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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>Equipto (born Ilyich Sato) is a hip-hop cultural cornerstone and well-known activist who reps San Francisco to the fullest.\u003c/p>\n\u003cp>He’s been making music since the 90s, when he came in the game laying down tracks with the underground group, \u003ca href=\"https://boredstiff415.bandcamp.com/\">Bored Stiff. \u003c/a> Equipto has rocked shows with the late Mac Dre and was good friends with the late Baba Zumbi of Zion-I. Legendary rapper San Quinn even credits Equipto for teaching him how to properly count rap bars.\u003c/p>\n\u003cp>His activism is also well-documented. In 2015, \u003ca href=\"https://www.facebook.com/equipto415/videos/1033058506733989/\">he confronted former San Francisco Mayor, the late Ed Lee\u003c/a>, about his role in gentrification. The next year, Equipto was part of the Frisco 5, a group that led a \u003ca href=\"https://www.kqed.org/arts/11630270/how-equiptos-hip-hop-helped-reshape-bay-area-activism\" target=\"_blank\" rel=\"noopener\">hunger strike\u003c/a> in order to bring further attention to the issues within the San Francisco Police Department and hold them accountable for their actions.\u003c/p>\n\u003cp>Nowadays he’s still making music and he’s just as outspoken about politics, locally and around world, but a few things have changed. For starters: he’s a father.\u003c/p>\n\u003cfigure id=\"attachment_13950876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950876\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-23-at-5.54.43-PM-800x560.png\" alt=\"A side profile photo of San Francisco hip-hop artist and activist, Equipto. \" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-23-at-5.54.43-PM-800x560.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-23-at-5.54.43-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-23-at-5.54.43-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-23-at-5.54.43-PM-768x538.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-23-at-5.54.43-PM-1536x1076.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-23-at-5.54.43-PM-2048x1435.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-23-at-5.54.43-PM-1920x1345.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A side profile photo of San Francisco hip-hop artist and activist, Equipto. \u003ccite>(Doggtown Dro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the birth of his daughter, Equipto has relocated to New Mexico. He says he’s doing his best to build a new community, while still keeping a finger on the pulse of what’s happening in San Francisco.\u003c/p>\n\u003cp>His work in the city shows he’s tapped in with the next generation of artists. He’s worked with \u003ca href=\"https://www.instagram.com/baghead.fng/\" target=\"_blank\" rel=\"noopener\">Baghead\u003c/a>, \u003ca href=\"https://www.instagram.com/professagabel/\" target=\"_blank\" rel=\"noopener\">Professa Gabel\u003c/a>, \u003ca href=\"https://www.instagram.com/rich_iyala/?hl=en\" target=\"_blank\" rel=\"noopener\">Rich Iyala\u003c/a> and \u003ca href=\"https://www.instagram.com/monk_hts/\" target=\"_blank\" rel=\"noopener\">Monk HTS\u003c/a>, as well as other artists under the label \u003ca href=\"https://solidarityrecords415.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Solidarity Records\u003c/a>.\u003c/p>\n\u003cp>On the cusp of his 50th birthday (which he’s set to celebrate on March 22nd with a live show at San Francisco’s Neck of The Woods), we discuss his various roles. He’s a mentor, father, artist, and activist who is trying to make sense of all the changes happening to his hometown, while simultaneously developing a new community in a new state.\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=KQINC9961262342&light=true\" 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\">Welcome to Rightnowish, I’m your host Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On today’s show, we’re talking to someone who is a pillar of San Francisco’s hip-hop community and equally well-known for his political activism in the city, Equipto.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Famously of the rap group Bored Stiff, Equipto has recorded music for over 30 years. He was good friends with the late Mac Dre, and rocked stages with the late Baba Zumbi of Zion-I. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nowadays, Equipto still makes music and he tours. He also plays a big role in mentoring the next generation of artists from the Bay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Equipto’s not making music, he’s making movements. Over the years his passion for change has been put on full display. Most notably in 2015 when he confronted the late San Francisco Mayor Ed Lee about his role in gentrification. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Equipto was also part of the Frisco Five, who in the spring of 2016 held a 17-day hunger strike against police brutality. The protest played a big part in the eventual firing of former San Francisco Police Chief Greg Suhr.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I recently talked to Equipto via video chat from his current home in New Mexico. He talked about being a proud Frisco representative, of Colombian and Japanese descent, who juggles the roles of musician, activist, mentor, and one he’s growing into– maybe his best role yet– that of being a father.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s right after this.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What are some of your favorite things about fatherhood? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a trip, the responsibility, I guess. I love it. You know, like life is so precious. Being a father helped me realize that life is so much more than what I’ve been through in a sense. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I think like just being able to understand like, wow, cause she’s like my twin. So I look at her and it’s like looking at myself and my baby pictures… and she’s about to be one year old and for me it’s just… it’s a whole new awakening of life. I never thought I would have a child, you know, until I fell in love and thought about having a child.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Equipto:\u003c/b>\u003cspan style=\"font-weight: 400\"> I love, you know, taking her to the park. I love getting her diapers. I love doing the dishes while she sleeps. I love you know, I love the whole scheduling and everything with being a father. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Being responsible to others. That does bring out the best in us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You’ve relocated as a part of parenthood. You’re now living in New Mexico, you’re co-parenting. You’re in a new community. I have relocated. I’m in Sacramento. Co-parenting. A lot of parallels. I’m wondering for you, what’s the hardest part of learning a new community, especially somebody who’s so ingrained in San Francisco?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m such a city boy, man, you know. And I love nature. I love nature. I love the mountains, I love getting away. But living here \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> it’s… that’s another story. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The mother of my child. She’s a muralist, she does jewelry. She’s an emcee. So she has a community of folks that I’ve been able to somewhat, you know, build with in certain areas and whatnot. But to me, it’s like a hermit life. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The adjustment is kind of like, I’m not really that social, you know, when it comes to meeting too many people out here. Like, I stick to the family. You know, I miss home, obviously, sometimes you have to cross certain paths in order to get to where you’re going, know what I mean? And I think I believe this is just an area I’m in for the time being. Everything will be beautiful as long as my daughter knows her roots and knows her family. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Time away, I know that it can cause you to look at home differently. And I’m wondering how often do you come back home? And when you do come back to the city, do you look at it differently? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto:\u003c/b>\u003cspan style=\"font-weight: 400\"> Oh, my God. Like they say, ‘You’ve got to. You’ve got to love it to hate it.’ Because I love it, but I hate that mother fucka!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The traffic, the changes, it’s like, oh my God. Valencia changes every goddamn month or something, you know, bike lane, this lane, you can’t turn down there, you know, new businesses that are just like not community-based. It’s tough man. The disparity you know, I mean, you see houseless folks, and then you see the Lamborghini rolling right next to it. You know what I mean? And with San Francisco particular, you know everything, Oakland and San Jose, they’re all becoming the same thing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But San Francisco in particular just has this, you know, main vein of capitalism where it’s a metropolitan city so it always attracts and it gives this new life. And in order for that to happen, like they just had the president and everything, in order for that to happen it has to be a clean sweep, right. They got to make the city look pretty. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s a lot of identity politics. You know, as we deal with in the Bay Area, period. And seeing that take effect is hard. But then you see the resistance still there. You see the murals on the wall. You see the protests, you see the people uprising. And that shit touches my heart when I see that online and I’m not home. Seeing my folks, you know, going to jail, seeing folks shut down the bridge, shut down the ships, you know, all that is beautiful. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s similar, man! Where I see the changes. It does mess my head up where I’m like, ‘This block wasn’t a one way back in the day, like when did they change that?’ You know? But then it’s the people, right? It’s the folks that you’ve known. You’ve seen them grow. You’ve seen them invest in their craft and flourish. And you’re like, Yes, this is why I come back home. This is why home is home, right? And you specifically, You’ve been working with younger musicians, folks from Family Not A Group, The Watershed. I’m like, what is your goal in working with this next generation of artists from the Bay? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">Just being consistent, like being involved in things and sometimes I don’t want to say people fall off, but you know, some people of your age, you know, people 49 aint still rapping that I was rappin’ with. So you kind of do it with who’s doing it, sometimes. I like cross-generational music. I like being learning from the old folks, diggin’ on what they doin.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like and for them to have like. Any like, you know, reverence or looking at me a certain way, like ‘ey man, wassup? You’re Equipto!’ I take advantage of that in a good way. Okay, let me show you where I’ve been through. My experience maybe can prevent you from what I went through.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it’s always kind of been like. I mean, like, I known Quinn since he was 11. I was probably like 15 or 16 or something, \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Quinn, San Quinn. Yeah. On a recent podcast, he mentioned that you taught him how to write bars, like how to structure his raps. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto:\u003c/b>\u003cspan style=\"font-weight: 400\"> Quinn is a born rapper, there’s not too many of those, you know, like a born rapper, like in that scene. I met him at 11 years old, you know, I mean, like and I knew it even me being like 15, like, he was so dope just naturally. But some take years and years and years to accumulate the skills. It’s just like a natural instinct impulse for some people. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So it’s been always been an honor to, like, see the younger generation flourish and just be a part of that in a sense. All them folks doing their thing in San Francisco is incredible, you know what I mean, I love it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> This idea of mentorship and looking out for the next generation or even people who are younger than you just by a couple of years. Who were the mentors who taught you? And what are the important things that they taught you? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Equipto:\u003c/b>\u003cspan style=\"font-weight: 400\"> My father is very musical. My father was just a jazz promoter, radio disc jockey for KPFA. You know, early eighties type of thing. And I would be with him backstage, incredible artists. You know, Billy Harper, Sun Ra, Tito Puente. So it was like I grew up under this culture that he introduced me to, Black culture, and always taught me kind of like to understand that and to respect that.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My mother always would teach me to follow my dreams and to always consider other people and what they’re going through. I’d be a little kid walking by a houseless folks on the street. And she said she was always like, “never look down on folks like that. You never know what they going through. They have dreams, too.” And it always stuck with me about… that they had dreams too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It brought me to being kind of like a caring person, I guess. You know what I mean? Like, and it’s not like, “Oh, I’m an angel” or anything like that. Never, ever, ever get that twisted, but as far as like, when it comes to the arts and craft, if you’re in position to do something, you do it. Like my mother always taught me, if you have a sandwich and you give the other half of the sandwich to someone if they’re hungry, always. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m not too much of a social person, but when I have homies over, you know what I’m saying, and folks, I love the atmosphere, I love the environment, I love being around ‘em, you know, and I get a lot of energy from that, you know. So I think that’s part of it as well. I love being, ya know, around a lot of folks that are similar minded, you know, and when it comes to the craft. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Love is at the heart of a lot of what you’re saying and a lot of the work that you do… The love, the demands for justice, working with your mother on the frontlines. Nearly a decade ago, you two were part of the Frisco Five, a hunger strike to hold police accountable, in the most succinct way to say it… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto:\u003c/b>\u003cspan style=\"font-weight: 400\"> A lot of people see me and they’ll be like, ‘Oh, he’s so angry all the time. He’s protesting, he’s yelling.’ We fight for love at the end of the day. That’s something that we get misconstrued and people don’t understand when, you know, you’re deprived of something it becomes a demand. And that’s language, you hear “demands” like, why are they demanding? Because we’re deprived of something, you know, to me, like and when you’re deprived of something, you’re not going to be the most, you know, peaceful person, quote unquote. And but when you look where the root comes from is because you’re separating people from their love, from their community, from their family, you know what I mean, like, and so at the end of the day, all we’re fighting for, when you see protests and demonstrations and folks organizing for a better society, yeah, it’s all for the love.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There was a lot of things that came from that. But one of the things that stood out to me was a \u003c/span>\u003cspan style=\"font-weight: 400\">conversation that I then had with an artist by the name of Baghead and Jules\u003c/span>\u003cspan style=\"font-weight: 400\"> and talking to them about how seeing your work impacted them. And I’m just seeing this like trickle down, you know, it’s passing of the baton. And so I’m like, from your perspective, what’s it like for you to see your mentorship show up in the arts and politics? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Equipto:\u003c/b>\u003cspan style=\"font-weight: 400\"> Man, that’s everything I ask for when it comes to this, you know, I’m saying the music, the craft. If… if people could mobilize from this, you know, get inspired from not just my music, my actions, you know, and understand like, wow, you actually can make a difference. People-power can make a difference. Organizing is actually cool! You don’t just have to perform at a rally, you could actually help organize a rally!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Those types of things, like selflessness in a sense. You know, like the individualism is also very attached to, you know, performance and entertainment and, you know, hip-hop and what not.\u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cb>Equipto:\u003c/b>\u003cspan style=\"font-weight: 400\"> You have a broken heart, you listen to music that helps heal you. And so for me to be an artist, you want to create that feeling, to create that healing. You want someone to feel healed from it or motivated, inspired. And I think I never truly felt that until I really got active with the community, like started organizing and doing things in the front lines with folks and having comrades. A\u003c/span>\u003cspan style=\"font-weight: 400\">nd I think that’s what happened, students saw that like, ‘Oh, that’s Equipto that did “Jungle” with Nickatina and 4AM Bay Bridge Music and he knew Mac Dre’, you know how they think, you feel me? And you use that, you use that just like the Panthers used you know, the leather jackets and the woop-wah you got to use that. I was like, “Yes, come on, fuck with this.” And it’s beautiful, it’s like the most fulfilling feeling that I feel like, you know what I’m saying, it’s like, was like, okay, damn, it does work. People are motivated, people are inspired. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I saw you recently performing in Santa Rosa with Monk, with Professor Gable, with Rich Ayala and the thing that I took in was that you all were having fun! It was a joyous occasion, you know, like people, there was bars. It was, you know, real rap and you know, like, it was high energy and people were having fun. And from your perspective, going on that tour with that group of young folks, what do you think that tour did for them? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">I think it just taught them like responsibility, you know, that type of thing. Because when you’re on tour, you know, you got to check in hotel, got to, you know, you got to be on time to the band, you got to make the next venue, you got to soundcheck, you got to have merch booth set up. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s not like we have a machine in the sense of people that are not involved, right? We’re hands on ourselves. I’m there at my merch booth, you know, I’m gonna take my box to the woop-wah. I’ma talk to the sound manager, shake hands, I’m gonna talk to the venue owner, make sure I have a relationship so I could come back if everything goes good. You know what I mean? Like teaching them those type of, you know, steps, I guess. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They’re all going to, like, go further, like, you know bigger venues in the sense. They’re going to go, you know, to more organized promoters. I’ve become, in a sense, this bridge to get, you know, to the next level.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’ve worked with people clear across the board. I’m just wondering, how do you navigate working with people of so many different backgrounds? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">Think just being a student of the game and being a student in hip hop, you know. I love it. I love it. Like, I’m just one of those dudes that came up loving Mac Dre, loving Tribe Called Quest, loving E40, loving Black Sheep, you know, loving Too-Short, loving De La Soul. And growing up in the bay, it’s kind of like it’s inevitable to like, not be overwhelmed by this, you know, mob sound or overwhelmed like we came up Backpack Era.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So we were like, you know, kind of like, oh, who are these kids rapping, you know, and cyphers, like, you know what I mean? Like, we were cyphering before it was cool to cypher. So it was like my rap fit in with a… with a… you know, a Keak verse or something. You know, my rap could fit in with a C-Bo verse here and there, you know what I mean? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like, I was honored to be a part of that type of ya know diversity in a sense. You know what I mean? Like to where I could do it because I know a lot of people can’t… It’s just part of, I think delivery, cadence, and life experience\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Exactly, life experience and being a full human and knowing that at- sometimes I relate to C-Bo and other times I relate to this artist, you know? I love it that you don’t, there’s no separation, backpack, gangsta, political, playa, whatever. It’s Bay Area culture all in one. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">Definitely. It’s Definitely Bay Area \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s the difference for you between fatherhood and mentorship, aside from the obvious blood relation? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">Fatherhood, I’ll never, I don’t care how old she is, whatever. I’ll never leave her side. Other folks like, hey, things might happen, friendships, relationships, whatever it is, you know,like. Yeah you know, to me, it’s like I can never turn my back on my child, my daughter.I don’t turn back on regular folks, you know what I’m saying Some things might cross the line, like, she might grow up. I know how it is. I’m a son. I, you know, crossed the line many times with my parents, you know, many times where I would’ve been like, God damn how did you do that? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You’re juggling a lot, clearly, but still finding time to work. I’ve heard that you’re working on a film coming out, so can you tell me a little bit about that? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">The film is a documentary of Bored Stiff. Bored Stiff is a hip hop group out of San Francisco. Early 90s that we, you know, kind of that I’m a part of; a community of folks, 12 members. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">We did a lot you know what I mean like on the underground scene during the you know the like Living Legends era, Mystik Journeymen, uh, Hieroglyphics, Mixed Practice, Homeliss Derilex, so many dope underground groups of that era. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We just… we thought we have so much dope footage from the nineties that people were like tripping off of, like. Shout out to Spie and other folks that that came with the footage that we have to come with a documentary and there’s a story to it. It’s a deep story. You know, it’s not just about the group. It’s kinda like about San Francisco as well during a certain era and growing up in that era and kind of products of that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Looking forward to that. Shout out to Spie. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Alright, my guy. Appreciate it, enjoy the time with the little one. Peace.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Big thank you to Equipto for chopping it up with me. This conversation was long overdue, looking forward to seeing and hearing more of your work. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">[Music – Keep it Street, The Jacka and Berner with Equipto]\u003c/span>\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400\">Yeah, I’m on the grind daily\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Trafficking through I-80\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m just a playa, these hoes don’t try to drive crazy\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pay me no attention unless you gotta choose a fee\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But keep in mind there’s only so much you can do for me\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-weight: 400\">And listeners, to keep up with Equipto, check him out on Twitter at his name– (E-Q-U-I-P-T-O) and on Instagram @Equipto_415. And you can find his music on all streaming platforms. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was produced by Marisol Medina-Cadena \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was edited by Chris Hambrick and Xorje Olivares.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sheree Bishop is our production intern. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Christopher Beale is our engineer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">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\">If you enjoyed this episode, pass it to a friend. It goes a long way to help our show land in new ears. Thanks! \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\">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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"title": "Underground Rap, Playa Sh*t, Political Joints: Equipto has Bars | KQED",
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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>Equipto (born Ilyich Sato) is a hip-hop cultural cornerstone and well-known activist who reps San Francisco to the fullest.\u003c/p>\n\u003cp>He’s been making music since the 90s, when he came in the game laying down tracks with the underground group, \u003ca href=\"https://boredstiff415.bandcamp.com/\">Bored Stiff. \u003c/a> Equipto has rocked shows with the late Mac Dre and was good friends with the late Baba Zumbi of Zion-I. Legendary rapper San Quinn even credits Equipto for teaching him how to properly count rap bars.\u003c/p>\n\u003cp>His activism is also well-documented. In 2015, \u003ca href=\"https://www.facebook.com/equipto415/videos/1033058506733989/\">he confronted former San Francisco Mayor, the late Ed Lee\u003c/a>, about his role in gentrification. The next year, Equipto was part of the Frisco 5, a group that led a \u003ca href=\"https://www.kqed.org/arts/11630270/how-equiptos-hip-hop-helped-reshape-bay-area-activism\" target=\"_blank\" rel=\"noopener\">hunger strike\u003c/a> in order to bring further attention to the issues within the San Francisco Police Department and hold them accountable for their actions.\u003c/p>\n\u003cp>Nowadays he’s still making music and he’s just as outspoken about politics, locally and around world, but a few things have changed. For starters: he’s a father.\u003c/p>\n\u003cfigure id=\"attachment_13950876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950876\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-23-at-5.54.43-PM-800x560.png\" alt=\"A side profile photo of San Francisco hip-hop artist and activist, Equipto. \" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-23-at-5.54.43-PM-800x560.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-23-at-5.54.43-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-23-at-5.54.43-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-23-at-5.54.43-PM-768x538.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-23-at-5.54.43-PM-1536x1076.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-23-at-5.54.43-PM-2048x1435.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screenshot-2024-01-23-at-5.54.43-PM-1920x1345.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A side profile photo of San Francisco hip-hop artist and activist, Equipto. \u003ccite>(Doggtown Dro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the birth of his daughter, Equipto has relocated to New Mexico. He says he’s doing his best to build a new community, while still keeping a finger on the pulse of what’s happening in San Francisco.\u003c/p>\n\u003cp>His work in the city shows he’s tapped in with the next generation of artists. He’s worked with \u003ca href=\"https://www.instagram.com/baghead.fng/\" target=\"_blank\" rel=\"noopener\">Baghead\u003c/a>, \u003ca href=\"https://www.instagram.com/professagabel/\" target=\"_blank\" rel=\"noopener\">Professa Gabel\u003c/a>, \u003ca href=\"https://www.instagram.com/rich_iyala/?hl=en\" target=\"_blank\" rel=\"noopener\">Rich Iyala\u003c/a> and \u003ca href=\"https://www.instagram.com/monk_hts/\" target=\"_blank\" rel=\"noopener\">Monk HTS\u003c/a>, as well as other artists under the label \u003ca href=\"https://solidarityrecords415.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Solidarity Records\u003c/a>.\u003c/p>\n\u003cp>On the cusp of his 50th birthday (which he’s set to celebrate on March 22nd with a live show at San Francisco’s Neck of The Woods), we discuss his various roles. He’s a mentor, father, artist, and activist who is trying to make sense of all the changes happening to his hometown, while simultaneously developing a new community in a new state.\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=KQINC9961262342&light=true\" 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\">Welcome to Rightnowish, I’m your host Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On today’s show, we’re talking to someone who is a pillar of San Francisco’s hip-hop community and equally well-known for his political activism in the city, Equipto.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Famously of the rap group Bored Stiff, Equipto has recorded music for over 30 years. He was good friends with the late Mac Dre, and rocked stages with the late Baba Zumbi of Zion-I. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nowadays, Equipto still makes music and he tours. He also plays a big role in mentoring the next generation of artists from the Bay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Equipto’s not making music, he’s making movements. Over the years his passion for change has been put on full display. Most notably in 2015 when he confronted the late San Francisco Mayor Ed Lee about his role in gentrification. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Equipto was also part of the Frisco Five, who in the spring of 2016 held a 17-day hunger strike against police brutality. The protest played a big part in the eventual firing of former San Francisco Police Chief Greg Suhr.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I recently talked to Equipto via video chat from his current home in New Mexico. He talked about being a proud Frisco representative, of Colombian and Japanese descent, who juggles the roles of musician, activist, mentor, and one he’s growing into– maybe his best role yet– that of being a father.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s right after this.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What are some of your favorite things about fatherhood? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s a trip, the responsibility, I guess. I love it. You know, like life is so precious. Being a father helped me realize that life is so much more than what I’ve been through in a sense. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I think like just being able to understand like, wow, cause she’s like my twin. So I look at her and it’s like looking at myself and my baby pictures… and she’s about to be one year old and for me it’s just… it’s a whole new awakening of life. I never thought I would have a child, you know, until I fell in love and thought about having a child.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Equipto:\u003c/b>\u003cspan style=\"font-weight: 400\"> I love, you know, taking her to the park. I love getting her diapers. I love doing the dishes while she sleeps. I love you know, I love the whole scheduling and everything with being a father. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Being responsible to others. That does bring out the best in us. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You’ve relocated as a part of parenthood. You’re now living in New Mexico, you’re co-parenting. You’re in a new community. I have relocated. I’m in Sacramento. Co-parenting. A lot of parallels. I’m wondering for you, what’s the hardest part of learning a new community, especially somebody who’s so ingrained in San Francisco?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m such a city boy, man, you know. And I love nature. I love nature. I love the mountains, I love getting away. But living here \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> it’s… that’s another story. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The mother of my child. She’s a muralist, she does jewelry. She’s an emcee. So she has a community of folks that I’ve been able to somewhat, you know, build with in certain areas and whatnot. But to me, it’s like a hermit life. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The adjustment is kind of like, I’m not really that social, you know, when it comes to meeting too many people out here. Like, I stick to the family. You know, I miss home, obviously, sometimes you have to cross certain paths in order to get to where you’re going, know what I mean? And I think I believe this is just an area I’m in for the time being. Everything will be beautiful as long as my daughter knows her roots and knows her family. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Time away, I know that it can cause you to look at home differently. And I’m wondering how often do you come back home? And when you do come back to the city, do you look at it differently? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto:\u003c/b>\u003cspan style=\"font-weight: 400\"> Oh, my God. Like they say, ‘You’ve got to. You’ve got to love it to hate it.’ Because I love it, but I hate that mother fucka!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The traffic, the changes, it’s like, oh my God. Valencia changes every goddamn month or something, you know, bike lane, this lane, you can’t turn down there, you know, new businesses that are just like not community-based. It’s tough man. The disparity you know, I mean, you see houseless folks, and then you see the Lamborghini rolling right next to it. You know what I mean? And with San Francisco particular, you know everything, Oakland and San Jose, they’re all becoming the same thing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But San Francisco in particular just has this, you know, main vein of capitalism where it’s a metropolitan city so it always attracts and it gives this new life. And in order for that to happen, like they just had the president and everything, in order for that to happen it has to be a clean sweep, right. They got to make the city look pretty. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s a lot of identity politics. You know, as we deal with in the Bay Area, period. And seeing that take effect is hard. But then you see the resistance still there. You see the murals on the wall. You see the protests, you see the people uprising. And that shit touches my heart when I see that online and I’m not home. Seeing my folks, you know, going to jail, seeing folks shut down the bridge, shut down the ships, you know, all that is beautiful. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s similar, man! Where I see the changes. It does mess my head up where I’m like, ‘This block wasn’t a one way back in the day, like when did they change that?’ You know? But then it’s the people, right? It’s the folks that you’ve known. You’ve seen them grow. You’ve seen them invest in their craft and flourish. And you’re like, Yes, this is why I come back home. This is why home is home, right? And you specifically, You’ve been working with younger musicians, folks from Family Not A Group, The Watershed. I’m like, what is your goal in working with this next generation of artists from the Bay? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">Just being consistent, like being involved in things and sometimes I don’t want to say people fall off, but you know, some people of your age, you know, people 49 aint still rapping that I was rappin’ with. So you kind of do it with who’s doing it, sometimes. I like cross-generational music. I like being learning from the old folks, diggin’ on what they doin.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like and for them to have like. Any like, you know, reverence or looking at me a certain way, like ‘ey man, wassup? You’re Equipto!’ I take advantage of that in a good way. Okay, let me show you where I’ve been through. My experience maybe can prevent you from what I went through.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it’s always kind of been like. I mean, like, I known Quinn since he was 11. I was probably like 15 or 16 or something, \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Quinn, San Quinn. Yeah. On a recent podcast, he mentioned that you taught him how to write bars, like how to structure his raps. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto:\u003c/b>\u003cspan style=\"font-weight: 400\"> Quinn is a born rapper, there’s not too many of those, you know, like a born rapper, like in that scene. I met him at 11 years old, you know, I mean, like and I knew it even me being like 15, like, he was so dope just naturally. But some take years and years and years to accumulate the skills. It’s just like a natural instinct impulse for some people. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So it’s been always been an honor to, like, see the younger generation flourish and just be a part of that in a sense. All them folks doing their thing in San Francisco is incredible, you know what I mean, I love it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> This idea of mentorship and looking out for the next generation or even people who are younger than you just by a couple of years. Who were the mentors who taught you? And what are the important things that they taught you? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Equipto:\u003c/b>\u003cspan style=\"font-weight: 400\"> My father is very musical. My father was just a jazz promoter, radio disc jockey for KPFA. You know, early eighties type of thing. And I would be with him backstage, incredible artists. You know, Billy Harper, Sun Ra, Tito Puente. So it was like I grew up under this culture that he introduced me to, Black culture, and always taught me kind of like to understand that and to respect that.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My mother always would teach me to follow my dreams and to always consider other people and what they’re going through. I’d be a little kid walking by a houseless folks on the street. And she said she was always like, “never look down on folks like that. You never know what they going through. They have dreams, too.” And it always stuck with me about… that they had dreams too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It brought me to being kind of like a caring person, I guess. You know what I mean? Like, and it’s not like, “Oh, I’m an angel” or anything like that. Never, ever, ever get that twisted, but as far as like, when it comes to the arts and craft, if you’re in position to do something, you do it. Like my mother always taught me, if you have a sandwich and you give the other half of the sandwich to someone if they’re hungry, always. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m not too much of a social person, but when I have homies over, you know what I’m saying, and folks, I love the atmosphere, I love the environment, I love being around ‘em, you know, and I get a lot of energy from that, you know. So I think that’s part of it as well. I love being, ya know, around a lot of folks that are similar minded, you know, and when it comes to the craft. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Love is at the heart of a lot of what you’re saying and a lot of the work that you do… The love, the demands for justice, working with your mother on the frontlines. Nearly a decade ago, you two were part of the Frisco Five, a hunger strike to hold police accountable, in the most succinct way to say it… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto:\u003c/b>\u003cspan style=\"font-weight: 400\"> A lot of people see me and they’ll be like, ‘Oh, he’s so angry all the time. He’s protesting, he’s yelling.’ We fight for love at the end of the day. That’s something that we get misconstrued and people don’t understand when, you know, you’re deprived of something it becomes a demand. And that’s language, you hear “demands” like, why are they demanding? Because we’re deprived of something, you know, to me, like and when you’re deprived of something, you’re not going to be the most, you know, peaceful person, quote unquote. And but when you look where the root comes from is because you’re separating people from their love, from their community, from their family, you know what I mean, like, and so at the end of the day, all we’re fighting for, when you see protests and demonstrations and folks organizing for a better society, yeah, it’s all for the love.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There was a lot of things that came from that. But one of the things that stood out to me was a \u003c/span>\u003cspan style=\"font-weight: 400\">conversation that I then had with an artist by the name of Baghead and Jules\u003c/span>\u003cspan style=\"font-weight: 400\"> and talking to them about how seeing your work impacted them. And I’m just seeing this like trickle down, you know, it’s passing of the baton. And so I’m like, from your perspective, what’s it like for you to see your mentorship show up in the arts and politics? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Equipto:\u003c/b>\u003cspan style=\"font-weight: 400\"> Man, that’s everything I ask for when it comes to this, you know, I’m saying the music, the craft. If… if people could mobilize from this, you know, get inspired from not just my music, my actions, you know, and understand like, wow, you actually can make a difference. People-power can make a difference. Organizing is actually cool! You don’t just have to perform at a rally, you could actually help organize a rally!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Those types of things, like selflessness in a sense. You know, like the individualism is also very attached to, you know, performance and entertainment and, you know, hip-hop and what not.\u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cb>Equipto:\u003c/b>\u003cspan style=\"font-weight: 400\"> You have a broken heart, you listen to music that helps heal you. And so for me to be an artist, you want to create that feeling, to create that healing. You want someone to feel healed from it or motivated, inspired. And I think I never truly felt that until I really got active with the community, like started organizing and doing things in the front lines with folks and having comrades. A\u003c/span>\u003cspan style=\"font-weight: 400\">nd I think that’s what happened, students saw that like, ‘Oh, that’s Equipto that did “Jungle” with Nickatina and 4AM Bay Bridge Music and he knew Mac Dre’, you know how they think, you feel me? And you use that, you use that just like the Panthers used you know, the leather jackets and the woop-wah you got to use that. I was like, “Yes, come on, fuck with this.” And it’s beautiful, it’s like the most fulfilling feeling that I feel like, you know what I’m saying, it’s like, was like, okay, damn, it does work. People are motivated, people are inspired. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I saw you recently performing in Santa Rosa with Monk, with Professor Gable, with Rich Ayala and the thing that I took in was that you all were having fun! It was a joyous occasion, you know, like people, there was bars. It was, you know, real rap and you know, like, it was high energy and people were having fun. And from your perspective, going on that tour with that group of young folks, what do you think that tour did for them? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">I think it just taught them like responsibility, you know, that type of thing. Because when you’re on tour, you know, you got to check in hotel, got to, you know, you got to be on time to the band, you got to make the next venue, you got to soundcheck, you got to have merch booth set up. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s not like we have a machine in the sense of people that are not involved, right? We’re hands on ourselves. I’m there at my merch booth, you know, I’m gonna take my box to the woop-wah. I’ma talk to the sound manager, shake hands, I’m gonna talk to the venue owner, make sure I have a relationship so I could come back if everything goes good. You know what I mean? Like teaching them those type of, you know, steps, I guess. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They’re all going to, like, go further, like, you know bigger venues in the sense. They’re going to go, you know, to more organized promoters. I’ve become, in a sense, this bridge to get, you know, to the next level.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’ve worked with people clear across the board. I’m just wondering, how do you navigate working with people of so many different backgrounds? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">Think just being a student of the game and being a student in hip hop, you know. I love it. I love it. Like, I’m just one of those dudes that came up loving Mac Dre, loving Tribe Called Quest, loving E40, loving Black Sheep, you know, loving Too-Short, loving De La Soul. And growing up in the bay, it’s kind of like it’s inevitable to like, not be overwhelmed by this, you know, mob sound or overwhelmed like we came up Backpack Era.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So we were like, you know, kind of like, oh, who are these kids rapping, you know, and cyphers, like, you know what I mean? Like, we were cyphering before it was cool to cypher. So it was like my rap fit in with a… with a… you know, a Keak verse or something. You know, my rap could fit in with a C-Bo verse here and there, you know what I mean? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like, I was honored to be a part of that type of ya know diversity in a sense. You know what I mean? Like to where I could do it because I know a lot of people can’t… It’s just part of, I think delivery, cadence, and life experience\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Exactly, life experience and being a full human and knowing that at- sometimes I relate to C-Bo and other times I relate to this artist, you know? I love it that you don’t, there’s no separation, backpack, gangsta, political, playa, whatever. It’s Bay Area culture all in one. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">Definitely. It’s Definitely Bay Area \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What’s the difference for you between fatherhood and mentorship, aside from the obvious blood relation? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">Fatherhood, I’ll never, I don’t care how old she is, whatever. I’ll never leave her side. Other folks like, hey, things might happen, friendships, relationships, whatever it is, you know,like. Yeah you know, to me, it’s like I can never turn my back on my child, my daughter.I don’t turn back on regular folks, you know what I’m saying Some things might cross the line, like, she might grow up. I know how it is. I’m a son. I, you know, crossed the line many times with my parents, you know, many times where I would’ve been like, God damn how did you do that? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You’re juggling a lot, clearly, but still finding time to work. I’ve heard that you’re working on a film coming out, so can you tell me a little bit about that? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">The film is a documentary of Bored Stiff. Bored Stiff is a hip hop group out of San Francisco. Early 90s that we, you know, kind of that I’m a part of; a community of folks, 12 members. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Equipto: \u003c/b>\u003cspan style=\"font-weight: 400\">We did a lot you know what I mean like on the underground scene during the you know the like Living Legends era, Mystik Journeymen, uh, Hieroglyphics, Mixed Practice, Homeliss Derilex, so many dope underground groups of that era. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We just… we thought we have so much dope footage from the nineties that people were like tripping off of, like. Shout out to Spie and other folks that that came with the footage that we have to come with a documentary and there’s a story to it. It’s a deep story. You know, it’s not just about the group. It’s kinda like about San Francisco as well during a certain era and growing up in that era and kind of products of that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Looking forward to that. Shout out to Spie. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Alright, my guy. Appreciate it, enjoy the time with the little one. Peace.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Big thank you to Equipto for chopping it up with me. This conversation was long overdue, looking forward to seeing and hearing more of your work. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">[Music – Keep it Street, The Jacka and Berner with Equipto]\u003c/span>\u003c/em>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400\">Yeah, I’m on the grind daily\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Trafficking through I-80\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m just a playa, these hoes don’t try to drive crazy\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pay me no attention unless you gotta choose a fee\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But keep in mind there’s only so much you can do for me\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-weight: 400\">And listeners, to keep up with Equipto, check him out on Twitter at his name– (E-Q-U-I-P-T-O) and on Instagram @Equipto_415. And you can find his music on all streaming platforms. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was produced by Marisol Medina-Cadena \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was edited by Chris Hambrick and Xorje Olivares.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sheree Bishop is our production intern. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Christopher Beale is our engineer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">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\">If you enjoyed this episode, pass it to a friend. It goes a long way to help our show land in new ears. Thanks! \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\">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": "Ticket Alert: André 3000 in Berkeley at Cornerstone",
"headTitle": "Ticket Alert: André 3000 in Berkeley at Cornerstone | KQED",
"content": "\u003cfigure id=\"attachment_13950813\" class=\"wp-caption aligncenter\" style=\"max-width: 719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950813\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Andre3000.sq_.jpg\" alt=\"\" width=\"719\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Andre3000.sq_.jpg 719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Andre3000.sq_-160x160.jpg 160w\" sizes=\"(max-width: 719px) 100vw, 719px\">\u003cfigcaption class=\"wp-caption-text\">André 3000’s New Blue Sun Live tour comes to San Francisco Feb. 20–24, with a band including Carlos Niño, Nate Mercereau, Surya Botofasina and Deantoni Parks. \u003ccite>(Todd Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\u003cp>After making one of the more unlikely hit records of 2023, former Outkast rapper André 3000 is taking his flute on the road.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.amyriadofpyramids.com/\">New Blue Sun Live\u003c/a> tour hits San Francisco in late February, with one catch: the venues are small. Like, really small. On \u003ca href=\"https://www.ticketweb.com/event/andr-3000-new-blue-sun-bimbos-365-club-tickets/13452783?pl=365bimbos\">Feb. 20\u003c/a> and \u003ca href=\"https://www.ticketweb.com/event/andr-3000-new-blue-sun-bimbos-365-club-tickets/13452793?pl=365bimbos\">22\u003c/a>, André 3000 plays Bimbo’s 365 Club (capacity 685), while on Feb. 24, he plays \u003ca href=\"https://www.ticketweb.com/event/andr-3000-new-blue-sun-the-independent-tickets/13457903?pl=independentsf\">two\u003c/a> \u003ca href=\"https://www.ticketweb.com/event/andr-3000-new-blue-sun-the-independent-tickets/13457923?pl=independentsf\">shows\u003c/a> at the Independent (capacity 500).\u003c/p>\n\u003cp>\u003cstrong>UPDATE\u003c/strong>: Andre 3000 has announced one more Bay Area show, on Monday, Feb. 19 at Cornerstone in Berkeley. The show is all-ages, and tickets, $100 each, \u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/andr-3000-new-blue-sun-live-94741\">go on sale here on Friday, Feb. 9 at 10 a.m. PST\u003c/a>.\u003c/p>\n\u003cp>Here’s what to know about the San Francisco shows: Tickets go on sale at 10 a.m. on Wednesday, Jan. 24. Tickets are $99 each plus fees, and there are no presale codes. All four San Francisco shows are 21+, and tickets are general admission. There’s a two-ticket limit per order, and to combat scalping, the ticket order pages alert that “tickets will be delivered day of show.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another thing to know: tickets are being sold through Ticketweb, not Ticketmaster. So if you don’t yet have a Ticketweb account, you’ll want to \u003ca href=\"https://www.ticketweb.com/\">open one\u003c/a>, and put a credit or debit card on file to speed the checkout process should you get the opportunity to put tickets in your cart.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other than that, good luck refreshing your browser at 10 a.m. on Wednesday. Find links to tickets \u003ca href=\"https://www.amyriadofpyramids.com/\">here\u003c/a>.\u003c/p>\n\n",
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"slug": "rob-woods",
"title": "Rob Woods Knows You Are Worthy",
"publishDate": 1705575615,
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"headTitle": "Rob Woods Knows You Are Worthy | KQED",
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"term": 8720,
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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>“Been through it all but I feel like it was worth it, not a perfect man but I feel like I am worthy,” sings musician \u003ca href=\"https://linktr.ee/Robwoods\" target=\"_blank\" rel=\"noopener\">Rob Woods\u003c/a> in a raspy yet uplifting tone that’s reflective of the sentiment in his trademark song, “\u003ca href=\"https://www.youtube.com/watch?v=jlKqjbf8u10&t=2s\" target=\"_blank\" rel=\"noopener\">Worthy\u003c/a>.”\u003c/p>\n\u003cp>Woods wrote the song in collaboration with Ricky Jassal, who he met while incarcerated in a California state prison. Since his release, Woods has been traveling around this state reminding people that no matter what they’ve been through, they too are worthy.\u003c/p>\n\u003cfigure id=\"attachment_13950397\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Rob-Woods_-Photo_by_David_Chatman-800x531.jpg\" alt=\"Rob Woods talking to people at San Quentin State Prison about the idea of being worthy. \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Rob-Woods_-Photo_by_David_Chatman-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Rob-Woods_-Photo_by_David_Chatman-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Rob-Woods_-Photo_by_David_Chatman-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Rob-Woods_-Photo_by_David_Chatman-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Rob-Woods_-Photo_by_David_Chatman-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Rob-Woods_-Photo_by_David_Chatman-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Rob-Woods_-Photo_by_David_Chatman-1920x1275.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rob Woods talking to people at San Quentin State Prison about the idea of being worthy. \u003ccite>(David Chatman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the \u003ca href=\"https://worthyfoundation.myshopify.com/\" target=\"_blank\" rel=\"noopener\">Worthy Foundation\u003c/a>, which Woods runs along with Quinton Jackson, Jacob Moynihan and Derek Foster, they have partnered with other volunteers to give free haircuts and resources to people living near the well-known unhoused community of Skid Row in Los Angeles. While there, his message was amplified when local artists painted the word “worthy” on a nearby wall. He’s also gone back behind the prison walls to do work, as he’s held workshops and performances at San Quentin in an effort to remind people of their value. And during a “Worthy Hour” show in his hometown of Sacramento, I got to see firsthand why Woods is so grounded, as his friends and family boisterously cheered in support of his art.\u003c/p>\n\u003cp>Woods’ work is important, especially here in California. This state is home to the \u003ca href=\"https://www.statista.com/statistics/203757/number-of-prisoners-in-the-us-by-states/\" target=\"_blank\" rel=\"noopener\">second largest population of imprisoned people\u003c/a> and \u003ca href=\"https://worldpopulationreview.com/state-rankings/homeless-population-by-state\" target=\"_blank\" rel=\"noopener\">the country’s largest unhoused population\u003c/a>. And for many people, even those who aren’t living behind bars or sleeping on the streets, times are hard. In the scramble to pay bills and make ends meet, our inherent value as human beings often gets lost. So this week we talk to Rob Woods for a simple but profound reminder that you too are worthy.\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=KQINC3473309213&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Welcome to Rightnowish. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m your host Pendarvis Harshaw, bringing you a conversation I recently had with a talented musician by the name of Rob Woods. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rob is an MC whose poetic lyrics speak of hard times and hope, the central idea in his music is that we’re all worthy beings. It’s best exemplified in his 2020 song titled, “Worthy,” a melodic and contemplative piece, with soulful lyrics about redemption.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This concept of worthiness, something he learned while incarcerated, also shows up in Rob’s approach to how he now serves the community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He organizes with other volunteers to give haircuts to unhoused folks on Skid Row in Los Angeles. He also volunteers behind bars, speaking to people who are incarcerated in places like Marin County’s San Quentin State prison. And the idea of worthiness even shows up in his series of statewide live performances, which he calls, “The Worthy Hour.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rob knows what it’s like to be at your worst, and then grow to be the best version of yourself. So this week we talk about music, meaningful messages, and his movement to remind people that no matter what you’ve been through, you are worthy. Stay tuned.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Recently, I saw you perform in Sacramento at the Guild Theater as a part of your show called The Worthy Hour. What is the worthy hour?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s exactly what it is. It’s for one hour. You know, I’m trying to pour into those that are, you know, there in attendance, making sure that they feel worthy, that they hear the word worthy, that they understand the meaning behind it, which is for me, it’s knowing that you are loved, knowing that you are worth it, your worth, that you’re worth everything, everything that you want and you desire. I feel like people need to hear that. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, you know, I just been able to do it through a musical display most recently, you know, being able to capture a dope audience and sit there with them for the hour and make sure that they’re hearing this, feeling this. And it’s not all just rap. You know, I try to assemble some musicians like my buddy K.J. Focus, who’s just really, really mean on the saxophone. He pulls up and he’s able to convey that same message to you without saying a word, just through his instrument.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It started with me doing it only inside of prisons. But, I soon realized that even us out here, we need to hear that we’re worthy. It’s not just… some people that are going through things behind bars, like in all reality, we are all in need of hearing this word on the daily. So, you know, I just, you know, take pride in making it my job and doing it.\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\">What was going on in your life when you wrote the song “Worthy”?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">I was finishing up my prison bid sitting on the top of my bunk. I was confused a little bit on like where where I was at, you know. I kind of didn’t even understand, like, damn, you fucked up so bad that you got here. But at that same moment, I did feel that like, God was with me. I’ve never done anything on my own. I felt the power of like prayers, you know, I had a really powerful prayer team. My great aunties came to visit me in prison. They would pray on me. And now I feel like I have just like these angels. You know, I had angels on earth, I have angels above. And it made me feel like I knew I was going to be okay no matter what.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Rob Woods:\u003c/b>\u003cspan style=\"font-weight: 400\"> You know, the words are “I admit that I did a lot of shit and I never been perfect, been through it all, but I feel like it was worth it. I’m not a perfect man, but I feel like I’m worthy. And if I’m worthy, then Lord, please have mercy on me.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Clip from Worthy by Rob Woods: \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">`\u003c/span> \u003cspan style=\"font-weight: 400\">I admit that I did a lot of shit and I never been perfect, \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">been through it all, but I feel like it was worth it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Not a perfect man, but I feel like I’m worthy. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And if I’m worthy, then Lord, please have mercy…\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the song, I just, I don’t know man, I just heard it in my head. I had a calling for it to write the music. I didn’t, I did not find it, the beats and all that until later on in life. But the initial template was just me writing in my journal.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You have a new song with LaRussell, who’s had immense success with putting heavy messages in his music and the Co-LLAB Choir. What was the conversation like leading up to that song?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a genuine approach on all fronts. You know, for me and… me and LaRussell it was just simply, you know we had done some shows. Pre-pandemic, you know, we did some shows where like we were just crossing paths, opening up for other artists and things of that nature. And, you know, we just had a chance to build a cool little rapport and a, you know, friendship through the music. And we waited until we found a track that actually just felt good for both of us.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Clip from The Road by Rob Woods:\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like I got the weight of the world on my shoulders but finally here\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Been through the winter, the stormiest weather but we made out to the clear\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I put my foot on the gas, I ain’t comin’ off, we bout to switch up the gears\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was locked in the cell, wasn’t worried ‘bout bail but the failure was my only fear\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I’m back on the road (Back on the road)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back in my mode (Back in my mode)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back in my zone (Back in my zone)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chasing the gold (Chasing)\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">The song is called The Road. You know, it hit… it hit for him. It hit for me. The beat maker, Beau Knows Beats, it hit for him. It was just very, very once- once we got the correct beat, it was easy, easy flowing. For the Co-LLAB choir…I had no… I didn’t know anything about it. But once they brought it to my attention on my damn this choir is so dope. And um, they jumped on another song with us with me and Gunna Goes Global called I Know. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">And it was a heavy message based song but they elevated.. they elevated the sound. Took them\u003c/span> \u003cspan style=\"font-weight: 400\">no time for them to come back with their own versions of like how the song should sound and they amplified it in a way that I just can’t do on my own. I can’t do it myself, you know? I’m good with writing, I’m good with rapping. I think I can hold a note or two, but the power behind that choir and their willingness to be a part of this was like something that really amplified the track.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Clip from I Know by Gunna Goes Global:\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">People always judged you\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You ain’t want nothin’ but somebody to hug you\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Bills got you stressin’ it’s heavy on your back\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You tried to borrow money but they said they’d call you back\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Hip hop has long had this issue with some music being, um, lighter. It serves a purpose, but it can be overly.. like we’re overly saturated with music that isn’t um, of high intelligence, I’ll say or isn’t um, relating to the soul and so, how do you go about putting substance in your music and making sure that it reaches people?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">The first thing that I want to do is make music that I care about and that I love. If I can’t do that, it can’t happen. Very hard for me to do that. So I just try to stay the course of like, do you believe in what you’re saying? Like the stuff that you’re writing about. Is this really you, is that really your life? Is that the image that you are putting out there, does that line up with the person that you are?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I know what I believe in and what I don’t believe in. And I don’t believe in putting negative things out there. I don’t believe in hurting my brother or my sister in any way. I don’t believe in down talk of any kind to my people. So, you know, with this music, I just make sure that those things are checked off. Does this make a person… how does it make a person feel? Because this isn’t for me. It’s for someone else. I’m giving it to them. How does it make them feel? What did they take away from it? What effect does it have on them, during the, you know, the course of them listening? And that has just been my, you know, my rule of thumb in creating.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Your music is steeped in hope. Like, as I’ve listened, the first song that I really latched onto that black gold track, like I needed to hear that personally. It was, you know, around 2020 where things were pretty heavy. Thank you for that. And why does it feel important for you to have hope at the center of your art?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">I think it’s important to implement hope at the inside of the track because that’s all I am you know, that’s all I’ve been. And even the track Black Gold, that was not my original track. It’s actually a guy that I met when I was doing a tour into San Quentin Prison. He was very talented, his name is Antwan Banks. When he got out, he reached out was like, “Hey, I love to connect, let’s do some music.” He came to me with this idea of black gold, like that’s him on the hook \u003c/span>\u003c/p>\n\u003cp>\u003cb>Antwan Banks in a clip from Black Gold by Rob Woods:\u003c/b>\u003c/p>\n\u003cp>\u003cb>“\u003c/b>\u003cspan style=\"font-weight: 400\">I know the price of black gold (Black gold, black gold, black gold)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I know the price of black gold (Black gold, black gold, black gold)…”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Us as black individuals and… We’ve been painted a different color. You know what I mean. We’ve been painted a different light and it’s negative. But, you know, I really, really want to do my job in reminding us, like, how beautiful black is.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Clip from Black Gold by Rob Woods:\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">King like Nat Cole \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Beautiful Black queens, all black bathrobes\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All that Black soul, sound like…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">I know that music is… it’s very, very, very, very powerful and it’s dangerous at the same time. I want to be on the side that’s putting something out there that people can take and that they can use in a way that it’s going to help, not hinder.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">As I’ve done work with folks who’ve been incarcerated in different institutions throughout the state as well as people reentering society, it’s been clear to me that that network, that community is essential in making sure that people get on their feet and reestablish themselves. Is this something you’ve experienced of seeing that… that network of even, um the kind of fraternal group of people you were incarcerated with even, have you experienced that as well?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">The formerly incarcerated, I have seen what it looks like when they get out. There’s just absolutely nobody there. You know, I did my… my halfway house in the Tenderloin, you know. Very, very weird place for a prison to place a man after he’s doing prison time. You know, this is supposed to be a rehabilitation time of your life, but the halfway house in the Tenderloin, and we all know what it’s like there. You look to the left, you gon’ see a lot. You look to the right, you see a lot. It’s very hard to just get out and keep a straight path.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My sister was close to me, you know, like, literally right down the street. She lived in the Tenderloin too somehow and uh… I knew that that helped me a lot. She helped me with getting my first job, references. My other buddy Gunna Goes Global, he was in the halfway house when I got out with me, cause we met in prison. He gave me my first studio for $25 an hour. You know, everything that I really, really needed, it came from other individuals that wanted to help and just be a resource. And I feel like we all need that some times in our life, but definitely a person that has been going through incarceration. When they get home, they need all the help they can get. Positive reinforcements.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">People showing up for other people who might otherwise slip through the cracks of society. That’s…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Yep\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s definitely what I’ve seen as well and so…\u003c/span> \u003cspan style=\"font-weight: 400\">thank you for sharing that experience. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kind of fast forwarding a little bit. I understand that you grew up in Sacramento, you spent time in the Bay Area, then you moved to L.A. and when you, when you got there, you began working with the unhoused population, specifically around Skid Row. What did you see? What were your like, broad observations when you first got there?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, it’s very sad. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Rob Woods:\u003c/b>\u003cspan style=\"font-weight: 400\"> Very much like how it is down there in San Francisco area where you have Taylor Street, where it’s one street, at the bottom of the street, it’s the Tenderloin. It’s poverty. It’s homelessness. It’s… it’s, you know, it’s just a totally different world from the top of the hill. Here in Los Angeles, it’s the same way. You got your downtown area. You have a very rich area where people are thriving and like just three blocks over you have Skid Row, which is five to seven blocks of just total opposite of that. And\u003c/span> \u003cspan style=\"font-weight: 400\">I saw people turning a blind eye. I saw people making a point to go around these areas. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The arts district is on the outside of Skid Row. Downtown is on the outside of Skid Row. Skid Row’s almost in the heart of the downtown area, but we make sure to go around it. And I didn’t feel good going around it. Man you know, I didn’t. I had to go in there. I had and it was during me making the video for Worthy, looking for all these dope beautiful spots to do the video. And I’m like, why are we going around what needs us the most?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like we went in there and we had. We had our brotherhood, we had our sisterhood. We had people that actually wanted to hear the message. That was eye opening. That was very awakening to me to like, physically see people wanting this message. I feel like that is the place that needs it the most. Let’s… let’s come together in a place that needs us.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">One of the earlier parts of your volunteer work was around haircuts. Why did you see it as important to give people haircuts in effort to show them that they’re worthy?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, the feeling of when you get a haircut, you feel like, ‘Aye, damn, you know, like I feel good. I look good.’\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Rob Woods: ‘\u003c/b>\u003cspan style=\"font-weight: 400\">I don’t have a dime in my pocket, but I feel good, like, let’s go get it.’ You know, that is the energy that I was able to get, even when I was locked up. I get a haircut. I feel good. I still got some years, but looking in the mirror, I’mma be alright. I’m okay.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I had the opportunity to do the haircuts in Skid Row, I wanted to give that same energy. You know, and it was beautiful to see.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One guy flew out from Washington. His name is Juice and he was also incarcerated with me, but he’s a barber. He flew himself out. He stayed for a weekend, and then two other barbers from the L.A. area just.. they banded together and they sat on that corner and they gave up as many free haircuts as possible. And we literally watched… It was a transition, it was a transformation from no smile, to haircut, to mirror, to smile, to walking off, and feeling good, and attacking the day.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that’s like what my barber buddies were saying, they’re like, “Hey man we could give this freely. Like, this is the one thing that we possess that doesn’t cost us anything that we want to give away freely.”\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Based on your firsthand experience in these two environments, prison and then working on the streets with folks who are unhoused. What parallels or overlaps have you seen?\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">These are two places where it’s clear that they need, they need somebody. They need help, right? You’re dealing and you’re doing with the least amount of resources possible. They don’t have a lot. They might not even want a lot anymore, but they’re making it work and they are trying. But I also see a community of people that have each other’s backs. You know, that’s one thing that really drew me to the area was like, even though they don’t have homes and houses and cars, what they do have is like a heart and a smile and they’re sharing. They don’t have shit, but they’re still sharing!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">There’s some things that we need in society. We need, even in the prison system, it sucks to say, bro like the, the structure, the organization, the discipline that it- that they have in there, we need some of that out here. The minimal hopping on the phone to talk to people and the scrolling through our instagrams that they can’t do in there, I feel like we need a little bit of that out here to help balance you know, and keep us focused and stay on track.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">On a personal note, I know that the work that you do both as entertainment and also the work that you do, the social work that you do, can be draining. And this world just in general is taxing. And so I’m wondering, like when you’re down, what’s your… what’s your personal ritual to remind yourself that you’re worthy? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">I just remind myself, like first off, it’s all in my name. I’m named after my grandfather. Very, very, very great man, he led the family, 11 children. I have 11 aunties and uncles. And uh, he was a great man. And I always just try to remind myself like… Will he be proud, you know what I mean, of the work I’m doing? I think so. You know, even with like, the distribution, this stuff I’m doing with the community, I learned that from him. You know, I used to ride around in the back of his truck and he would stop at food banks and grab bread and stuff after work. We’d pass it out, and um, so a little piece of this, like I don’t get drained when it comes to that is what I’m trying to say. I get, I’m very excited because that’s my.. that’s my work. That’s my connection with him. We just keeping it, we just keeping it alive.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For me, it’s a bit of a blessing. I’ve never not felt it. I’ve never not felt like God loves me, never not felt like my family loves me. To remind myself I literally just have to just speak, speak back to myself, speak to God, just being thankful.\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\">How was it felt for you personally, seeing your message resonating with folks?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">You know I’m a solo artist, I’m not signed or none of that stuff. Bro I just literally like, I have the opportunity and the ability to create something and people actually like it. People actually love it. Some people actually take it and it’s helping them. And that is like, the hugest payoff for me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s like cooking good food, man. And watching everybody at the table eat and get full and say it’s good. And then, you know, catch the itis and doze off, right? Like, I did it the right way. I feel like the same way with my music, and my message when I’m able to put it out there and the…. Man, it’s just… It’s… it’s amazing.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Indeed it is. Rob, thank you. Thank you for your message, your work and your music. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The service of reminding people of their worth– that we are all worthy– is such a unique thing that can be easily overlooked, especially when so much is needed: housing, mental health resources, changes to laws, you name it. But if you, as an individual, don’t think you’re worthy, you could have the world and it would mean nothing. So, it’s a universal message and I hope you all gained something from this conversation. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I invite you to check out Rob’s music, including his latest single, “The Road,” which is done in collaboration with Vallejo’s LaRussell and The Co-LLAB Choir, find it wherever you stream music. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And you can keep up with Rob Woods on instagram, at robwooods, all one word. Rob R-O-B. Woods is spelled with three O’s. That’s W-O-O-O-D-S.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was produced by Marisol Medina-Cadena and Sheree Bishop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chris Hambrick is our editor.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our engineer is Christopher Beale.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is also supported by Ugur Dursun, Cesar Saldana, Katie Sprenger, Jen Chien, 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\">Take it easy. Keep it lit. Be nice to people and don’t forget to pay it forward. 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": "Musician Rob Woods spreads the message that everyone from San Quentin prison to Skid Row is worthy.",
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"title": "Rob Woods Knows You Are Worthy | KQED",
"description": ""Been through it all but I feel like it was worth it, not a perfect man but I feel like I am worthy," sings musician Rob Woods in a raspy yet uplifting tone that's reflective of the sentiment in his trademark song, "Worthy." Woods wrote the song in collaboration with Ricky Jassal, who he met while incarcerated in a California state prison. Since his release, Woods has been traveling around this state reminding people that no matter what they've been through, they too are worthy.",
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"socialDescription": ""Been through it all but I feel like it was worth it, not a perfect man but I feel like I am worthy," sings musician Rob Woods in a raspy yet uplifting tone that's reflective of the sentiment in his trademark song, "Worthy." Woods wrote the song in collaboration with Ricky Jassal, who he met while incarcerated in a California state prison. Since his release, Woods has been traveling around this state reminding people that no matter what they've been through, they too are worthy.",
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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>“Been through it all but I feel like it was worth it, not a perfect man but I feel like I am worthy,” sings musician \u003ca href=\"https://linktr.ee/Robwoods\" target=\"_blank\" rel=\"noopener\">Rob Woods\u003c/a> in a raspy yet uplifting tone that’s reflective of the sentiment in his trademark song, “\u003ca href=\"https://www.youtube.com/watch?v=jlKqjbf8u10&t=2s\" target=\"_blank\" rel=\"noopener\">Worthy\u003c/a>.”\u003c/p>\n\u003cp>Woods wrote the song in collaboration with Ricky Jassal, who he met while incarcerated in a California state prison. Since his release, Woods has been traveling around this state reminding people that no matter what they’ve been through, they too are worthy.\u003c/p>\n\u003cfigure id=\"attachment_13950397\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13950397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Rob-Woods_-Photo_by_David_Chatman-800x531.jpg\" alt=\"Rob Woods talking to people at San Quentin State Prison about the idea of being worthy. \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Rob-Woods_-Photo_by_David_Chatman-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Rob-Woods_-Photo_by_David_Chatman-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Rob-Woods_-Photo_by_David_Chatman-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Rob-Woods_-Photo_by_David_Chatman-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Rob-Woods_-Photo_by_David_Chatman-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Rob-Woods_-Photo_by_David_Chatman-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Rob-Woods_-Photo_by_David_Chatman-1920x1275.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rob Woods talking to people at San Quentin State Prison about the idea of being worthy. \u003ccite>(David Chatman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the \u003ca href=\"https://worthyfoundation.myshopify.com/\" target=\"_blank\" rel=\"noopener\">Worthy Foundation\u003c/a>, which Woods runs along with Quinton Jackson, Jacob Moynihan and Derek Foster, they have partnered with other volunteers to give free haircuts and resources to people living near the well-known unhoused community of Skid Row in Los Angeles. While there, his message was amplified when local artists painted the word “worthy” on a nearby wall. He’s also gone back behind the prison walls to do work, as he’s held workshops and performances at San Quentin in an effort to remind people of their value. And during a “Worthy Hour” show in his hometown of Sacramento, I got to see firsthand why Woods is so grounded, as his friends and family boisterously cheered in support of his art.\u003c/p>\n\u003cp>Woods’ work is important, especially here in California. This state is home to the \u003ca href=\"https://www.statista.com/statistics/203757/number-of-prisoners-in-the-us-by-states/\" target=\"_blank\" rel=\"noopener\">second largest population of imprisoned people\u003c/a> and \u003ca href=\"https://worldpopulationreview.com/state-rankings/homeless-population-by-state\" target=\"_blank\" rel=\"noopener\">the country’s largest unhoused population\u003c/a>. And for many people, even those who aren’t living behind bars or sleeping on the streets, times are hard. In the scramble to pay bills and make ends meet, our inherent value as human beings often gets lost. So this week we talk to Rob Woods for a simple but profound reminder that you too are worthy.\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=KQINC3473309213&light=true\" 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>\u003cb>Pendarvis Harshaw, host: \u003c/b>\u003cspan style=\"font-weight: 400\">Welcome to Rightnowish. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m your host Pendarvis Harshaw, bringing you a conversation I recently had with a talented musician by the name of Rob Woods. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rob is an MC whose poetic lyrics speak of hard times and hope, the central idea in his music is that we’re all worthy beings. It’s best exemplified in his 2020 song titled, “Worthy,” a melodic and contemplative piece, with soulful lyrics about redemption.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This concept of worthiness, something he learned while incarcerated, also shows up in Rob’s approach to how he now serves the community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He organizes with other volunteers to give haircuts to unhoused folks on Skid Row in Los Angeles. He also volunteers behind bars, speaking to people who are incarcerated in places like Marin County’s San Quentin State prison. And the idea of worthiness even shows up in his series of statewide live performances, which he calls, “The Worthy Hour.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rob knows what it’s like to be at your worst, and then grow to be the best version of yourself. So this week we talk about music, meaningful messages, and his movement to remind people that no matter what you’ve been through, you are worthy. Stay tuned.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Recently, I saw you perform in Sacramento at the Guild Theater as a part of your show called The Worthy Hour. What is the worthy hour?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s exactly what it is. It’s for one hour. You know, I’m trying to pour into those that are, you know, there in attendance, making sure that they feel worthy, that they hear the word worthy, that they understand the meaning behind it, which is for me, it’s knowing that you are loved, knowing that you are worth it, your worth, that you’re worth everything, everything that you want and you desire. I feel like people need to hear that. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, you know, I just been able to do it through a musical display most recently, you know, being able to capture a dope audience and sit there with them for the hour and make sure that they’re hearing this, feeling this. And it’s not all just rap. You know, I try to assemble some musicians like my buddy K.J. Focus, who’s just really, really mean on the saxophone. He pulls up and he’s able to convey that same message to you without saying a word, just through his instrument.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It started with me doing it only inside of prisons. But, I soon realized that even us out here, we need to hear that we’re worthy. It’s not just… some people that are going through things behind bars, like in all reality, we are all in need of hearing this word on the daily. So, you know, I just, you know, take pride in making it my job and doing it.\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\">What was going on in your life when you wrote the song “Worthy”?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">I was finishing up my prison bid sitting on the top of my bunk. I was confused a little bit on like where where I was at, you know. I kind of didn’t even understand, like, damn, you fucked up so bad that you got here. But at that same moment, I did feel that like, God was with me. I’ve never done anything on my own. I felt the power of like prayers, you know, I had a really powerful prayer team. My great aunties came to visit me in prison. They would pray on me. And now I feel like I have just like these angels. You know, I had angels on earth, I have angels above. And it made me feel like I knew I was going to be okay no matter what.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Rob Woods:\u003c/b>\u003cspan style=\"font-weight: 400\"> You know, the words are “I admit that I did a lot of shit and I never been perfect, been through it all, but I feel like it was worth it. I’m not a perfect man, but I feel like I’m worthy. And if I’m worthy, then Lord, please have mercy on me.”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Clip from Worthy by Rob Woods: \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">`\u003c/span> \u003cspan style=\"font-weight: 400\">I admit that I did a lot of shit and I never been perfect, \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">been through it all, but I feel like it was worth it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Not a perfect man, but I feel like I’m worthy. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And if I’m worthy, then Lord, please have mercy…\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With the song, I just, I don’t know man, I just heard it in my head. I had a calling for it to write the music. I didn’t, I did not find it, the beats and all that until later on in life. But the initial template was just me writing in my journal.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You have a new song with LaRussell, who’s had immense success with putting heavy messages in his music and the Co-LLAB Choir. What was the conversation like leading up to that song?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a genuine approach on all fronts. You know, for me and… me and LaRussell it was just simply, you know we had done some shows. Pre-pandemic, you know, we did some shows where like we were just crossing paths, opening up for other artists and things of that nature. And, you know, we just had a chance to build a cool little rapport and a, you know, friendship through the music. And we waited until we found a track that actually just felt good for both of us.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Clip from The Road by Rob Woods:\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like I got the weight of the world on my shoulders but finally here\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Been through the winter, the stormiest weather but we made out to the clear\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I put my foot on the gas, I ain’t comin’ off, we bout to switch up the gears\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was locked in the cell, wasn’t worried ‘bout bail but the failure was my only fear\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I’m back on the road (Back on the road)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back in my mode (Back in my mode)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back in my zone (Back in my zone)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chasing the gold (Chasing)\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">The song is called The Road. You know, it hit… it hit for him. It hit for me. The beat maker, Beau Knows Beats, it hit for him. It was just very, very once- once we got the correct beat, it was easy, easy flowing. For the Co-LLAB choir…I had no… I didn’t know anything about it. But once they brought it to my attention on my damn this choir is so dope. And um, they jumped on another song with us with me and Gunna Goes Global called I Know. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">And it was a heavy message based song but they elevated.. they elevated the sound. Took them\u003c/span> \u003cspan style=\"font-weight: 400\">no time for them to come back with their own versions of like how the song should sound and they amplified it in a way that I just can’t do on my own. I can’t do it myself, you know? I’m good with writing, I’m good with rapping. I think I can hold a note or two, but the power behind that choir and their willingness to be a part of this was like something that really amplified the track.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Clip from I Know by Gunna Goes Global:\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">People always judged you\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You ain’t want nothin’ but somebody to hug you\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Bills got you stressin’ it’s heavy on your back\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You tried to borrow money but they said they’d call you back\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Hip hop has long had this issue with some music being, um, lighter. It serves a purpose, but it can be overly.. like we’re overly saturated with music that isn’t um, of high intelligence, I’ll say or isn’t um, relating to the soul and so, how do you go about putting substance in your music and making sure that it reaches people?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">The first thing that I want to do is make music that I care about and that I love. If I can’t do that, it can’t happen. Very hard for me to do that. So I just try to stay the course of like, do you believe in what you’re saying? Like the stuff that you’re writing about. Is this really you, is that really your life? Is that the image that you are putting out there, does that line up with the person that you are?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I know what I believe in and what I don’t believe in. And I don’t believe in putting negative things out there. I don’t believe in hurting my brother or my sister in any way. I don’t believe in down talk of any kind to my people. So, you know, with this music, I just make sure that those things are checked off. Does this make a person… how does it make a person feel? Because this isn’t for me. It’s for someone else. I’m giving it to them. How does it make them feel? What did they take away from it? What effect does it have on them, during the, you know, the course of them listening? And that has just been my, you know, my rule of thumb in creating.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Your music is steeped in hope. Like, as I’ve listened, the first song that I really latched onto that black gold track, like I needed to hear that personally. It was, you know, around 2020 where things were pretty heavy. Thank you for that. And why does it feel important for you to have hope at the center of your art?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">I think it’s important to implement hope at the inside of the track because that’s all I am you know, that’s all I’ve been. And even the track Black Gold, that was not my original track. It’s actually a guy that I met when I was doing a tour into San Quentin Prison. He was very talented, his name is Antwan Banks. When he got out, he reached out was like, “Hey, I love to connect, let’s do some music.” He came to me with this idea of black gold, like that’s him on the hook \u003c/span>\u003c/p>\n\u003cp>\u003cb>Antwan Banks in a clip from Black Gold by Rob Woods:\u003c/b>\u003c/p>\n\u003cp>\u003cb>“\u003c/b>\u003cspan style=\"font-weight: 400\">I know the price of black gold (Black gold, black gold, black gold)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I know the price of black gold (Black gold, black gold, black gold)…”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Us as black individuals and… We’ve been painted a different color. You know what I mean. We’ve been painted a different light and it’s negative. But, you know, I really, really want to do my job in reminding us, like, how beautiful black is.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Clip from Black Gold by Rob Woods:\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">King like Nat Cole \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Beautiful Black queens, all black bathrobes\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All that Black soul, sound like…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">I know that music is… it’s very, very, very, very powerful and it’s dangerous at the same time. I want to be on the side that’s putting something out there that people can take and that they can use in a way that it’s going to help, not hinder.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">As I’ve done work with folks who’ve been incarcerated in different institutions throughout the state as well as people reentering society, it’s been clear to me that that network, that community is essential in making sure that people get on their feet and reestablish themselves. Is this something you’ve experienced of seeing that… that network of even, um the kind of fraternal group of people you were incarcerated with even, have you experienced that as well?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">The formerly incarcerated, I have seen what it looks like when they get out. There’s just absolutely nobody there. You know, I did my… my halfway house in the Tenderloin, you know. Very, very weird place for a prison to place a man after he’s doing prison time. You know, this is supposed to be a rehabilitation time of your life, but the halfway house in the Tenderloin, and we all know what it’s like there. You look to the left, you gon’ see a lot. You look to the right, you see a lot. It’s very hard to just get out and keep a straight path.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My sister was close to me, you know, like, literally right down the street. She lived in the Tenderloin too somehow and uh… I knew that that helped me a lot. She helped me with getting my first job, references. My other buddy Gunna Goes Global, he was in the halfway house when I got out with me, cause we met in prison. He gave me my first studio for $25 an hour. You know, everything that I really, really needed, it came from other individuals that wanted to help and just be a resource. And I feel like we all need that some times in our life, but definitely a person that has been going through incarceration. When they get home, they need all the help they can get. Positive reinforcements.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">People showing up for other people who might otherwise slip through the cracks of society. That’s…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">Yep\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> That’s definitely what I’ve seen as well and so…\u003c/span> \u003cspan style=\"font-weight: 400\">thank you for sharing that experience. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kind of fast forwarding a little bit. I understand that you grew up in Sacramento, you spent time in the Bay Area, then you moved to L.A. and when you, when you got there, you began working with the unhoused population, specifically around Skid Row. What did you see? What were your like, broad observations when you first got there?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, it’s very sad. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Rob Woods:\u003c/b>\u003cspan style=\"font-weight: 400\"> Very much like how it is down there in San Francisco area where you have Taylor Street, where it’s one street, at the bottom of the street, it’s the Tenderloin. It’s poverty. It’s homelessness. It’s… it’s, you know, it’s just a totally different world from the top of the hill. Here in Los Angeles, it’s the same way. You got your downtown area. You have a very rich area where people are thriving and like just three blocks over you have Skid Row, which is five to seven blocks of just total opposite of that. And\u003c/span> \u003cspan style=\"font-weight: 400\">I saw people turning a blind eye. I saw people making a point to go around these areas. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The arts district is on the outside of Skid Row. Downtown is on the outside of Skid Row. Skid Row’s almost in the heart of the downtown area, but we make sure to go around it. And I didn’t feel good going around it. Man you know, I didn’t. I had to go in there. I had and it was during me making the video for Worthy, looking for all these dope beautiful spots to do the video. And I’m like, why are we going around what needs us the most?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like we went in there and we had. We had our brotherhood, we had our sisterhood. We had people that actually wanted to hear the message. That was eye opening. That was very awakening to me to like, physically see people wanting this message. I feel like that is the place that needs it the most. Let’s… let’s come together in a place that needs us.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">One of the earlier parts of your volunteer work was around haircuts. Why did you see it as important to give people haircuts in effort to show them that they’re worthy?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, the feeling of when you get a haircut, you feel like, ‘Aye, damn, you know, like I feel good. I look good.’\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Rob Woods: ‘\u003c/b>\u003cspan style=\"font-weight: 400\">I don’t have a dime in my pocket, but I feel good, like, let’s go get it.’ You know, that is the energy that I was able to get, even when I was locked up. I get a haircut. I feel good. I still got some years, but looking in the mirror, I’mma be alright. I’m okay.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I had the opportunity to do the haircuts in Skid Row, I wanted to give that same energy. You know, and it was beautiful to see.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One guy flew out from Washington. His name is Juice and he was also incarcerated with me, but he’s a barber. He flew himself out. He stayed for a weekend, and then two other barbers from the L.A. area just.. they banded together and they sat on that corner and they gave up as many free haircuts as possible. And we literally watched… It was a transition, it was a transformation from no smile, to haircut, to mirror, to smile, to walking off, and feeling good, and attacking the day.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that’s like what my barber buddies were saying, they’re like, “Hey man we could give this freely. Like, this is the one thing that we possess that doesn’t cost us anything that we want to give away freely.”\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Based on your firsthand experience in these two environments, prison and then working on the streets with folks who are unhoused. What parallels or overlaps have you seen?\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">These are two places where it’s clear that they need, they need somebody. They need help, right? You’re dealing and you’re doing with the least amount of resources possible. They don’t have a lot. They might not even want a lot anymore, but they’re making it work and they are trying. But I also see a community of people that have each other’s backs. You know, that’s one thing that really drew me to the area was like, even though they don’t have homes and houses and cars, what they do have is like a heart and a smile and they’re sharing. They don’t have shit, but they’re still sharing!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">There’s some things that we need in society. We need, even in the prison system, it sucks to say, bro like the, the structure, the organization, the discipline that it- that they have in there, we need some of that out here. The minimal hopping on the phone to talk to people and the scrolling through our instagrams that they can’t do in there, I feel like we need a little bit of that out here to help balance you know, and keep us focused and stay on track.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">On a personal note, I know that the work that you do both as entertainment and also the work that you do, the social work that you do, can be draining. And this world just in general is taxing. And so I’m wondering, like when you’re down, what’s your… what’s your personal ritual to remind yourself that you’re worthy? \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">I just remind myself, like first off, it’s all in my name. I’m named after my grandfather. Very, very, very great man, he led the family, 11 children. I have 11 aunties and uncles. And uh, he was a great man. And I always just try to remind myself like… Will he be proud, you know what I mean, of the work I’m doing? I think so. You know, even with like, the distribution, this stuff I’m doing with the community, I learned that from him. You know, I used to ride around in the back of his truck and he would stop at food banks and grab bread and stuff after work. We’d pass it out, and um, so a little piece of this, like I don’t get drained when it comes to that is what I’m trying to say. I get, I’m very excited because that’s my.. that’s my work. That’s my connection with him. We just keeping it, we just keeping it alive.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For me, it’s a bit of a blessing. I’ve never not felt it. I’ve never not felt like God loves me, never not felt like my family loves me. To remind myself I literally just have to just speak, speak back to myself, speak to God, just being thankful.\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\">How was it felt for you personally, seeing your message resonating with folks?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">You know I’m a solo artist, I’m not signed or none of that stuff. Bro I just literally like, I have the opportunity and the ability to create something and people actually like it. People actually love it. Some people actually take it and it’s helping them. And that is like, the hugest payoff for me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rob Woods: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s like cooking good food, man. And watching everybody at the table eat and get full and say it’s good. And then, you know, catch the itis and doze off, right? Like, I did it the right way. I feel like the same way with my music, and my message when I’m able to put it out there and the…. Man, it’s just… It’s… it’s amazing.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Indeed it is. Rob, thank you. Thank you for your message, your work and your music. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The service of reminding people of their worth– that we are all worthy– is such a unique thing that can be easily overlooked, especially when so much is needed: housing, mental health resources, changes to laws, you name it. But if you, as an individual, don’t think you’re worthy, you could have the world and it would mean nothing. So, it’s a universal message and I hope you all gained something from this conversation. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I invite you to check out Rob’s music, including his latest single, “The Road,” which is done in collaboration with Vallejo’s LaRussell and The Co-LLAB Choir, find it wherever you stream music. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And you can keep up with Rob Woods on instagram, at robwooods, all one word. Rob R-O-B. Woods is spelled with three O’s. That’s W-O-O-O-D-S.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was produced by Marisol Medina-Cadena and Sheree Bishop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chris Hambrick is our editor.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our engineer is Christopher Beale.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is also supported by Ugur Dursun, Cesar Saldana, Katie Sprenger, Jen Chien, 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\">Take it easy. Keep it lit. Be nice to people and don’t forget to pay it forward. 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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"slug": "bonnie-ora-sherk-fort-mason-review-life-frames-since-1970",
"title": "Bonnie Ora Sherk’s Eco-Art Experiments Inspire Wonder at Fort Mason",
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"content": "\u003cp>“I dreamt I lived in a triptych — human, plant, animal … the essence of global convergence.”\u003c/p>\n\u003cp>These words, contained in a display case at Fort Mason Center’s Gallery 308, belong to conceptual artist Bonnie Ora Sherk. Sherk was a renegade who spent her life challenging the normal parameters of how humans use — and behave in — urban spaces. Much of Sherk’s most important work was audaciously conceived and performed in 1970s San Francisco. Now, a new exhibit at the Fort Mason Center for Arts & Culture is honoring her legacy and demonstrating how Sherk’s ideas continue to impact the city to this day.\u003c/p>\n\u003cp>[aside postid='arts_13939967']Curated by SFMOMA’s Tanya Zimbardo, \u003cem>\u003ca href=\"https://fortmason.org/event/bonnie-ora-sherk/\">Bonnie Ora Sherk: Life Frames Since 1970\u003c/a>\u003c/em> encompasses work Sherk did in both San Francisco and New York. Viewed in one place, the expansive exhibit thoroughly maps Sherk’s transformation from an artist interested in subverting cityscapes into a landscape architect literally building a more egalitarian environment. Sherk was also the founder of Crossroads Community (aka The Farm), a now-legendary community center, art space and, yes, city farm that once stood where \u003ca href=\"https://sfrecpark.org/895/Potrero-del-Sol-Park-La-Raza\">Potrero del Sol Park\u003c/a> stands now. (It was an empty concrete lot next to the freeway when Sherk found it.)\u003c/p>\n\u003cp>The chronology of \u003cem>Life Frames\u003c/em> allows visitors to follow the through line of Sherk’s concepts in a way that feels perfectly rational — even when her individual pieces sometimes do not. The exhibit opens with four large-scale wall projections, the first of which is a 15-minute loop of photographs from her \u003cem>Sitting Still\u003c/em> series. These feature Sherk sitting in a chair in a variety of locations, including street corners in the Mission, North Beach and the Financial District. The artist sat for an hour at a time, inviting stares, confusion and questions from passersby. She also spent time on the Golden Gate Bridge and, most memorably, inside pens at the San Francisco Zoo.\u003c/p>\n\u003cfigure id=\"attachment_13950464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoo-tree-scaled-e1705455948325.jpg\" alt=\"A woman wearing a dress sits in a chair next to a huge tree inside an animal pen at a zoo.\" width=\"1920\" height=\"1403\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘Excerpts From the Sitting Still Series,’ as seen in new exhibit, ‘Bonnie Ora Sherk: Life Frames Since 1970.’ \u003ccite>(Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was the last location that started Sherk on her journey to explore animal behavior. She became interested in cohabiting with them — rats, chickens and pigs. She put on performances in which she and the animals observed each other in the same space. She designed self-contained chicken coops (the sketches for which are present in \u003cem>Life Frames\u003c/em>). Before founding The Farm, Sherk also masterminded ways to green-ify urban spaces, moving trees to freeway overpasses, snow to San Francisco hotel exteriors and grass to concrete lots — a precursor to \u003ca href=\"https://en.wikipedia.org/wiki/Guerrilla_gardening\">guerrilla gardening\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tranquil footage of Sherk at The Farm makes sense of anxiety-inducing footage of the artist pacing up and down a 10-foot stretch of the Broadway Tunnel just a few years earlier. It’s not difficult to see why Sherk moved from one to the other and why ecology became her life’s work. The exhibit closes out with a reminder that it was also Sherk who founded the “Living Libraries” and “Think Parks” of \u003ca href=\"https://alivinglibrary.org/branches/bernal-heights\">Bernal Heights\u003c/a> and \u003ca href=\"https://alivinglibrary.org/branches/omiexcelsior\">the Excelsior\u003c/a>. Those projects continue to serve local children and communities in much the same way The Farm once did, even three years after Sherk’s death.\u003c/p>\n\u003cp>\u003cem>Life Frames\u003c/em> is so comprehensive and at times immersive, it’s sometimes easy to forget where you are. That’s not a bad thing. Like so much of what the artist created in life, this exhibit is a place you’ll want to come and sit a while. Give yourself ample time to do so — the world seen through Sherk’s eyes is a beautiful place to be.\u003c/p>\n\u003cfigure id=\"attachment_13950429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950429\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20240114_154944-scaled-e1705436011408.jpg\" alt=\"A woman casually sits in an armchair smoking a cigarette in the middle of a flooded parking lot. Urban houses are seen behind her.\" width=\"1920\" height=\"1243\">\u003cfigcaption class=\"wp-caption-text\">Bonnie Ora Sherk in 1970, as captured in ‘Sitting Still I.’ \u003ccite>(‘Bonnie Ora Sherk: Life Frames Since 1970’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bonnie Ora Sherk: Life Frames Since 1970’ is on display at \u003ca href=\"https://fortmason.org/event/bonnie-ora-sherk/\">Gallery 308 at the Fort Mason Center for Arts & Culture\u003c/a>, now through March 10, 2024. The exhibition will close out with a pop-up urban planning symposium.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I dreamt I lived in a triptych — human, plant, animal … the essence of global convergence.”\u003c/p>\n\u003cp>These words, contained in a display case at Fort Mason Center’s Gallery 308, belong to conceptual artist Bonnie Ora Sherk. Sherk was a renegade who spent her life challenging the normal parameters of how humans use — and behave in — urban spaces. Much of Sherk’s most important work was audaciously conceived and performed in 1970s San Francisco. Now, a new exhibit at the Fort Mason Center for Arts & Culture is honoring her legacy and demonstrating how Sherk’s ideas continue to impact the city to this day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Curated by SFMOMA’s Tanya Zimbardo, \u003cem>\u003ca href=\"https://fortmason.org/event/bonnie-ora-sherk/\">Bonnie Ora Sherk: Life Frames Since 1970\u003c/a>\u003c/em> encompasses work Sherk did in both San Francisco and New York. Viewed in one place, the expansive exhibit thoroughly maps Sherk’s transformation from an artist interested in subverting cityscapes into a landscape architect literally building a more egalitarian environment. Sherk was also the founder of Crossroads Community (aka The Farm), a now-legendary community center, art space and, yes, city farm that once stood where \u003ca href=\"https://sfrecpark.org/895/Potrero-del-Sol-Park-La-Raza\">Potrero del Sol Park\u003c/a> stands now. (It was an empty concrete lot next to the freeway when Sherk found it.)\u003c/p>\n\u003cp>The chronology of \u003cem>Life Frames\u003c/em> allows visitors to follow the through line of Sherk’s concepts in a way that feels perfectly rational — even when her individual pieces sometimes do not. The exhibit opens with four large-scale wall projections, the first of which is a 15-minute loop of photographs from her \u003cem>Sitting Still\u003c/em> series. These feature Sherk sitting in a chair in a variety of locations, including street corners in the Mission, North Beach and the Financial District. The artist sat for an hour at a time, inviting stares, confusion and questions from passersby. She also spent time on the Golden Gate Bridge and, most memorably, inside pens at the San Francisco Zoo.\u003c/p>\n\u003cfigure id=\"attachment_13950464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoo-tree-scaled-e1705455948325.jpg\" alt=\"A woman wearing a dress sits in a chair next to a huge tree inside an animal pen at a zoo.\" width=\"1920\" height=\"1403\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘Excerpts From the Sitting Still Series,’ as seen in new exhibit, ‘Bonnie Ora Sherk: Life Frames Since 1970.’ \u003ccite>(Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was the last location that started Sherk on her journey to explore animal behavior. She became interested in cohabiting with them — rats, chickens and pigs. She put on performances in which she and the animals observed each other in the same space. She designed self-contained chicken coops (the sketches for which are present in \u003cem>Life Frames\u003c/em>). Before founding The Farm, Sherk also masterminded ways to green-ify urban spaces, moving trees to freeway overpasses, snow to San Francisco hotel exteriors and grass to concrete lots — a precursor to \u003ca href=\"https://en.wikipedia.org/wiki/Guerrilla_gardening\">guerrilla gardening\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tranquil footage of Sherk at The Farm makes sense of anxiety-inducing footage of the artist pacing up and down a 10-foot stretch of the Broadway Tunnel just a few years earlier. It’s not difficult to see why Sherk moved from one to the other and why ecology became her life’s work. The exhibit closes out with a reminder that it was also Sherk who founded the “Living Libraries” and “Think Parks” of \u003ca href=\"https://alivinglibrary.org/branches/bernal-heights\">Bernal Heights\u003c/a> and \u003ca href=\"https://alivinglibrary.org/branches/omiexcelsior\">the Excelsior\u003c/a>. Those projects continue to serve local children and communities in much the same way The Farm once did, even three years after Sherk’s death.\u003c/p>\n\u003cp>\u003cem>Life Frames\u003c/em> is so comprehensive and at times immersive, it’s sometimes easy to forget where you are. That’s not a bad thing. Like so much of what the artist created in life, this exhibit is a place you’ll want to come and sit a while. Give yourself ample time to do so — the world seen through Sherk’s eyes is a beautiful place to be.\u003c/p>\n\u003cfigure id=\"attachment_13950429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950429\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/20240114_154944-scaled-e1705436011408.jpg\" alt=\"A woman casually sits in an armchair smoking a cigarette in the middle of a flooded parking lot. Urban houses are seen behind her.\" width=\"1920\" height=\"1243\">\u003cfigcaption class=\"wp-caption-text\">Bonnie Ora Sherk in 1970, as captured in ‘Sitting Still I.’ \u003ccite>(‘Bonnie Ora Sherk: Life Frames Since 1970’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bonnie Ora Sherk: Life Frames Since 1970’ is on display at \u003ca href=\"https://fortmason.org/event/bonnie-ora-sherk/\">Gallery 308 at the Fort Mason Center for Arts & Culture\u003c/a>, now through March 10, 2024. The exhibition will close out with a pop-up urban planning symposium.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Julian Lage literally grew up on Bay Area stages.\u003c/p>\n\u003cp>From the age of five, the Santa Rosa-raised guitarist cut an irresistible, diminutive figure, playing with the poise, technique and preternatural maturity of a musician many times his age. He was such a \u003ca href=\"https://www.youtube.com/watch?v=Ro8vOlHDqYo\">conspicuously gifted player\u003c/a> that a 1996 documentary, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=s7FY65rd03I\">Jules at Eight\u003c/a>\u003c/em>, made the rounds at film festivals.\u003c/p>\n\u003cp>But rather than becoming a cautionary example of the pitfalls often associated with young, prodigious talent, Lage took time to let music — and life — take its own course.\u003c/p>\n\u003cp>Now 36, Lage has more than lived up to his promise, creating a vast body of music as a bandleader, composer and collaborator with some of contemporary music’s most celebrated artists. Those include fellow guitarists like \u003ca href=\"https://www.youtube.com/watch?v=Yrryw0HxV-A\">Bill Frisell\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/10314475/ugly-sounds-beautiful-sounds-and-everything-in-between-a-talk-with-guitarist-julian-lage\">Nels Cline\u003c/a>, as well as vibraphonist \u003ca href=\"https://www.youtube.com/watch?v=fXjfvEcAV6w\">Gary Burton\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BqqnOjzv-zA\">tenor sax star Charles Lloyd\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=8NAhjnGu8No\">altoist/composer John Zorn\u003c/a>.\u003c/p>\n\u003cp>Lage’s first stint as an SFJAZZ resident artistic director brings him back to the Bay Area from his home in New York City for \u003ca href=\"https://www.sfjazz.org/calendar/?month=1.2024&artist=Julian%20Lage&gclid=Cj0KCQiAwP6sBhDAARIsAPfK_wbtmnPb21HBePxkWROM6J6gmGDGc13xJiA9YnJa9xnJVQVa3PeVzeMaAg__EALw_wcB&gclsrc=aw.ds\">a four-night run at SFJAZZ on Jan. 18–21\u003c/a>, offering a intimate look at where he’s been lately.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YqA8tfc89Bo\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>“It’s an opportunity to do something so dear to your heart, or things that don’t get much attention,” he said on a recent phone call with his wife, the singer, songwriter and guitarist Margaret Glaspy. “It’s so cool and such a privilege. We have this January run and we’re back in early 2025. I think of this one as establishing a foundation, and the intent is for next year’s to be more experimental.”\u003c/p>\n\u003cp>There’s nothing more foundational than an artist alone on stage with a guitar, and Lage opens the run Thursday with a solo recital focusing on material from his 2015 album \u003cem>World’s Fair\u003c/em>, an acoustic straight-to-tape session he recorded on a 1939 Martin 000-18. Aside from the Richard Rodgers standard “Where Or When” and Gary Harrison’s old-time fiddle tune “Red Prairie Dawn,” the pieces are all originals — “almost songs without lyrics,” Lage said.\u003c/p>\n\u003cp>“It’s one acoustic guitar, one mic, austere,” Lage said. He’d just finished a two-week tour of solo performances, and found himself “approaching the concerts like [pianist] Paul Bley playing solo, slipping into a standard and an original, playing a free piece, so you hear how one instrument evolves over the course of an evening.”\u003c/p>\n\u003cp>[aside postID='arts_10314475']Friday offers the frisson of a Bay Area premiere: Lage and Glaspy perform together here for the first time in Rude Ruth, a project that resets her songs in the context of his long-running trio with bassist Jorge Roeder and The Bad Plus drummer Dave King.\u003c/p>\n\u003cp>Glaspy has been a regular presence on Bay Area stages over the past 10 years, most recently last November at The Independent on a tour for her third studio album \u003cem>Echo the Diamond\u003c/em>. For audiences well-acquainted with Lage, who’ve watched his rise since grade school, there’s something wondrous about getting this glimpse into his private creative life.\u003c/p>\n\u003cp>He and Glaspy met at Berklee, and playing music together “was always the basis of our connection,” he said. She’s produced several of his albums, including his upcoming debut on Blue Note, \u003cem>Squint\u003c/em>, a song-centric project with the trio slated for release in June.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cEqgeN27Hhk\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Glaspy’s own projects tend toward the raw and dramatic, while Rude Ruth offers a lyrical setting with quieter dynamics. Another difference is that Glaspy leaves the guitar work to Lage, “so I’m free to be a singer and be in the very capable hands of Julian, which opens up a lot of doors for me as a vocalist,” she said. “In the writing process, I can dive in as a lyricist in a narrative way. For my solo work I’m often from first person, my own stories. Rude Ruth tells bigger narratives. Each one is a short story.”\u003c/p>\n\u003cp>Lage is also premiering a new set of music from an upcoming album \u003cem>Speak to Me\u003c/em>, a septet with Roeder, King, pianist Kris Davis, saxophonist Levon Henry, and keyboardist Patrick Warren. In the studio, he worked closely with veteran Los Angeles producer Joe Henry, who helped fill out the instrumental palette of “a record of spirituals and gospel, a project where the concept was to make a body of music as a form of devotion,” Lage said.\u003c/p>\n\u003cp>[aside postID='arts_13906722']While Sunday’s closing show is billed as a tribute to the late guitar legend Jim Hall, Lage says that’s not exactly accurate. Rather, he’s assembling a group of musicians similarly swayed by Hall’s profound yet puckish sensibility, “playing songs he loved to play, some originals, some not,” Lage said. Featuring saxophonist Chris Potter, bassist Scott Colley and drummer Joey Baron, who all performed and recorded with Hall, the group is less interested in repertoire than the close-listening chamber jazz aesthetic that Hall cultivated.\u003c/p>\n\u003cp>“More than anything it’s a disposition that’s rife with humor, that’s satirical and idiosyncratic,” Lage said. “That’s what Jim responded to. He was about progression.”\u003c/p>\n\u003cp>In following his multifarious muses, Lage is providing a similarly capacious road map for pursuing a creative life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Julian Lage performs across four nights, Jan. 18–21, at SFJAZZ in San Francisco. Friday night’s concert will be livestreamed, then available on demand as of Jan. 26. \u003ca href=\"https://www.sfjazz.org/calendar/?month=1.2024&series=61709\">Details here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Julian Lage literally grew up on Bay Area stages.\u003c/p>\n\u003cp>From the age of five, the Santa Rosa-raised guitarist cut an irresistible, diminutive figure, playing with the poise, technique and preternatural maturity of a musician many times his age. He was such a \u003ca href=\"https://www.youtube.com/watch?v=Ro8vOlHDqYo\">conspicuously gifted player\u003c/a> that a 1996 documentary, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=s7FY65rd03I\">Jules at Eight\u003c/a>\u003c/em>, made the rounds at film festivals.\u003c/p>\n\u003cp>But rather than becoming a cautionary example of the pitfalls often associated with young, prodigious talent, Lage took time to let music — and life — take its own course.\u003c/p>\n\u003cp>Now 36, Lage has more than lived up to his promise, creating a vast body of music as a bandleader, composer and collaborator with some of contemporary music’s most celebrated artists. Those include fellow guitarists like \u003ca href=\"https://www.youtube.com/watch?v=Yrryw0HxV-A\">Bill Frisell\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/10314475/ugly-sounds-beautiful-sounds-and-everything-in-between-a-talk-with-guitarist-julian-lage\">Nels Cline\u003c/a>, as well as vibraphonist \u003ca href=\"https://www.youtube.com/watch?v=fXjfvEcAV6w\">Gary Burton\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BqqnOjzv-zA\">tenor sax star Charles Lloyd\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=8NAhjnGu8No\">altoist/composer John Zorn\u003c/a>.\u003c/p>\n\u003cp>Lage’s first stint as an SFJAZZ resident artistic director brings him back to the Bay Area from his home in New York City for \u003ca href=\"https://www.sfjazz.org/calendar/?month=1.2024&artist=Julian%20Lage&gclid=Cj0KCQiAwP6sBhDAARIsAPfK_wbtmnPb21HBePxkWROM6J6gmGDGc13xJiA9YnJa9xnJVQVa3PeVzeMaAg__EALw_wcB&gclsrc=aw.ds\">a four-night run at SFJAZZ on Jan. 18–21\u003c/a>, offering a intimate look at where he’s been lately.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YqA8tfc89Bo'\n title='//www.youtube.com/embed/YqA8tfc89Bo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>“It’s an opportunity to do something so dear to your heart, or things that don’t get much attention,” he said on a recent phone call with his wife, the singer, songwriter and guitarist Margaret Glaspy. “It’s so cool and such a privilege. We have this January run and we’re back in early 2025. I think of this one as establishing a foundation, and the intent is for next year’s to be more experimental.”\u003c/p>\n\u003cp>There’s nothing more foundational than an artist alone on stage with a guitar, and Lage opens the run Thursday with a solo recital focusing on material from his 2015 album \u003cem>World’s Fair\u003c/em>, an acoustic straight-to-tape session he recorded on a 1939 Martin 000-18. Aside from the Richard Rodgers standard “Where Or When” and Gary Harrison’s old-time fiddle tune “Red Prairie Dawn,” the pieces are all originals — “almost songs without lyrics,” Lage said.\u003c/p>\n\u003cp>“It’s one acoustic guitar, one mic, austere,” Lage said. He’d just finished a two-week tour of solo performances, and found himself “approaching the concerts like [pianist] Paul Bley playing solo, slipping into a standard and an original, playing a free piece, so you hear how one instrument evolves over the course of an evening.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Friday offers the frisson of a Bay Area premiere: Lage and Glaspy perform together here for the first time in Rude Ruth, a project that resets her songs in the context of his long-running trio with bassist Jorge Roeder and The Bad Plus drummer Dave King.\u003c/p>\n\u003cp>Glaspy has been a regular presence on Bay Area stages over the past 10 years, most recently last November at The Independent on a tour for her third studio album \u003cem>Echo the Diamond\u003c/em>. For audiences well-acquainted with Lage, who’ve watched his rise since grade school, there’s something wondrous about getting this glimpse into his private creative life.\u003c/p>\n\u003cp>He and Glaspy met at Berklee, and playing music together “was always the basis of our connection,” he said. She’s produced several of his albums, including his upcoming debut on Blue Note, \u003cem>Squint\u003c/em>, a song-centric project with the trio slated for release in June.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cEqgeN27Hhk'\n title='//www.youtube.com/embed/cEqgeN27Hhk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Glaspy’s own projects tend toward the raw and dramatic, while Rude Ruth offers a lyrical setting with quieter dynamics. Another difference is that Glaspy leaves the guitar work to Lage, “so I’m free to be a singer and be in the very capable hands of Julian, which opens up a lot of doors for me as a vocalist,” she said. “In the writing process, I can dive in as a lyricist in a narrative way. For my solo work I’m often from first person, my own stories. Rude Ruth tells bigger narratives. Each one is a short story.”\u003c/p>\n\u003cp>Lage is also premiering a new set of music from an upcoming album \u003cem>Speak to Me\u003c/em>, a septet with Roeder, King, pianist Kris Davis, saxophonist Levon Henry, and keyboardist Patrick Warren. In the studio, he worked closely with veteran Los Angeles producer Joe Henry, who helped fill out the instrumental palette of “a record of spirituals and gospel, a project where the concept was to make a body of music as a form of devotion,” Lage said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While Sunday’s closing show is billed as a tribute to the late guitar legend Jim Hall, Lage says that’s not exactly accurate. Rather, he’s assembling a group of musicians similarly swayed by Hall’s profound yet puckish sensibility, “playing songs he loved to play, some originals, some not,” Lage said. Featuring saxophonist Chris Potter, bassist Scott Colley and drummer Joey Baron, who all performed and recorded with Hall, the group is less interested in repertoire than the close-listening chamber jazz aesthetic that Hall cultivated.\u003c/p>\n\u003cp>“More than anything it’s a disposition that’s rife with humor, that’s satirical and idiosyncratic,” Lage said. “That’s what Jim responded to. He was about progression.”\u003c/p>\n\u003cp>In following his multifarious muses, Lage is providing a similarly capacious road map for pursuing a creative life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Julian Lage performs across four nights, Jan. 18–21, at SFJAZZ in San Francisco. Friday night’s concert will be livestreamed, then available on demand as of Jan. 26. \u003ca href=\"https://www.sfjazz.org/calendar/?month=1.2024&series=61709\">Details here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Singing for Children on the Other Side of the World | KQED",
"content": "\u003cp>If you hang around San Francisco’s indie folk scene, it will not take you long to run into singer and promoter \u003ca href=\"https://www.sfweekly.com/music/music-heroes-jessie-woletz/article_bfe961b1-70a1-5154-9113-cd00d5024e65.html\">Jessie Woletz\u003c/a>. As an individual, she’s warm and soft-spoken, having worked as a nanny for over a decade. But as \u003ca href=\"https://www.instagram.com/seaweedsway/?hl=en\">Seaweed Sway\u003c/a>, the moniker for her DIY music and event-production project that’s hosted shows around the Bay Area since 2007, she’s a veritable force of nature. She gets things done. And she knows \u003cem>a lot\u003c/em> of people.\u003c/p>\n\u003cp>[aside postID='arts_13940282']Both of these attributes came in handy last month, when Woletz — feeling helpless while taking in images of the devastation in Gaza — decided to contact artists she knew with a simple request: “Do you want to donate a song to support relief in Palestine?”\u003c/p>\n\u003cp>The result is a compilation, clocking in at 87 songs and counting, that has already raised more than $5000 for the \u003ca href=\"https://www.mecaforpeace.org/\">Middle East Children’s Alliance\u003c/a> since its release on Jan. 1. \u003cem>\u003ca href=\"https://seaweedsway.bandcamp.com/album/mixtape-for-palestine-fundraiser-for-middle-east-childrens-alliance-for-peace-25-125-scroll-down-to-donate-directly-get-music\">Mixtape for Palestine\u003c/a>, \u003c/em>available for download via Bandcamp with a donation to MECA, is a sprawling patchwork of songs — some originals, some previously released, some covers — by artists across a wide variety of genres.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4014827160/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3952569100/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Emerging local artists appear alongside names with wider recognition, including Jolie Holland, Little Wings, field medic, C.J. Boyd (with a song featuring Bonnie “Prince” Billy), Ayla Nereo, Meklit and more. Veteran Bay Area musicians turned out in droves, including \u003ca href=\"https://www.kqed.org/arts/13855177/doctor-musician-and-activist-rupa-marya-offers-a-healing-balm-on-new-april-fishes-album\">Rupa & the April Fishes\u003c/a>, Brian Belknap, \u003ca href=\"https://www.youtube.com/watch?v=HHR_n_o0f20\">Diana Gameros\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13906345/sean-hayes-new-album-be-like-water-offers-pathway-from-worry\">Sean Hayes\u003c/a>, Kelly McFarling, Chelsea Coleman, Whiskerman, \u003ca href=\"https://www.kqed.org/news/11667569/singer-songwriter-megan-keelys-tribute-to-her-grandmother\">Megan Keely\u003c/a>, Ezra Lipp and \u003ca href=\"https://www.kqed.org/arts/13894398/amina-shareef-ali-comes-back-to-life\">Amina Shareef Ali\u003c/a>.\u003c/p>\n\u003cp>A handful of the tracks directly address the current death toll in Palestine, like Maia “MJoy” Wiitala’s “\u003ca href=\"https://seaweedsway.bandcamp.com/track/watermelon-nights\">Watermelon Nights\u003c/a>,” and B. Hamilton’s “\u003ca href=\"https://seaweedsway.bandcamp.com/track/that-god-damn-paul-mccartney-christmas-song\">That God Damn Paul McCartney Christmas Song\u003c/a>.” (While the very first track, Nora Roman and the Border Busters’ “\u003ca href=\"https://seaweedsway.bandcamp.com/track/song-for-palestine\">Song For Palestine\u003c/a>,” could have been written last week, the group actually released it in 2011.) Others are protest songs originally inspired by other causes or oppressed communities; still others speak more generally on themes of heartbreak and grief. Woletz welcomed them all.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4014827160/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1737183087/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“I wasn’t sure anyone would want to do it,” she says of her initial trepidation. “I know different artists have different views [on the war] … but my hope was, ‘OK, let’s find where we align.’ I think we can have different views and still come together to support people who are not getting resources.”\u003c/p>\n\u003cp>[aside postID='arts_13939726']Quickly, she says, it became obvious that many artists agreed. It took some dialogue about the exact language that would be released with the compilation, and where and how funds would be distributed, says Woletz. But she was moved by the sheer number of musicians who ultimately wanted to get involved.\u003c/p>\n\u003cp>“It’s a risky thing for some of them, there’s a risk of losing fans,” she says. “But people are choosing to speak out anyway, putting themselves out there, and that feels really powerful.”\u003c/p>\n\u003cp>The compilation’s cover image, \u003ca href=\"https://www.instagram.com/p/C1H_xqiOB0K/?hl=en\">donated by artist Donovan Brutus\u003c/a>, was inspired by Palestinian embroidery, with traditional motifs like chickpeas, raisins, roosters and the Moon of Bethlehem embedded throughout the design.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4014827160/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2648187703/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Brutus is just one of many artists involved with the project whom Woletz originally met at Amnesia, the tiny, beloved Mission District music venue where she hosted shows for years, and \u003ca href=\"https://www.kqed.org/arts/13873227/amnesia-is-the-latest-san-francisco-music-venue-to-close\">which closed in 2020\u003c/a>.\u003c/p>\n\u003cp>For those who frequented the club in its heyday, the compilation also feels a bit like a family reunion, full of now far-flung artists who once called the Bay home: Kacey Johansing and Lapel, now both in Los Angeles; Kendra McKinley and Sonya Cotton, in New York and New Jersey; Misisipi Mike Wolf, now in Duluth, Minnesota. Mariee Siou, now based in Portland, is one of several artist-activists who was instrumental in helping Woletz learn about Palestine, and in spurring her to take action.\u003c/p>\n\u003cp>“So many artists have left over the last few years, especially during the pandemic, and I think we all have grief about that,” says Woletz. “This is hopefully a way to build a sort of shared reality, to bring together different communities at a time when so many of us are feeling helpless, and put our energy in the same place.”\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>\u003cem>‘Mixtape for Palestine’ is \u003ca href=\"https://seaweedsway.bandcamp.com/album/mixtape-for-palestine-fundraiser-for-middle-east-childrens-alliance-for-peace-25-125-scroll-down-to-donate-directly-get-music\">available on Bandcamp\u003c/a> for a donation of at least $25 to MECA. To bypass Bandcamp’s fees so the organization receives 100% of your donation, visit \u003ca href=\"http://bit.ly/MECAmixtape\">bit.ly/MECAmixtape\u003c/a> and include your email address to receive a download link.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Both of these attributes came in handy last month, when Woletz — feeling helpless while taking in images of the devastation in Gaza — decided to contact artists she knew with a simple request: “Do you want to donate a song to support relief in Palestine?”\u003c/p>\n\u003cp>The result is a compilation, clocking in at 87 songs and counting, that has already raised more than $5000 for the \u003ca href=\"https://www.mecaforpeace.org/\">Middle East Children’s Alliance\u003c/a> since its release on Jan. 1. \u003cem>\u003ca href=\"https://seaweedsway.bandcamp.com/album/mixtape-for-palestine-fundraiser-for-middle-east-childrens-alliance-for-peace-25-125-scroll-down-to-donate-directly-get-music\">Mixtape for Palestine\u003c/a>, \u003c/em>available for download via Bandcamp with a donation to MECA, is a sprawling patchwork of songs — some originals, some previously released, some covers — by artists across a wide variety of genres.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4014827160/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3952569100/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Emerging local artists appear alongside names with wider recognition, including Jolie Holland, Little Wings, field medic, C.J. Boyd (with a song featuring Bonnie “Prince” Billy), Ayla Nereo, Meklit and more. Veteran Bay Area musicians turned out in droves, including \u003ca href=\"https://www.kqed.org/arts/13855177/doctor-musician-and-activist-rupa-marya-offers-a-healing-balm-on-new-april-fishes-album\">Rupa & the April Fishes\u003c/a>, Brian Belknap, \u003ca href=\"https://www.youtube.com/watch?v=HHR_n_o0f20\">Diana Gameros\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13906345/sean-hayes-new-album-be-like-water-offers-pathway-from-worry\">Sean Hayes\u003c/a>, Kelly McFarling, Chelsea Coleman, Whiskerman, \u003ca href=\"https://www.kqed.org/news/11667569/singer-songwriter-megan-keelys-tribute-to-her-grandmother\">Megan Keely\u003c/a>, Ezra Lipp and \u003ca href=\"https://www.kqed.org/arts/13894398/amina-shareef-ali-comes-back-to-life\">Amina Shareef Ali\u003c/a>.\u003c/p>\n\u003cp>A handful of the tracks directly address the current death toll in Palestine, like Maia “MJoy” Wiitala’s “\u003ca href=\"https://seaweedsway.bandcamp.com/track/watermelon-nights\">Watermelon Nights\u003c/a>,” and B. Hamilton’s “\u003ca href=\"https://seaweedsway.bandcamp.com/track/that-god-damn-paul-mccartney-christmas-song\">That God Damn Paul McCartney Christmas Song\u003c/a>.” (While the very first track, Nora Roman and the Border Busters’ “\u003ca href=\"https://seaweedsway.bandcamp.com/track/song-for-palestine\">Song For Palestine\u003c/a>,” could have been written last week, the group actually released it in 2011.) Others are protest songs originally inspired by other causes or oppressed communities; still others speak more generally on themes of heartbreak and grief. Woletz welcomed them all.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4014827160/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1737183087/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“I wasn’t sure anyone would want to do it,” she says of her initial trepidation. “I know different artists have different views [on the war] … but my hope was, ‘OK, let’s find where we align.’ I think we can have different views and still come together to support people who are not getting resources.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Quickly, she says, it became obvious that many artists agreed. It took some dialogue about the exact language that would be released with the compilation, and where and how funds would be distributed, says Woletz. But she was moved by the sheer number of musicians who ultimately wanted to get involved.\u003c/p>\n\u003cp>“It’s a risky thing for some of them, there’s a risk of losing fans,” she says. “But people are choosing to speak out anyway, putting themselves out there, and that feels really powerful.”\u003c/p>\n\u003cp>The compilation’s cover image, \u003ca href=\"https://www.instagram.com/p/C1H_xqiOB0K/?hl=en\">donated by artist Donovan Brutus\u003c/a>, was inspired by Palestinian embroidery, with traditional motifs like chickpeas, raisins, roosters and the Moon of Bethlehem embedded throughout the design.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4014827160/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2648187703/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Brutus is just one of many artists involved with the project whom Woletz originally met at Amnesia, the tiny, beloved Mission District music venue where she hosted shows for years, and \u003ca href=\"https://www.kqed.org/arts/13873227/amnesia-is-the-latest-san-francisco-music-venue-to-close\">which closed in 2020\u003c/a>.\u003c/p>\n\u003cp>For those who frequented the club in its heyday, the compilation also feels a bit like a family reunion, full of now far-flung artists who once called the Bay home: Kacey Johansing and Lapel, now both in Los Angeles; Kendra McKinley and Sonya Cotton, in New York and New Jersey; Misisipi Mike Wolf, now in Duluth, Minnesota. Mariee Siou, now based in Portland, is one of several artist-activists who was instrumental in helping Woletz learn about Palestine, and in spurring her to take action.\u003c/p>\n\u003cp>“So many artists have left over the last few years, especially during the pandemic, and I think we all have grief about that,” says Woletz. “This is hopefully a way to build a sort of shared reality, to bring together different communities at a time when so many of us are feeling helpless, and put our energy in the same place.”\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>\u003cem>‘Mixtape for Palestine’ is \u003ca href=\"https://seaweedsway.bandcamp.com/album/mixtape-for-palestine-fundraiser-for-middle-east-childrens-alliance-for-peace-25-125-scroll-down-to-donate-directly-get-music\">available on Bandcamp\u003c/a> for a donation of at least $25 to MECA. To bypass Bandcamp’s fees so the organization receives 100% of your donation, visit \u003ca href=\"http://bit.ly/MECAmixtape\">bit.ly/MECAmixtape\u003c/a> and include your email address to receive a download link.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Downtown San Francisco I Loved Was a Holiday Wonderland",
"headTitle": "The Downtown San Francisco I Loved Was a Holiday Wonderland | KQED",
"content": "\u003cp>\u003cstrong>\u003cem>Frisco Foodies is a recurring column in which a San Francisco local shares food memories of growing up in a now rapidly changing city.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[dropcap]T[/dropcap]his holiday season, my teenage son asked for his first pair of classic wheat Timberland boots. Favored by construction workers and rap legends, Timberlands are prized for their lifelong durability and rugged aesthetic. I should know — I’ve had my own pair of wheats on ice for over twenty years. The style of shoe is canon in hip-hop history; when I interviewed the Wu-Tang Clan for \u003ci>The Source\u003c/i> in 2007, they mentioned that their performance fee back then, split between the nine original members, was sometimes only enough for a pair of Timbs.\u003c/p>\n\u003cp>In the early 2000s, when I worked as a retail associate at Timberland’s downtown San Francisco store, I learned that only the classics were resoleable for life, and that they were water-resistant enough to withstand a quick downpour but not a heavy deluge. They were a good investment, I told my son, but please let Mom pick them out. I wanted him to have a lasting pair.\u003c/p>\n\u003cp>I loved that downtown Timberland job and have fond memories of taking the J-Church train from Mission Terrace over Dolores Park and through the Castro, before it finally dropped me off at Market & Powell. I was convinced it was the most beautiful Muni line in the city, and the holiday season, with the Embarcadero skyline lit up, made the trip even more festive. It was just close enough to Union Square to feel the holiday cheer in the crisp winter air and hear a melancholy Coltrane song from a street performer’s saxophone. The store itself was small enough for me to form lasting relationships there. And the employee discount was good enough to allow me to play Santa during the holidays.\u003c/p>\n\u003cfigure id=\"attachment_13939440\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939440\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/timberland-tag_RR.jpg\" alt='Over a box a Timberland boots, a hand holds up an engraved leather name tag that reads \"Krishtine\"' width=\"2000\" height=\"1983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/timberland-tag_RR.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/timberland-tag_RR-800x793.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/timberland-tag_RR-1020x1011.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/timberland-tag_RR-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/timberland-tag_RR-768x761.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/timberland-tag_RR-1536x1523.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/timberland-tag_RR-1920x1904.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A relic of the downtown San Francisco of the early 2000s. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fast forward to 2023 and I haven’t stepped foot in downtown for years — not since the pandemic accelerated the neighborhood’s retail apocalypse. What used to be the prime destination for Christmas shopping now has to contend with two-day Amazon Prime shipping and a barrage of Fox News reports about the whole area being an open-air drug market. Cop cars park on the corner next to Louis Vuitton, hoping to deter roving gangs of juvenile shoplifters known for their \u003ca href=\"https://www.ktvu.com/news/video-shows-san-franciscos-union-square-louis-vuitton-store-after-it-was-emptied-out-by-thieves\">chaotic smash-and-grabs\u003c/a>. Even a high-end supermarket couldn’t save its customers from \u003ca href=\"https://www.nytimes.com/2023/04/30/us/san-francisco-whole-foods-crime-economy.html\">“machete-wielding” assailants and drug users overdosing in the bathroom\u003c/a> — though locals might wonder who Whole Foods was trying to cater to downtown in the first place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The neighborhood’s food scene isn’t doing much better. Chefs lament about how the lack of foot traffic and downtown office workers has shut down both trendy power-lunch spots (\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/barbacco-italian-san-francisco-18376833.php\">Barbacco\u003c/a>) and beloved family-run staples (\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/turtle-tower-vietnamese-closed-18519642.php\">Turtle Tower\u003c/a>). The nearby San Francisco Shopping Centre Mall is a shell of itself — about \u003ca href=\"https://www.nytimes.com/2023/06/14/business/westfield-mall-sf.html\">45 percent empty\u003c/a> after the Nordstrom closed over the summer. Even during the lunch rush, the food court often feels deserted.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13929836,arts_13923127,arts_13921079']\u003c/span>The downtown I remember had shoplifters, drug users, scammers and weirdos, too — that part hasn’t changed as much as today’s news headlines might lead you to believe. But back when I worked downtown, I could spend my half-hour lunch breaks on a $2.50 slice combo at Blondie’s Pizza or splurge on a $15 roast chicken with mashed potatoes at Wolfgang Puck’s bistro in the Macy’s Cellar. Sometimes I’d have clam chowder in a sourdough bowl at Boudin; other days, I would save my pennies and meet my family for a celebratory dinner at Tad’s Steakhouse. When I was really broke, there was always the McDonald’s on Powell, where the old Filipino manongs used to hang out and watch the tourists on cable cars go past — not to mention the countless corner stores that sold bagels, coffee and sandwiches next to the Swisher Sweet cigars I used to wrap my blunts.\u003c/p>\n\u003cp>Most of these places are gone or relocated from where they originally stood. Even the McDonald’s are \u003ca href=\"https://sfstandard.com/2023/10/31/downtown-san-francisco-mcdonalds-closes/\">shutting down\u003c/a>. And the Timberland store I loved so much? That’s gone as well. My engraved leather name tag and pristine-condition wheats are all that remain of that era of downtown San Francisco.\u003c/p>\n\u003ch2>\u003cb>‘Make the City Better’\u003c/b>\u003c/h2>\n\u003cp>“No one remembers, right before the pandemic, how many restaurants were closing, how many chefs burned out, how bad business was, how bad the rent was,” says Christian Ciscle, a chef and longtime San Francisco resident who owns \u003ca href=\"https://www.instagram.com/sfchickenbox/?hl=en\">SF Chickenbox \u003c/a>— a restaurant known for its perfectly golden-fried chicken, homemade hot sauces and chewy-pillowy mochi muffins. I’ve followed Ciscle’s seasoned breadcrumb trail from Little Skillet, where he served chicken and waffles to clubgoers at 330 Ritch, to Wing Wings in Lower Haight and now his new location in North Beach.\u003c/p>\n\u003cfigure id=\"attachment_13937770\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937770\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-05-KQED.jpg\" alt=\"A person in a baseball cap stands in the doorway of a city building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christian Ciscle stands outside of the 332 Pine St. location of his latest project, Sucka Flea, a pop-up flea and swap market. \u003ccite>(Aryk Copley for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ciscle believes the mental health crisis and crime that have always existed in San Francisco are now compounded by the \u003ca href=\"https://www.sfexaminer.com/news/cocaine-buffets-and-meth-poop-meet-twitter-s-rising-anti-san-francisco-influencers/article_723ddc00-24b0-11ed-bfc5-732c1fb7fc07.html\">constant barrage of videos\u003c/a> that serve as fuel for conservative media outlets looking to blame progressive politicians. Experiencing even one incident first-hand is enough to make a liberal store owner switch ideologies to welcome increased police presence — an approach Ciscle believes doesn’t actually deter property crime but instead targets the most vulnerable. “There’s truth to how bad it is, but unhoused people didn’t make [downtown] bad,” he says. “What made them unhoused did.”\u003c/p>\n\u003cp>Downtown San Francisco has never been an ideal place for a food business, in Ciscle’s opinion: “It was always dead after 5 p.m. on weekdays and weekends. It was never a place to do business, unless you’re Tyler Florence.” And when the pandemic hit and business came to a screeching halt, he saw how vulnerable everyone was to closing down. “Nobody was bulletproof,” he says. “Everyone had to reassess their business model, their values.”\u003c/p>\n\u003cfigure id=\"attachment_13937771\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937771\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-06-KQED.jpg\" alt=\"A group of people stand stand outside of a city building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-06-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-06-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-06-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-06-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Vendors take a break outside of 332 Pine St. from the Sucka Flea market in San Francisco, Calif. on Nov. 5, 2023. \u003ccite>(Aryk Copley for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luckily, a newly created nonprofit called \u003ca href=\"https://sfnewdeal.org/\">SF New Deal\u003c/a> supported food businesses by paying them to provide meals for various community orgs. It paid SF Chickenbox for 200 meals a day — a source of money Ciscle could rely on in unsteady times, enabling him to keep his business open. Earlier this year, the program evolved into \u003ca href=\"https://www.vibrantsf.org/how-we-work\">Vacant to Vibrant\u003c/a> (V2V), a new initiative that tries to activate empty office spaces to accommodate small business pop-ups.\u003c/p>\n\u003cp>[pullquote size=\"large\" align=\"right\" citation=\"Christian Ciscle\"]‘Unhoused people didn’t make downtown bad. What made them unhoused did.’[/pullquote]Ciscle didn’t want to expand SF Chickenbox into downtown. But his experience throwing community festivals in years past made him perk up at the prospect of doing more than just food. The V2V program would allow him to utilize his long-standing relationships with vendors, artists, DJs and local artisans. So Ciscle created Sucka Flea, a pop-up flea market (and homage to San Francisco’s “Sucka Free” alias) that would also include local food vendors like \u003ca href=\"https://www.kqed.org/arts/13928804/hyphy-iceez-icee-slushy-filipino-hip-hop-mission-district-sf\">Hyphy Iceez\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13926749/tasty-tings-jamaican-beef-patties-sf-oakland\">Tasty Tings\u003c/a>. The flea market’s last event of the year — a \u003ca href=\"https://www.instagram.com/p/C0f3tPKLJZt/\">holiday-themed market\u003c/a> — will take place at Hub Embarcadero (Howard St. and Embarcadero) on Saturday, Dec. 16.\u003c/p>\n\u003cp>For jewelry designer \u003ca href=\"https://www.kqed.org/arts/13932647/rightnowish-presents-adorned-the-art-of-self-expression-affirmation\">Chelsea Macalino-Calalay\u003c/a>, Sucka Flea has provided a consistent space to sell her wares. At the Pine Street pop-up, her colorful baubles catch the eye of my five-year-old daughter, who otherwise would have no business in the Financial District on a Sunday afternoon. Macalino-Calalay is one of the thousands of Filipino Americans who were displaced from SoMa’s Manilatown enclave that once spanned ten city blocks to the International Hotel on Kearny Street. Macalino-Calalay’s family emigrated in the late ’60s and early ’70s. Her grandfather’s siblings were first employed as sign-painters at the Thomas Swan Sign Company when it was on Howard Street, then as food and service industry workers.\u003c/p>\n\u003cfigure id=\"attachment_13939443\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939443\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/L1002703-qut.jpg\" alt=\"A smiling vendor greets a customer at an indoor flea market.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/L1002703-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/L1002703-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/L1002703-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/L1002703-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/L1002703-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/L1002703-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author chats with vendors Chelsea Macalino-Calalay (center) and Dante Kaleo during the November edition of Sucka Flea’s downtown pop-up. \u003ccite>(Aryk Copley for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I used to be a crepe chef and a cake decorator and a hostess and a waitress. So I worked in food, too. It showed me a lot about work ethic as well as perseverance,” she recalls with pride. “But it also showed me what I don’t want in a work environment.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13933833']\u003c/span>Macalino-Calalay remembers downtown San Francisco as the place her family squeezed into on weekends, patronizing the fresh Filipino food at Aling Mary’s Unimart, relishing her lola’s home cooking, and enjoying meals from the McDonald’s on Bryant, where her father worked as a manager with an all-Filipino staff. Community orgs like West Bay, Soma Pilipinas and United Playaz helped her as a young girl, and Macalino-Calalay is seeing a resurgence of these kinds of resources that she hopes will continue.\u003c/p>\n\u003cp>When asked if things are better or worse today, she pauses. “From someone who didn’t grow up in SF, ‘worse’ is very subjective. Things being worse just looks like us not being there,” she says about her family of SF locals, who are now scattered throughout the East Bay and Outer Mission. Some are still in the SoMa, where her jewelry is now being shown in a special exhibit at SFMOMA with artist Pacita Abad. It’s a full-circle moment for a Frisco girl, who used to see parts of the museum being painted below the front steps of her family home on Langton Street.\u003c/p>\n\u003cfigure id=\"attachment_13937768\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937768\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-03-KQED.jpg\" alt=\"A person poses for a photo holding up a bowl of food in an indoor setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-03-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tanya Herrera (left) and Catherine Pham enjoy taking photos with some vintage collectibles. \u003ccite>(Aryk Copley for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, \u003ca href=\"https://www.instagram.com/whackdonuts/?hl=en\">Whack Donuts\u003c/a> owner Vandor Hill, a born-and-raised San Franciscan, \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/downtown-sf-pop-ups-18392057.php\">opened his own temporary pop-up shop\u003c/a> through the V2V program. who sells delectable-looking peach cobbler doughnuts and Donkey Kong bread doughnuts, alongside trendy flavors like Thai tea and horchata. While he has appreciated the opportunity, He believes first-time business owners in San Francisco need even more support from City Hall — and actual follow-through from local politicians. “Like the Bobby Byrd song, ‘Saying It and Doing It Are Two Different Things.’ The mayor along with the Board of Supervisors have been saying a lot in terms of enforcing law and the homeless situation, but have yet to really make any lasting moves for improving these topics,” he says.\u003c/p>\n\u003cp>Ciscle, for his part, believes pandemic-era programs like SF New Deal and Vacant to Vibrant are proof that money is out there for local food business owners: “There’s billionaires blocks away from us right now that could literally fund some shit and make it better — not that they should be running the city,” he says. “There’s money to fund programs out there, not just locking people up. To feed people, put people in houses. Make the city better.”\u003c/p>\n\u003cp>“People are more concerned with seeing [the unhoused] on the street,” Ciscle says. “They’re gonna put a planter on the sidewalk there so they can’t sleep and then be mad it gets knocked over or graffiti-ed up. And now we have two problems.”\u003c/p>\n\u003cfigure id=\"attachment_13937769\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937769\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-04-KQED.jpg\" alt=\"A person with long hair laughs while sitting at a table talking to someone else.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-04-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-04-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-04-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-04-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nina Parks gives the author a tarot card reading. \u003ccite>(Aryk Copley for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For now, Sucka Flea is occupying some of these empty spaces and providing small business owners with shared foot traffic and community. It can’t fix all of the problems facing downtown San Francisco, but it’s a start. After all, creating a family-friendly space that attracts folks from all over the Bay Area to shop downtown is no small feat — and \u003ca href=\"https://www.instagram.com/reel/C05JjsuvGK0/?igshid=MzRlODBiNWFlZA%3D%3D\">spending holiday shopping dollars with local vendors\u003c/a> seems more sustainable than throwing it away on chain restaurants and national department stores that never felt connected to community residents anyway. In a small way, the flea market has brought back some of that old holiday spirit I remember from my own time working in the neighborhood.\u003c/p>\n\u003cp>At the last flea market we attended, my son found a vintage button-down Ben Davis — another Frisco workwear staple — to go with the Timbs that he has yet to receive. Though I don’t consider my own pair vintage, I guess you can say those boots have walked many hills and seen a lot of change. Hopefully they’ll last long enough to live through a revitalization of downtown SF that is truly for the people who built it.\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>\u003ca href=\"https://www.suckaflea.com/\">\u003ci>Sucka Flea\u003c/i>\u003c/a>\u003ci>’s pop-up holiday market will take place on Saturday, Dec. 16, 10 a.m.–4 p.m., at Howard Street and Embarcadero in San Francisco. The downtown pop-up is normally held at 332 Pine St. Its Mission District outpost will have its next event at CityStation SF (701 Valencia St.) on Jan. 14.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book last year, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Frisco Foodies is a recurring column in which a San Francisco local shares food memories of growing up in a now rapidly changing city.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>his holiday season, my teenage son asked for his first pair of classic wheat Timberland boots. Favored by construction workers and rap legends, Timberlands are prized for their lifelong durability and rugged aesthetic. I should know — I’ve had my own pair of wheats on ice for over twenty years. The style of shoe is canon in hip-hop history; when I interviewed the Wu-Tang Clan for \u003ci>The Source\u003c/i> in 2007, they mentioned that their performance fee back then, split between the nine original members, was sometimes only enough for a pair of Timbs.\u003c/p>\n\u003cp>In the early 2000s, when I worked as a retail associate at Timberland’s downtown San Francisco store, I learned that only the classics were resoleable for life, and that they were water-resistant enough to withstand a quick downpour but not a heavy deluge. They were a good investment, I told my son, but please let Mom pick them out. I wanted him to have a lasting pair.\u003c/p>\n\u003cp>I loved that downtown Timberland job and have fond memories of taking the J-Church train from Mission Terrace over Dolores Park and through the Castro, before it finally dropped me off at Market & Powell. I was convinced it was the most beautiful Muni line in the city, and the holiday season, with the Embarcadero skyline lit up, made the trip even more festive. It was just close enough to Union Square to feel the holiday cheer in the crisp winter air and hear a melancholy Coltrane song from a street performer’s saxophone. The store itself was small enough for me to form lasting relationships there. And the employee discount was good enough to allow me to play Santa during the holidays.\u003c/p>\n\u003cfigure id=\"attachment_13939440\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939440\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/timberland-tag_RR.jpg\" alt='Over a box a Timberland boots, a hand holds up an engraved leather name tag that reads \"Krishtine\"' width=\"2000\" height=\"1983\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/timberland-tag_RR.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/timberland-tag_RR-800x793.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/timberland-tag_RR-1020x1011.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/timberland-tag_RR-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/timberland-tag_RR-768x761.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/timberland-tag_RR-1536x1523.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/timberland-tag_RR-1920x1904.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A relic of the downtown San Francisco of the early 2000s. \u003ccite>(Courtesy of Rocky Rivera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fast forward to 2023 and I haven’t stepped foot in downtown for years — not since the pandemic accelerated the neighborhood’s retail apocalypse. What used to be the prime destination for Christmas shopping now has to contend with two-day Amazon Prime shipping and a barrage of Fox News reports about the whole area being an open-air drug market. Cop cars park on the corner next to Louis Vuitton, hoping to deter roving gangs of juvenile shoplifters known for their \u003ca href=\"https://www.ktvu.com/news/video-shows-san-franciscos-union-square-louis-vuitton-store-after-it-was-emptied-out-by-thieves\">chaotic smash-and-grabs\u003c/a>. Even a high-end supermarket couldn’t save its customers from \u003ca href=\"https://www.nytimes.com/2023/04/30/us/san-francisco-whole-foods-crime-economy.html\">“machete-wielding” assailants and drug users overdosing in the bathroom\u003c/a> — though locals might wonder who Whole Foods was trying to cater to downtown in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The neighborhood’s food scene isn’t doing much better. Chefs lament about how the lack of foot traffic and downtown office workers has shut down both trendy power-lunch spots (\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/barbacco-italian-san-francisco-18376833.php\">Barbacco\u003c/a>) and beloved family-run staples (\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/turtle-tower-vietnamese-closed-18519642.php\">Turtle Tower\u003c/a>). The nearby San Francisco Shopping Centre Mall is a shell of itself — about \u003ca href=\"https://www.nytimes.com/2023/06/14/business/westfield-mall-sf.html\">45 percent empty\u003c/a> after the Nordstrom closed over the summer. Even during the lunch rush, the food court often feels deserted.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>The downtown I remember had shoplifters, drug users, scammers and weirdos, too — that part hasn’t changed as much as today’s news headlines might lead you to believe. But back when I worked downtown, I could spend my half-hour lunch breaks on a $2.50 slice combo at Blondie’s Pizza or splurge on a $15 roast chicken with mashed potatoes at Wolfgang Puck’s bistro in the Macy’s Cellar. Sometimes I’d have clam chowder in a sourdough bowl at Boudin; other days, I would save my pennies and meet my family for a celebratory dinner at Tad’s Steakhouse. When I was really broke, there was always the McDonald’s on Powell, where the old Filipino manongs used to hang out and watch the tourists on cable cars go past — not to mention the countless corner stores that sold bagels, coffee and sandwiches next to the Swisher Sweet cigars I used to wrap my blunts.\u003c/p>\n\u003cp>Most of these places are gone or relocated from where they originally stood. Even the McDonald’s are \u003ca href=\"https://sfstandard.com/2023/10/31/downtown-san-francisco-mcdonalds-closes/\">shutting down\u003c/a>. And the Timberland store I loved so much? That’s gone as well. My engraved leather name tag and pristine-condition wheats are all that remain of that era of downtown San Francisco.\u003c/p>\n\u003ch2>\u003cb>‘Make the City Better’\u003c/b>\u003c/h2>\n\u003cp>“No one remembers, right before the pandemic, how many restaurants were closing, how many chefs burned out, how bad business was, how bad the rent was,” says Christian Ciscle, a chef and longtime San Francisco resident who owns \u003ca href=\"https://www.instagram.com/sfchickenbox/?hl=en\">SF Chickenbox \u003c/a>— a restaurant known for its perfectly golden-fried chicken, homemade hot sauces and chewy-pillowy mochi muffins. I’ve followed Ciscle’s seasoned breadcrumb trail from Little Skillet, where he served chicken and waffles to clubgoers at 330 Ritch, to Wing Wings in Lower Haight and now his new location in North Beach.\u003c/p>\n\u003cfigure id=\"attachment_13937770\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937770\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-05-KQED.jpg\" alt=\"A person in a baseball cap stands in the doorway of a city building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-05-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-05-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-05-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-05-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-05-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-05-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-05-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christian Ciscle stands outside of the 332 Pine St. location of his latest project, Sucka Flea, a pop-up flea and swap market. \u003ccite>(Aryk Copley for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ciscle believes the mental health crisis and crime that have always existed in San Francisco are now compounded by the \u003ca href=\"https://www.sfexaminer.com/news/cocaine-buffets-and-meth-poop-meet-twitter-s-rising-anti-san-francisco-influencers/article_723ddc00-24b0-11ed-bfc5-732c1fb7fc07.html\">constant barrage of videos\u003c/a> that serve as fuel for conservative media outlets looking to blame progressive politicians. Experiencing even one incident first-hand is enough to make a liberal store owner switch ideologies to welcome increased police presence — an approach Ciscle believes doesn’t actually deter property crime but instead targets the most vulnerable. “There’s truth to how bad it is, but unhoused people didn’t make [downtown] bad,” he says. “What made them unhoused did.”\u003c/p>\n\u003cp>Downtown San Francisco has never been an ideal place for a food business, in Ciscle’s opinion: “It was always dead after 5 p.m. on weekdays and weekends. It was never a place to do business, unless you’re Tyler Florence.” And when the pandemic hit and business came to a screeching halt, he saw how vulnerable everyone was to closing down. “Nobody was bulletproof,” he says. “Everyone had to reassess their business model, their values.”\u003c/p>\n\u003cfigure id=\"attachment_13937771\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937771\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-06-KQED.jpg\" alt=\"A group of people stand stand outside of a city building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-06-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-06-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-06-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-06-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Vendors take a break outside of 332 Pine St. from the Sucka Flea market in San Francisco, Calif. on Nov. 5, 2023. \u003ccite>(Aryk Copley for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luckily, a newly created nonprofit called \u003ca href=\"https://sfnewdeal.org/\">SF New Deal\u003c/a> supported food businesses by paying them to provide meals for various community orgs. It paid SF Chickenbox for 200 meals a day — a source of money Ciscle could rely on in unsteady times, enabling him to keep his business open. Earlier this year, the program evolved into \u003ca href=\"https://www.vibrantsf.org/how-we-work\">Vacant to Vibrant\u003c/a> (V2V), a new initiative that tries to activate empty office spaces to accommodate small business pop-ups.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ciscle didn’t want to expand SF Chickenbox into downtown. But his experience throwing community festivals in years past made him perk up at the prospect of doing more than just food. The V2V program would allow him to utilize his long-standing relationships with vendors, artists, DJs and local artisans. So Ciscle created Sucka Flea, a pop-up flea market (and homage to San Francisco’s “Sucka Free” alias) that would also include local food vendors like \u003ca href=\"https://www.kqed.org/arts/13928804/hyphy-iceez-icee-slushy-filipino-hip-hop-mission-district-sf\">Hyphy Iceez\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13926749/tasty-tings-jamaican-beef-patties-sf-oakland\">Tasty Tings\u003c/a>. The flea market’s last event of the year — a \u003ca href=\"https://www.instagram.com/p/C0f3tPKLJZt/\">holiday-themed market\u003c/a> — will take place at Hub Embarcadero (Howard St. and Embarcadero) on Saturday, Dec. 16.\u003c/p>\n\u003cp>For jewelry designer \u003ca href=\"https://www.kqed.org/arts/13932647/rightnowish-presents-adorned-the-art-of-self-expression-affirmation\">Chelsea Macalino-Calalay\u003c/a>, Sucka Flea has provided a consistent space to sell her wares. At the Pine Street pop-up, her colorful baubles catch the eye of my five-year-old daughter, who otherwise would have no business in the Financial District on a Sunday afternoon. Macalino-Calalay is one of the thousands of Filipino Americans who were displaced from SoMa’s Manilatown enclave that once spanned ten city blocks to the International Hotel on Kearny Street. Macalino-Calalay’s family emigrated in the late ’60s and early ’70s. Her grandfather’s siblings were first employed as sign-painters at the Thomas Swan Sign Company when it was on Howard Street, then as food and service industry workers.\u003c/p>\n\u003cfigure id=\"attachment_13939443\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939443\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/L1002703-qut.jpg\" alt=\"A smiling vendor greets a customer at an indoor flea market.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/L1002703-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/L1002703-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/L1002703-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/L1002703-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/L1002703-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/L1002703-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author chats with vendors Chelsea Macalino-Calalay (center) and Dante Kaleo during the November edition of Sucka Flea’s downtown pop-up. \u003ccite>(Aryk Copley for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I used to be a crepe chef and a cake decorator and a hostess and a waitress. So I worked in food, too. It showed me a lot about work ethic as well as perseverance,” she recalls with pride. “But it also showed me what I don’t want in a work environment.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Macalino-Calalay remembers downtown San Francisco as the place her family squeezed into on weekends, patronizing the fresh Filipino food at Aling Mary’s Unimart, relishing her lola’s home cooking, and enjoying meals from the McDonald’s on Bryant, where her father worked as a manager with an all-Filipino staff. Community orgs like West Bay, Soma Pilipinas and United Playaz helped her as a young girl, and Macalino-Calalay is seeing a resurgence of these kinds of resources that she hopes will continue.\u003c/p>\n\u003cp>When asked if things are better or worse today, she pauses. “From someone who didn’t grow up in SF, ‘worse’ is very subjective. Things being worse just looks like us not being there,” she says about her family of SF locals, who are now scattered throughout the East Bay and Outer Mission. Some are still in the SoMa, where her jewelry is now being shown in a special exhibit at SFMOMA with artist Pacita Abad. It’s a full-circle moment for a Frisco girl, who used to see parts of the museum being painted below the front steps of her family home on Langton Street.\u003c/p>\n\u003cfigure id=\"attachment_13937768\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937768\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-03-KQED.jpg\" alt=\"A person poses for a photo holding up a bowl of food in an indoor setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-03-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-03-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-03-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-03-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-03-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-03-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-03-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tanya Herrera (left) and Catherine Pham enjoy taking photos with some vintage collectibles. \u003ccite>(Aryk Copley for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, \u003ca href=\"https://www.instagram.com/whackdonuts/?hl=en\">Whack Donuts\u003c/a> owner Vandor Hill, a born-and-raised San Franciscan, \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/downtown-sf-pop-ups-18392057.php\">opened his own temporary pop-up shop\u003c/a> through the V2V program. who sells delectable-looking peach cobbler doughnuts and Donkey Kong bread doughnuts, alongside trendy flavors like Thai tea and horchata. While he has appreciated the opportunity, He believes first-time business owners in San Francisco need even more support from City Hall — and actual follow-through from local politicians. “Like the Bobby Byrd song, ‘Saying It and Doing It Are Two Different Things.’ The mayor along with the Board of Supervisors have been saying a lot in terms of enforcing law and the homeless situation, but have yet to really make any lasting moves for improving these topics,” he says.\u003c/p>\n\u003cp>Ciscle, for his part, believes pandemic-era programs like SF New Deal and Vacant to Vibrant are proof that money is out there for local food business owners: “There’s billionaires blocks away from us right now that could literally fund some shit and make it better — not that they should be running the city,” he says. “There’s money to fund programs out there, not just locking people up. To feed people, put people in houses. Make the city better.”\u003c/p>\n\u003cp>“People are more concerned with seeing [the unhoused] on the street,” Ciscle says. “They’re gonna put a planter on the sidewalk there so they can’t sleep and then be mad it gets knocked over or graffiti-ed up. And now we have two problems.”\u003c/p>\n\u003cfigure id=\"attachment_13937769\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937769\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-04-KQED.jpg\" alt=\"A person with long hair laughs while sitting at a table talking to someone else.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-04-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-04-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-04-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/231108-SUCK-FLEA-MARKET-AC-04-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nina Parks gives the author a tarot card reading. \u003ccite>(Aryk Copley for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For now, Sucka Flea is occupying some of these empty spaces and providing small business owners with shared foot traffic and community. It can’t fix all of the problems facing downtown San Francisco, but it’s a start. After all, creating a family-friendly space that attracts folks from all over the Bay Area to shop downtown is no small feat — and \u003ca href=\"https://www.instagram.com/reel/C05JjsuvGK0/?igshid=MzRlODBiNWFlZA%3D%3D\">spending holiday shopping dollars with local vendors\u003c/a> seems more sustainable than throwing it away on chain restaurants and national department stores that never felt connected to community residents anyway. In a small way, the flea market has brought back some of that old holiday spirit I remember from my own time working in the neighborhood.\u003c/p>\n\u003cp>At the last flea market we attended, my son found a vintage button-down Ben Davis — another Frisco workwear staple — to go with the Timbs that he has yet to receive. Though I don’t consider my own pair vintage, I guess you can say those boots have walked many hills and seen a lot of change. Hopefully they’ll last long enough to live through a revitalization of downtown SF that is truly for the people who built it.\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>\u003ca href=\"https://www.suckaflea.com/\">\u003ci>Sucka Flea\u003c/i>\u003c/a>\u003ci>’s pop-up holiday market will take place on Saturday, Dec. 16, 10 a.m.–4 p.m., at Howard Street and Embarcadero in San Francisco. The downtown pop-up is normally held at 332 Pine St. Its Mission District outpost will have its next event at CityStation SF (701 Valencia St.) on Jan. 14.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book last year, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Greta Gerwig Wants to Make Two More Movies About Sacramento",
"headTitle": "Greta Gerwig Wants to Make Two More Movies About Sacramento | KQED",
"content": "\u003cp>At the SFFILM Awards Night on Monday, \u003cem>Barbie\u003c/em> director Greta Gerwig said she has two more movies about her hometown of Sacramento that she’d like to make. \u003c/p>\n\u003cp>“All filmmakers have a fantasy baseball team of movies they hope to make. And there’s actually two other movies I’d like to make in Sacramento, in the future,” she told KQED. Gerwig’s acclaimed 2017 film \u003cem>Lady Bird\u003c/em> was set and filmed in Sacramento. \u003c/p>\n\u003cp>As for any details on the films, “I have little inklings. But I have to keep them to myself. If I expose them to air, they’ll run away from me,” Gerwig said.\u003c/p>\n\u003cfigure id=\"attachment_13938913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Ryan Gosling poses on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gosling presented the Irving M. Levin Award for Film Direction to director Greta Gerwig, who he worked with on the Barbie movie. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced later by \u003cem>Barbie\u003c/em> star Ryan Gosling, Gerwig joined \u003cem>American Fiction\u003c/em> director Cord Jefferson and Roger Ross Williams as the three directors were honored at the SFFILM Awards Night, held at the Yerba Buena Center for the Arts on Monday. SFFILM also honored Nicolas Cage with a lifetime achievement award for acting during the annual ceremony.\u003c/p>\n\u003ch2>Greta Gerwig’s Bay Area Nostalgia\u003c/h2>\n\u003cp>Amidst a steady flow of booze and a crowd with hundreds of thousands of dollars in donations at the ready, Ryan Gosling described Gerwig to the crowd in a sentence as imaginative as it was befuddling. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Working with Greta Gerwig is like getting a private tour of the Louvre, but you have total access to the Cheesecake Factory menu,” he said. \u003c/p>\n\u003cfigure id=\"attachment_13938917\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg\" alt=\"A person wearing earrings speaks in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director and actress Greta Gerwig speaks to the press at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gerwig received the Irving M. Levin Award for Film Direction on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet the description holds up, in a way. Gerwig is known for striking a balance between high art and salt-of-the-Earth, Sacramento realness — where there is in fact a Cheesecake Factory a few miles from where she grew up.\u003c/p>\n\u003cp>Gerwig, who accepted the Irving M. Levin award for film direction, reminisced about seeing plays at Berkeley Repertory Theatre with her parents and thinking San Francisco was “the coolest place ever.” \u003c/p>\n\u003cp>“San Francisco and the East Bay — it was like the place you’d go if you’d cut class senior year and got on Amtrak to Richmond, and then you got on BART, and then you’d go to City Lights bookstore,” she said.\u003c/p>\n\u003ch2>Nicolas Cage on Broadway?\u003c/h2>\n\u003cp>Nicolas Cage, who owned a house on Russian Hill up until the early 2000s, also shared some Bay Area stories on the carpet. He remembered Charlie Sheen’s request when he visited to eat “square tube pasta” at Cafe Tiramisu in downtown San Francisco, and was introduced at the ceremony by the normally reclusive songwriter and singer Tom Waits, who lives in Sonoma County.\u003c/p>\n\u003cfigure id=\"attachment_13938911\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage has played roles ranging from rogue treasure hunter to a satirical version of himself, and currently stars as a biology professor in the surreal \u003cem>Dream Scenario\u003c/em>. But there’s another role he’d want to tackle in the future.\u003c/p>\n\u003cp>“I think it would be interesting to try one of these reverse-time things where you’re a child in an adult body, like \u003cem>Big\u003c/em>,” he told KQED. “I remember I loved Martin Short in \u003cem>Clifford\u003c/em> — something like that.”\u003c/p>\n\u003cfigure id=\"attachment_13938912\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg\" alt=\"A person in a suit in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage added that he wants to pivot away from movies.\u003c/p>\n\u003cp>“I’ve pretty much said what I’ve wanted to say with screen acting,” he said. “I’m about ready to try my hand at television or Broadway — we’ll see what happens.”\u003c/p>\n\u003ch2>A Gate-Kept Industry for Black Directors\u003c/h2>\n\u003cp>\u003cem>Cassandro\u003c/em> director and storytelling award recipient Roger Ross Williams contributed his own Bay Area memories to the mix, including the premiere of his film at the Castro Theatre and the “incomparable San Francisco audience” in attendance.\u003c/p>\n\u003cp>“The response was so tremendous that it really made us feel that we had something special with this film,” he said. “And I have an incredible relationship with the San Francisco community.”\u003c/p>\n\u003cfigure id=\"attachment_13938914\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Castillo (left) and Roger Ross Williams (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Castillo presented Williams with the Nion McEvoy & Leslie Berriman Award for Storytelling on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams was also Celebrity Grand Marshal for the 2013 San Francisco Pride parade, which he remembers as a deeply powerful moment. Since then, he’s directed nine films, including \u003cem>God Loves Uganda\u003c/em>, \u003cem>Life, Animated\u003c/em> and \u003cem>Love to Love You, Donna Summer\u003c/em>.\u003c/p>\n\u003cp>“I never thought [as] a gay Black man from a small town in Pennsylvania this would ever be possible for someone like me,” Williams said. \u003c/p>\n\u003cp>Williams also reflected on being the first-ever Black director to win an Oscar, in 2010 for the documentary short \u003cem>Music By Prudence\u003c/em>, and explained why he feels it’s a shame.\u003c/p>\n\u003cp>“This to me is a sin considering all the incredible Black directors that came before me should’ve won an Oscar,” he said. “The fact of the matter is the gatekeepers in this business didn’t really see someone like me — my phone didn’t ring after I got that Oscar, no agents called, no managers called.”\u003c/p>\n\u003cfigure id=\"attachment_13938916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor John Ortiz (left) and director Cord Jefferson (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Ortiz presented Jefferson with the George Gund III Award for Virtuosity on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>American Fiction\u003c/em> director and Award for Virtuosity recipient Cord Jefferson echoed Williams’ sentiment when he described the process for pitching the movie, due to be released Dec. 15, that stars Jeffrey Wright.\u003c/p>\n\u003cp>[aside postID='arts_13932865']“I had several people tell me that this was one of the best scripts they’d read in years,” Jefferson said. “When I asked those same people to give me money to make the film, the vast majority of them — all but one, in fact — said no.”\u003c/p>\n\u003cp>Jefferson was told “it was just too risky,” underscoring a disparity in the speeches of the award recipients. Both Black directors dedicated time to explain how difficult it was to get their movies made, telling stories of structural inequity and discrimination that were not at all present in the speeches of their white counterparts. \u003c/p>\n\u003cfigure id=\"attachment_13938935\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/GettyImages-1832758409.jpg\" alt=\"A man in a black shirt, tousled hair and glasses speaks at a podium.\" width=\"1000\" height=\"683\" class=\"size-full wp-image-13938935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-768x525.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Musician Tom Waits presents a Lifetime Achievement Award for Acting to Nicolas Cage at the 2023 SFFILM Awards Night on Dec. 4, 2023 in San Francisco, California. \u003ccite>(Steve Jennings/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Filmmakers of the Future\u003c/h2>\n\u003cp>The awards ceremony generated hundreds of thousands of dollars in donations for the nonprofit, including $20,000 each from Gerwig and Gosling. Throughout the night, award recipients and SFFILM staff underscored the need to fund the filmmakers of the future.\u003c/p>\n\u003cp>The night concluded with an earnest and tearful message from Gerwig.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s such a gift to make movies,” she said. “It’s the gift of my life, and it’s such a gift to be a part of this community.”\u003c/p>\n\n",
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"excerpt": "The 'Barbie' director was honored at the SFFILM Awards in San Francisco, along with Nicolas Cage, Roger Ross Williams and Cord Jefferson.",
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"title": "Greta Gerwig Wants to Make Two More Movies About Sacramento | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the SFFILM Awards Night on Monday, \u003cem>Barbie\u003c/em> director Greta Gerwig said she has two more movies about her hometown of Sacramento that she’d like to make. \u003c/p>\n\u003cp>“All filmmakers have a fantasy baseball team of movies they hope to make. And there’s actually two other movies I’d like to make in Sacramento, in the future,” she told KQED. Gerwig’s acclaimed 2017 film \u003cem>Lady Bird\u003c/em> was set and filmed in Sacramento. \u003c/p>\n\u003cp>As for any details on the films, “I have little inklings. But I have to keep them to myself. If I expose them to air, they’ll run away from me,” Gerwig said.\u003c/p>\n\u003cfigure id=\"attachment_13938913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-021-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Ryan Gosling poses on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gosling presented the Irving M. Levin Award for Film Direction to director Greta Gerwig, who he worked with on the Barbie movie. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced later by \u003cem>Barbie\u003c/em> star Ryan Gosling, Gerwig joined \u003cem>American Fiction\u003c/em> director Cord Jefferson and Roger Ross Williams as the three directors were honored at the SFFILM Awards Night, held at the Yerba Buena Center for the Arts on Monday. SFFILM also honored Nicolas Cage with a lifetime achievement award for acting during the annual ceremony.\u003c/p>\n\u003ch2>Greta Gerwig’s Bay Area Nostalgia\u003c/h2>\n\u003cp>Amidst a steady flow of booze and a crowd with hundreds of thousands of dollars in donations at the ready, Ryan Gosling described Gerwig to the crowd in a sentence as imaginative as it was befuddling. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Working with Greta Gerwig is like getting a private tour of the Louvre, but you have total access to the Cheesecake Factory menu,” he said. \u003c/p>\n\u003cfigure id=\"attachment_13938917\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg\" alt=\"A person wearing earrings speaks in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-046-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director and actress Greta Gerwig speaks to the press at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Gerwig received the Irving M. Levin Award for Film Direction on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet the description holds up, in a way. Gerwig is known for striking a balance between high art and salt-of-the-Earth, Sacramento realness — where there is in fact a Cheesecake Factory a few miles from where she grew up.\u003c/p>\n\u003cp>Gerwig, who accepted the Irving M. Levin award for film direction, reminisced about seeing plays at Berkeley Repertory Theatre with her parents and thinking San Francisco was “the coolest place ever.” \u003c/p>\n\u003cp>“San Francisco and the East Bay — it was like the place you’d go if you’d cut class senior year and got on Amtrak to Richmond, and then you got on BART, and then you’d go to City Lights bookstore,” she said.\u003c/p>\n\u003ch2>Nicolas Cage on Broadway?\u003c/h2>\n\u003cp>Nicolas Cage, who owned a house on Russian Hill up until the early 2000s, also shared some Bay Area stories on the carpet. He remembered Charlie Sheen’s request when he visited to eat “square tube pasta” at Cafe Tiramisu in downtown San Francisco, and was introduced at the ceremony by the normally reclusive songwriter and singer Tom Waits, who lives in Sonoma County.\u003c/p>\n\u003cfigure id=\"attachment_13938911\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg\" alt=\"A person in a suit.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-005-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage has played roles ranging from rogue treasure hunter to a satirical version of himself, and currently stars as a biology professor in the surreal \u003cem>Dream Scenario\u003c/em>. But there’s another role he’d want to tackle in the future.\u003c/p>\n\u003cp>“I think it would be interesting to try one of these reverse-time things where you’re a child in an adult body, like \u003cem>Big\u003c/em>,” he told KQED. “I remember I loved Martin Short in \u003cem>Clifford\u003c/em> — something like that.”\u003c/p>\n\u003cfigure id=\"attachment_13938912\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg\" alt=\"A person in a suit in front of a row of cameras and microphones.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-006-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor Nicolas Cage talks to the media at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Cage received the Maria Manetti Shrem Lifetime Achievement award for his work as an actor. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cage added that he wants to pivot away from movies.\u003c/p>\n\u003cp>“I’ve pretty much said what I’ve wanted to say with screen acting,” he said. “I’m about ready to try my hand at television or Broadway — we’ll see what happens.”\u003c/p>\n\u003ch2>A Gate-Kept Industry for Black Directors\u003c/h2>\n\u003cp>\u003cem>Cassandro\u003c/em> director and storytelling award recipient Roger Ross Williams contributed his own Bay Area memories to the mix, including the premiere of his film at the Castro Theatre and the “incomparable San Francisco audience” in attendance.\u003c/p>\n\u003cp>“The response was so tremendous that it really made us feel that we had something special with this film,” he said. “And I have an incredible relationship with the San Francisco community.”\u003c/p>\n\u003cfigure id=\"attachment_13938914\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-030-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Castillo (left) and Roger Ross Williams (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Castillo presented Williams with the Nion McEvoy & Leslie Berriman Award for Storytelling on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams was also Celebrity Grand Marshal for the 2013 San Francisco Pride parade, which he remembers as a deeply powerful moment. Since then, he’s directed nine films, including \u003cem>God Loves Uganda\u003c/em>, \u003cem>Life, Animated\u003c/em> and \u003cem>Love to Love You, Donna Summer\u003c/em>.\u003c/p>\n\u003cp>“I never thought [as] a gay Black man from a small town in Pennsylvania this would ever be possible for someone like me,” Williams said. \u003c/p>\n\u003cp>Williams also reflected on being the first-ever Black director to win an Oscar, in 2010 for the documentary short \u003cem>Music By Prudence\u003c/em>, and explained why he feels it’s a shame.\u003c/p>\n\u003cp>“This to me is a sin considering all the incredible Black directors that came before me should’ve won an Oscar,” he said. “The fact of the matter is the gatekeepers in this business didn’t really see someone like me — my phone didn’t ring after I got that Oscar, no agents called, no managers called.”\u003c/p>\n\u003cfigure id=\"attachment_13938916\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg\" alt='Two people wearing sport coats in front of a backdrop with the words \"SFFILM\" written on it.' width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231204-SFFILM-Festival-Awards-043-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Actor John Ortiz (left) and director Cord Jefferson (right) pose on the red carpet at the 2023 SFFILM Awards Night at the Yerba Buena Center for the Arts in San Francisco on Monday, Dec. 4, 2023. Ortiz presented Jefferson with the George Gund III Award for Virtuosity on Monday. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>American Fiction\u003c/em> director and Award for Virtuosity recipient Cord Jefferson echoed Williams’ sentiment when he described the process for pitching the movie, due to be released Dec. 15, that stars Jeffrey Wright.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I had several people tell me that this was one of the best scripts they’d read in years,” Jefferson said. “When I asked those same people to give me money to make the film, the vast majority of them — all but one, in fact — said no.”\u003c/p>\n\u003cp>Jefferson was told “it was just too risky,” underscoring a disparity in the speeches of the award recipients. Both Black directors dedicated time to explain how difficult it was to get their movies made, telling stories of structural inequity and discrimination that were not at all present in the speeches of their white counterparts. \u003c/p>\n\u003cfigure id=\"attachment_13938935\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/GettyImages-1832758409.jpg\" alt=\"A man in a black shirt, tousled hair and glasses speaks at a podium.\" width=\"1000\" height=\"683\" class=\"size-full wp-image-13938935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1832758409-768x525.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Musician Tom Waits presents a Lifetime Achievement Award for Acting to Nicolas Cage at the 2023 SFFILM Awards Night on Dec. 4, 2023 in San Francisco, California. \u003ccite>(Steve Jennings/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Filmmakers of the Future\u003c/h2>\n\u003cp>The awards ceremony generated hundreds of thousands of dollars in donations for the nonprofit, including $20,000 each from Gerwig and Gosling. Throughout the night, award recipients and SFFILM staff underscored the need to fund the filmmakers of the future.\u003c/p>\n\u003cp>The night concluded with an earnest and tearful message from Gerwig.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s such a gift to make movies,” she said. “It’s the gift of my life, and it’s such a gift to be a part of this community.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Bay Area’s Famous ‘Pinay Pie Lady’ Gears Up for One Last Christmas Bake Sale",
"headTitle": "The Bay Area’s Famous ‘Pinay Pie Lady’ Gears Up for One Last Christmas Bake Sale | KQED",
"content": "\u003cp>For hundreds of Bay Area Filipinos, Christmas wouldn’t be Christmas without holiday pie — and not just any pie, but one of \u003ca href=\"https://sweetcondesapastries.com/\">Sweet Condesa’s\u003c/a> Filipino-inspired pies, which come in \u003ca href=\"https://www.kqed.org/arts/13906834/sweet-condesa-filipino-holiday-pie-bibingka\">nostalgic seasonal flavors\u003c/a> like bibingka and queso de bola.\u003c/p>\n\u003cp>Owner Melody Lorenzo, the Bay Area’s self-styled “\u003ca href=\"https://sweetcondesapastries.com/our-story\">Pinay Pie Lady\u003c/a>,” says the end-of-year holidays have always been Sweet Condesa’s busiest time. But this Christmas season will also be bittersweet: It’ll be the Filipino dessert shop’s last-ever holiday pie sale before it transitions from being a bakery business into more of a consulting agency next summer.\u003c/p>\n\u003cp>In other words, this might be the last year you’ll be able to secure an ube pie for your holiday table, short of having to bake one yourself.\u003c/p>\n\u003cp>Sweet Condesa’s graham-cracker-crust custard pies have enjoyed cult favorite status in the Bay ever since the pandemic \u003ca href=\"https://sf.eater.com/2020/11/9/21557156/sweet-condesa-filipino-bakery-ube-calamansi-turon-pie-thanksgiving-oakland\">turned Lorenzo’s baking side hustle into a full-time business\u003c/a>. But the past year has been particularly difficult, Lorenzo explains. She’d moved Sweet Condesa from Oakland to the old Tselogs location in San Francisco’s Mission District with the idea of setting up an in-person storefront — but then city inspectors wound up nixing that plan. To make up for that loss, Lorenzo redoubled her efforts on the events and wedding catering side of her business. But it has been slow going.\u003c/p>\n\u003cfigure id=\"attachment_13938806\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938806\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-scaled.jpg\" alt='A Filipina woman seated on a staircase poses for a portrait. The text on the front of her pink sweatshirt reads, \"100% Pinay\".' width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Melody Lorenzo has been running Sweet Condesa as a full-time business since the start of the pandemic. \u003ccite>(Courtesy of Hillary Jeanne Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don’t know if it’s because of inflation, but [business] is not the same compared to the past,” she says. “Sales are down.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And so, after having spent the last three years of the pandemic grinding away to keep the bakery afloat, Lorenzo says she’s going to reboot the business when her lease runs out at the end of July. Instead of selling baked goods herself, she wants to step outside the kitchen and turn Sweet Condesa into a resource for other aspiring small business owners, especially folks of color. Part of that will take the form of consulting and mentorship. She’d like to help other bakers who are new to the industry draft their business plans and navigate the permitting process. She’ll assist with recipe development and conduct baking and dessert decorating workshops. Eventually, she’d like to write a cookbook.\u003c/p>\n\u003cp>“Sweet Condesa isn’t going anywhere,” Lorenzo says. “It’s just sad that there’s not going to be holiday pies.”\u003c/p>\n\u003cfigure id=\"attachment_13938807\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-scaled.jpg\" alt=\"A graham cracker crust pie topped with black glutinous rice, shredded coconut and sesame seeds.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The puto bumbong pie comes topped with shredded coconut, sesame seeds and muscovado sugar. \u003ccite>(Courtesy of Rezel Kealoha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13923127,arts_13938479,arts_13936639']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>For her final big “Pasko,” or Christmas, dessert drop, Lorenzo has brought back all of her \u003ca href=\"https://www.hotplate.com/sweetcondesapastries/504dbbae-0bf2-4dab-8527-f3ea805e088c\">signature holiday pies\u003c/a>, which draw inspiration from the items you would find at any traditional Filipino Christmas feast. There’s the bibingka pie, inspired by the steaming-hot coconut rice cakes that vendors in the Philippines sell after Christmas mass. There’s a savory-sweet pie that features queso de bola, a cheese that Filipinos traditionally eat for Christmas, and another one that incorporates the flavors of the purple steamed rice cakes known as puto bumbong. Sweet Condesa’s year-round classics will also be available — the tangy-sweet calamansi pie (the highlight of my family’s socially distanced Thanksgiving 2020) and, of course, the neon-purple ube pie. All of the pies have a cold custard base and a graham cracker crust.\u003c/p>\n\u003cp>This year, Lorenzo is also selling of mixed baker’s dozen of Pasko cookies, including a gingerbread-adjacent cookie that includes pieces of dried Philippine mango, a cookie inspired by Filipino hot chocolate and an “ube pie” cookie — a happy accident that Lorenzo created when she had to repurpose a less-than-aesthetic batch of pies.\u003c/p>\n\u003cfigure id=\"attachment_13938808\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938808\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/Pasko-Cookies.jpg\" alt=\"A plate of Christmas cookies surround by presents and other holiday-related decorative paraphernalia.\" width=\"2000\" height=\"1933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Pasko-Cookies.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Pasko-Cookies-800x773.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Pasko-Cookies-1020x986.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Pasko-Cookies-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Pasko-Cookies-768x742.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Pasko-Cookies-1536x1485.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Pasko-Cookies-1920x1856.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lorenzo’s Christmas cookies incorporate Filipino ingredients such as dried mango and ube. \u003ccite>(Courtesy of Sweet Condesa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Sweet Condesa’s post-bakery life nears, longtime customers will have to take solace in the fact that they’ll still have access to Lorenzo’s desserts for about eight more months. Even after the holiday pie sale ends, customers will still be able to order pies and other sweet treats \u003ca href=\"https://www.exploreneon.com/store/restaurant/486/?utm_source=sweetcondesa&utm_medium=partner&utm_campaign=fbb\">online\u003c/a>, for pickup and home delivery, twice a month. The desserts are also available three days a week at \u003ca href=\"https://www.abanicocoffee.com/\">Abanico Coffee Roasters\u003c/a> in the Mission. And Lorenzo will continue to do events catering and occasional afternoon tea pop-ups over that same time period, before she closes the books on this chapter of her business.\u003c/p>\n\u003cp>“I still want to do a lot of weddings,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone 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>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://sweetcondesapastries.com/\">Sweet Condesa\u003c/a>’s \u003c/i>\u003ci>Christmas pre-sale\u003c/i>\u003ci> is open for \u003ca href=\"https://www.hotplate.com/sweetcondesapastries/504dbbae-0bf2-4dab-8527-f3ea805e088c\">online ordering\u003c/a> from now through Dec. 19. Pickup at the bakery’s Mission District headquarters (518 S. Van Ness, San Francisco) will take place on Friday, Dec. 22 and Saturday, Dec. 23. Limited home delivery is available for Dec. 21–22.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For hundreds of Bay Area Filipinos, Christmas wouldn’t be Christmas without holiday pie — and not just any pie, but one of \u003ca href=\"https://sweetcondesapastries.com/\">Sweet Condesa’s\u003c/a> Filipino-inspired pies, which come in \u003ca href=\"https://www.kqed.org/arts/13906834/sweet-condesa-filipino-holiday-pie-bibingka\">nostalgic seasonal flavors\u003c/a> like bibingka and queso de bola.\u003c/p>\n\u003cp>Owner Melody Lorenzo, the Bay Area’s self-styled “\u003ca href=\"https://sweetcondesapastries.com/our-story\">Pinay Pie Lady\u003c/a>,” says the end-of-year holidays have always been Sweet Condesa’s busiest time. But this Christmas season will also be bittersweet: It’ll be the Filipino dessert shop’s last-ever holiday pie sale before it transitions from being a bakery business into more of a consulting agency next summer.\u003c/p>\n\u003cp>In other words, this might be the last year you’ll be able to secure an ube pie for your holiday table, short of having to bake one yourself.\u003c/p>\n\u003cp>Sweet Condesa’s graham-cracker-crust custard pies have enjoyed cult favorite status in the Bay ever since the pandemic \u003ca href=\"https://sf.eater.com/2020/11/9/21557156/sweet-condesa-filipino-bakery-ube-calamansi-turon-pie-thanksgiving-oakland\">turned Lorenzo’s baking side hustle into a full-time business\u003c/a>. But the past year has been particularly difficult, Lorenzo explains. She’d moved Sweet Condesa from Oakland to the old Tselogs location in San Francisco’s Mission District with the idea of setting up an in-person storefront — but then city inspectors wound up nixing that plan. To make up for that loss, Lorenzo redoubled her efforts on the events and wedding catering side of her business. But it has been slow going.\u003c/p>\n\u003cfigure id=\"attachment_13938806\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938806\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-scaled.jpg\" alt='A Filipina woman seated on a staircase poses for a portrait. The text on the front of her pink sweatshirt reads, \"100% Pinay\".' width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Headshot-2-PC_-Hillary-Jeanne-Photography-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Melody Lorenzo has been running Sweet Condesa as a full-time business since the start of the pandemic. \u003ccite>(Courtesy of Hillary Jeanne Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don’t know if it’s because of inflation, but [business] is not the same compared to the past,” she says. “Sales are down.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And so, after having spent the last three years of the pandemic grinding away to keep the bakery afloat, Lorenzo says she’s going to reboot the business when her lease runs out at the end of July. Instead of selling baked goods herself, she wants to step outside the kitchen and turn Sweet Condesa into a resource for other aspiring small business owners, especially folks of color. Part of that will take the form of consulting and mentorship. She’d like to help other bakers who are new to the industry draft their business plans and navigate the permitting process. She’ll assist with recipe development and conduct baking and dessert decorating workshops. Eventually, she’d like to write a cookbook.\u003c/p>\n\u003cp>“Sweet Condesa isn’t going anywhere,” Lorenzo says. “It’s just sad that there’s not going to be holiday pies.”\u003c/p>\n\u003cfigure id=\"attachment_13938807\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-scaled.jpg\" alt=\"A graham cracker crust pie topped with black glutinous rice, shredded coconut and sesame seeds.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Puto-Bumbong-PC_-Rezel-Kealoha-vertical-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The puto bumbong pie comes topped with shredded coconut, sesame seeds and muscovado sugar. \u003ccite>(Courtesy of Rezel Kealoha)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>For her final big “Pasko,” or Christmas, dessert drop, Lorenzo has brought back all of her \u003ca href=\"https://www.hotplate.com/sweetcondesapastries/504dbbae-0bf2-4dab-8527-f3ea805e088c\">signature holiday pies\u003c/a>, which draw inspiration from the items you would find at any traditional Filipino Christmas feast. There’s the bibingka pie, inspired by the steaming-hot coconut rice cakes that vendors in the Philippines sell after Christmas mass. There’s a savory-sweet pie that features queso de bola, a cheese that Filipinos traditionally eat for Christmas, and another one that incorporates the flavors of the purple steamed rice cakes known as puto bumbong. Sweet Condesa’s year-round classics will also be available — the tangy-sweet calamansi pie (the highlight of my family’s socially distanced Thanksgiving 2020) and, of course, the neon-purple ube pie. All of the pies have a cold custard base and a graham cracker crust.\u003c/p>\n\u003cp>This year, Lorenzo is also selling of mixed baker’s dozen of Pasko cookies, including a gingerbread-adjacent cookie that includes pieces of dried Philippine mango, a cookie inspired by Filipino hot chocolate and an “ube pie” cookie — a happy accident that Lorenzo created when she had to repurpose a less-than-aesthetic batch of pies.\u003c/p>\n\u003cfigure id=\"attachment_13938808\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938808\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/Pasko-Cookies.jpg\" alt=\"A plate of Christmas cookies surround by presents and other holiday-related decorative paraphernalia.\" width=\"2000\" height=\"1933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Pasko-Cookies.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Pasko-Cookies-800x773.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Pasko-Cookies-1020x986.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Pasko-Cookies-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Pasko-Cookies-768x742.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Pasko-Cookies-1536x1485.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Pasko-Cookies-1920x1856.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lorenzo’s Christmas cookies incorporate Filipino ingredients such as dried mango and ube. \u003ccite>(Courtesy of Sweet Condesa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Sweet Condesa’s post-bakery life nears, longtime customers will have to take solace in the fact that they’ll still have access to Lorenzo’s desserts for about eight more months. Even after the holiday pie sale ends, customers will still be able to order pies and other sweet treats \u003ca href=\"https://www.exploreneon.com/store/restaurant/486/?utm_source=sweetcondesa&utm_medium=partner&utm_campaign=fbb\">online\u003c/a>, for pickup and home delivery, twice a month. The desserts are also available three days a week at \u003ca href=\"https://www.abanicocoffee.com/\">Abanico Coffee Roasters\u003c/a> in the Mission. And Lorenzo will continue to do events catering and occasional afternoon tea pop-ups over that same time period, before she closes the books on this chapter of her business.\u003c/p>\n\u003cp>“I still want to do a lot of weddings,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone 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>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://sweetcondesapastries.com/\">Sweet Condesa\u003c/a>’s \u003c/i>\u003ci>Christmas pre-sale\u003c/i>\u003ci> is open for \u003ca href=\"https://www.hotplate.com/sweetcondesapastries/504dbbae-0bf2-4dab-8527-f3ea805e088c\">online ordering\u003c/a> from now through Dec. 19. Pickup at the bakery’s Mission District headquarters (518 S. Van Ness, San Francisco) will take place on Friday, Dec. 22 and Saturday, Dec. 23. Limited home delivery is available for Dec. 21–22.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco has birthed and lost a ridiculous number of punk rock venues over the years. There are recent favorites like \u003ca href=\"https://www.invisibleoranges.com/rip-pound-sf/\">The Pound\u003c/a> and \u003ca href=\"https://www.sfgate.com/entertainment/article/farewell-cocodrie-north-beach-club-shutting-down-2748469.php\">Club Cocodrie\u003c/a>, both closed in the early 2000s. There are the short-lived little nightclubs of the 1980s, including \u003ca href=\"https://www.dnalounge.com/backstage/log/19xx/AAC-0697.html\">Club Nine\u003c/a> (which later turned into The Stud), \u003ca href=\"https://www.kqed.org/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin\">The Offensive, Club Foot and Attitude\u003c/a>. Most famously of all, there was the legendary \u003ca href=\"https://en.wikipedia.org/wiki/Mabuhay_Gardens\">Mabuhay Gardens\u003c/a>, a home-away-from-home for the most popular punk bands of the ’80s.\u003c/p>\n\u003cp>That same time period also inspired the creation of a handful of venues that were particularly strange and magnificent. Here are five of the most fascinating that we wish still existed today.\u003c/p>\n\u003ch2>The Deaf Club\u003c/h2>\n\u003cp>\u003cstrong>530 Valencia St.\u003c/strong>\u003c/p>\n\u003cp>It may have only lasted 18 months, but the lore of the Mission District’s Deaf Club will live on forever. Its first show was the result of Daphne Hanrahan — then-manager of The Offs — confusing the San Francisco Club of the Deaf with a new punk venue. Soon, by renting out the space herself, she had turned it into one.\u003c/p>\n\u003cp>In February 1979, the \u003cem>San Francisco Examiner\u003c/em> declared:\u003c/p>\n\u003cblockquote>\u003cp>The latest club on the local punk scene is called the Deaf Club. The joke is that the name is no joke … Since December, Walking Dead Productions has sponsored two or three concerts at the club each week, featuring local punk outfits like Crime and the Dils, plus occasional imports from Los Angeles … At the shows, punk followers mingle with the deaf club members.\u003c/p>\u003c/blockquote>\n\u003cp>In \u003ca href=\"https://bookshop.org/p/books/gimme-something-better-the-profound-progressive-and-occasionally-pointless-history-of-bay-area-punk-from-dead-kennedys-to-green-day-jack-boulware/11716732?ean=9780143113805&ref=&source=IndieBound&title=Gimme+Something+Better%3A+The+Profound%2C+Progressive%2C+and+Occasionally+Pointless+History+of+Bay+Area+Punk+from+Dead+Kennedys+to+Green+Day\">\u003cem>Gimme Something Better\u003c/em>\u003c/a>, Jack Boulware and Silke Tudor’s 2009 tome on Bay Area punk, Penelope Houston of The Avengers recalled: “It was kind of amazing. I think [deaf attendees] were dancing to the vibrations. The deaf people were amused that all these punks wanted to come in and rent their room and have these shows.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2004, Dead Kennedys reminded the world of the club’s existence with the release of \u003ca href=\"https://en.wikipedia.org/wiki/Live_at_the_Deaf_Club\">\u003cem>Live at the Deaf Club\u003c/em>\u003c/a>, an album of live material recorded at the second floor venue in March 1979. Nothing, however, quite captures the worlds colliding and camaraderie inside the place quite like Richard Gaikowski’s 1980 film, \u003ca href=\"https://www.imdb.com/title/tt8652820/\">\u003cem>Deaf/Punk\u003c/em>\u003c/a>:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7L4NxRqb6Fk\u003c/p>\n\u003ch2>The Farm\u003c/h2>\n\u003cp>\u003cstrong>1499 Potrero Ave.\u003c/strong>\u003c/p>\n\u003cp>Long before it was \u003ca href=\"https://sfrecpark.org/895/Potrero-del-Sol-Park-La-Raza\">Potrero del Sol Park\u003c/a>, the green expanse around the intersection at Potrero and Cesar Chavez was The Farm — a community center, art space, active farm and, most bizarrely of all, a punk venue. The likes of Bad Brains, 7 Seconds, Black Flag, Circle Jerks, Descendents and DOA all came through here in the early ’80s, much to the delight of the San Francisco underground.\u003c/p>\n\u003cp>[aside postid='arts_13899031']Though the aggressive music seemed totally out of step with the hippie commune vibes that had been cultivated at The Farm throughout the late 1970s, members of its board of directors expressed an openness towards — and fascination with — the bands and fans that came through.\u003c/p>\n\u003cp>“Even when the punks were there, I remember going,” noted artist and board member René Yañez in a documentary about The Farm, “and the toilets were broken and they were hanging this kid out the window and the police coming … But I found it interesting.”\u003c/p>\n\u003cp>At the time, fellow board member Gail Feldman said: “[Folks] see people with hair sticking straight up and they get a little worried. But actually there hasn’t been that much of a problem…”\u003c/p>\n\u003cp>The Farm’s “punk era” can be seen in this documentary about the space, starting from 26:40:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fpfD_3AvH8Y\u003c/p>\n\u003ch2>Valencia Tool & Die\u003c/h2>\n\u003cp>\u003cstrong>974 Valencia St.\u003c/strong>\u003c/p>\n\u003cp>Today, it’s\u003ca href=\"https://www.lolosf.com/\"> Loló\u003c/a>: A restaurant with a noisy ambiance and carnival-inspired decor. This is fairly fitting once you realize that, between 1980 and 1983, 974 Valencia St. was a supremely weird gallery, indie movie theater, performance art space and, yes, excellent punk venue.\u003c/p>\n\u003cp>[aside postid='arts_13894169']During its short tenure, the venue managed to host the likes of Minor Threat, Social Distortion, Hüsker Dü, Fang and even \u003ca href=\"https://www.youtube.com/watch?v=2SCIJlMTR7A\">Allen Ginsberg performing with a New Wave band called The Job\u003c/a>. Performances happened on the street level and in the cellar — a space that was soundproofed with sand, only accessible via trap door and entirely lacking in a stage. Sometimes shows happened on both floors simultaneously. Sometimes they happened on Sunday afternoons. And sometimes (fairly frequently, actually) they happened entirely out of hours, in the middle of the night.\u003c/p>\n\u003cp>In the end, the venue was shut down for a number of violations, including some that were fire code-related. But while it existed, Valencia Tool & Die was a space where musicians could experiment without filter, find community and share ideas. Consider the band in the video below, Faith. No Man. Here they are playing a perfectly good set in Tool & Die’s basement in 1983. A couple of months after this was filmed, however, the rhythm section — bassist Billy Gould and drummer Mike Bordin — decided they could do better. They struck out on their own and formed a little band called Faith No More. So that’s nice.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E6G1bWKNjJY\u003c/p>\n\u003ch2>The Sound of Music\u003c/h2>\n\u003cp>\u003cstrong>162 Turk St.\u003c/strong>\u003c/p>\n\u003cp>Today, it looks like any other nondescript, three-story building in the Tenderloin. But between 1980 and 1987, the Sound of Music was a punk rock venue and nightclub that hosted bands like \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=VxoiN7c2UYU&list=RDEMS9VV4IqCH_18L_Bgf2Xxew&start_radio=1\">Boy Trouble\u003c/a> and, later on, Romeo Void. (Agnostic Front also once played the tiny club after their show at Mabuhay Gardens got canceled at the last minute.)\u003c/p>\n\u003cp>[aside postid='arts_13902953']Owned by Celso Ruperto — a photographer best known for \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/c8jh3tvx/\">documenting the dancers of North Beach’s strip clubs\u003c/a> — the club was only-partially-controlled chaos. It also had a reputation for being very lackadaisical when it came to checking IDs; Frightwig guitarist Mia d’Bruzzi started bartending there when she was only 17. “Everyone was broke, pissed off about everything and having the time of their lives,” d’Bruzzi told \u003ca href=\"https://hoodline.com/2015/10/punks-tenderloin-roots-and-the-sound-of-music/\">\u003cem>Central City Extra\u003c/em>\u003c/a> in 2015. “If I didn’t like a band, I would throw half-full beer cans at them from the bar.”\u003c/p>\n\u003cp>Ruperto decided to let the venue go in 1986. It was listed for sale in newspapers that year for $65,000. The final show happened there in 1987.\u003c/p>\n\u003cp>“The Sound of Music was a dump,” \u003ca href=\"https://en.wikipedia.org/wiki/White_Trash_Debutantes\">White Trash Debutantes\u003c/a> singer Ginger Coyote recalled in 2015. “The sound system sucked, but it was a club where about anyone could play and most people could get in free or cheap.”\u003c/p>\n\u003cp>Looks like a good time to us…\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HWp79_YFODw\u003c/p>\n\u003ch2>Target Video\u003c/h2>\n\u003cp>\u003cstrong>678 South Van Ness Ave.\u003c/strong>\u003c/p>\n\u003cp>In 1983, two years after it had closed, the \u003cem>Examiner\u003c/em> described Target Video as “a black building on South Van Ness Ave.” and “a national flashpoint of new culture in the making.”\u003c/p>\n\u003cp>[aside postid='arts_13927137']The man behind that cultural earthquake was Joe Rees, a sculptor, videographer and one-man punk archive. Rees videotaped over 500 bands, all over the country, starting in 1976, documenting the underground scene like no one else. And it wasn’t just the sheer volume of footage that made Rees stand out, it was what he did with it. Rees spliced his films of punk shows with news and documentary clips that often added a gravitas — and impending sense of doom — to already intense songs.\u003c/p>\n\u003cp>It made sense for Rees, then, to start his own venue in 1978. He could record bands at \u003ca href=\"https://www.youtube.com/watch?v=cpbeu7szjkE\">Target Video, turn those sets into short films\u003c/a>, then hold screenings of those in the building too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.artforum.com/events/joe-rees-228192/\">An article in \u003cem>Artforum\u003c/em>\u003c/a> once described Rees’ work as “art for TV fans, rather than TV for art fans.” For the punks who frequented Target Video shows, it was simply TV for them — disaffected, angry, with one hell of a soundtrack.\u003c/p>\n\u003cfigure id=\"attachment_13938380\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938380\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-1178248674-scaled.jpg\" alt=\"A group of four young men clamber down a very steep wall, laughing and at strange angles. One of them is holding a pool cue. Two of them are holding cans of beer.\" width=\"2560\" height=\"1841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1536x1105.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-2048x1473.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1920x1381.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Let’s close this out with a photo of Flipper — a band that played literally all of these venues — on a San Francisco railway embankment in 1981. Just because. \u003ccite>(Ruby Ray/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco has birthed and lost a ridiculous number of punk rock venues over the years. There are recent favorites like \u003ca href=\"https://www.invisibleoranges.com/rip-pound-sf/\">The Pound\u003c/a> and \u003ca href=\"https://www.sfgate.com/entertainment/article/farewell-cocodrie-north-beach-club-shutting-down-2748469.php\">Club Cocodrie\u003c/a>, both closed in the early 2000s. There are the short-lived little nightclubs of the 1980s, including \u003ca href=\"https://www.dnalounge.com/backstage/log/19xx/AAC-0697.html\">Club Nine\u003c/a> (which later turned into The Stud), \u003ca href=\"https://www.kqed.org/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin\">The Offensive, Club Foot and Attitude\u003c/a>. Most famously of all, there was the legendary \u003ca href=\"https://en.wikipedia.org/wiki/Mabuhay_Gardens\">Mabuhay Gardens\u003c/a>, a home-away-from-home for the most popular punk bands of the ’80s.\u003c/p>\n\u003cp>That same time period also inspired the creation of a handful of venues that were particularly strange and magnificent. Here are five of the most fascinating that we wish still existed today.\u003c/p>\n\u003ch2>The Deaf Club\u003c/h2>\n\u003cp>\u003cstrong>530 Valencia St.\u003c/strong>\u003c/p>\n\u003cp>It may have only lasted 18 months, but the lore of the Mission District’s Deaf Club will live on forever. Its first show was the result of Daphne Hanrahan — then-manager of The Offs — confusing the San Francisco Club of the Deaf with a new punk venue. Soon, by renting out the space herself, she had turned it into one.\u003c/p>\n\u003cp>In February 1979, the \u003cem>San Francisco Examiner\u003c/em> declared:\u003c/p>\n\u003cblockquote>\u003cp>The latest club on the local punk scene is called the Deaf Club. The joke is that the name is no joke … Since December, Walking Dead Productions has sponsored two or three concerts at the club each week, featuring local punk outfits like Crime and the Dils, plus occasional imports from Los Angeles … At the shows, punk followers mingle with the deaf club members.\u003c/p>\u003c/blockquote>\n\u003cp>In \u003ca href=\"https://bookshop.org/p/books/gimme-something-better-the-profound-progressive-and-occasionally-pointless-history-of-bay-area-punk-from-dead-kennedys-to-green-day-jack-boulware/11716732?ean=9780143113805&ref=&source=IndieBound&title=Gimme+Something+Better%3A+The+Profound%2C+Progressive%2C+and+Occasionally+Pointless+History+of+Bay+Area+Punk+from+Dead+Kennedys+to+Green+Day\">\u003cem>Gimme Something Better\u003c/em>\u003c/a>, Jack Boulware and Silke Tudor’s 2009 tome on Bay Area punk, Penelope Houston of The Avengers recalled: “It was kind of amazing. I think [deaf attendees] were dancing to the vibrations. The deaf people were amused that all these punks wanted to come in and rent their room and have these shows.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2004, Dead Kennedys reminded the world of the club’s existence with the release of \u003ca href=\"https://en.wikipedia.org/wiki/Live_at_the_Deaf_Club\">\u003cem>Live at the Deaf Club\u003c/em>\u003c/a>, an album of live material recorded at the second floor venue in March 1979. Nothing, however, quite captures the worlds colliding and camaraderie inside the place quite like Richard Gaikowski’s 1980 film, \u003ca href=\"https://www.imdb.com/title/tt8652820/\">\u003cem>Deaf/Punk\u003c/em>\u003c/a>:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7L4NxRqb6Fk'\n title='//www.youtube.com/embed/7L4NxRqb6Fk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Farm\u003c/h2>\n\u003cp>\u003cstrong>1499 Potrero Ave.\u003c/strong>\u003c/p>\n\u003cp>Long before it was \u003ca href=\"https://sfrecpark.org/895/Potrero-del-Sol-Park-La-Raza\">Potrero del Sol Park\u003c/a>, the green expanse around the intersection at Potrero and Cesar Chavez was The Farm — a community center, art space, active farm and, most bizarrely of all, a punk venue. The likes of Bad Brains, 7 Seconds, Black Flag, Circle Jerks, Descendents and DOA all came through here in the early ’80s, much to the delight of the San Francisco underground.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though the aggressive music seemed totally out of step with the hippie commune vibes that had been cultivated at The Farm throughout the late 1970s, members of its board of directors expressed an openness towards — and fascination with — the bands and fans that came through.\u003c/p>\n\u003cp>“Even when the punks were there, I remember going,” noted artist and board member René Yañez in a documentary about The Farm, “and the toilets were broken and they were hanging this kid out the window and the police coming … But I found it interesting.”\u003c/p>\n\u003cp>At the time, fellow board member Gail Feldman said: “[Folks] see people with hair sticking straight up and they get a little worried. But actually there hasn’t been that much of a problem…”\u003c/p>\n\u003cp>The Farm’s “punk era” can be seen in this documentary about the space, starting from 26:40:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fpfD_3AvH8Y'\n title='//www.youtube.com/embed/fpfD_3AvH8Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Valencia Tool & Die\u003c/h2>\n\u003cp>\u003cstrong>974 Valencia St.\u003c/strong>\u003c/p>\n\u003cp>Today, it’s\u003ca href=\"https://www.lolosf.com/\"> Loló\u003c/a>: A restaurant with a noisy ambiance and carnival-inspired decor. This is fairly fitting once you realize that, between 1980 and 1983, 974 Valencia St. was a supremely weird gallery, indie movie theater, performance art space and, yes, excellent punk venue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During its short tenure, the venue managed to host the likes of Minor Threat, Social Distortion, Hüsker Dü, Fang and even \u003ca href=\"https://www.youtube.com/watch?v=2SCIJlMTR7A\">Allen Ginsberg performing with a New Wave band called The Job\u003c/a>. Performances happened on the street level and in the cellar — a space that was soundproofed with sand, only accessible via trap door and entirely lacking in a stage. Sometimes shows happened on both floors simultaneously. Sometimes they happened on Sunday afternoons. And sometimes (fairly frequently, actually) they happened entirely out of hours, in the middle of the night.\u003c/p>\n\u003cp>In the end, the venue was shut down for a number of violations, including some that were fire code-related. But while it existed, Valencia Tool & Die was a space where musicians could experiment without filter, find community and share ideas. Consider the band in the video below, Faith. No Man. Here they are playing a perfectly good set in Tool & Die’s basement in 1983. A couple of months after this was filmed, however, the rhythm section — bassist Billy Gould and drummer Mike Bordin — decided they could do better. They struck out on their own and formed a little band called Faith No More. So that’s nice.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E6G1bWKNjJY'\n title='//www.youtube.com/embed/E6G1bWKNjJY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Sound of Music\u003c/h2>\n\u003cp>\u003cstrong>162 Turk St.\u003c/strong>\u003c/p>\n\u003cp>Today, it looks like any other nondescript, three-story building in the Tenderloin. But between 1980 and 1987, the Sound of Music was a punk rock venue and nightclub that hosted bands like \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=VxoiN7c2UYU&list=RDEMS9VV4IqCH_18L_Bgf2Xxew&start_radio=1\">Boy Trouble\u003c/a> and, later on, Romeo Void. (Agnostic Front also once played the tiny club after their show at Mabuhay Gardens got canceled at the last minute.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Owned by Celso Ruperto — a photographer best known for \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/c8jh3tvx/\">documenting the dancers of North Beach’s strip clubs\u003c/a> — the club was only-partially-controlled chaos. It also had a reputation for being very lackadaisical when it came to checking IDs; Frightwig guitarist Mia d’Bruzzi started bartending there when she was only 17. “Everyone was broke, pissed off about everything and having the time of their lives,” d’Bruzzi told \u003ca href=\"https://hoodline.com/2015/10/punks-tenderloin-roots-and-the-sound-of-music/\">\u003cem>Central City Extra\u003c/em>\u003c/a> in 2015. “If I didn’t like a band, I would throw half-full beer cans at them from the bar.”\u003c/p>\n\u003cp>Ruperto decided to let the venue go in 1986. It was listed for sale in newspapers that year for $65,000. The final show happened there in 1987.\u003c/p>\n\u003cp>“The Sound of Music was a dump,” \u003ca href=\"https://en.wikipedia.org/wiki/White_Trash_Debutantes\">White Trash Debutantes\u003c/a> singer Ginger Coyote recalled in 2015. “The sound system sucked, but it was a club where about anyone could play and most people could get in free or cheap.”\u003c/p>\n\u003cp>Looks like a good time to us…\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HWp79_YFODw'\n title='//www.youtube.com/embed/HWp79_YFODw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Target Video\u003c/h2>\n\u003cp>\u003cstrong>678 South Van Ness Ave.\u003c/strong>\u003c/p>\n\u003cp>In 1983, two years after it had closed, the \u003cem>Examiner\u003c/em> described Target Video as “a black building on South Van Ness Ave.” and “a national flashpoint of new culture in the making.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The man behind that cultural earthquake was Joe Rees, a sculptor, videographer and one-man punk archive. Rees videotaped over 500 bands, all over the country, starting in 1976, documenting the underground scene like no one else. And it wasn’t just the sheer volume of footage that made Rees stand out, it was what he did with it. Rees spliced his films of punk shows with news and documentary clips that often added a gravitas — and impending sense of doom — to already intense songs.\u003c/p>\n\u003cp>It made sense for Rees, then, to start his own venue in 1978. He could record bands at \u003ca href=\"https://www.youtube.com/watch?v=cpbeu7szjkE\">Target Video, turn those sets into short films\u003c/a>, then hold screenings of those in the building too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.artforum.com/events/joe-rees-228192/\">An article in \u003cem>Artforum\u003c/em>\u003c/a> once described Rees’ work as “art for TV fans, rather than TV for art fans.” For the punks who frequented Target Video shows, it was simply TV for them — disaffected, angry, with one hell of a soundtrack.\u003c/p>\n\u003cfigure id=\"attachment_13938380\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938380\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-1178248674-scaled.jpg\" alt=\"A group of four young men clamber down a very steep wall, laughing and at strange angles. One of them is holding a pool cue. Two of them are holding cans of beer.\" width=\"2560\" height=\"1841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1536x1105.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-2048x1473.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1920x1381.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Let’s close this out with a photo of Flipper — a band that played literally all of these venues — on a San Francisco railway embankment in 1981. Just because. \u003ccite>(Ruby Ray/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a Visual Arts Committee meeting on Nov. 15, members of the San Francisco Arts Commission voted unanimously to remove the bronze and brass dragon sculpture over the Broadway Tunnel and place the public artwork in storage.\u003c/p>\n\u003cp>The decision was prompted by planned upgrades to the 1968 Chinatown Public Health Center, which include enlarging the windows over the tunnel and eliminating the wall on which the sculpture is currently mounted.\u003c/p>\n\u003cp>[aside postID='news_11891329']Also on the table was the option of relocating Patti Bowler’s \u003ci>Dragon Relief\u003c/i> to the building’s roof or in a vertical rearrangement to its Broadway-facing side. But letters, petitions and public comment directly from Chinatown community members and neighborhood organizations made it clear this was a unique opportunity to reassess the sculpture’s suitability.\u003c/p>\n\u003cp>“It’s a big moment for the community,” said Jenny Leung, executive director of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a>, of the committee’s decision. “There’s so much structural exclusion of people of color from making these big decisions about public spaces and public art.”\u003c/p>\n\u003cp>The CCC was one of seven Chinatown organizations that wrote a letter arguing for the sculpture’s removal, stating that \u003ci>Dragon Relief\u003c/i> “does not inspire community pride, does not have a foundation in community process, and holds little value toward community health and wellness.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Patti Bowler, who died in 1992, designed \u003ci>Dragon Relief\u003c/i> as one of the first commissions under the city’s Art Enrichment Ordinance, which sets aside a percentage of a building’s budget for public art. The 56-foot-long ribbon of metal was fabricated in Santa Rosa by Wade Lux and installed in 1970 on the Clarence Mayhew-designed health center. (\u003ca href=\"https://www.kqed.org/news/11891329/hiding-in-plain-sight-the-dragon-sitting-on-top-of-s-fs-broadway-tunnel\">KQED previously reported\u003c/a> that Bowler’s husband, architect J. Carson Bowler, was once employed by Mayhew, who selected Bowler for the $27,500 project.)\u003c/p>\n\u003cp>As Visual Arts Committee member JD Beltran noted in the Nov. 15 meeting, the selection of Bowler, in consultation with seemingly no other stakeholders than the architect, is no longer the norm.\u003c/p>\n\u003cp>“In the six decades since this was created, our process as a commission has completely changed — for the better,” said Beltran. “We don’t even take a step forward until we actually consult with the community. And I think now that we do have those processes in place … since this is public art and it is community art, I think we should honor that process.”\u003c/p>\n\u003cp>In addition to questioning the relationship between Bowler’s artwork and the neighborhood served by the health center, letters and public comment touched on concerns for the safety and privacy of patients; a desire to honor Bowler’s original design; and potential distractions to drivers and pedestrians. Ultimately, no comments emerged as strongly in favor of relocating the sculpture to another part of the building.\u003c/p>\n\u003cfigure id=\"attachment_13938308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg\" alt=\"Architectural rendering of glass-fronted building with red wrapping shape and Chinese characters on column\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the planned upgrades to the Chinatown Public Health Center, as seen from Mason Street. \u003ccite>(San Francisco Public Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the city may make an attempt to keep \u003ci>Dragon Relief\u003c/i> in public view, large pieces of public artwork do not often reemerge from storage. According to their presentation at the meeting, the SFAC has removed 12 large-scale public artworks over the past 20 years — only one has been successfully relocated to another city property.\u003c/p>\n\u003cp>Placing an an artwork like \u003ci>Dragon Relief\u003c/i> in storage, then, is not a decision to be taken lightly. In recent years, the SFAC has worked to build back public trust after the high-profile debacle of Lava Thomas’ rejected, then re-awarded \u003ca href=\"https://www.kqed.org/arts/13889089/sfac-awards-the-maya-angelou-monument-to-lava-thomas-finally\">Maya Angelou monument\u003c/a>, when top-down decision making seemed to fly in the face of both public desires and the SFAC’s own commissioning processes.\u003c/p>\n\u003cp>SFAC staff members noted that the amount of community outreach done around \u003ci>Dragon Relief\u003c/i> went beyond their usual approach, and was informed by their work with the \u003ca href=\"https://www.sfartscommission.org/content/monuments-and-memorials-advisory-committee\">Monuments and Memorials Advisory Committee\u003c/a>, established in 2020 to reevaluate the city’s historical markers.\u003c/p>\n\u003cp>Seismic upgrades and a modernization of the health center are planned to begin in spring 2025 and last two years, pending voter approval of a bond measure on the November 2024 ballot. The SFAC will have a budget of $691,461 for new art enrichment in the building, which could include an exterior mosaic, interior murals and the purchase of two-dimensional work. The CCC will work with the SFAC to facilitate applications by monolingual artists like \u003ca href=\"https://www.papercutlady.com/index.html\">Yumei Hou\u003c/a>, whose \u003ca href=\"https://sfartscommission.org/experience-art/projects/central-subway-public-art-program\">artwork\u003c/a> in the Central Subway’s Chinatown station is based on her traditional cut paper pieces.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Today, we can speak more holistically about what it means to have an artwork that is representative of the community, having something that represents their story, having something that actually excites and galvanizes the community to be a part of,” said CCC Deputy Director Hoi Leung at the Nov. 15 meeting. “The community really cares about art if they’re educated and empowered to think about art.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also on the table was the option of relocating Patti Bowler’s \u003ci>Dragon Relief\u003c/i> to the building’s roof or in a vertical rearrangement to its Broadway-facing side. But letters, petitions and public comment directly from Chinatown community members and neighborhood organizations made it clear this was a unique opportunity to reassess the sculpture’s suitability.\u003c/p>\n\u003cp>“It’s a big moment for the community,” said Jenny Leung, executive director of the \u003ca href=\"https://www.cccsf.us/\">Chinese Culture Center\u003c/a>, of the committee’s decision. “There’s so much structural exclusion of people of color from making these big decisions about public spaces and public art.”\u003c/p>\n\u003cp>The CCC was one of seven Chinatown organizations that wrote a letter arguing for the sculpture’s removal, stating that \u003ci>Dragon Relief\u003c/i> “does not inspire community pride, does not have a foundation in community process, and holds little value toward community health and wellness.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Patti Bowler, who died in 1992, designed \u003ci>Dragon Relief\u003c/i> as one of the first commissions under the city’s Art Enrichment Ordinance, which sets aside a percentage of a building’s budget for public art. The 56-foot-long ribbon of metal was fabricated in Santa Rosa by Wade Lux and installed in 1970 on the Clarence Mayhew-designed health center. (\u003ca href=\"https://www.kqed.org/news/11891329/hiding-in-plain-sight-the-dragon-sitting-on-top-of-s-fs-broadway-tunnel\">KQED previously reported\u003c/a> that Bowler’s husband, architect J. Carson Bowler, was once employed by Mayhew, who selected Bowler for the $27,500 project.)\u003c/p>\n\u003cp>As Visual Arts Committee member JD Beltran noted in the Nov. 15 meeting, the selection of Bowler, in consultation with seemingly no other stakeholders than the architect, is no longer the norm.\u003c/p>\n\u003cp>“In the six decades since this was created, our process as a commission has completely changed — for the better,” said Beltran. “We don’t even take a step forward until we actually consult with the community. And I think now that we do have those processes in place … since this is public art and it is community art, I think we should honor that process.”\u003c/p>\n\u003cp>In addition to questioning the relationship between Bowler’s artwork and the neighborhood served by the health center, letters and public comment touched on concerns for the safety and privacy of patients; a desire to honor Bowler’s original design; and potential distractions to drivers and pedestrians. Ultimately, no comments emerged as strongly in favor of relocating the sculpture to another part of the building.\u003c/p>\n\u003cfigure id=\"attachment_13938308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg\" alt=\"Architectural rendering of glass-fronted building with red wrapping shape and Chinese characters on column\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/CPHCUpgrade2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the planned upgrades to the Chinatown Public Health Center, as seen from Mason Street. \u003ccite>(San Francisco Public Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the city may make an attempt to keep \u003ci>Dragon Relief\u003c/i> in public view, large pieces of public artwork do not often reemerge from storage. According to their presentation at the meeting, the SFAC has removed 12 large-scale public artworks over the past 20 years — only one has been successfully relocated to another city property.\u003c/p>\n\u003cp>Placing an an artwork like \u003ci>Dragon Relief\u003c/i> in storage, then, is not a decision to be taken lightly. In recent years, the SFAC has worked to build back public trust after the high-profile debacle of Lava Thomas’ rejected, then re-awarded \u003ca href=\"https://www.kqed.org/arts/13889089/sfac-awards-the-maya-angelou-monument-to-lava-thomas-finally\">Maya Angelou monument\u003c/a>, when top-down decision making seemed to fly in the face of both public desires and the SFAC’s own commissioning processes.\u003c/p>\n\u003cp>SFAC staff members noted that the amount of community outreach done around \u003ci>Dragon Relief\u003c/i> went beyond their usual approach, and was informed by their work with the \u003ca href=\"https://www.sfartscommission.org/content/monuments-and-memorials-advisory-committee\">Monuments and Memorials Advisory Committee\u003c/a>, established in 2020 to reevaluate the city’s historical markers.\u003c/p>\n\u003cp>Seismic upgrades and a modernization of the health center are planned to begin in spring 2025 and last two years, pending voter approval of a bond measure on the November 2024 ballot. The SFAC will have a budget of $691,461 for new art enrichment in the building, which could include an exterior mosaic, interior murals and the purchase of two-dimensional work. The CCC will work with the SFAC to facilitate applications by monolingual artists like \u003ca href=\"https://www.papercutlady.com/index.html\">Yumei Hou\u003c/a>, whose \u003ca href=\"https://sfartscommission.org/experience-art/projects/central-subway-public-art-program\">artwork\u003c/a> in the Central Subway’s Chinatown station is based on her traditional cut paper pieces.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Today, we can speak more holistically about what it means to have an artwork that is representative of the community, having something that represents their story, having something that actually excites and galvanizes the community to be a part of,” said CCC Deputy Director Hoi Leung at the Nov. 15 meeting. “The community really cares about art if they’re educated and empowered to think about art.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In an AI-Driven Future, Turf Dancers Share the Meaning of Their Movements",
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"content": "\u003cp>In a 2016 music video for Kaytranada’s “\u003ca href=\"https://www.youtube.com/watch?v=KZnou4zthz4\">Lite Spots\u003c/a>” a robot follows its creator around Los Angeles, watching and mimicking dance moves. But there’s one dance style (which looks a lot like the Oakland-born turfing) that the robot is unable to fully capture, resulting in an error message, an inability for the AI to compute. In her new dance theater performance \u003cem>Mud Water IV\u003c/em>, Nov. 18 and 19 at \u003ca href=\"https://dancemissiontheater.org/2023/09/05/nov-17-19-mude-water-iv/\">Dance Mission Theater\u003c/a>, Bay Area artist and choreographer \u003ca href=\"https://www.kqed.org/arts/11514189/women-to-watch-my-linh-le\">My-Linh Le\u003c/a> proposes a futuristic scenario not so dissimilar from that music video: what might it look like to teach an AI about the cultural roots and importance of turfing? \u003c/p>\n\u003cp>[aside postID='arts_13932887']Le, the founder and director of \u003ca href=\"https://www.mudwatertheatre.com/\">Mud Water Theatre\u003c/a>, is best known for bringing turfing to the stage, collaboratively creating productions with groups of dancers — including a combination of \u003ca href=\"https://www.kqed.org/arts/11230644/turf-dancing-and-ballet-struggle-to-meet-half-way\">turfing and ballet\u003c/a>. She pivoted to film at the height of the pandemic, creating \u003ca href=\"https://sffilm.org/event/mud-water/\">\u003cem>Mud Water\u003c/em>\u003c/a>, a half-hour short that premiered at the 2022 San Francisco International Film Festival as a hybrid narrative and dance film. \u003c/p>\n\u003cp>While preparing for this latest iteration of the project, her cast struggled to define turfing, so Le provided ChatGPT’s take on the dance form (\u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">originally known as fuckin’ with it\u003c/a>). In addition to a description of fluid, graceful, abrupt and robotic movements, the chatbot offered that turfing “means to engage with or manipulate something in a casual or experimental manner, often with a sense of nonchalance or indifference. It can also imply a willingness to take risks or be daring.” The dancers agreed.\u003c/p>\n\u003cfigure id=\"attachment_13937645\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED.jpg\" alt=\"A person with glasses smiles in a large indoor room.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13937645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">My-Linh Le smiles as she watches her dancers rehearse at the Bayview Opera House. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From ‘going hyphy to going viral’\u003c/h2>\n\u003cp>Le thinks of \u003cem>Mud Water IV\u003c/em> as an exercise in autoethnography, a method of reflecting on the dancers’ observations of their own culture or subculture. Since the \u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">emergence of turfing\u003c/a> in the early 2000s, shifts in musical styles have inevitably changed the way people dance to that music. Le is especially interested in the role virality plays within the attention economy; she’s trying to understand the trajectory of Bay Area dance culture from “going hyphy to going viral.” Fittingly, part of the premise of \u003cem>Mud Water IV\u003c/em>, set in the year 2032, is the existence of an AI called DanceGPT that has gorged itself on social media dance trends.\u003c/p>\n\u003cp>[aside postID='arts_13856335']“You basically have to change the integrity of the thing you love or the stance that you want to represent, if you want it to spread,” Le says of dance in today’s social media landscape. “But in the end, what are you spreading? Many of the turfers in our cast have been discussing the changes and shifts they’re seeing.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cast is made up of some of the most extraordinary dancers in the Bay Area turfing community, including Alante “\u003ca href=\"https://www.instagram.com/ogtaehaze/\">Tae-Ninja\u003c/a>” Hall, Arthur “\u003ca href=\"https://www.instagram.com/_dopeyfresh_/\">Dopeyfresh\u003c/a>” Gardner, Gary “\u003ca href=\"https://www.instagram.com/icecold3000/\">Icecold3000\u003c/a>” Morgan, Jarell “\u003ca href=\"https://www.instagram.com/lf_skeeter/\">Skeeter\u003c/a>” Boyd, \u003ca href=\"https://www.instagram.com/2112charlie/\">Charlie\u003c/a>, Michael “\u003ca href=\"https://www.instagram.com/nonamevision/\">Noname\u003c/a>” Chicago II, \u003ca href=\"https://www.instagram.com/shakathecreator/\">Shaka Perdue\u003c/a> and \u003ca href=\"https://www.instagram.com/tuuhleacee/\">Telice Summerfield\u003c/a>. Le asked her cast questions about their experiences in the turfing community, becoming an intermediary for their reflections as they prepared for the show over the past year. She considered how their perceptions, their participation in the movement, might possibly feed into DanceGPT — and how algorithms, in turn, could change or transform the culture. \u003c/p>\n\u003cfigure id=\"attachment_13938015\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000.jpg\" alt=\"A woman holds left hand pointing down in dance movement, mouth open and tongue out\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alante ‘Tae-Ninja’ Hall during rehearsals for ‘Mud Water IV.’ \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Dance Mission Theater, the final production includes turfing, storytelling and motion graphics projected behind the dancers on stage. The entire structure of the show is documentary-esque, a purposeful response to the rapid speed of data and image-consumption by both social media and machine-learning platforms. Audiences watch as the dancers attempt to provide — ultimately — a definition of turfing. \u003c/p>\n\u003cp>As I sat through a rehearsal, every movement changed slightly with every repetition, which was refreshing and slightly unnerving — a particular glide or articulation was specific to each moment. Similarly, the sheer beauty of turfing comes from the inability to contain it. Could an AI capture and document, with precision, the history and cultural impact of turfing? The short answer is: never.\u003c/p>\n\u003ch2>‘It takes the whole community’\u003c/h2>\n\u003cp>If technology cannot hold a dance movement, maybe a dancer’s body can serve as a type of archive? The body remembers — but it also forgets. It inevitably evolves and ages, which might not make it the most reliable entity for storing memories and movements. As dancers and dance forms evolve, movements become second nature or are omitted, especially if a gesture doesn’t feel like it has a soul to it. \u003c/p>\n\u003cfigure id=\"attachment_13938016\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000.jpg\" alt=\"Person in glasses is in focus watching two dancers in foreground, out of focus\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Telice Summerfield (left) and Alante ‘Tae-Ninja’ Hall (right) rehearse for as My-Linh Le (center) watches. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Le came up in \u003ca href=\"https://www.kqed.org/arts/13833179/playboyz-inc-dancers-keep-strutting-and-popping-alive-in-san-jose\">the popping scene of San José\u003c/a>, but it was a creative environment, she says, of a specific time, place and people. “You can put on the clothing and the attire. You can play the music of the ’80s or ’90s, but essentially you can’t recreate it,” she says. “You can’t reenact it because it takes the whole community for a culture to exist. When we talk about the archive being the body, yes, it is the body. But it is also the bodies — the many, within the community.” \u003c/p>\n\u003cp>[aside postID='arts_13833179']Turfing is full of intricate finger, hand and arm gesticulations. Its dancers seem to float across concrete, creating a genre of movement in a class of its own. The culture makes space for celebration alongside \u003ca href=\"https://www.kqed.org/arts/13935408/hyphy-kids-got-trauma-pt-2-we-dance-different\">expressions of mourning, trauma and loss\u003c/a>, all while dancers battle to take up room on the floor. What started at house parties and in the streets now also exists in competitions and theatrical performances, and yet it is a movement that resists label or definition. \u003cem>Mud Water IV\u003c/em> attempts to grasp its meaning: the dance form’s irresistibility lies in its insistence to play as much as to rouse. \u003c/p>\n\u003cp>What appeals to Le, and what the upcoming performance captures, is turfing’s profoundly rooted, endlessly iterative style. “You’re going to get every texture,” she says. “You’re going to get smooth, fluid, liquid. You’re going to get the frenetic. You’re going to get the deeply thoughtful movement as well as happy. You enter and go in any direction. \u003c/p>\n\u003cp>“There are no rules when it comes to turfing or fuck with it,” Le adds. “It comes down to whether or not you share the same values, same kind of history, and similar experiences that you end up speaking in the same language.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Mud Water IV’ takes place Nov. 18 and 19 at Dance Mission Theater (3316 24th St.). \u003ca href=\"https://www.eventbrite.com/e/mud-water-iv-tickets-715650468817\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"title": "‘Mud Water IV’ Imagines Turfing in an AI-Driven Future | KQED",
"description": "My-Linh Le’s new dance theater performance ‘Mud Water IV’ imagines turfing in 2032.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a 2016 music video for Kaytranada’s “\u003ca href=\"https://www.youtube.com/watch?v=KZnou4zthz4\">Lite Spots\u003c/a>” a robot follows its creator around Los Angeles, watching and mimicking dance moves. But there’s one dance style (which looks a lot like the Oakland-born turfing) that the robot is unable to fully capture, resulting in an error message, an inability for the AI to compute. In her new dance theater performance \u003cem>Mud Water IV\u003c/em>, Nov. 18 and 19 at \u003ca href=\"https://dancemissiontheater.org/2023/09/05/nov-17-19-mude-water-iv/\">Dance Mission Theater\u003c/a>, Bay Area artist and choreographer \u003ca href=\"https://www.kqed.org/arts/11514189/women-to-watch-my-linh-le\">My-Linh Le\u003c/a> proposes a futuristic scenario not so dissimilar from that music video: what might it look like to teach an AI about the cultural roots and importance of turfing? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Le, the founder and director of \u003ca href=\"https://www.mudwatertheatre.com/\">Mud Water Theatre\u003c/a>, is best known for bringing turfing to the stage, collaboratively creating productions with groups of dancers — including a combination of \u003ca href=\"https://www.kqed.org/arts/11230644/turf-dancing-and-ballet-struggle-to-meet-half-way\">turfing and ballet\u003c/a>. She pivoted to film at the height of the pandemic, creating \u003ca href=\"https://sffilm.org/event/mud-water/\">\u003cem>Mud Water\u003c/em>\u003c/a>, a half-hour short that premiered at the 2022 San Francisco International Film Festival as a hybrid narrative and dance film. \u003c/p>\n\u003cp>While preparing for this latest iteration of the project, her cast struggled to define turfing, so Le provided ChatGPT’s take on the dance form (\u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">originally known as fuckin’ with it\u003c/a>). In addition to a description of fluid, graceful, abrupt and robotic movements, the chatbot offered that turfing “means to engage with or manipulate something in a casual or experimental manner, often with a sense of nonchalance or indifference. It can also imply a willingness to take risks or be daring.” The dancers agreed.\u003c/p>\n\u003cfigure id=\"attachment_13937645\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED.jpg\" alt=\"A person with glasses smiles in a large indoor room.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13937645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-013-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">My-Linh Le smiles as she watches her dancers rehearse at the Bayview Opera House. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From ‘going hyphy to going viral’\u003c/h2>\n\u003cp>Le thinks of \u003cem>Mud Water IV\u003c/em> as an exercise in autoethnography, a method of reflecting on the dancers’ observations of their own culture or subculture. Since the \u003ca href=\"https://www.kqed.org/arts/13932887/turf-dancing-oakland-street-dance\">emergence of turfing\u003c/a> in the early 2000s, shifts in musical styles have inevitably changed the way people dance to that music. Le is especially interested in the role virality plays within the attention economy; she’s trying to understand the trajectory of Bay Area dance culture from “going hyphy to going viral.” Fittingly, part of the premise of \u003cem>Mud Water IV\u003c/em>, set in the year 2032, is the existence of an AI called DanceGPT that has gorged itself on social media dance trends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“You basically have to change the integrity of the thing you love or the stance that you want to represent, if you want it to spread,” Le says of dance in today’s social media landscape. “But in the end, what are you spreading? Many of the turfers in our cast have been discussing the changes and shifts they’re seeing.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cast is made up of some of the most extraordinary dancers in the Bay Area turfing community, including Alante “\u003ca href=\"https://www.instagram.com/ogtaehaze/\">Tae-Ninja\u003c/a>” Hall, Arthur “\u003ca href=\"https://www.instagram.com/_dopeyfresh_/\">Dopeyfresh\u003c/a>” Gardner, Gary “\u003ca href=\"https://www.instagram.com/icecold3000/\">Icecold3000\u003c/a>” Morgan, Jarell “\u003ca href=\"https://www.instagram.com/lf_skeeter/\">Skeeter\u003c/a>” Boyd, \u003ca href=\"https://www.instagram.com/2112charlie/\">Charlie\u003c/a>, Michael “\u003ca href=\"https://www.instagram.com/nonamevision/\">Noname\u003c/a>” Chicago II, \u003ca href=\"https://www.instagram.com/shakathecreator/\">Shaka Perdue\u003c/a> and \u003ca href=\"https://www.instagram.com/tuuhleacee/\">Telice Summerfield\u003c/a>. Le asked her cast questions about their experiences in the turfing community, becoming an intermediary for their reflections as they prepared for the show over the past year. She considered how their perceptions, their participation in the movement, might possibly feed into DanceGPT — and how algorithms, in turn, could change or transform the culture. \u003c/p>\n\u003cfigure id=\"attachment_13938015\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000.jpg\" alt=\"A woman holds left hand pointing down in dance movement, mouth open and tongue out\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-004-JY_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alante ‘Tae-Ninja’ Hall during rehearsals for ‘Mud Water IV.’ \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Dance Mission Theater, the final production includes turfing, storytelling and motion graphics projected behind the dancers on stage. The entire structure of the show is documentary-esque, a purposeful response to the rapid speed of data and image-consumption by both social media and machine-learning platforms. Audiences watch as the dancers attempt to provide — ultimately — a definition of turfing. \u003c/p>\n\u003cp>As I sat through a rehearsal, every movement changed slightly with every repetition, which was refreshing and slightly unnerving — a particular glide or articulation was specific to each moment. Similarly, the sheer beauty of turfing comes from the inability to contain it. Could an AI capture and document, with precision, the history and cultural impact of turfing? The short answer is: never.\u003c/p>\n\u003ch2>‘It takes the whole community’\u003c/h2>\n\u003cp>If technology cannot hold a dance movement, maybe a dancer’s body can serve as a type of archive? The body remembers — but it also forgets. It inevitably evolves and ages, which might not make it the most reliable entity for storing memories and movements. As dancers and dance forms evolve, movements become second nature or are omitted, especially if a gesture doesn’t feel like it has a soul to it. \u003c/p>\n\u003cfigure id=\"attachment_13938016\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000.jpg\" alt=\"Person in glasses is in focus watching two dancers in foreground, out of focus\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13938016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20231101-My-Linh-Le-003-JY_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Telice Summerfield (left) and Alante ‘Tae-Ninja’ Hall (right) rehearse for as My-Linh Le (center) watches. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Le came up in \u003ca href=\"https://www.kqed.org/arts/13833179/playboyz-inc-dancers-keep-strutting-and-popping-alive-in-san-jose\">the popping scene of San José\u003c/a>, but it was a creative environment, she says, of a specific time, place and people. “You can put on the clothing and the attire. You can play the music of the ’80s or ’90s, but essentially you can’t recreate it,” she says. “You can’t reenact it because it takes the whole community for a culture to exist. When we talk about the archive being the body, yes, it is the body. But it is also the bodies — the many, within the community.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Turfing is full of intricate finger, hand and arm gesticulations. Its dancers seem to float across concrete, creating a genre of movement in a class of its own. The culture makes space for celebration alongside \u003ca href=\"https://www.kqed.org/arts/13935408/hyphy-kids-got-trauma-pt-2-we-dance-different\">expressions of mourning, trauma and loss\u003c/a>, all while dancers battle to take up room on the floor. What started at house parties and in the streets now also exists in competitions and theatrical performances, and yet it is a movement that resists label or definition. \u003cem>Mud Water IV\u003c/em> attempts to grasp its meaning: the dance form’s irresistibility lies in its insistence to play as much as to rouse. \u003c/p>\n\u003cp>What appeals to Le, and what the upcoming performance captures, is turfing’s profoundly rooted, endlessly iterative style. “You’re going to get every texture,” she says. “You’re going to get smooth, fluid, liquid. You’re going to get the frenetic. You’re going to get the deeply thoughtful movement as well as happy. You enter and go in any direction. \u003c/p>\n\u003cp>“There are no rules when it comes to turfing or fuck with it,” Le adds. “It comes down to whether or not you share the same values, same kind of history, and similar experiences that you end up speaking in the same language.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Mud Water IV’ takes place Nov. 18 and 19 at Dance Mission Theater (3316 24th St.). \u003ca href=\"https://www.eventbrite.com/e/mud-water-iv-tickets-715650468817\">Click here for tickets and more information\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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