\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Brown (Sam) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While no one would advocate the play’s denouement, there is something poetic about Didi and Joe’s choices. Technology will always move forward, yet at a time when the human mind is challenged more than ever by the artificial world, human expendability is on the table in unforeseen ways. To those who make art their life’s work, putting random words into a machine and having poetry and music returned with soaring fidelity is horrifying.\u003c/p>\n\u003cp>[aside postID='arts_13951752']Each performer takes turns as the representation of societal strife. Tagatac, an ACT favorite, brings forth a skittish freneticism that parallels our divisive times. Hallett, whose listening skills are uncanny, engages sharply with Tagatac and advocates for her character’s neurosis with resonance. Brown and Phillis carry the responsibility of establishing the narrative’s style, handling many of the play’s funniest moments due to their honesty. And McNeal, along with Surratt and his dopey, everyman quality, delivers critical information with searing truth, magically making her case about the world’s artificiality and what it means to her generation.\u003c/p>\n\u003cp>As a primary strength, \u003cem>Big Data\u003c/em> advocates that the absurd really isn’t that absurd at all. Back in the day, we just knew how to breathe. Now, there’s an app for that. Even while Attwell’s dialogue is often sly, characters don’t speak with wonderment and discovery, and instead with mechanical precision. Each of the first act’s scene changes are soulless jaunts, moving from one reality to the next, within Tanya Orellana’s broad, barren scenic design. A completely different world appears in the second act — brought upon by the charming Wong as he gleefully pops and prances all over the place, sporting many fun costume changes borne of Lydia Tanji’s design.\u003c/p>\n\u003cfigure id=\"attachment_13952874\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">BD Wong (M) and Gabriel Brown (Sam) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the end of the day, what messages are we sending to certain generations? Your dollar bill is worthless, and so is that change in your pocket, because it’s all about cash-free zones and cryptocurrency now. How about some soulless poetry or music from Chat GPT? Is this where society is headed? Are we just birds programmed to eat, drink, even play piano on command? How does one even do that?\u003c/p>\n\u003cp>Let me guess – there’s an app for 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>\n\u003cp>\u003cem>‘Big Data’ runs through Sunday, March 10, at ACT’s Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/big-data/\">Details and ticket info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a specific and toxic level of melancholia that comes with modern life.\u003c/p>\n\u003cp>Certainly, having the world at one’s literal fingertips makes for infinite possibilities. No longer do archaic fossils of culture dominate society — think about the last time you needed to buy a concert or sports ticket in person, or when you last sat in a bookstore reading a novel or magazine with pages that required physical turning.\u003c/p>\n\u003cp>Today, phones, tablets or a trusty laptop provide every creature comfort known to humanity, and tech’s capabilities expand with each new update. But at what cost? Are we, in our yearning for more knowledge with blaring rapidity, simply feeding the beast? Frailty, thy name is algorithm!\u003c/p>\n\u003cfigure id=\"attachment_13952875\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121.jpg\" alt=\"\" width=\"1278\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121.jpg 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_121-1022x1536.jpg 1022w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">BD Wong (M) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In playwright Kate Attwell’s world premiere of \u003cem>Big Data\u003c/em>, commissioned and presented by American Conservatory Theater in San Francisco, modern society’s horrors take the form of the dastardly-yet-dashing “M” (B.D. Wong), an automated puppet master who readily loads his subjects with thoughts and ideas that veer from inspired to toxic. “M” is random as all get out – knocking on stranger’s doors to simply hang out, seducing a young man and offering pleasures of the flesh, and subtly convincing an older couple that their time on this Earth has surpassed its useful life.\u003c/p>\n\u003cp>Director Pam MacKinnon’s meticulous attention to detail provides effective, steady subtlety inside Attwell’s staccato-ish dialogue. Occasionally, the script has a propensity to drone into one-note, ineffective territory, especially within stretches of the first act. This is not a fault of the cast, which is universally terrific. Both Sam (Gabriel Brown) and Timmy (Michael Phillis) are handsome, married millennials whose polyamorous dealings veer outside of simple physicality. Those invited inside their velvet, lustful ropes didn’t plan for the baggage of loneliness that both carry.\u003c/p>\n\u003cfigure id=\"attachment_13952876\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952876\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_176-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Gabriel Brown (Sam), Rosie Hallett (Lucy), and Michael Phillis (Timmy) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, a sense of unease persists between medical professional Lucy (Rosie Hallett) and husband Max (Jomar Tagatac). While Lucy easily gives every ounce of herself to big tech, her cell phone notifications going off incessantly, Max is much more concerned with old school natural dangers like earthquakes and flooding. Together, the mix of infertility, home economics and large loans turn the couple into carbon and oxygen balls of mass agita.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The distinct nature of each act is intentional. Whereas the first act establishes five characters, all with their own issues, the second introduces two new characters entirely, revealing the ways in which the aforementioned folks connect. As the older parentals, Didi (Julia McNeal) and her husband Joe (Harold Surratt) don’t carry the same relationship to tech as their younger counterparts, but are nonetheless affected mightily by its constant presence.\u003c/p>\n\u003cp>Didi and Joe refuse to succumb to the new vanguard without a fight, thanks to Joe’s gargantuan cement truck that creates a physical barrier to the tech devices they’re actively shunning. (That smart thermometer is no match for concrete.)\u003c/p>\n\u003cfigure id=\"attachment_13952878\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_043-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Brown (Sam) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While no one would advocate the play’s denouement, there is something poetic about Didi and Joe’s choices. Technology will always move forward, yet at a time when the human mind is challenged more than ever by the artificial world, human expendability is on the table in unforeseen ways. To those who make art their life’s work, putting random words into a machine and having poetry and music returned with soaring fidelity is horrifying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Each performer takes turns as the representation of societal strife. Tagatac, an ACT favorite, brings forth a skittish freneticism that parallels our divisive times. Hallett, whose listening skills are uncanny, engages sharply with Tagatac and advocates for her character’s neurosis with resonance. Brown and Phillis carry the responsibility of establishing the narrative’s style, handling many of the play’s funniest moments due to their honesty. And McNeal, along with Surratt and his dopey, everyman quality, delivers critical information with searing truth, magically making her case about the world’s artificiality and what it means to her generation.\u003c/p>\n\u003cp>As a primary strength, \u003cem>Big Data\u003c/em> advocates that the absurd really isn’t that absurd at all. Back in the day, we just knew how to breathe. Now, there’s an app for that. Even while Attwell’s dialogue is often sly, characters don’t speak with wonderment and discovery, and instead with mechanical precision. Each of the first act’s scene changes are soulless jaunts, moving from one reality to the next, within Tanya Orellana’s broad, barren scenic design. A completely different world appears in the second act — brought upon by the charming Wong as he gleefully pops and prances all over the place, sporting many fun costume changes borne of Lydia Tanji’s design.\u003c/p>\n\u003cfigure id=\"attachment_13952874\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/BDA_102-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">BD Wong (M) and Gabriel Brown (Sam) in the world premiere of Kate Attwell’s ‘Big Data,’ running at ACT’s Toni Rembe Theater through March 10. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the end of the day, what messages are we sending to certain generations? Your dollar bill is worthless, and so is that change in your pocket, because it’s all about cash-free zones and cryptocurrency now. How about some soulless poetry or music from Chat GPT? Is this where society is headed? Are we just birds programmed to eat, drink, even play piano on command? How does one even do that?\u003c/p>\n\u003cp>Let me guess – there’s an app for 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>\n\u003cp>\u003cem>‘Big Data’ runs through Sunday, March 10, at ACT’s Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/big-data/\">Details and ticket info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Korean Fried Chicken Is the Perfect Late-Night Bar Snack",
"headTitle": "Korean Fried Chicken Is the Perfect Late-Night Bar Snack | KQED",
"content": "\u003cfigure id=\"attachment_13952836\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952836\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Untitled_Artwork-2-2.jpg\" alt=\"Illustration of a man eating Korean chicken wings in a restaurant. He's blowing air out of his mouth because the chicken is too hot.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Untitled_Artwork-2-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Untitled_Artwork-2-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Untitled_Artwork-2-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Untitled_Artwork-2-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Untitled_Artwork-2-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Untitled_Artwork-2-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Zzan’s piping-hot Korean fried chicken wings and other bar snacks are among the best late-night options in San Francisco. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and artist Thien Pham. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>Korean food isn’t necessarily San Francisco’s strong suit — not compared to what you can find on Telegraph Avenue in Oakland or in Santa Clara’s sprawling, suburban Koreatown, where the options are vast and better by several orders of magnitude.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13952384,arts_13950866,arts_13951914']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>But if you find yourself hungry in San Francisco after 10 o’clock on a weeknight, Korean might be your very best bet. That’s thanks to the slew of soju bangs, or Korean pubs, that are sprinkled all over the western part of the city, and in and around the Tenderloin. As a rule, these spots blast K-pop, sell large quantities of cold beer and soju, and serve spicy bar snacks and some of the best fried chicken around. If it’s late enough at night, they might be the only place in the neighborhood that’s still open.\u003c/p>\n\u003cp>That’s how we found ourselves in \u003ca href=\"https://www.instagram.com/zzan_sf/\">Zzan\u003c/a>, a low-key, slightly industrial-looking pub on Post Street, right on the edge of the Tenderloin. (It’s part of a little hub of late-night restaurants, with both Pinecrest Diner and Cocobang, another late-night Korean fried chicken specialist, right around the corner.) There’s a big white screen on the wall where they project K-pop and Korean hip-hop videos, but at least during our visit, the vibe was more chill than rambunctious — less big groups of salarymen getting hammered, more VC bro lecturing his date on international banking. (Diagonal mouth emoji.)\u003c/p>\n\u003cfigure id=\"attachment_13952917\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952917\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ZZAN.jpg\" alt='Illustration of the yellow-gold exterior of a restaurant, lit up at night. The sign reads, \"ZZAN.\"' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ZZAN.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ZZAN-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ZZAN-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ZZAN-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ZZAN-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ZZAN-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Located on the edge of the Tenderloin, Zzan is part of a small hub of restaurants in the neighborhood that are open late every night. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zzan’s main virtues are its fried chicken wings and more-fun-than-average selection of pub snacks, from cheese corn and giant cheese omelets to Spam omurice and fancified instant ramyun. My favorite of these are the creamy rice cakes, a carbonara-like dish that includes bacon, a hard-boiled egg, tubular rice cakes and a velvety, mildly spicy-sweet cream sauce that’s nearly impossible to stop eating — the overall effect falls somewhere between penne alla vodka and lobster bisque. That orange-pink sauce is delicious with the extra-chewy rice cakes; or ladled over white rice, with the egg yolk mashed in for extra richness; or simply spooned directly into your mouth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for the fried chicken, just know that it arrives at the table literally too hot to eat — burn-your-mouth hot. But once it’s cooled a little bit, it has the kind of impeccably crunchy skin and plump, juicy flesh that hits the spot at any time of day, but especially at midnight, after you’ve had a couple of drinks. If you order your garlic soy sauce on the side, as we did, know that those perfectly fried wings come almost entirely unseasoned, so you really do want to dunk it in that sauce — which wasn’t overly gloppy or sweet, as we’d feared it might be. It was just right.\u003c/p>\n\u003cp>Look, Zzan might not be in the drive-all-the-way-to-Santa-Clara-on-a-whim tier of Korean food. But late on a Thursday night in the city, it was exactly the meal we needed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Zzan is open 4 p.m. to 1 a.m. daily at 643 Post St., San Francisco.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13952836\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952836\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Untitled_Artwork-2-2.jpg\" alt=\"Illustration of a man eating Korean chicken wings in a restaurant. He's blowing air out of his mouth because the chicken is too hot.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Untitled_Artwork-2-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Untitled_Artwork-2-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Untitled_Artwork-2-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Untitled_Artwork-2-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Untitled_Artwork-2-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Untitled_Artwork-2-2-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Zzan’s piping-hot Korean fried chicken wings and other bar snacks are among the best late-night options in San Francisco. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">\u003ci>The Midnight Diners\u003c/i>\u003c/a>\u003ci> is a regular collaboration between KQED food editor Luke Tsai and artist Thien Pham. Follow them each week as they explore the hot pot restaurants, taco carts and 24-hour casino buffets that make up the Bay Area’s after-hours dining scene.\u003c/i>\u003c/p>\n\u003cp>Korean food isn’t necessarily San Francisco’s strong suit — not compared to what you can find on Telegraph Avenue in Oakland or in Santa Clara’s sprawling, suburban Koreatown, where the options are vast and better by several orders of magnitude.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>But if you find yourself hungry in San Francisco after 10 o’clock on a weeknight, Korean might be your very best bet. That’s thanks to the slew of soju bangs, or Korean pubs, that are sprinkled all over the western part of the city, and in and around the Tenderloin. As a rule, these spots blast K-pop, sell large quantities of cold beer and soju, and serve spicy bar snacks and some of the best fried chicken around. If it’s late enough at night, they might be the only place in the neighborhood that’s still open.\u003c/p>\n\u003cp>That’s how we found ourselves in \u003ca href=\"https://www.instagram.com/zzan_sf/\">Zzan\u003c/a>, a low-key, slightly industrial-looking pub on Post Street, right on the edge of the Tenderloin. (It’s part of a little hub of late-night restaurants, with both Pinecrest Diner and Cocobang, another late-night Korean fried chicken specialist, right around the corner.) There’s a big white screen on the wall where they project K-pop and Korean hip-hop videos, but at least during our visit, the vibe was more chill than rambunctious — less big groups of salarymen getting hammered, more VC bro lecturing his date on international banking. (Diagonal mouth emoji.)\u003c/p>\n\u003cfigure id=\"attachment_13952917\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952917\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ZZAN.jpg\" alt='Illustration of the yellow-gold exterior of a restaurant, lit up at night. The sign reads, \"ZZAN.\"' width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ZZAN.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ZZAN-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ZZAN-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ZZAN-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ZZAN-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ZZAN-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Located on the edge of the Tenderloin, Zzan is part of a small hub of restaurants in the neighborhood that are open late every night. \u003ccite>(Thien Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zzan’s main virtues are its fried chicken wings and more-fun-than-average selection of pub snacks, from cheese corn and giant cheese omelets to Spam omurice and fancified instant ramyun. My favorite of these are the creamy rice cakes, a carbonara-like dish that includes bacon, a hard-boiled egg, tubular rice cakes and a velvety, mildly spicy-sweet cream sauce that’s nearly impossible to stop eating — the overall effect falls somewhere between penne alla vodka and lobster bisque. That orange-pink sauce is delicious with the extra-chewy rice cakes; or ladled over white rice, with the egg yolk mashed in for extra richness; or simply spooned directly into your mouth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for the fried chicken, just know that it arrives at the table literally too hot to eat — burn-your-mouth hot. But once it’s cooled a little bit, it has the kind of impeccably crunchy skin and plump, juicy flesh that hits the spot at any time of day, but especially at midnight, after you’ve had a couple of drinks. If you order your garlic soy sauce on the side, as we did, know that those perfectly fried wings come almost entirely unseasoned, so you really do want to dunk it in that sauce — which wasn’t overly gloppy or sweet, as we’d feared it might be. It was just right.\u003c/p>\n\u003cp>Look, Zzan might not be in the drive-all-the-way-to-Santa-Clara-on-a-whim tier of Korean food. But late on a Thursday night in the city, it was exactly the meal we needed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Zzan is open 4 p.m. to 1 a.m. daily at 643 Post St., San Francisco.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco’s Soccer Team Keeps Making Unusually Good Jerseys",
"headTitle": "San Francisco’s Soccer Team Keeps Making Unusually Good Jerseys | KQED",
"content": "\u003cp>Do you care about soccer? If the answer is “yes,” then good for you, carry on, beautiful game, etc., etc.\u003c/p>\n\u003cp>If the answer is “no,” you might be interested to learn that San Francisco’s City Football Club isn’t above trying to win you over by utilizing Excellent Graphic Design.\u003c/p>\n\u003cp>[aside postid='arts_13952437']On Tuesday, SFCFC announced a partnership with \u003ca href=\"https://www.holliscallas.com/\">Hollis Callas\u003c/a>, the San Francisco artist and designer who cites the natural world as her primary inspiration. For those familiar with her work, it should come as little surprise that Callas’ jersey for the club features a \u003ca href=\"https://www.kqed.org/arts/13940341/wild-parrots-of-telegraph-hill-judy-irving-mark-bittman-4k\">wild parrot\u003c/a>. The birds were, after all, included in Callas’ design for those vibrant, floral \u003ca href=\"https://www.instagram.com/p/C3Q9l5lPmzR/\">“I Voted” stickers\u003c/a>. (Lest we forget that the parrots were also, somewhat controversially, \u003ca href=\"https://hoodline.com/2023/06/san-francisco-sea-lion-lovers-call-the-decision-hasty-but-the-wild-parrots-are-now-sf-s-official-animal/\">voted San Francisco’s official animal\u003c/a> in 2023.)\u003c/p>\n\u003cp>Callas’ design \u003ca href=\"https://www.instagram.com/p/C3k2h7fres4/\">hit Instagram\u003c/a> on Tuesday morning, posted to both her page and SFCFC’s.\u003c/p>\n\u003cfigure id=\"attachment_13952589\" class=\"wp-caption aligncenter\" style=\"max-width: 1076px\">\u003ca href=\"https://www.instagram.com/p/C3k2h7fres4/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952589\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.45.12-AM.png\" alt=\"A green t-shirt design featuring a green parrot with its red head nodded to one side.\" width=\"1076\" height=\"1350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.45.12-AM.png 1076w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.45.12-AM-800x1004.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.45.12-AM-1020x1280.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.45.12-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.45.12-AM-768x964.png 768w\" sizes=\"(max-width: 1076px) 100vw, 1076px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Don’t care about soccer? Okay, but try and resist this parrot. \u003ccite>(Instagram/ @holliscallas/ @sfcityfc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFCFC was founded in 2001, and is community-driven, both literally and figuratively — the club is 51% fan-owned. The team also leans hard into the motto seen on San Francisco’s flag since 1940: “Oro en Paz y Fierro en Guerra” — or “Gold in Peace, Iron in War.” (Variations on the phrase are already all over so much of the \u003ca href=\"https://sfcityfc.com/store/p/lcc7eeq2io6m3mfy1d0h0v0vi5mczj-38tz2\">club’s increasingly desirable merch\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last month, the club collaborated with \u003ca href=\"https://churchcalifornia.com/pages/church-barber\">Church Barber and Apothecary\u003c/a> on this limited edition jersey:\u003c/p>\n\u003cfigure id=\"attachment_13952596\" class=\"wp-caption aligncenter\" style=\"max-width: 1306px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.57.18-AM.png\" alt=\"A Black man wearing a vertically striped shirt leans against a barber station with a mirror behind him.\" width=\"1306\" height=\"1258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.57.18-AM.png 1306w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.57.18-AM-800x771.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.57.18-AM-1020x983.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.57.18-AM-160x154.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.57.18-AM-768x740.png 768w\" sizes=\"(max-width: 1306px) 100vw, 1306px\">\u003cfigcaption class=\"wp-caption-text\">Play soccer ever? Doesn’t matter if you like the design! \u003ccite>(Instagram/ @churchbarber/ @sfcityfc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before that, the club embraced the logo of its sponsor, Muni, featuring its iconic wiggle on several team jerseys.\u003c/p>\n\u003cfigure id=\"attachment_13952598\" class=\"wp-caption aligncenter\" style=\"max-width: 1070px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.02.09-AM.png\" alt=\"An orange football jersey featuring the red logo of San Francisco's MUNI.\" width=\"1070\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.02.09-AM.png 1070w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.02.09-AM-800x752.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.02.09-AM-1020x959.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.02.09-AM-160x150.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.02.09-AM-768x722.png 768w\" sizes=\"(max-width: 1070px) 100vw, 1070px\">\u003cfigcaption class=\"wp-caption-text\">Apathetic about soccer but love Muni? Try this on for size. \u003ccite>(Instagram/ @sfcityfc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, SFCFC doesn’t even seem to care if you pay them any soccer-related attention or not. Its \u003ca href=\"https://sfcityfc.com/store/p/foggy-university-tee-6zkkc\">official crest\u003c/a> features the Golden Gate Bridge, the Transamerica Building, Sutro Tower — and nothing soccer-related whatsoever. In fact, its merch tells us over and over again that loving San Francisco is enough.\u003c/p>\n\u003cp>Why else would a soccer club have given us this Karl the Fog design?\u003c/p>\n\u003cfigure id=\"attachment_13952606\" class=\"wp-caption aligncenter\" style=\"max-width: 1308px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952606 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.19.09-AM.png\" alt=\"A crewneck sweater featuring a cloud with a happy face waving a flag.\" width=\"1308\" height=\"1308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.19.09-AM.png 1308w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.19.09-AM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.19.09-AM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.19.09-AM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.19.09-AM-768x768.png 768w\" sizes=\"(max-width: 1308px) 100vw, 1308px\">\u003cfigcaption class=\"wp-caption-text\">Can we cheer on this rendition of Karl going head-to-head with the Stay-Puft marshmallow man? \u003ccite>(sfcityfc.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or this nod to beloved local hero Robin Williams?\u003c/p>\n\u003cfigure id=\"attachment_13952614\" class=\"wp-caption aligncenter\" style=\"max-width: 1190px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952614\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.28.30-AM.png\" alt=\"A red and black striped t-shirt with rainbow suspenders worked into the design.\" width=\"1190\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.28.30-AM.png 1190w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.28.30-AM-800x878.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.28.30-AM-1020x1119.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.28.30-AM-160x176.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.28.30-AM-768x843.png 768w\" sizes=\"(max-width: 1190px) 100vw, 1190px\">\u003cfigcaption class=\"wp-caption-text\">A shirt that screams a love of ‘Mork & Mindy’-era Robin Williams and says almost nothing about soccer? Yay! \u003ccite>(sfcityfc.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, oh yes, here’s Sutro Tower again, though this one actually has a soccer ball on it, so… the \u003ca href=\"https://www.theringer.com/world-cup/2022/12/7/23497080/22-goals-world-cup-brazil-carlos-alberto\">beautiful game\u003c/a> does have to come up now and again, I guess:\u003c/p>\n\u003cfigure id=\"attachment_13952603\" class=\"wp-caption aligncenter\" style=\"max-width: 1308px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.13.44-AM.png\" alt=\"A black hoodie featuring the outline of a soccer ball and San Francisco's Sutro Tower surrounded by lightning bolts.\" width=\"1308\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.13.44-AM.png 1308w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.13.44-AM-800x828.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.13.44-AM-1020x1056.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.13.44-AM-160x166.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.13.44-AM-768x795.png 768w\" sizes=\"(max-width: 1308px) 100vw, 1308px\">\u003cfigcaption class=\"wp-caption-text\">You kind of have to like soccer to wear this one, but still… cool idea. \u003ccite>(sfcityfc.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whichever design San Francisco City comes up with next, it would be cool to see the club collaborate with more local artists like Callas down the road. A \u003ca href=\"https://sillypinkbunnies.com/\">Jeremy Fish\u003c/a> sea lion/bear/bison? Just something to keep in mind, soccer people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[\u003cstrong>March 25, 2024 Update\u003c/strong>: \u003ca href=\"https://sfcityfc.com/store/p/2024-parrot-kit\">The Hollis Callas parrot kit is available to pre-order\u003c/a> now.]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you care about soccer? If the answer is “yes,” then good for you, carry on, beautiful game, etc., etc.\u003c/p>\n\u003cp>If the answer is “no,” you might be interested to learn that San Francisco’s City Football Club isn’t above trying to win you over by utilizing Excellent Graphic Design.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Tuesday, SFCFC announced a partnership with \u003ca href=\"https://www.holliscallas.com/\">Hollis Callas\u003c/a>, the San Francisco artist and designer who cites the natural world as her primary inspiration. For those familiar with her work, it should come as little surprise that Callas’ jersey for the club features a \u003ca href=\"https://www.kqed.org/arts/13940341/wild-parrots-of-telegraph-hill-judy-irving-mark-bittman-4k\">wild parrot\u003c/a>. The birds were, after all, included in Callas’ design for those vibrant, floral \u003ca href=\"https://www.instagram.com/p/C3Q9l5lPmzR/\">“I Voted” stickers\u003c/a>. (Lest we forget that the parrots were also, somewhat controversially, \u003ca href=\"https://hoodline.com/2023/06/san-francisco-sea-lion-lovers-call-the-decision-hasty-but-the-wild-parrots-are-now-sf-s-official-animal/\">voted San Francisco’s official animal\u003c/a> in 2023.)\u003c/p>\n\u003cp>Callas’ design \u003ca href=\"https://www.instagram.com/p/C3k2h7fres4/\">hit Instagram\u003c/a> on Tuesday morning, posted to both her page and SFCFC’s.\u003c/p>\n\u003cfigure id=\"attachment_13952589\" class=\"wp-caption aligncenter\" style=\"max-width: 1076px\">\u003ca href=\"https://www.instagram.com/p/C3k2h7fres4/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952589\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.45.12-AM.png\" alt=\"A green t-shirt design featuring a green parrot with its red head nodded to one side.\" width=\"1076\" height=\"1350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.45.12-AM.png 1076w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.45.12-AM-800x1004.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.45.12-AM-1020x1280.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.45.12-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.45.12-AM-768x964.png 768w\" sizes=\"(max-width: 1076px) 100vw, 1076px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Don’t care about soccer? Okay, but try and resist this parrot. \u003ccite>(Instagram/ @holliscallas/ @sfcityfc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFCFC was founded in 2001, and is community-driven, both literally and figuratively — the club is 51% fan-owned. The team also leans hard into the motto seen on San Francisco’s flag since 1940: “Oro en Paz y Fierro en Guerra” — or “Gold in Peace, Iron in War.” (Variations on the phrase are already all over so much of the \u003ca href=\"https://sfcityfc.com/store/p/lcc7eeq2io6m3mfy1d0h0v0vi5mczj-38tz2\">club’s increasingly desirable merch\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last month, the club collaborated with \u003ca href=\"https://churchcalifornia.com/pages/church-barber\">Church Barber and Apothecary\u003c/a> on this limited edition jersey:\u003c/p>\n\u003cfigure id=\"attachment_13952596\" class=\"wp-caption aligncenter\" style=\"max-width: 1306px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.57.18-AM.png\" alt=\"A Black man wearing a vertically striped shirt leans against a barber station with a mirror behind him.\" width=\"1306\" height=\"1258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.57.18-AM.png 1306w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.57.18-AM-800x771.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.57.18-AM-1020x983.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.57.18-AM-160x154.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-10.57.18-AM-768x740.png 768w\" sizes=\"(max-width: 1306px) 100vw, 1306px\">\u003cfigcaption class=\"wp-caption-text\">Play soccer ever? Doesn’t matter if you like the design! \u003ccite>(Instagram/ @churchbarber/ @sfcityfc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before that, the club embraced the logo of its sponsor, Muni, featuring its iconic wiggle on several team jerseys.\u003c/p>\n\u003cfigure id=\"attachment_13952598\" class=\"wp-caption aligncenter\" style=\"max-width: 1070px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.02.09-AM.png\" alt=\"An orange football jersey featuring the red logo of San Francisco's MUNI.\" width=\"1070\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.02.09-AM.png 1070w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.02.09-AM-800x752.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.02.09-AM-1020x959.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.02.09-AM-160x150.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.02.09-AM-768x722.png 768w\" sizes=\"(max-width: 1070px) 100vw, 1070px\">\u003cfigcaption class=\"wp-caption-text\">Apathetic about soccer but love Muni? Try this on for size. \u003ccite>(Instagram/ @sfcityfc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, SFCFC doesn’t even seem to care if you pay them any soccer-related attention or not. Its \u003ca href=\"https://sfcityfc.com/store/p/foggy-university-tee-6zkkc\">official crest\u003c/a> features the Golden Gate Bridge, the Transamerica Building, Sutro Tower — and nothing soccer-related whatsoever. In fact, its merch tells us over and over again that loving San Francisco is enough.\u003c/p>\n\u003cp>Why else would a soccer club have given us this Karl the Fog design?\u003c/p>\n\u003cfigure id=\"attachment_13952606\" class=\"wp-caption aligncenter\" style=\"max-width: 1308px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13952606 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.19.09-AM.png\" alt=\"A crewneck sweater featuring a cloud with a happy face waving a flag.\" width=\"1308\" height=\"1308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.19.09-AM.png 1308w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.19.09-AM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.19.09-AM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.19.09-AM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.19.09-AM-768x768.png 768w\" sizes=\"(max-width: 1308px) 100vw, 1308px\">\u003cfigcaption class=\"wp-caption-text\">Can we cheer on this rendition of Karl going head-to-head with the Stay-Puft marshmallow man? \u003ccite>(sfcityfc.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or this nod to beloved local hero Robin Williams?\u003c/p>\n\u003cfigure id=\"attachment_13952614\" class=\"wp-caption aligncenter\" style=\"max-width: 1190px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952614\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.28.30-AM.png\" alt=\"A red and black striped t-shirt with rainbow suspenders worked into the design.\" width=\"1190\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.28.30-AM.png 1190w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.28.30-AM-800x878.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.28.30-AM-1020x1119.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.28.30-AM-160x176.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.28.30-AM-768x843.png 768w\" sizes=\"(max-width: 1190px) 100vw, 1190px\">\u003cfigcaption class=\"wp-caption-text\">A shirt that screams a love of ‘Mork & Mindy’-era Robin Williams and says almost nothing about soccer? Yay! \u003ccite>(sfcityfc.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, oh yes, here’s Sutro Tower again, though this one actually has a soccer ball on it, so… the \u003ca href=\"https://www.theringer.com/world-cup/2022/12/7/23497080/22-goals-world-cup-brazil-carlos-alberto\">beautiful game\u003c/a> does have to come up now and again, I guess:\u003c/p>\n\u003cfigure id=\"attachment_13952603\" class=\"wp-caption aligncenter\" style=\"max-width: 1308px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.13.44-AM.png\" alt=\"A black hoodie featuring the outline of a soccer ball and San Francisco's Sutro Tower surrounded by lightning bolts.\" width=\"1308\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.13.44-AM.png 1308w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.13.44-AM-800x828.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.13.44-AM-1020x1056.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.13.44-AM-160x166.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-20-at-11.13.44-AM-768x795.png 768w\" sizes=\"(max-width: 1308px) 100vw, 1308px\">\u003cfigcaption class=\"wp-caption-text\">You kind of have to like soccer to wear this one, but still… cool idea. \u003ccite>(sfcityfc.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whichever design San Francisco City comes up with next, it would be cool to see the club collaborate with more local artists like Callas down the road. A \u003ca href=\"https://sillypinkbunnies.com/\">Jeremy Fish\u003c/a> sea lion/bear/bison? Just something to keep in mind, soccer people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[\u003cstrong>March 25, 2024 Update\u003c/strong>: \u003ca href=\"https://sfcityfc.com/store/p/2024-parrot-kit\">The Hollis Callas parrot kit is available to pre-order\u003c/a> now.]\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How One Outfit Changed the Life of a Former Berkeley High Teacher",
"headTitle": "How One Outfit Changed the Life of a Former Berkeley High Teacher | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>One summer night three years ago, \u003ca href=\"https://www.instagram.com/the.daily.zazz/\">Zakiya Zazaboi\u003c/a>’s outfit changed her life.\u003c/p>\n\u003cp>At the time, Zazaboi was a history teacher at Berkeley High School, and her students used to tell her that she was too cool for school — literally. “‘It’s honestly really sad seeing you here,’” Zazaboi remembers a student telling her, with brutal teenage conviction.\u003c/p>\n\u003cp>[aside postID='arts_13951605']Zazaboi waved off her students’ suggestions that she should quit to do something “cooler.” But a party at Miss Ollie’s in Oakland had other plans. That night in May 2021, at a long dining table in Oakland lined with saltfish, jerk chicken and artists of all kinds, Zazaboi met fashion stylist Mai-lei Pecorari.\u003c/p>\n\u003cp>Zazaboi had shown up in cerulean vintage bell bottoms, a Danish knit sweater with enormous silver clasps, oversized white glasses and white cowboy boots. Pecorari, who’s styled the likes of NBA player Draymond Green and DJ Honey Dijon, looked Zazaboi up and down and asked her about her outfit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“‘Do you just do this as a passion project, or professionally?’” Zazaboi remembers Pecorari asking her.\u003c/p>\n\u003cfigure id=\"attachment_13939663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED.jpg\" alt=\"A person with a leather jacket holds a circular necklace.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi shows off her collection of silver jewelry, including a necklace engraved with her late mother’s thumbprint. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then Pecorari just sort of whisked her off into the world of fashion, Zazaboi says. Just a few months later, she got a call from Pecorari about a styling job at a photoshoot, and then another, and another.\u003c/p>\n\u003cp>“I began making more than I was as a public school teacher,” she says.\u003c/p>\n\u003cp>Zazaboi has been a stylist ever since.\u003c/p>\n\u003ch2>‘It’s Very Political’\u003c/h2>\n\u003cp>Zazaboi, who was born in Daly City but now lives between Oakland and L.A., describes the style sensibility that transformed her career as bright and emotional. “It’s very queer, too, just because of the ways that I play around with my own masculine energy,” she says. “And it’s very political.”\u003c/p>\n\u003cfigure id=\"attachment_13939662\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED.jpg\" alt=\"A person dressed in black poses for a photo.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi sports a leather jacket from San Francisco vintage shop Wasteland and a skirt from Goodwill. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a sunny December day in San Francsico when I catch up with Zazaboi at a warehouse building in SOMA. Working a photoshoot for Banana Republic, she wears speed-bump yellow boots, red shorts and a leather vest with two patches — one on the front and one on the back.\u003c/p>\n\u003cp>“I tend to put a lot of different patches on my outfits to reflect things that are going on politically,” she says, her neck, wrists and fingers glimmering with a constellation of silver jewelry. “I like to keep it very pro African, a lot of poetry.”\u003c/p>\n\u003cp>Zazaboi had also printed a photo she found on Tumblr of a group of young Black boys onto a large piece of canvas. Sewn into her vest, the image is stunning and conspicuous, stretching across the length and width of Zazaboi’s back.\u003c/p>\n\u003cp>“It’s a pretty punk thing to do, very gritty DIY,” she says.\u003c/p>\n\u003cp>The front panel of the vest bears the words “I can feel you forgetting me” in medieval script, backdropped by red. (“I definitely have a bit of a sad bone to me because of my Cancer side,” she explains.)\u003c/p>\n\u003cfigure id=\"attachment_13939665\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED.jpg\" alt=\"A person long hair poses for a photo with an old photo stitched to the back of their leather vest.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi adorns her outwear with custom patches using images that speak to her. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Berkeley High, a fellow teacher let Zazaboi experiment with her garment printer, and she soon started installing patches on her clothes. They now ornament Zazaboi’s collection of outerwear and add dimension to an already distinct wardrobe.\u003c/p>\n\u003cp>She also credits her former students at Berkeley High for their influence. “They have some of the best outfits out here, and they’re very trendy and on it,” she says, “It’s probably the one thing I miss the most about teaching — I’m not constantly being inspired by a lot of our younger generations’ outfits.”\u003c/p>\n\u003cp>On the long San Francisco street outside the Banana Republic photoshoot, Zazaboi clicks the heels of her bright yellow boots — a beam of sunshine in a field of concrete.\u003c/p>\n\u003cp>“I grew up around Filipinos, and their shoe game was on top of it,” she says. “I learned a lot about shoes in Daly City.”\u003c/p>\n\u003cfigure id=\"attachment_13939666\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939666\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED.jpg\" alt=\"A person long hair and red shorts is photographed.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Color and texture are big considerations for Zakiya Zazaboi when putting together her looks. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keeping It Attainable\u003c/h2>\n\u003cp>Zazaboi also learned about how to budget her money for clothes, and has advice for the rest of us.\u003c/p>\n\u003cp>“I definitely look at a lot of high-end fashion all the time, but babe, I don’t have high fashion money,” she says, “So I’m always keeping in mind longevity, and ‘How’s this gonna look when it’s dirty and beat up? Will it still look good?’”\u003c/p>\n\u003cp>More than anything, she wants fashion to be attainable.\u003c/p>\n\u003cp>“I know that people are going to ask me where I got my outfit from, and I’m not the type of babe that’s gonna be like ‘Valentino’ or ‘Gucci,’” she says.\u003c/p>\n\u003cp>For Zazaboi, there’s something much more valuable and lasting than access to brand names. It helps her find gems in the most random piles of clothes, and it’s accessible to others too.\u003c/p>\n\u003cp>“I just have an eye for things,” she says.\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> Fit Check is a series about style and personal expression in the Bay Area. See other installments \u003ca href=\"https://www.kqed.org/arts/tag/fit-check\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>One summer night three years ago, \u003ca href=\"https://www.instagram.com/the.daily.zazz/\">Zakiya Zazaboi\u003c/a>’s outfit changed her life.\u003c/p>\n\u003cp>At the time, Zazaboi was a history teacher at Berkeley High School, and her students used to tell her that she was too cool for school — literally. “‘It’s honestly really sad seeing you here,’” Zazaboi remembers a student telling her, with brutal teenage conviction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Zazaboi waved off her students’ suggestions that she should quit to do something “cooler.” But a party at Miss Ollie’s in Oakland had other plans. That night in May 2021, at a long dining table in Oakland lined with saltfish, jerk chicken and artists of all kinds, Zazaboi met fashion stylist Mai-lei Pecorari.\u003c/p>\n\u003cp>Zazaboi had shown up in cerulean vintage bell bottoms, a Danish knit sweater with enormous silver clasps, oversized white glasses and white cowboy boots. Pecorari, who’s styled the likes of NBA player Draymond Green and DJ Honey Dijon, looked Zazaboi up and down and asked her about her outfit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“‘Do you just do this as a passion project, or professionally?’” Zazaboi remembers Pecorari asking her.\u003c/p>\n\u003cfigure id=\"attachment_13939663\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED.jpg\" alt=\"A person with a leather jacket holds a circular necklace.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-09-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi shows off her collection of silver jewelry, including a necklace engraved with her late mother’s thumbprint. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then Pecorari just sort of whisked her off into the world of fashion, Zazaboi says. Just a few months later, she got a call from Pecorari about a styling job at a photoshoot, and then another, and another.\u003c/p>\n\u003cp>“I began making more than I was as a public school teacher,” she says.\u003c/p>\n\u003cp>Zazaboi has been a stylist ever since.\u003c/p>\n\u003ch2>‘It’s Very Political’\u003c/h2>\n\u003cp>Zazaboi, who was born in Daly City but now lives between Oakland and L.A., describes the style sensibility that transformed her career as bright and emotional. “It’s very queer, too, just because of the ways that I play around with my own masculine energy,” she says. “And it’s very political.”\u003c/p>\n\u003cfigure id=\"attachment_13939662\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939662\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED.jpg\" alt=\"A person dressed in black poses for a photo.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-03-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi sports a leather jacket from San Francisco vintage shop Wasteland and a skirt from Goodwill. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a sunny December day in San Francsico when I catch up with Zazaboi at a warehouse building in SOMA. Working a photoshoot for Banana Republic, she wears speed-bump yellow boots, red shorts and a leather vest with two patches — one on the front and one on the back.\u003c/p>\n\u003cp>“I tend to put a lot of different patches on my outfits to reflect things that are going on politically,” she says, her neck, wrists and fingers glimmering with a constellation of silver jewelry. “I like to keep it very pro African, a lot of poetry.”\u003c/p>\n\u003cp>Zazaboi had also printed a photo she found on Tumblr of a group of young Black boys onto a large piece of canvas. Sewn into her vest, the image is stunning and conspicuous, stretching across the length and width of Zazaboi’s back.\u003c/p>\n\u003cp>“It’s a pretty punk thing to do, very gritty DIY,” she says.\u003c/p>\n\u003cp>The front panel of the vest bears the words “I can feel you forgetting me” in medieval script, backdropped by red. (“I definitely have a bit of a sad bone to me because of my Cancer side,” she explains.)\u003c/p>\n\u003cfigure id=\"attachment_13939665\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED.jpg\" alt=\"A person long hair poses for a photo with an old photo stitched to the back of their leather vest.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-28-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zakiya Zazaboi adorns her outwear with custom patches using images that speak to her. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Berkeley High, a fellow teacher let Zazaboi experiment with her garment printer, and she soon started installing patches on her clothes. They now ornament Zazaboi’s collection of outerwear and add dimension to an already distinct wardrobe.\u003c/p>\n\u003cp>She also credits her former students at Berkeley High for their influence. “They have some of the best outfits out here, and they’re very trendy and on it,” she says, “It’s probably the one thing I miss the most about teaching — I’m not constantly being inspired by a lot of our younger generations’ outfits.”\u003c/p>\n\u003cp>On the long San Francisco street outside the Banana Republic photoshoot, Zazaboi clicks the heels of her bright yellow boots — a beam of sunshine in a field of concrete.\u003c/p>\n\u003cp>“I grew up around Filipinos, and their shoe game was on top of it,” she says. “I learned a lot about shoes in Daly City.”\u003c/p>\n\u003cfigure id=\"attachment_13939666\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939666\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED.jpg\" alt=\"A person long hair and red shorts is photographed.\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231215-BayAreaStyleZakiya-37-BL-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Color and texture are big considerations for Zakiya Zazaboi when putting together her looks. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keeping It Attainable\u003c/h2>\n\u003cp>Zazaboi also learned about how to budget her money for clothes, and has advice for the rest of us.\u003c/p>\n\u003cp>“I definitely look at a lot of high-end fashion all the time, but babe, I don’t have high fashion money,” she says, “So I’m always keeping in mind longevity, and ‘How’s this gonna look when it’s dirty and beat up? Will it still look good?’”\u003c/p>\n\u003cp>More than anything, she wants fashion to be attainable.\u003c/p>\n\u003cp>“I know that people are going to ask me where I got my outfit from, and I’m not the type of babe that’s gonna be like ‘Valentino’ or ‘Gucci,’” she says.\u003c/p>\n\u003cp>For Zazaboi, there’s something much more valuable and lasting than access to brand names. It helps her find gems in the most random piles of clothes, and it’s accessible to others too.\u003c/p>\n\u003cp>“I just have an eye for things,” she says.\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"slug": "six-decades-of-painting-black-history",
"title": "Six Decades of Painting Black History",
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"headTitle": "Six Decades of Painting Black History | KQED",
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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Ira Watkins paints Black history while living it.\u003c/p>\n\u003cp>He’s a self-taught visual artist who has been using dazzling colors, expressive images and hidden messages to document Black history for decades.\u003c/p>\n\u003cp>Originally from Waco, Texas, Ira left the south in 1957 on the heels of a street racing accident that knocked a house off of its foundation. Ira says he feared what his punishment might be, so after the accident he just kept going.\u003c/p>\n\u003cfigure id=\"attachment_13952336\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-800x1067.jpg\" alt=\"Painter Ira Watkins shows one of his many pieces that adorn the walls of his studio in Hunters Point Shipyard. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Painter Ira Watkins shows one of his many pieces that adorn the walls of his studio in Hunters Point Shipyard. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He arrived in the Bay Area, stopping first in Richmond before moving to San Francisco, where he fell in love with the bustling, big city. He hung out in the Tenderloin where the extravagant nightlife kept him entertained, and he’d frequent pool halls in the Dogpatch neighborhood– as he was a self-proclaimed pool shark.\u003c/p>\n\u003cp>His life took on a new chapter when he stumbled into Hospitality House, a community-based organization. There he was given the necessary resources and guidance to launch his career as a painter; and he hasn’t stop painting since.\u003c/p>\n\u003cp>His work has graced walls in his Bayview neighborhood and has been shown at the Tenderloin Museum. He’s also painted a huge mural in his hometown of Waco, Texas, where the city dedicated a day in his honor– now every January 17 is “Ira Watkins Day.”\u003c/p>\n\u003cp>This week we talk about Black history with someone who has seen it firsthand, and used his hands to make sure the stories are passed on.\u003c/p>\n\u003cfigure id=\"attachment_13952339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-800x535.jpg\" alt='\"Thanks to this little bitty brush, man, I done had all kinds of doors and opportunity to open for me!\"- Ira Watkins' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Thanks to this little bitty brush, man, I done had all kinds of doors and opportunity to open for me!”- Ira Watkins \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ira’s work can be seen in the \u003ci data-stringify-type=\"italic\">\u003ca class=\"c-link\" href=\"https://www.shipyardartists.com/shipyard-artists-honor-black-history-month-at-cafe-alma/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.shipyardartists.com/shipyard-artists-honor-black-history-month-at-cafe-alma/\" data-sk=\"tooltip_parent\">Black on Point\u003c/a>\u003c/i> exhibit at Cafe Alma in the Bayview. The exhibit runs February 5, 2024 – March 2, 2024.\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=KQINC9778775184\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>\u003c/h2>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey\u003c/span> \u003cspan style=\"font-weight: 400\">what’s up y’all? Welcome to Rightnowish. I’m your host, Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I recently talked to a brother who is a longtime visual artist, a former pool shark and a living example of the impact of the Great Migration. His name is Ira Watkins. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He’s a well-renowned artist who’s been painting for decades. And since leaving the south and arriving in the Bay Area in the mid 1900s, Ira has been constantly contributing to the culture of this region.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His work can be found on walls in the Bayview, in a studio in the Hunter’s Point Shipyard, and at the Tenderloin Museum. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His paintings are filled with Black faces with pronounced features, wide smiles and rosy cheeks. And in just about every painting there are these little details referring to historical facts or figures– almost like easter eggs for those who are paying attention. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of his most famous paintings led to the creation of Ira Watkins day in his hometown of Waco, Texas. It’s a long expansive mural depicting major historical events and local landmarks from the Waco area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A small version of it was the first thing that caught my attention when Rightnowish’s Marisol Medina-Cadena and I pulled up to his studio in Hunter’s Point. We talked about that image, as well as the importance of preserving history through art, and the thriving culture of the Tenderloin back in the day. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More from Ira Watkins after this!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’re in your studio, in the Hunters Point shipyard. As soon as I walked in, I felt like I was in a museum as well as, like, it’s familial. It’s Black faces. There’s Harriet Tubman, there’s Frederick Douglass, as well as people I could identify looking like community members or people from history books. And it’s artistic. It’s flavorful. There’s so much to pull from. I’m like, there’s stories behind every piece. And the first piece you introduced me to was this one up top. What’s the story behind this piece right here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I\u003c/span> \u003cspan style=\"font-weight: 400\">had did the, uh, Martin Luther King mural project in Waco, Texas, which they named a day after me for doing that project. Then Doreen Ravenscroft got in touch with me and asked me would I be interested in doing a mural pertaining to South Waco. I told her “yeah”, she said, “well do me a design.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">So I got a book pertaining to the history of McLennan County, which is Waco is in. It’s the biggest city in McLennan County.\u003c/span> \u003cspan style=\"font-weight: 400\">Then from there, I got an idea. That bridge is represent the oldest, uh, one of the oldest suspension bridges in the USA. It’s a tourist attraction where they just have events on it. No traffic has been on it for years. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over here on the left is, uh, in 1953, the tornado came through Waco and wiped it out, downtown section. This on this end over here represent the, uh, tornado and the destruction and everything.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It still tells an amazing story. There’s a lot of history depicted in it, and the fact that it’s the blueprint for a larger piece that still stands today is really impressive.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What is a day in the life like for you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">This is my life right here. I come here every day! The lady that works in the office, she say, “Do you, uh, paint every day?” I say ‘Yeah. I like to create.’\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some people just like to paint flowers. I don’t knock them, that’s their approach to art. But my approach to art is I try to tell a story with what I knew about or read about, a vision from me is to try to get it out there, to give you a different opinion to history. You know, that’s, that’s all it is to me. \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m a self-taught artist, and I just do stuff and hope that it tells a story. Take that big picture. Not that..the big one. The first picture up here.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Mhm.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I done had all kind of comments on that.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The depiction is… um, or the thing that pops out is on the left side there’s a big green book which says “his story.” And the other one, it’s an upside down King James Holy Bible. And in between the two books are the words-\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">Well you see what it says in the middle?\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, “two big lies” right in the middle of it. Yeah. And then behind them are, uh, the community of Black folks. Even further beyond them, it looks like there’s some people.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Picking cotton.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">Where you see the field, labor and all that stuff, the horses and mules and cotton and stuff like that? But the history, Columbus. They taught that shit in school. Columbus discovered America. Well what about all the people there waving at his ass when he come ashore? You know, what about their history? Then, the Bible, King James version, anytime you say “version,” you’re copying. And anytime you copy something, you’re going to interpret something different.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena, host: \u003c/b>\u003cspan style=\"font-weight: 400\">You were born in Waco, Texas, but you live here and you’ve been doing so for a while, a couple decades. So what brought you to San Francisco?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I wrecked my mom’s car, and I didn’t want to get my butt whooped, so I just took off.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My oldest brother could get the car and when he had it, All I had to do was find him because he hung at the pool hall and stuff like this here. “Hey, man let me use the car for a minute.” “All right. Just don’t go down this way.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And one day, one of my oldest friends who’s still alive today. He pull…“Who you got in the car with you, man?” “Man, don’t let him see it.” That started the race. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Next thing you know, we didn’t run into no car. We bumped each other and went up and believe it or not, hit a house and knocked the house off the foundation,one block, no, two blocks up the street from where my parents lived.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So when my father came down and, you know, like spectators and everything. My father told me, said, “I don’t know what kind of lie you tellin’ them, but I could look at them tire tracks and tell you was racing. I’ll see you when you get home.”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I kept going. I didn’t go home. I wasn’t going to be able to stand that part. Not that my father was no cruel person, but his word was law.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">So you picked the Bay area because you had an uncle in Richmond?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">My oldest brother lived in Los Angeles. I stayed in Los Angeles. My uncle came through. My uncle… one of those guys that had his government contracts all over the world. Got in a car, came to Richmond, California. Got relatives over there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And my uncle told me “Anywhere in the USA you want to go, I’ll get you a one way ticket.” I came to San Francisco, and I ain’t never regret it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And plus, during that time, I was a real good pool player. I shot pool good enough, I couldn’t make no living where I’d be having big time money. But I could keep the cheat off me. I could eat, and get me- see, when I came to San Francisco. You could get a room, man, cheap. I mean, real cheap. You can’t do that no more. Hell, they want $100, $200 for fleabag now in San Francisco you know. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">The tenderloin district when I came here was lit up like Vegas and everything. All kind of neon lights and everything was down there, man.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So would you consider yourself like a pool shark back in the day?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Billiards SFX]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I would say that. I used to hitchhike around a lot and I guess go to place- I don’t carry no pool cue with me, but I go to a place where they had these little mini pool tables and stuff and just stand around and watch people. ‘Aww, hell, I can beat him.’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> ‘I could beat this one.’ You know, you let them win some, you win some. But the whole thing is when you leave, you just want to have enough money to survive on. And then you come back tomorrow and beat 2 or 3 people then move on. You know, that’s how that went, man. And Dogpatch here, used to have a pool hall right down Tennessee and was a 22nd I think it is, but it used to be a pool hall there. I used to go there every day and win some money every day.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cspan style=\"font-weight: 400\">You started to paint the picture of what San Francisco looked like when you first got here and I wanted to kind of put it in context. You coming up here in the mid 50s, the, uh, mid 1900s in general was known for this massive influx of Black folks from the south coming up in what’s deemed the Great Migration. And I’m wondering from your perspective, did you see San Francisco get Blacker?\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">See when I came, if you was on Hayes and Fillmore and you looking towards Geary, man all you seen was Cadillacs and Buicks and things, Black people. Now they had other races, but it was predominantly Black people. They had a hotel called the Booker T. Washington. This place here was about nine stories high. It was owned by a Black dude out of New Orleans called Red Duvene. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All I could say is San Francisco back during that time was thriving. They had a theater on Market street, see Market used to have about four or five theaters on it. They had one called the Emerson. Everybody and any and everyone that was down and out or anything, that’s where you can meet them at, at the Emerson. All you have to do is go in and get your $1 per ticket. I think it opened at 9:30 to 11:00 at night. \u003c/span>\u003c/p>\n\u003cp>\u003cb>T\u003c/b>\u003cspan style=\"font-weight: 400\">hey had Fosters restaurants all over San Francisco. You could go and sit in and get your cup of coffee and get your newspaper and sit there and just pretend that you’re drinking your coffee or whatever, ‘cause some more people that you know, that’s in the street, they’re gon’ come in and sit somewhere around here, have a few minutes conversation and boom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When you really looked at the reality part, it was hell. But on the other hand, it was cool. I done been to most of the states in the USA, and this is the best city that I’ve been to, San Francisco. Los Angeles is all right, but then it can’t compare to San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarivs Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">I love the way you talk about personal survival as well as community survival, and also how you eventually gravitated toward the arts. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">You got your start making art at this place called\u003c/span>\u003ca href=\"https://www.hospitalityhouse.org/\">\u003cspan style=\"font-weight: 400\"> Hospitality House\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">It was later on in life, when I got to the part where I started, uh, I got involved in house painting with one of my relatives and that is how I learned the five basic colors of paint and through that, over the years, I guess developed from there. And then when I went to the Central City Hospitality House, a friend of mine who had told me, say, “You always talk about how good you can draw and paint. I know this place, man that if you can draw, they’ll give you all the supplies and sell your paintings if it’s worth anything.” I couldn’t believe that shit. And I had passed by this place hundreds of times and never even thought about going on inside!\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I stepped through the door and the guy say, uh, “Can I help you?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I say, “Yeah, I want to see about, uh, joining an art program here.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Can you paint?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I said, “Yeah.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> “Can you give me a demonstration?” And I started going. After about a month. They asked me would I be interested in volunteering. I stayed there, volunteering for about five years in that program.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I never got involved in, uh, you know, welfare and stuff like it. I never had anything to do with them until I got to the Hospitality House, and they made it possible for me to get food stamps, a check and all of this stuff. So that’s how come I stayed there volunteering for five years but at the same time, I had kind of got away from hustling the pool in the streets and things for the simple reason, you know, I would, not every day, but I sell a picture, $150, $200. Well, that was cool to me because hell, I had never been selling nothing. If you wanted something painted, I’d paint you a picture. if you gave me something, cool, if you didn’t, you know, if you was just my friend I was doing something for.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So then, uh, my work started selling. Then a little bit more. Then next thing, I start getting interviews. I just, all kind of things started happening for me. And I just, like today, I just tell everybody, thanks to this little bitty brush, man, I done had all kinds of doors and opportunity to open for me.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, you currently live on Third Street in the George Davis Senior Center? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yup. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s that like?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s great for the simple reason: I got a roof over my head. I got an apartment that I can afford.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You know, like I shoot pool cause they have a pool table there. I play dominoes, but it’s been maybe about a month since I went did that because, you know, you just get burned out hearing death stories.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I don’t want to sit around and be around, I’m 82, I don’t want to hang around no 82 year old peoples all the time. Hell \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">For what? What are we going to talk about? “Are you going here?” I hear enough of them. They talk about doctors. Hell, I don’t want to hear about your sickness. No, I’m just telling you like it is.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you ever teach art to them?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I started the art class there, and, for about three years, and then, uh, I just moved on. I’m involved enough with my personal art thing. That’s the reason I stopped because it made me be obligated on Tuesdays to go and open up the studio, the art room there. I got enough on my plate, I might say, for me to do. How many more years I’m gon’ to be around here on the planet? And I want to enjoy the rest of my time for me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Love it. You’re so active. You’re so focused. You know what you want to do. You know why you here. And I’m like… I’m wondering, is there any advice that you can give to younger artists who want to walk a similar path and have a long, luxurious career as an artist?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins:\u003c/b>\u003cspan style=\"font-weight: 400\"> You\u003c/span> \u003cspan style=\"font-weight: 400\">gotta be your own self. You can’t be tripping off of what other people think of you. They always gon’ have that negative view. Even people that, when I say negative view, people that you socialize with, that you consider your friend and everything, that you went to elementary school with and all of that. You’re not going to be tight with them all the time. Ya’ll gon’ have friction, you know? So you have to stay focused on you, you’re first, before you can reach out to other people.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">Best thing I could tell a young person, If you go get a job, that don’t mean that you’re going to be, uh, financially successful. That don’t mean that you’re going to have all the shit that you want. But if you go get a job, if it’s flipping hamburgers at McDonald’s or Burger King or something like this here, in the long run, you’ll come out better than standing on that corner down there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it’s the older you get, the less energy that you have to do any-damn-thing. Well, when you get up to about 60, whole lot of energy is gone. But the guy that’s been flipping the hamburger can count on a Social Security check. You can’t count on nobody because you didn’t plot!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It makes sense. What it boils all down to is investing in yourself. Yeah. Investing in yourself and being aware of the benefits, the long term benefits of what it looks like to invest in yourself, consistently. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">A lifetime dedicated to art, shooting pool and staying on the move. Ira Watkins, thank you. Thank you for sharing a bit of your story with us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For all of my folks out there listening, Ira isn’t online– he doesn’t do the social media thing. But his work is readily on display at his space in the \u003c/span>\u003ca href=\"https://www.shipyardartists.com/\">\u003cspan style=\"font-weight: 400\"> Hunter’s Point Shipyard Arts Studios\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, I’d add that there are so many other artists out there just like Ira– self taught, doing their work to preserve history, and making art every single day, so I ask that you stop by a local museum or attend an art show. Not only do the artists benefit from this, you will as well. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw and Marisol Medina Cadena. It was produced by Sheree Bishop. Chris Hambrick is our editor. Christopher Beale is our engineer. Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED Production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Happy Black History Month, ya’ll. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace.\u003c/span>\u003c/p>\n\u003cp> \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\">\u003c/p>\n\u003cp>\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\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Ira Watkins paints Black history while living it.\u003c/p>\n\u003cp>He’s a self-taught visual artist who has been using dazzling colors, expressive images and hidden messages to document Black history for decades.\u003c/p>\n\u003cp>Originally from Waco, Texas, Ira left the south in 1957 on the heels of a street racing accident that knocked a house off of its foundation. Ira says he feared what his punishment might be, so after the accident he just kept going.\u003c/p>\n\u003cfigure id=\"attachment_13952336\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-800x1067.jpg\" alt=\"Painter Ira Watkins shows one of his many pieces that adorn the walls of his studio in Hunters Point Shipyard. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_13-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Painter Ira Watkins shows one of his many pieces that adorn the walls of his studio in Hunters Point Shipyard. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He arrived in the Bay Area, stopping first in Richmond before moving to San Francisco, where he fell in love with the bustling, big city. He hung out in the Tenderloin where the extravagant nightlife kept him entertained, and he’d frequent pool halls in the Dogpatch neighborhood– as he was a self-proclaimed pool shark.\u003c/p>\n\u003cp>His life took on a new chapter when he stumbled into Hospitality House, a community-based organization. There he was given the necessary resources and guidance to launch his career as a painter; and he hasn’t stop painting since.\u003c/p>\n\u003cp>His work has graced walls in his Bayview neighborhood and has been shown at the Tenderloin Museum. He’s also painted a huge mural in his hometown of Waco, Texas, where the city dedicated a day in his honor– now every January 17 is “Ira Watkins Day.”\u003c/p>\n\u003cp>This week we talk about Black history with someone who has seen it firsthand, and used his hands to make sure the stories are passed on.\u003c/p>\n\u003cfigure id=\"attachment_13952339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-800x535.jpg\" alt='\"Thanks to this little bitty brush, man, I done had all kinds of doors and opportunity to open for me!\"- Ira Watkins' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IraWatkins_PhotoBy_PendarvisHarshaw_7.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Thanks to this little bitty brush, man, I done had all kinds of doors and opportunity to open for me!”- Ira Watkins \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ira’s work can be seen in the \u003ci data-stringify-type=\"italic\">\u003ca class=\"c-link\" href=\"https://www.shipyardartists.com/shipyard-artists-honor-black-history-month-at-cafe-alma/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.shipyardartists.com/shipyard-artists-honor-black-history-month-at-cafe-alma/\" data-sk=\"tooltip_parent\">Black on Point\u003c/a>\u003c/i> exhibit at Cafe Alma in the Bayview. The exhibit runs February 5, 2024 – March 2, 2024.\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=KQINC9778775184\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>\u003c/h2>\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 playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Hey\u003c/span> \u003cspan style=\"font-weight: 400\">what’s up y’all? Welcome to Rightnowish. I’m your host, Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I recently talked to a brother who is a longtime visual artist, a former pool shark and a living example of the impact of the Great Migration. His name is Ira Watkins. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He’s a well-renowned artist who’s been painting for decades. And since leaving the south and arriving in the Bay Area in the mid 1900s, Ira has been constantly contributing to the culture of this region.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His work can be found on walls in the Bayview, in a studio in the Hunter’s Point Shipyard, and at the Tenderloin Museum. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His paintings are filled with Black faces with pronounced features, wide smiles and rosy cheeks. And in just about every painting there are these little details referring to historical facts or figures– almost like easter eggs for those who are paying attention. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of his most famous paintings led to the creation of Ira Watkins day in his hometown of Waco, Texas. It’s a long expansive mural depicting major historical events and local landmarks from the Waco area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A small version of it was the first thing that caught my attention when Rightnowish’s Marisol Medina-Cadena and I pulled up to his studio in Hunter’s Point. We talked about that image, as well as the importance of preserving history through art, and the thriving culture of the Tenderloin back in the day. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More from Ira Watkins after this!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’re in your studio, in the Hunters Point shipyard. As soon as I walked in, I felt like I was in a museum as well as, like, it’s familial. It’s Black faces. There’s Harriet Tubman, there’s Frederick Douglass, as well as people I could identify looking like community members or people from history books. And it’s artistic. It’s flavorful. There’s so much to pull from. I’m like, there’s stories behind every piece. And the first piece you introduced me to was this one up top. What’s the story behind this piece right here?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I\u003c/span> \u003cspan style=\"font-weight: 400\">had did the, uh, Martin Luther King mural project in Waco, Texas, which they named a day after me for doing that project. Then Doreen Ravenscroft got in touch with me and asked me would I be interested in doing a mural pertaining to South Waco. I told her “yeah”, she said, “well do me a design.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">So I got a book pertaining to the history of McLennan County, which is Waco is in. It’s the biggest city in McLennan County.\u003c/span> \u003cspan style=\"font-weight: 400\">Then from there, I got an idea. That bridge is represent the oldest, uh, one of the oldest suspension bridges in the USA. It’s a tourist attraction where they just have events on it. No traffic has been on it for years. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over here on the left is, uh, in 1953, the tornado came through Waco and wiped it out, downtown section. This on this end over here represent the, uh, tornado and the destruction and everything.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It still tells an amazing story. There’s a lot of history depicted in it, and the fact that it’s the blueprint for a larger piece that still stands today is really impressive.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What is a day in the life like for you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">This is my life right here. I come here every day! The lady that works in the office, she say, “Do you, uh, paint every day?” I say ‘Yeah. I like to create.’\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some people just like to paint flowers. I don’t knock them, that’s their approach to art. But my approach to art is I try to tell a story with what I knew about or read about, a vision from me is to try to get it out there, to give you a different opinion to history. You know, that’s, that’s all it is to me. \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m a self-taught artist, and I just do stuff and hope that it tells a story. Take that big picture. Not that..the big one. The first picture up here.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Mhm.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I done had all kind of comments on that.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The depiction is… um, or the thing that pops out is on the left side there’s a big green book which says “his story.” And the other one, it’s an upside down King James Holy Bible. And in between the two books are the words-\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">Well you see what it says in the middle?\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, “two big lies” right in the middle of it. Yeah. And then behind them are, uh, the community of Black folks. Even further beyond them, it looks like there’s some people.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Picking cotton.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">Where you see the field, labor and all that stuff, the horses and mules and cotton and stuff like that? But the history, Columbus. They taught that shit in school. Columbus discovered America. Well what about all the people there waving at his ass when he come ashore? You know, what about their history? Then, the Bible, King James version, anytime you say “version,” you’re copying. And anytime you copy something, you’re going to interpret something different.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena, host: \u003c/b>\u003cspan style=\"font-weight: 400\">You were born in Waco, Texas, but you live here and you’ve been doing so for a while, a couple decades. So what brought you to San Francisco?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I wrecked my mom’s car, and I didn’t want to get my butt whooped, so I just took off.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My oldest brother could get the car and when he had it, All I had to do was find him because he hung at the pool hall and stuff like this here. “Hey, man let me use the car for a minute.” “All right. Just don’t go down this way.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And one day, one of my oldest friends who’s still alive today. He pull…“Who you got in the car with you, man?” “Man, don’t let him see it.” That started the race. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Next thing you know, we didn’t run into no car. We bumped each other and went up and believe it or not, hit a house and knocked the house off the foundation,one block, no, two blocks up the street from where my parents lived.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So when my father came down and, you know, like spectators and everything. My father told me, said, “I don’t know what kind of lie you tellin’ them, but I could look at them tire tracks and tell you was racing. I’ll see you when you get home.”\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I kept going. I didn’t go home. I wasn’t going to be able to stand that part. Not that my father was no cruel person, but his word was law.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">So you picked the Bay area because you had an uncle in Richmond?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">My oldest brother lived in Los Angeles. I stayed in Los Angeles. My uncle came through. My uncle… one of those guys that had his government contracts all over the world. Got in a car, came to Richmond, California. Got relatives over there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And my uncle told me “Anywhere in the USA you want to go, I’ll get you a one way ticket.” I came to San Francisco, and I ain’t never regret it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And plus, during that time, I was a real good pool player. I shot pool good enough, I couldn’t make no living where I’d be having big time money. But I could keep the cheat off me. I could eat, and get me- see, when I came to San Francisco. You could get a room, man, cheap. I mean, real cheap. You can’t do that no more. Hell, they want $100, $200 for fleabag now in San Francisco you know. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">The tenderloin district when I came here was lit up like Vegas and everything. All kind of neon lights and everything was down there, man.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So would you consider yourself like a pool shark back in the day?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Billiards SFX]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I would say that. I used to hitchhike around a lot and I guess go to place- I don’t carry no pool cue with me, but I go to a place where they had these little mini pool tables and stuff and just stand around and watch people. ‘Aww, hell, I can beat him.’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> ‘I could beat this one.’ You know, you let them win some, you win some. But the whole thing is when you leave, you just want to have enough money to survive on. And then you come back tomorrow and beat 2 or 3 people then move on. You know, that’s how that went, man. And Dogpatch here, used to have a pool hall right down Tennessee and was a 22nd I think it is, but it used to be a pool hall there. I used to go there every day and win some money every day.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cspan style=\"font-weight: 400\">You started to paint the picture of what San Francisco looked like when you first got here and I wanted to kind of put it in context. You coming up here in the mid 50s, the, uh, mid 1900s in general was known for this massive influx of Black folks from the south coming up in what’s deemed the Great Migration. And I’m wondering from your perspective, did you see San Francisco get Blacker?\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">See when I came, if you was on Hayes and Fillmore and you looking towards Geary, man all you seen was Cadillacs and Buicks and things, Black people. Now they had other races, but it was predominantly Black people. They had a hotel called the Booker T. Washington. This place here was about nine stories high. It was owned by a Black dude out of New Orleans called Red Duvene. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All I could say is San Francisco back during that time was thriving. They had a theater on Market street, see Market used to have about four or five theaters on it. They had one called the Emerson. Everybody and any and everyone that was down and out or anything, that’s where you can meet them at, at the Emerson. All you have to do is go in and get your $1 per ticket. I think it opened at 9:30 to 11:00 at night. \u003c/span>\u003c/p>\n\u003cp>\u003cb>T\u003c/b>\u003cspan style=\"font-weight: 400\">hey had Fosters restaurants all over San Francisco. You could go and sit in and get your cup of coffee and get your newspaper and sit there and just pretend that you’re drinking your coffee or whatever, ‘cause some more people that you know, that’s in the street, they’re gon’ come in and sit somewhere around here, have a few minutes conversation and boom. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When you really looked at the reality part, it was hell. But on the other hand, it was cool. I done been to most of the states in the USA, and this is the best city that I’ve been to, San Francisco. Los Angeles is all right, but then it can’t compare to San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarivs Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">I love the way you talk about personal survival as well as community survival, and also how you eventually gravitated toward the arts. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">You got your start making art at this place called\u003c/span>\u003ca href=\"https://www.hospitalityhouse.org/\">\u003cspan style=\"font-weight: 400\"> Hospitality House\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">It was later on in life, when I got to the part where I started, uh, I got involved in house painting with one of my relatives and that is how I learned the five basic colors of paint and through that, over the years, I guess developed from there. And then when I went to the Central City Hospitality House, a friend of mine who had told me, say, “You always talk about how good you can draw and paint. I know this place, man that if you can draw, they’ll give you all the supplies and sell your paintings if it’s worth anything.” I couldn’t believe that shit. And I had passed by this place hundreds of times and never even thought about going on inside!\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I stepped through the door and the guy say, uh, “Can I help you?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I say, “Yeah, I want to see about, uh, joining an art program here.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Can you paint?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I said, “Yeah.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> “Can you give me a demonstration?” And I started going. After about a month. They asked me would I be interested in volunteering. I stayed there, volunteering for about five years in that program.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I never got involved in, uh, you know, welfare and stuff like it. I never had anything to do with them until I got to the Hospitality House, and they made it possible for me to get food stamps, a check and all of this stuff. So that’s how come I stayed there volunteering for five years but at the same time, I had kind of got away from hustling the pool in the streets and things for the simple reason, you know, I would, not every day, but I sell a picture, $150, $200. Well, that was cool to me because hell, I had never been selling nothing. If you wanted something painted, I’d paint you a picture. if you gave me something, cool, if you didn’t, you know, if you was just my friend I was doing something for.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So then, uh, my work started selling. Then a little bit more. Then next thing, I start getting interviews. I just, all kind of things started happening for me. And I just, like today, I just tell everybody, thanks to this little bitty brush, man, I done had all kinds of doors and opportunity to open for me.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, you currently live on Third Street in the George Davis Senior Center? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yup. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s that like?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s great for the simple reason: I got a roof over my head. I got an apartment that I can afford.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You know, like I shoot pool cause they have a pool table there. I play dominoes, but it’s been maybe about a month since I went did that because, you know, you just get burned out hearing death stories.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I don’t want to sit around and be around, I’m 82, I don’t want to hang around no 82 year old peoples all the time. Hell \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">For what? What are we going to talk about? “Are you going here?” I hear enough of them. They talk about doctors. Hell, I don’t want to hear about your sickness. No, I’m just telling you like it is.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you ever teach art to them?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">I started the art class there, and, for about three years, and then, uh, I just moved on. I’m involved enough with my personal art thing. That’s the reason I stopped because it made me be obligated on Tuesdays to go and open up the studio, the art room there. I got enough on my plate, I might say, for me to do. How many more years I’m gon’ to be around here on the planet? And I want to enjoy the rest of my time for me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Love it. You’re so active. You’re so focused. You know what you want to do. You know why you here. And I’m like… I’m wondering, is there any advice that you can give to younger artists who want to walk a similar path and have a long, luxurious career as an artist?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ira Watkins:\u003c/b>\u003cspan style=\"font-weight: 400\"> You\u003c/span> \u003cspan style=\"font-weight: 400\">gotta be your own self. You can’t be tripping off of what other people think of you. They always gon’ have that negative view. Even people that, when I say negative view, people that you socialize with, that you consider your friend and everything, that you went to elementary school with and all of that. You’re not going to be tight with them all the time. Ya’ll gon’ have friction, you know? So you have to stay focused on you, you’re first, before you can reach out to other people.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Ira Watkins: \u003c/b>\u003cspan style=\"font-weight: 400\">Best thing I could tell a young person, If you go get a job, that don’t mean that you’re going to be, uh, financially successful. That don’t mean that you’re going to have all the shit that you want. But if you go get a job, if it’s flipping hamburgers at McDonald’s or Burger King or something like this here, in the long run, you’ll come out better than standing on that corner down there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it’s the older you get, the less energy that you have to do any-damn-thing. Well, when you get up to about 60, whole lot of energy is gone. But the guy that’s been flipping the hamburger can count on a Social Security check. You can’t count on nobody because you didn’t plot!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It makes sense. What it boils all down to is investing in yourself. Yeah. Investing in yourself and being aware of the benefits, the long term benefits of what it looks like to invest in yourself, consistently. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music playing]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">A lifetime dedicated to art, shooting pool and staying on the move. Ira Watkins, thank you. Thank you for sharing a bit of your story with us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For all of my folks out there listening, Ira isn’t online– he doesn’t do the social media thing. But his work is readily on display at his space in the \u003c/span>\u003ca href=\"https://www.shipyardartists.com/\">\u003cspan style=\"font-weight: 400\"> Hunter’s Point Shipyard Arts Studios\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, I’d add that there are so many other artists out there just like Ira– self taught, doing their work to preserve history, and making art every single day, so I ask that you stop by a local museum or attend an art show. Not only do the artists benefit from this, you will as well. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw and Marisol Medina Cadena. It was produced by Sheree Bishop. Chris Hambrick is our editor. Christopher Beale is our engineer. Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED Production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Happy Black History Month, ya’ll. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace.\u003c/span>\u003c/p>\n\u003cp> \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\">\u003c/p>\n\u003cp>\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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"content": "\u003cp>“Brown people from the Mission, this is our little history here,” says Ray Balberan of Mission Media Archives, in the trailer for \u003ci>Mission Love\u003c/i>, while holding an original can of 16mm footage.\u003c/p>\n\u003cp>The Chicano filmmaker’s latest project opened at the Roxie Theater on Jan. 27, and will have one final screening on Sunday, Feb. 18.\u003c/p>\n\u003cp>A compilation of four short films — which includes the work of Latinx filmmakers and community activists Vero Majano, Debra Koffler and Loriz “Ginger” Godines — serves as a time capsule into the early 1970s, when, in the words of Balberan, “young people took to the streets in the struggle to gain access to the broadcast airwaves to serve the community, share our own views, and create systematic change around issues like empowerment, poverty, youth employment, police brutality, and racial discrimination.”\u003c/p>\n\u003cp>The short films utilize footage taken between 1972 to 1973 that appear in each of the four shorts: \u003ci>The Family\u003c/i>; \u003ci>Mission Streets\u003c/i>;\u003ci> Back on the Streets\u003c/i>; and\u003ci> Mission Coalition Organization Demonstration and Press Conference.\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7zZ_vkS1R_I\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The sepia-toned, black and white, grainy-color footage from each film creates a mixtape-like montage of iconic institutions and community members from a bygone era. During a time of social upheaval, including the Vietnam War in a post-Civil Rights America, the films focus on the fabric of family, community and rebellious youth movements that held the Mission together — in ways that propelled progress with poetry, protests and public music gatherings.\u003c/p>\n\u003cp>Among the more hyperlocal issues, the final short film “Mission Coalition Organization Demonstration and Press Conference” follows protestors’ reaction to the sudden cancellation of KQED’s \u003cem>Mission and 24th Street\u003c/em> program. Having originally premiered in 1970, the program provided training for neighborhood residents in film and television. An issue of censorship is said to have caused the cancellation, which initially featured Balberan’s \u003ca href=\"https://www.youtube.com/channel/UCbuiQlIGfWBLBNZ24j_cnjQ\">Mission Mediarts\u003c/a> as part of the show’s production.\u003c/p>\n\u003cp>In many ways, \u003ci>Mission Love\u003c/i> is a reclamation — what may once have been censored is now essential viewing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Mission Love’ will be shown for the final time at the Roxie Theater (3125 16th St., SF) on Sun., Feb. 18 at 6 p.m. Tickets available \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/14923?siteToken=4m48btf3yavn7xjk5yxk6nc40c\">here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The sepia-toned, black and white, grainy-color footage from each film creates a mixtape-like montage of iconic institutions and community members from a bygone era. During a time of social upheaval, including the Vietnam War in a post-Civil Rights America, the films focus on the fabric of family, community and rebellious youth movements that held the Mission together — in ways that propelled progress with poetry, protests and public music gatherings.\u003c/p>\n\u003cp>Among the more hyperlocal issues, the final short film “Mission Coalition Organization Demonstration and Press Conference” follows protestors’ reaction to the sudden cancellation of KQED’s \u003cem>Mission and 24th Street\u003c/em> program. Having originally premiered in 1970, the program provided training for neighborhood residents in film and television. An issue of censorship is said to have caused the cancellation, which initially featured Balberan’s \u003ca href=\"https://www.youtube.com/channel/UCbuiQlIGfWBLBNZ24j_cnjQ\">Mission Mediarts\u003c/a> as part of the show’s production.\u003c/p>\n\u003cp>In many ways, \u003ci>Mission Love\u003c/i> is a reclamation — what may once have been censored is now essential viewing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Mission Love’ will be shown for the final time at the Roxie Theater (3125 16th St., SF) on Sun., Feb. 18 at 6 p.m. Tickets available \u003ca href=\"https://ticketing.uswest.veezi.com/purchase/14923?siteToken=4m48btf3yavn7xjk5yxk6nc40c\">here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Turntablism’s Mightiest Heroes: The Legacy, Impact and Aesthetics of the Invisibl Skratch Piklz",
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"content": "\u003cfigure id=\"attachment_13952272\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017.jpg\" alt=\"\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-768x768.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz’ cultural impact over the past 40 years has been felt around the globe. The crew is pictured here backstage in San Francisco in 2017. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop/\">That’s My Word\u003c/a>\u003cem>, KQED’s story series on \u003ca href=\"https://www.kqed.org/bayareahiphop/\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On an overcast November day in Oakland, DJ Shortkut – a member of the Invisibl Skratch Piklz DJ crew – was the featured performer on a boat cruise, as part of the DMC World DJ Finals festivities. The weather didn’t get too rough during the two-hour tour, which meandered out to the Bay Bridge and back to port at Jack London Square. The worst was some mildly choppy squalls into fierce headwinds. Because this wasn’t your average boat cruise – its attendees mainly consisted of DJs from all over the world in town for the DMC battle – the ship’s crew circled around Treasure Island for a bit, instead of heading further out into the open sea.\u003c/p>\n\u003cp>The calmer waters allowed Shortkut, who had been playing a vibrant set of mostly classic midtempo hip-hop, to show off his mixing and scratching skills a bit. As the boat headed back toward its East Bay dock, Shortkut unleashed an impressive display of scratching skills that lasted for a good five minutes. As the boat neared its mooring, the DJ called his peers to the turntables. What followed was an unforgettable, and super-fun, display of global turntablism at its best, as each DJ in succession laid down a wicked scratch segment.\u003c/p>\n\u003cfigure id=\"attachment_13937761\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED.jpg\" alt=\"A person with a shaved head stands at a table as a screen behind them shows the images of several people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut performs with Invisibl Skratch Piklz during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It seemed appropriate for Shortkut to be leading the activities. Once a battle entrant in the DMCs himself and understudy to fellow Piklz Qbert, Apollo, and Mix Master Mike, Shortkut has become an accomplished master in his own right – most recently playing an opening set on LL Cool J’s star-studded Hip Hop 50 tour. The message to the younger DJs on the boat was clear: keep developing your skills and be a balanced DJ who can rise to any occasion – scratching and beat-juggling skills are nice, but rocking a party with impeccable selection while displaying your skills is even better.\u003c/p>\n\u003ch2>Perfecting – and Teaching – the Art\u003c/h2>\n\u003cp>The Piklz first rose to prominence during the ’90s, winning multiple world DJ battle titles as a crew and individually while displaying innovative new techniques that elevated turntablism to unprecedented heights. After revolutionizing the artform and birthing scratch music as a genre, by the decade’s end, they had left an indelible mark on DJ culture and furthered its global reach.\u003c/p>\n\u003cfigure id=\"attachment_13952265\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952265\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93.jpg\" alt=\"\" width=\"1759\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-1536x1044.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz in Japan in 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christie Zee, the organizer for 2023’s DMC World Battle, held in San Francisco, has worked off and on for the London-based organization since 1998. She first became aware of the Piklz from an old boyfriend’s copy of DJ Qbert’s \u003cem>Demolition Pumpkin Squeeze Musik\u003c/em> mixtape – “It just had so much scratching and it was so fun,” she says. She recalls meeting the crew for the first time in 1999, at the DMC World Finals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m really delicate, really careful about (saying) \u003cem>pioneer\u003c/em> versus \u003cem>legend\u003c/em>, but I do think they were pioneering, because of things they’ve innovated and presented and invented,” she says. “They didn’t invent the scratch, but they just progressed the hell out of it.”\u003c/p>\n\u003cp>“Obviously they have titles under their belts,” says Rob Swift, a founding member of the X-Men/X-Ecutioners, the New York turntablists who famously battled the Piklz in 1996. “But for me, I would say their most pivotal contribution to DJing is teaching the art. Before the Invisibl Skratch Piklz, nobody was teaching. DJing was a secret art.”\u003c/p>\n\u003cfigure id=\"attachment_13952266\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952266\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_.jpg\" alt=\"\" width=\"1759\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-1536x1041.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz with Japanese fans, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swift – who’s been teaching a DJ course at the New School for Liberal Arts in New York since 2014 – speaks from experience. Within months of Qbert developing the crab scratch, Swift was using the technique in battles. He cites the instructional \u003cem>Turntable TV\u003c/em> series of video tutorials as not only an inspiration for the X-Men, but also for other DJs and even corporate entities. As a result, more people started DJing and the culture grew.\u003c/p>\n\u003cp>“Before the Piklz, all of us had our own personal terminology for DJing. But the Piklz started (creating) terms that globally started to become accepted and become the consensus terms… Q started giving individual techniques specific names. In doing so, it made the art teachable, because you can’t teach someone by saying, yo, make it go \u003cem>wigga wigga wigga wigga\u003c/em>.\u003c/p>\n\u003cp>“Now these guys are selling videos to kids in Japan, kids in Canada, kids across the country, kids in Europe that had no clue how to do this shit… Myself, (Roc) Raida, Mista Sinista, (Total) Eclipse, we were inspired by Q, and we started teaching how to juggle, and we made videotapes just like them.” Without the Picklz, he says, there wouldn’t be “the ripple effects of what we see now, of all these DJ schools, all of these people teaching on YouTube, all these online tutorials, all these companies designing gear with all these effects.”\u003c/p>\n\u003cfigure id=\"attachment_13952270\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax.jpg\" alt=\"\" width=\"1759\" height=\"1156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-1536x1009.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at Vestax headquarters in Tokyo, Japan, to preview their signature mixer. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Signature Models and Scratch Technique\u003c/h2>\n\u003cp>The Piklz also served as consultants to audio companies like Vestax and Ortofon to develop ISP-branded mixers and needles; more recently, Shortkut served as a brand ambassador for Serato’s vinyl emulation software. In a 2022 video tutorial for \u003cem>Wired\u003c/em>, the master turntablist demonstrates 15 levels of scratching, from the basic “baby scratch” to complex combos, rhythm and drum scratches, and the beat-juggle.\u003c/p>\n\u003cp>According to Shortkut, beat-juggling is “live manual remixing, basically, with two turntables and a mixer” utilizing two copies of the same record, or two different records. When done properly, the technique creates an entirely new beat using existing sounds.\u003c/p>\n\u003cp>Mix Master Mike estimates that he and Qbert have named hundreds of specific scratches. Among his original contributions is the “Tweaker,” which was developed accidentally, due to a power outage. “When you cut a turntable off, the sound still comes out of it” when the needle is left on the record. “You got to manually move the belt with your hand, which (makes) a totally way-out, dragging sound from the record.”\u003c/p>\n\u003cfigure id=\"attachment_13952268\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut.jpg\" alt=\"\" width=\"1759\" height=\"1186\" class=\"size-full wp-image-13952268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-1536x1036.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz, mid-routine in Seattle, 1994. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In live shows, Mike deploys an arsenal of sound banks with trees of various audio samples for different instruments. He often improvises his sets – rarely playing the same scratch solo twice. With all the scratches he’s invented, “If I’m performing live, it’s all about if I can remember it on the spot.”\u003c/p>\n\u003cp>Qbert’s most ubiquitous scratch may be the crab, which uses the crossfader to chop the audio signal, similar to the transformer scratch. Unlike the transformer – performed with just thumb and forefinger – the crab utilizes a rapid tapping motion with the other three fingers, resulting in finer chops, like a triplet of 1/16th notes instead of quarter-notes. The crab can then be combined with other techniques like the stab, the tear, or the orbit to create an infinite number of scratch patterns.\u003c/p>\n\u003cp>Q says the crab has nothing to do with crustaceans, actually. It was originally called the crepe, based off a food order he’d made in Lebanon. Except no one could pronounce the rolled r’s of a Lebanese accent correctly. Among the other scratches he’s named personally, “there’s like the hydro, the laser, the phaser, the swipe, oh man, let’s see, there’s the clover tear, the prism scratch. … there’s so many.”\u003c/p>\n\u003cfigure id=\"attachment_13952274\" class=\"wp-caption aligncenter\" style=\"max-width: 749px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952274\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad.jpg\" alt=\"\" width=\"749\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad.jpg 749w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad-160x205.jpg 160w\" sizes=\"(max-width: 749px) 100vw, 749px\">\u003cfigcaption class=\"wp-caption-text\">A Vestax advertisement for the Invisibl Skratch Piklz’ signature mixer. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>100mph Backsliding Turkey Kuts\u003c/h2>\n\u003cp>The Piklz began developing tools for DJs with the original \u003cem>Battle Breaks\u003c/em> vinyl record, which resampled various sound effects and verbal phrases, making them more scratch-friendly and accessible. Their imprint Dirt Style has released dozens of such records over the decades with names like \u003cem>Bionic Booger Breaks\u003c/em>, \u003cem>Buttcrack Breaks\u003c/em>, or \u003cem>Scratch Fetishes of the Third Kind\u003c/em>. These records are sometimes credited to DJ Qbert, DJ Flare or Mix Master Mike, and sometimes credited to aliases like the Psychedelic Scratch Bastards, The Wax Fondler and Darth Fader.\u003c/p>\n\u003cp>\u003cem>Battle Breaks\u003c/em> led to another innovation: the \u003cem>Scratchy Seal\u003c/em> series of skipless records. As Qbert explains, there’s a science behind this. “If you look at the turntable, it spins at 33 ⅓ — 33.33333 (revolutions) per minute. If you just make the BPM of the sound effect 33-point-dee dee dee dee dee dee dee dee dee dee, the magic number, it’s all going to be repetitive. No matter where the needle jumps, it’s going to land on the same sound again.”\u003c/p>\n\u003cfigure id=\"attachment_13952264\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952264\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Qbert and Mix Master Mike backstage at the 2023 DMC championships in San Francisco. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>How\u003c/em> the Piklz scratched also made a difference. According to crew member D-Styles, prior to the Piklz, “a lot of the scratch styles were straight ahead. It was very on the beat. ” He likens the Piklz’ approach to Bird and Dizzy’s excursions in the bebop era – “being ahead of the beat, or behind the beat, being more free with it, not so (much) in the line.”\u003c/p>\n\u003cp>While there were other DJ crews before the Piklz, Swift says, the idea of a turntable orchestra was uncharted territory. “One guy would take a horn hit, another guy would take drums, the other guy would take vocals. Nobody was doing that before the Piklz.” This became a common practice, and led to the introduction of team routines in major battles. Qbert remarks that he and the other Piklz have been doing synchronized routines for so long, the communication between them has become telepathic. “It’s just kind of like walking in step.”\u003c/p>\n\u003cfigure id=\"attachment_13952269\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead.jpg\" alt=\"\" width=\"1759\" height=\"1173\" class=\"size-full wp-image-13952269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-1536x1024.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Qbert onstage with guitarist Buckethead at the Jazznojazz Festival in Zurich, 1995. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another advancement was the first all-scratching record, i.e. a musical composition consisting entirely of scratched sounds. The scratch music trend resulted in a slew of solo releases — many of them on the now-defunct Bomb Hip Hop label – as well as group albums from the X-Ecutioners, The Allies, and Birdy Nam Nam, and one-offs like El Stew, an alternative supergroup featuring guitarist Buckethead, ISP alumni DJ Disk and producer Eddie Def. After turntablism’s initial wave died down in the early 2000s, the Piklz continued to develop the genre, which Shortkut says has become its own culture.\u003c/p>\n\u003cp>“It’s a niche market,” Qbert says. “But I’m totally immersed in it.”\u003c/p>\n\u003cfigure id=\"attachment_13952275\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at a Red Bull event. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It’s Just Some Human Shit, and It’s a Beautiful Thing’\u003c/h2>\n\u003cp>On his solo albums, Qbert has frequently explored sci-fi themes, beginning with 1998’s \u003cem>Wave Twisters\u003c/em>, and continuing with 2014’s \u003cem>Extraterrestria\u003c/em> and \u003cem>Galaxxxian\u003c/em>, 2020’s \u003cem>Origins (Wave Twisters 0)\u003c/em>, and 2022’s \u003cem>Next Cosmos\u003c/em>. He’s imagined what scratch music from across the galaxy might sound like, evoking starships navigating irradiated asteroid belts, alien creatures scurrying across cratered landscapes, and underwater temples emanating immemorial chants over percussive beats, while turning Rakim and Too Short phrases into Zen mantras. He’s done all this by embracing the musical possibilities of the turntable.\u003c/p>\n\u003cp>“On what other equipment could you make the sounds go backwards and forwards and just do all these weird things with it? You know, with your hands,” he says. Unlike pressing buttons on a computer, “this is like fucking connected to your soul. It’s not like AI can do it. It’s just some human shit, and it’s a beautiful thing.”\u003c/p>\n\u003cp>Mix Master Mike served as the official DJ for the Beastie Boys from 1998 up until 2012, later joined Cypress Hill, and has toured with arena rock giants Metallica, Guns ‘N’ Roses, and Godsmack, playing to crowds of up to 50,000. His solo catalog has expanded the turntablism field into new arenas – literally. “I’ve always targeted the rock audience,” Mike says. “I’m not just hip-hop. I’m everything around it. The greatness is having to conquer uncharted territories.\u003c/p>\n\u003cp>“I like to remain mysterious in that sense as far as being a mysterious artist and being unpredictable. I’m the risk taker, right? It’s therapeutic for me at this point, but it’s like I’m just taking it as a mission because nobody’s doing this.”\u003c/p>\n\u003cfigure id=\"attachment_13952267\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952267\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks.jpg\" alt=\"\" width=\"1759\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-1536x1044.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This philosophy extends from live shows to recordings. “Growing up, I was always listening to soundtrack music. Lalo Schifrin, Quincy Jones, Ennio Morricone.” His goal in making records is to capture a cinematic sense, to make “a soundtrack that can live forever.”\u003c/p>\n\u003cp>His newest release, 2023’s \u003cem>Opus X Magnum\u003c/em>, is a headphone album with arena sensibilities. Or vice-versa. There’s lots of subtle instrumental and sound effect-y passages, along with chest-pumping drums and serpentine basslines. The quieter moments are few, but precious. MMM’s Pikl heritage is evident in the way horns, keyboards and vocal phrases are scratched vicariously, resulting in twisty turns that keep your ears guessing what’s next. To the artist’s credit, \u003cem>Opus\u003c/em> does sound epically cinematic throughout, its constantly changing moods and textures suggesting perpetual motion and a full dose of adrenaline.\u003c/p>\n\u003cp>D-Styles’ two solo albums, released 17 years apart, illustrate his artistic growth. 2002’s \u003cem>Phantazmagorea\u003c/em> delves into dark themes, with vocal phrases seemingly selected for shock value, along with recognizable scratched snippets from KRS-One and Stetsasonic. 2019’s \u003cem>Noises In the Right Order\u003c/em> – inspired by a residency at Low End Theory, a club night frequented by lo-fi producers – recalls DJ Shadow’s \u003cem>Endtroducing\u003c/em> and the trip-hop era, while still using found vocals as documentary. D-Styles says \u003cem>Noises\u003c/em> was about being “more musical and less technical.” There’s plenty of scratching, but the emphasis is on overall composition.\u003c/p>\n\u003cfigure id=\"attachment_13952271\" class=\"wp-caption aligncenter\" style=\"max-width: 597px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952271\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016.jpg\" alt=\"\" width=\"597\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016-160x136.jpg 160w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at Hiero Day 2016 in Oakland. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Being a turntable composer, D-Styles maintains, means using scratching’s vocabulary as a musical language. “You look at it like an alphabet. You got chirps, you got flares, you got crabs, you got autobahns, you got Stewie’s, and all of that stuff. You can add swing to it, you could be ahead of the beat. Behind the beat. You can accent. There’s so much that goes into putting these combinations together.”\u003c/p>\n\u003ch2>Many Styles\u003c/h2>\n\u003cp>Apollo and Shortkut, meanwhile, joined forces with former ITF World Champion Vin Roc in 1999 to form Triple Threat, a DJ crew whose mission was to integrate turntablism into party-rocking live sets. “Just coming up as turntablists, we kind of like, created little monsters everywhere,” Apollo says. “All they would do is scratch in their bedrooms.” There’s more to DJing, he says, than just doing tricks and scratching and juggling.\u003c/p>\n\u003cp>Triple Threat released a well-received 2003 album, \u003cem>Many Styles\u003c/em>, which blended turntablist-oriented tracks with emcee features from Planet Asia, Black Thought, Souls of Mischief and Zion-I. The trio toured the United States and Asia regularly, and remained active up until the late 2010s. Apollo – who judged the DMC World Finals last year – still identifies as a Pikl, and says his focus nowadays is on upgrading his studio and reestablishing himself as a producer; he hopes to contribute some tracks to future ISP albums.\u003c/p>\n\u003cfigure id=\"attachment_13952276\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13952276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut, at right, on the F.O.R.C.E. Tour with (L–R) DJ Z-Trip, LL Cool J and DJ Jazzy Jeff. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortkut’s recorded output mainly consists of DJ mixtapes covering a wide variety of genres, but he did produce 2012’s “Twelve,” a funky, fun track with “Sesame Street”-esque vocal samples, for the Beat Junkies 45 Series, as well as 2017’s “Mini-Wheels,” a 7-inch single for Thud Rumble, and “Short Rugs,” a limited-edition slipmat designed for 45 rpm records and a 7-inch record with three skipless vinyl scratch tracks. He’s been an occasional headliner at DJ Platurn’s 45 Sessions party; playing all-vinyl sets, he says, helps him maintain his sanity.\u003c/p>\n\u003cp>After a lengthy break following 2000’s “final” performance, Qbert, Shortkut and D-Styles officially reformed as ISP for 2015’s \u003cem>The 13th Floor\u003c/em>, their first full-length release. “This was the first time as a scratch artist that I’ve felt able to do shows with the Piklz where people know the songs,” Shortkut says. The album’s moods range from dark to soulful to jazzy, and were intended to be templates for live performances that typically involve improvised scratch soloing over a structured song with defined instrumental parts.\u003c/p>\n\u003cfigure id=\"attachment_13952273\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz in Japan, making their ’13th Floor’ album in 2015. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of \u003cem>The 13th Floor\u003c/em>’s compositional elements were developed by D-Styles, who went on to become an online instructor at the Beat Junkies Institute of Sound in 2019. He notes the Piklz are more than halfway through their next, as-yet-untitled album — several tracks from which they previewed live during their recent DMC showcase in San Francisco.\u003c/p>\n\u003cp>“My strength is, I’m always in the studio,” says D-Styles. “I always have these ideas, these sketches that I’ll try at home by myself. But I always have parts in mind, so if i have drums, I’ll be like, this is perfect for Shortkut. And then I have these keyboards, you know, these notes. So I’ll carry that side. And then I’ll give Q this (vocal) phrase. And I know he’ll know what to do with it.”\u003c/p>\n\u003ch2>Aesthetics That ‘Vibrate a Certain Way’\u003c/h2>\n\u003cp>Qbert maintains he’s still a student, trying to learn new things after all these years. He keeps pushing himself to new levels because he doesn’t want to repeat what he’s already done. “You got to come unique and original, or else it’s like, fucking wack. Or it’s, \u003cem>ah… he did the same shit last time\u003c/em>, you know? I don’t want to hear that.”\u003c/p>\n\u003cfigure id=\"attachment_13952294\" class=\"wp-caption aligncenter\" style=\"max-width: 1811px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_.jpg\" alt=\"\" width=\"1811\" height=\"600\" class=\"size-full wp-image-13952294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_.jpg 1811w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-800x265.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-1020x338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-768x254.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-1536x509.jpg 1536w\" sizes=\"(max-width: 1811px) 100vw, 1811px\">\u003cfigcaption class=\"wp-caption-text\">A sample of Qbert’s visual aesthetic from three full-length albums: ‘Extraterrestria,’ ‘Origins Wave Twisters 0,’ and ‘Next Cosmos in 5D.’\u003c/figcaption>\u003c/figure>\n\u003cp>The most sublime aspect of the Piklz legacy may be their aesthetic, best described as part kung-fu, part sci-fi, part zany humor, yet firmly grounded in DJ culture and hip-hop expression. This is reflected in Mike and Q’s outsize personalities. “Those two in particular are very much outside of this Earth,” says Christie Z, noting that Mike’s custom Serato vinyl is covered in Zectarian language. (In 2017, Qbert joined Mike for a duo performance of MMM’s alienesque single “Channel Zecktar” live at the NAMM showcase.) Artists are sometimes kooky, she says, but she’s used to it by now. “That’s what they do.”\u003c/p>\n\u003cp>Unsurprisingly, perhaps, Mike sees himself as a glowing, ultramagnetic, cosmic antenna. “I would say, you know, my brain is like a super cerebral satellite dish that I’m just logging into the channels in my mind, and I call it the access to the interstellar network, my own interstellar network that’s going on in my head.”\u003c/p>\n\u003cp>As for Qbert, “nowadays I work off of karma,” he says. Though he’s consulted for audio companies before, when he’s asked for input, he doesn’t insist on contractual agreements. “I’ll give you the honest truth.” If a mixer could be sleeker and more ergonomic, he’ll say so. He feels equipment makers could be more visionary and futuristic with their products. “They could put chromatherapy in these things, you know, they vibrate a certain way to make it heal you as a human.”\u003c/p>\n\u003cp>For all of Qbert’s zany sense of humor and embracing of otherworldliness, he’s remarkably down to earth at times. That is to say, his ideology isn’t illogical at all – just advanced.\u003c/p>\n\u003cp>“With any art, if you’re deep into it, you’re already touching infinity,” he says. “So you could do so many things in it that you haven’t done. And there’s freakin’ a bag of infinity left — that is never-ending.”\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"excerpt": "The Skratch Piklz' innovations in scratch technique, education and battle tools have impacted the globe. ",
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"title": "Turntablism’s Mightiest Heroes: The Legacy, Impact and Aesthetics of the Invisibl Skratch Piklz | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13952272\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017.jpg\" alt=\"\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-backstage-in-SF-2017-768x768.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz’ cultural impact over the past 40 years has been felt around the globe. The crew is pictured here backstage in San Francisco in 2017. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop/\">That’s My Word\u003c/a>\u003cem>, KQED’s story series on \u003ca href=\"https://www.kqed.org/bayareahiphop/\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On an overcast November day in Oakland, DJ Shortkut – a member of the Invisibl Skratch Piklz DJ crew – was the featured performer on a boat cruise, as part of the DMC World DJ Finals festivities. The weather didn’t get too rough during the two-hour tour, which meandered out to the Bay Bridge and back to port at Jack London Square. The worst was some mildly choppy squalls into fierce headwinds. Because this wasn’t your average boat cruise – its attendees mainly consisted of DJs from all over the world in town for the DMC battle – the ship’s crew circled around Treasure Island for a bit, instead of heading further out into the open sea.\u003c/p>\n\u003cp>The calmer waters allowed Shortkut, who had been playing a vibrant set of mostly classic midtempo hip-hop, to show off his mixing and scratching skills a bit. As the boat headed back toward its East Bay dock, Shortkut unleashed an impressive display of scratching skills that lasted for a good five minutes. As the boat neared its mooring, the DJ called his peers to the turntables. What followed was an unforgettable, and super-fun, display of global turntablism at its best, as each DJ in succession laid down a wicked scratch segment.\u003c/p>\n\u003cfigure id=\"attachment_13937761\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937761\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED.jpg\" alt=\"A person with a shaved head stands at a table as a screen behind them shows the images of several people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231103-DMCBattle-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut performs with Invisibl Skratch Piklz during the DMC World DJ Finals at The Midway in San Francisco, Calif., on Nov. 3, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It seemed appropriate for Shortkut to be leading the activities. Once a battle entrant in the DMCs himself and understudy to fellow Piklz Qbert, Apollo, and Mix Master Mike, Shortkut has become an accomplished master in his own right – most recently playing an opening set on LL Cool J’s star-studded Hip Hop 50 tour. The message to the younger DJs on the boat was clear: keep developing your skills and be a balanced DJ who can rise to any occasion – scratching and beat-juggling skills are nice, but rocking a party with impeccable selection while displaying your skills is even better.\u003c/p>\n\u003ch2>Perfecting – and Teaching – the Art\u003c/h2>\n\u003cp>The Piklz first rose to prominence during the ’90s, winning multiple world DJ battle titles as a crew and individually while displaying innovative new techniques that elevated turntablism to unprecedented heights. After revolutionizing the artform and birthing scratch music as a genre, by the decade’s end, they had left an indelible mark on DJ culture and furthered its global reach.\u003c/p>\n\u003cfigure id=\"attachment_13952265\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952265\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93.jpg\" alt=\"\" width=\"1759\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan_.decks_.93-1536x1044.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz in Japan in 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christie Zee, the organizer for 2023’s DMC World Battle, held in San Francisco, has worked off and on for the London-based organization since 1998. She first became aware of the Piklz from an old boyfriend’s copy of DJ Qbert’s \u003cem>Demolition Pumpkin Squeeze Musik\u003c/em> mixtape – “It just had so much scratching and it was so fun,” she says. She recalls meeting the crew for the first time in 1999, at the DMC World Finals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m really delicate, really careful about (saying) \u003cem>pioneer\u003c/em> versus \u003cem>legend\u003c/em>, but I do think they were pioneering, because of things they’ve innovated and presented and invented,” she says. “They didn’t invent the scratch, but they just progressed the hell out of it.”\u003c/p>\n\u003cp>“Obviously they have titles under their belts,” says Rob Swift, a founding member of the X-Men/X-Ecutioners, the New York turntablists who famously battled the Piklz in 1996. “But for me, I would say their most pivotal contribution to DJing is teaching the art. Before the Invisibl Skratch Piklz, nobody was teaching. DJing was a secret art.”\u003c/p>\n\u003cfigure id=\"attachment_13952266\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952266\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_.jpg\" alt=\"\" width=\"1759\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.japan2_-1536x1041.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz with Japanese fans, 1993. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swift – who’s been teaching a DJ course at the New School for Liberal Arts in New York since 2014 – speaks from experience. Within months of Qbert developing the crab scratch, Swift was using the technique in battles. He cites the instructional \u003cem>Turntable TV\u003c/em> series of video tutorials as not only an inspiration for the X-Men, but also for other DJs and even corporate entities. As a result, more people started DJing and the culture grew.\u003c/p>\n\u003cp>“Before the Piklz, all of us had our own personal terminology for DJing. But the Piklz started (creating) terms that globally started to become accepted and become the consensus terms… Q started giving individual techniques specific names. In doing so, it made the art teachable, because you can’t teach someone by saying, yo, make it go \u003cem>wigga wigga wigga wigga\u003c/em>.\u003c/p>\n\u003cp>“Now these guys are selling videos to kids in Japan, kids in Canada, kids across the country, kids in Europe that had no clue how to do this shit… Myself, (Roc) Raida, Mista Sinista, (Total) Eclipse, we were inspired by Q, and we started teaching how to juggle, and we made videotapes just like them.” Without the Picklz, he says, there wouldn’t be “the ripple effects of what we see now, of all these DJ schools, all of these people teaching on YouTube, all these online tutorials, all these companies designing gear with all these effects.”\u003c/p>\n\u003cfigure id=\"attachment_13952270\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax.jpg\" alt=\"\" width=\"1759\" height=\"1156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Japan_.vestax-1536x1009.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at Vestax headquarters in Tokyo, Japan, to preview their signature mixer. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Signature Models and Scratch Technique\u003c/h2>\n\u003cp>The Piklz also served as consultants to audio companies like Vestax and Ortofon to develop ISP-branded mixers and needles; more recently, Shortkut served as a brand ambassador for Serato’s vinyl emulation software. In a 2022 video tutorial for \u003cem>Wired\u003c/em>, the master turntablist demonstrates 15 levels of scratching, from the basic “baby scratch” to complex combos, rhythm and drum scratches, and the beat-juggle.\u003c/p>\n\u003cp>According to Shortkut, beat-juggling is “live manual remixing, basically, with two turntables and a mixer” utilizing two copies of the same record, or two different records. When done properly, the technique creates an entirely new beat using existing sounds.\u003c/p>\n\u003cp>Mix Master Mike estimates that he and Qbert have named hundreds of specific scratches. Among his original contributions is the “Tweaker,” which was developed accidentally, due to a power outage. “When you cut a turntable off, the sound still comes out of it” when the needle is left on the record. “You got to manually move the belt with your hand, which (makes) a totally way-out, dragging sound from the record.”\u003c/p>\n\u003cfigure id=\"attachment_13952268\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut.jpg\" alt=\"\" width=\"1759\" height=\"1186\" class=\"size-full wp-image-13952268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.3fromsideshortkut-1536x1036.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz, mid-routine in Seattle, 1994. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In live shows, Mike deploys an arsenal of sound banks with trees of various audio samples for different instruments. He often improvises his sets – rarely playing the same scratch solo twice. With all the scratches he’s invented, “If I’m performing live, it’s all about if I can remember it on the spot.”\u003c/p>\n\u003cp>Qbert’s most ubiquitous scratch may be the crab, which uses the crossfader to chop the audio signal, similar to the transformer scratch. Unlike the transformer – performed with just thumb and forefinger – the crab utilizes a rapid tapping motion with the other three fingers, resulting in finer chops, like a triplet of 1/16th notes instead of quarter-notes. The crab can then be combined with other techniques like the stab, the tear, or the orbit to create an infinite number of scratch patterns.\u003c/p>\n\u003cp>Q says the crab has nothing to do with crustaceans, actually. It was originally called the crepe, based off a food order he’d made in Lebanon. Except no one could pronounce the rolled r’s of a Lebanese accent correctly. Among the other scratches he’s named personally, “there’s like the hydro, the laser, the phaser, the swipe, oh man, let’s see, there’s the clover tear, the prism scratch. … there’s so many.”\u003c/p>\n\u003cfigure id=\"attachment_13952274\" class=\"wp-caption aligncenter\" style=\"max-width: 749px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952274\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad.jpg\" alt=\"\" width=\"749\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad.jpg 749w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/1996-Vestax-ISP-ad-160x205.jpg 160w\" sizes=\"(max-width: 749px) 100vw, 749px\">\u003cfigcaption class=\"wp-caption-text\">A Vestax advertisement for the Invisibl Skratch Piklz’ signature mixer. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>100mph Backsliding Turkey Kuts\u003c/h2>\n\u003cp>The Piklz began developing tools for DJs with the original \u003cem>Battle Breaks\u003c/em> vinyl record, which resampled various sound effects and verbal phrases, making them more scratch-friendly and accessible. Their imprint Dirt Style has released dozens of such records over the decades with names like \u003cem>Bionic Booger Breaks\u003c/em>, \u003cem>Buttcrack Breaks\u003c/em>, or \u003cem>Scratch Fetishes of the Third Kind\u003c/em>. These records are sometimes credited to DJ Qbert, DJ Flare or Mix Master Mike, and sometimes credited to aliases like the Psychedelic Scratch Bastards, The Wax Fondler and Darth Fader.\u003c/p>\n\u003cp>\u003cem>Battle Breaks\u003c/em> led to another innovation: the \u003cem>Scratchy Seal\u003c/em> series of skipless records. As Qbert explains, there’s a science behind this. “If you look at the turntable, it spins at 33 ⅓ — 33.33333 (revolutions) per minute. If you just make the BPM of the sound effect 33-point-dee dee dee dee dee dee dee dee dee dee, the magic number, it’s all going to be repetitive. No matter where the needle jumps, it’s going to land on the same sound again.”\u003c/p>\n\u003cfigure id=\"attachment_13952264\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952264\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/AAA_Q_MMM_best_PhotobyJeffStrawBranding-2000-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Qbert and Mix Master Mike backstage at the 2023 DMC championships in San Francisco. \u003ccite>(Jeff Straw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>How\u003c/em> the Piklz scratched also made a difference. According to crew member D-Styles, prior to the Piklz, “a lot of the scratch styles were straight ahead. It was very on the beat. ” He likens the Piklz’ approach to Bird and Dizzy’s excursions in the bebop era – “being ahead of the beat, or behind the beat, being more free with it, not so (much) in the line.”\u003c/p>\n\u003cp>While there were other DJ crews before the Piklz, Swift says, the idea of a turntable orchestra was uncharted territory. “One guy would take a horn hit, another guy would take drums, the other guy would take vocals. Nobody was doing that before the Piklz.” This became a common practice, and led to the introduction of team routines in major battles. Qbert remarks that he and the other Piklz have been doing synchronized routines for so long, the communication between them has become telepathic. “It’s just kind of like walking in step.”\u003c/p>\n\u003cfigure id=\"attachment_13952269\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead.jpg\" alt=\"\" width=\"1759\" height=\"1173\" class=\"size-full wp-image-13952269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.buckethead-1536x1024.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Qbert onstage with guitarist Buckethead at the Jazznojazz Festival in Zurich, 1995. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another advancement was the first all-scratching record, i.e. a musical composition consisting entirely of scratched sounds. The scratch music trend resulted in a slew of solo releases — many of them on the now-defunct Bomb Hip Hop label – as well as group albums from the X-Ecutioners, The Allies, and Birdy Nam Nam, and one-offs like El Stew, an alternative supergroup featuring guitarist Buckethead, ISP alumni DJ Disk and producer Eddie Def. After turntablism’s initial wave died down in the early 2000s, the Piklz continued to develop the genre, which Shortkut says has become its own culture.\u003c/p>\n\u003cp>“It’s a niche market,” Qbert says. “But I’m totally immersed in it.”\u003c/p>\n\u003cfigure id=\"attachment_13952275\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/IMG_2459-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at a Red Bull event. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It’s Just Some Human Shit, and It’s a Beautiful Thing’\u003c/h2>\n\u003cp>On his solo albums, Qbert has frequently explored sci-fi themes, beginning with 1998’s \u003cem>Wave Twisters\u003c/em>, and continuing with 2014’s \u003cem>Extraterrestria\u003c/em> and \u003cem>Galaxxxian\u003c/em>, 2020’s \u003cem>Origins (Wave Twisters 0)\u003c/em>, and 2022’s \u003cem>Next Cosmos\u003c/em>. He’s imagined what scratch music from across the galaxy might sound like, evoking starships navigating irradiated asteroid belts, alien creatures scurrying across cratered landscapes, and underwater temples emanating immemorial chants over percussive beats, while turning Rakim and Too Short phrases into Zen mantras. He’s done all this by embracing the musical possibilities of the turntable.\u003c/p>\n\u003cp>“On what other equipment could you make the sounds go backwards and forwards and just do all these weird things with it? You know, with your hands,” he says. Unlike pressing buttons on a computer, “this is like fucking connected to your soul. It’s not like AI can do it. It’s just some human shit, and it’s a beautiful thing.”\u003c/p>\n\u003cp>Mix Master Mike served as the official DJ for the Beastie Boys from 1998 up until 2012, later joined Cypress Hill, and has toured with arena rock giants Metallica, Guns ‘N’ Roses, and Godsmack, playing to crowds of up to 50,000. His solo catalog has expanded the turntablism field into new arenas – literally. “I’ve always targeted the rock audience,” Mike says. “I’m not just hip-hop. I’m everything around it. The greatness is having to conquer uncharted territories.\u003c/p>\n\u003cp>“I like to remain mysterious in that sense as far as being a mysterious artist and being unpredictable. I’m the risk taker, right? It’s therapeutic for me at this point, but it’s like I’m just taking it as a mission because nobody’s doing this.”\u003c/p>\n\u003cfigure id=\"attachment_13952267\" class=\"wp-caption aligncenter\" style=\"max-width: 1759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952267\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks.jpg\" alt=\"\" width=\"1759\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks.jpg 1759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.MMMonthedecks-1536x1044.jpg 1536w\" sizes=\"(max-width: 1759px) 100vw, 1759px\">\u003cfigcaption class=\"wp-caption-text\">Mix Master Mike. \u003ccite>(Courtesy Alex Aquino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This philosophy extends from live shows to recordings. “Growing up, I was always listening to soundtrack music. Lalo Schifrin, Quincy Jones, Ennio Morricone.” His goal in making records is to capture a cinematic sense, to make “a soundtrack that can live forever.”\u003c/p>\n\u003cp>His newest release, 2023’s \u003cem>Opus X Magnum\u003c/em>, is a headphone album with arena sensibilities. Or vice-versa. There’s lots of subtle instrumental and sound effect-y passages, along with chest-pumping drums and serpentine basslines. The quieter moments are few, but precious. MMM’s Pikl heritage is evident in the way horns, keyboards and vocal phrases are scratched vicariously, resulting in twisty turns that keep your ears guessing what’s next. To the artist’s credit, \u003cem>Opus\u003c/em> does sound epically cinematic throughout, its constantly changing moods and textures suggesting perpetual motion and a full dose of adrenaline.\u003c/p>\n\u003cp>D-Styles’ two solo albums, released 17 years apart, illustrate his artistic growth. 2002’s \u003cem>Phantazmagorea\u003c/em> delves into dark themes, with vocal phrases seemingly selected for shock value, along with recognizable scratched snippets from KRS-One and Stetsasonic. 2019’s \u003cem>Noises In the Right Order\u003c/em> – inspired by a residency at Low End Theory, a club night frequented by lo-fi producers – recalls DJ Shadow’s \u003cem>Endtroducing\u003c/em> and the trip-hop era, while still using found vocals as documentary. D-Styles says \u003cem>Noises\u003c/em> was about being “more musical and less technical.” There’s plenty of scratching, but the emphasis is on overall composition.\u003c/p>\n\u003cfigure id=\"attachment_13952271\" class=\"wp-caption aligncenter\" style=\"max-width: 597px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952271\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016.jpg\" alt=\"\" width=\"597\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016.jpg 597w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-at-HEIRO-DAY-2016-160x136.jpg 160w\" sizes=\"(max-width: 597px) 100vw, 597px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz at Hiero Day 2016 in Oakland. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Being a turntable composer, D-Styles maintains, means using scratching’s vocabulary as a musical language. “You look at it like an alphabet. You got chirps, you got flares, you got crabs, you got autobahns, you got Stewie’s, and all of that stuff. You can add swing to it, you could be ahead of the beat. Behind the beat. You can accent. There’s so much that goes into putting these combinations together.”\u003c/p>\n\u003ch2>Many Styles\u003c/h2>\n\u003cp>Apollo and Shortkut, meanwhile, joined forces with former ITF World Champion Vin Roc in 1999 to form Triple Threat, a DJ crew whose mission was to integrate turntablism into party-rocking live sets. “Just coming up as turntablists, we kind of like, created little monsters everywhere,” Apollo says. “All they would do is scratch in their bedrooms.” There’s more to DJing, he says, than just doing tricks and scratching and juggling.\u003c/p>\n\u003cp>Triple Threat released a well-received 2003 album, \u003cem>Many Styles\u003c/em>, which blended turntablist-oriented tracks with emcee features from Planet Asia, Black Thought, Souls of Mischief and Zion-I. The trio toured the United States and Asia regularly, and remained active up until the late 2010s. Apollo – who judged the DMC World Finals last year – still identifies as a Pikl, and says his focus nowadays is on upgrading his studio and reestablishing himself as a producer; he hopes to contribute some tracks to future ISP albums.\u003c/p>\n\u003cfigure id=\"attachment_13952276\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut.jpg\" alt=\"\" width=\"1440\" height=\"1920\" class=\"size-full wp-image-13952276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/LLCoolJ.Ztrip_.shortkut-1152x1536.jpg 1152w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Shortkut, at right, on the F.O.R.C.E. Tour with (L–R) DJ Z-Trip, LL Cool J and DJ Jazzy Jeff. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortkut’s recorded output mainly consists of DJ mixtapes covering a wide variety of genres, but he did produce 2012’s “Twelve,” a funky, fun track with “Sesame Street”-esque vocal samples, for the Beat Junkies 45 Series, as well as 2017’s “Mini-Wheels,” a 7-inch single for Thud Rumble, and “Short Rugs,” a limited-edition slipmat designed for 45 rpm records and a 7-inch record with three skipless vinyl scratch tracks. He’s been an occasional headliner at DJ Platurn’s 45 Sessions party; playing all-vinyl sets, he says, helps him maintain his sanity.\u003c/p>\n\u003cp>After a lengthy break following 2000’s “final” performance, Qbert, Shortkut and D-Styles officially reformed as ISP for 2015’s \u003cem>The 13th Floor\u003c/em>, their first full-length release. “This was the first time as a scratch artist that I’ve felt able to do shows with the Piklz where people know the songs,” Shortkut says. The album’s moods range from dark to soulful to jazzy, and were intended to be templates for live performances that typically involve improvised scratch soloing over a structured song with defined instrumental parts.\u003c/p>\n\u003cfigure id=\"attachment_13952273\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015.jpg\" alt=\"\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP-making-of-The-13th-Floor-album-Japan-2015-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The Invisibl Skratch Piklz in Japan, making their ’13th Floor’ album in 2015. \u003ccite>(Courtesy Shortkut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of \u003cem>The 13th Floor\u003c/em>’s compositional elements were developed by D-Styles, who went on to become an online instructor at the Beat Junkies Institute of Sound in 2019. He notes the Piklz are more than halfway through their next, as-yet-untitled album — several tracks from which they previewed live during their recent DMC showcase in San Francisco.\u003c/p>\n\u003cp>“My strength is, I’m always in the studio,” says D-Styles. “I always have these ideas, these sketches that I’ll try at home by myself. But I always have parts in mind, so if i have drums, I’ll be like, this is perfect for Shortkut. And then I have these keyboards, you know, these notes. So I’ll carry that side. And then I’ll give Q this (vocal) phrase. And I know he’ll know what to do with it.”\u003c/p>\n\u003ch2>Aesthetics That ‘Vibrate a Certain Way’\u003c/h2>\n\u003cp>Qbert maintains he’s still a student, trying to learn new things after all these years. He keeps pushing himself to new levels because he doesn’t want to repeat what he’s already done. “You got to come unique and original, or else it’s like, fucking wack. Or it’s, \u003cem>ah… he did the same shit last time\u003c/em>, you know? I don’t want to hear that.”\u003c/p>\n\u003cfigure id=\"attachment_13952294\" class=\"wp-caption aligncenter\" style=\"max-width: 1811px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_.jpg\" alt=\"\" width=\"1811\" height=\"600\" class=\"size-full wp-image-13952294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_.jpg 1811w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-800x265.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-1020x338.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-768x254.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ISP.Qbert_.LPs_-1536x509.jpg 1536w\" sizes=\"(max-width: 1811px) 100vw, 1811px\">\u003cfigcaption class=\"wp-caption-text\">A sample of Qbert’s visual aesthetic from three full-length albums: ‘Extraterrestria,’ ‘Origins Wave Twisters 0,’ and ‘Next Cosmos in 5D.’\u003c/figcaption>\u003c/figure>\n\u003cp>The most sublime aspect of the Piklz legacy may be their aesthetic, best described as part kung-fu, part sci-fi, part zany humor, yet firmly grounded in DJ culture and hip-hop expression. This is reflected in Mike and Q’s outsize personalities. “Those two in particular are very much outside of this Earth,” says Christie Z, noting that Mike’s custom Serato vinyl is covered in Zectarian language. (In 2017, Qbert joined Mike for a duo performance of MMM’s alienesque single “Channel Zecktar” live at the NAMM showcase.) Artists are sometimes kooky, she says, but she’s used to it by now. “That’s what they do.”\u003c/p>\n\u003cp>Unsurprisingly, perhaps, Mike sees himself as a glowing, ultramagnetic, cosmic antenna. “I would say, you know, my brain is like a super cerebral satellite dish that I’m just logging into the channels in my mind, and I call it the access to the interstellar network, my own interstellar network that’s going on in my head.”\u003c/p>\n\u003cp>As for Qbert, “nowadays I work off of karma,” he says. Though he’s consulted for audio companies before, when he’s asked for input, he doesn’t insist on contractual agreements. “I’ll give you the honest truth.” If a mixer could be sleeker and more ergonomic, he’ll say so. He feels equipment makers could be more visionary and futuristic with their products. “They could put chromatherapy in these things, you know, they vibrate a certain way to make it heal you as a human.”\u003c/p>\n\u003cp>For all of Qbert’s zany sense of humor and embracing of otherworldliness, he’s remarkably down to earth at times. That is to say, his ideology isn’t illogical at all – just advanced.\u003c/p>\n\u003cp>“With any art, if you’re deep into it, you’re already touching infinity,” he says. “So you could do so many things in it that you haven’t done. And there’s freakin’ a bag of infinity left — that is never-ending.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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