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"content": "\u003cp>Earlier this year, when a cryptic announcement hit social media that all three original members of Tony! Toni! Toné! were going on tour, I, like a lot of people, immediately searched for more details. I even texted the number they said to text, and I normally avoid celebrity text sign-up promos. But this was \u003cem>Tony! Toni! Toné!\u003c/em> — and an extra special hometown show in Oakland was sure to come.\u003c/p>\n\u003cp>When tickets for a show at the Paramount were eventually announced, they quickly sold out. So the group added a second Paramount show (at press time, also nearly sold out). Which just proves the love that Oakland shares for Raphael Saadiq, D’Wayne Wiggins and Timothy Christian Riley, and the music they’ve produced while always repping their hometown.\u003c/p>\n\u003cp>And, as Raphael Saadiq and D’Wayne Wiggins shared when I caught up with them over Zoom before their Just Me and You Tour arrives at the Paramount Theatre in Oakland this week, it’ll be a dream come true to give that love right back.\u003c/p>\n\u003cp>[aside postID='arts_13935962']\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ariana Proehl: You’re in the final days of this tour. How excited are you for these hometown shows? And knowing that you sold out the Paramount?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: It’s like living out a dream. The Paramount Theatre. I’ve watched many artists there. I met Cab Calloway there when I was a kid. Seeing Frankie Beverly every November. Historical events have been there. For us to be there.… and on stage with family? Oh my God.\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: I think my excitement will happen when we get to the venue, and then after we get dressed, and that moment we’re about to walk on. And that’s the craziest feeling we get in a place like the Paramount…. We did L.A. [last Saturday] and L.A. was something that we couldn’t even imagine. I don’t even want to think about what Oakland could be. I don’t know how to do that right now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fQd24h1ZDc4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>I imagine there’s going to be a lot of family in the audience.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: It’s going to be a lot of friends. A lot of family. A lot of people happy to see us together. And we’ll be happy to see them, too. It’s been a long time coming. The energy between us three and also the energy between the audience has been something that we couldn’t put together. Money couldn’t put it together. It’s just special. It’s like the perfect storm right now for us.\u003c/p>\n\u003cp>\u003cstrong>So was it easy to just drop back in and find the flow with each other on stage again?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: It never changed.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: We’re comfortable on stage together like that… We know each other’s moves. We know each other’s vibes, we know each other’s style. You know, the history we have together. Certain licks we’ll do, certain turnarounds. Ray’ll change the show right before your eyes and say something in Tim’s ear. That’s the beauty of it. You know, it’s like we levitate together. We rise.\u003c/p>\n\u003cp>[aside postID='arts_13810633']\u003cstrong>Do you have any favorite memories of when you first started playing together? Like out in Oakland clubs?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: We’ve had our share of clubs, one being the \u003ca href=\"https://www.facebook.com/gmackeynurhyme/photos/a.474949895894297/499512880104665/\">Lucky Lion\u003c/a>. That was a place – I guess it would be like First Avenue in Minneapolis, for bands in Oakland. But playing outside in parks was the bigger thing in Oakland. We played a lot of parks. Arroyo Viejo Park, as well as Elmhurst Park on C Street and 98th — I think that was my first gig at a park. My best memories are of playing at parks, not at clubs.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: That’s great memories, too, because DeFremery Park, Sobrante Park, Arroyo Viejo Park, San Antonio Park. Maaan, every park we must have jammed at, you know?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e1YYqeKUp-M\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>I read, Raphael, that when you kind of stealthily announced the tour, you wanted it to be very organic — not be leading with the business aspect, but with family. Is that right?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: Yeah… for a long time I was quoted as saying, ‘I’ll probably never do [Tony! Toni! Toné!] again.’ And I did say that, but I kind of said it knowing I can’t control that, right? But I knew I wanted to put the announcement out very beautifully. I wanted to see us look how we look. Get the right photos out, and \u003ca href=\"https://spinningplatters.com/2023/03/29/breaking-raphael-saadiq-is-touring-with-tony-toni-tone/\">throw a billboard up in the middle of East Oakland\u003c/a>, where we started. And not tell D’Wayne and not tell Tim. Not tell any management people. We felt like Oakland should know first.\u003c/p>\n\u003cfigure id=\"attachment_13937964\" class=\"wp-caption aligncenter\" style=\"max-width: 2504px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937964\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Tony-Toni-Tone.jpg\" alt=\"Three Black men in semi-formal fashionable clothes stand in a row, looking into the camera\" width=\"2504\" height=\"1704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone.jpg 2504w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1536x1045.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-2048x1394.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1920x1307.jpg 1920w\" sizes=\"(max-width: 2504px) 100vw, 2504px\">\u003cfigcaption class=\"wp-caption-text\">The image that Raphael Saadiq put on a billboard in Oakland to announce Tony! Toni! Toné!’s reunion tour. \u003ccite>(David 'Odiwams' Wright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know, we’ve not just played music in that city, but we’ve lost family members in that city. We ate a lot of cheeseburgers in that city. We ate a lot of donuts. We’ve had a lot of fights with people. We dodged bullets… We watched karate movies at Eastmont Mall at the Lux. We got to watch buildings go up and go down. We watched the whole city change from Black to what it is now. You know, we’ve seen a lot. We walked those streets so much. We watched our parents get old and, you know, watched our father [pass away]. So many people we said ‘good morning’ to that’s not there no more. Older people who taught us, that died a natural death, who had a good life.\u003c/p>\n\u003cp>So we have a lot ingrained in us that’s not just music. We’re not just music anymore. We’re feeling like this ancestor thing coming out. Spirit just took over. We’re just riding the wave. I really feel like that. And that’s how I’ve been feeling on the tour.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: The music is the score to our lives, you know. It helped us stay focused. We learned a lot. We still learn a lot. We walked away from the industry. It wasn’t like we weren’t selling [records]. We just had other goals that we wanted to pursue and it took us a while to gather all of those thoughts and those passions. And when you see us on stage together, you can see we’ve been through a lot and it shines. And Oakland is our base, no matter what.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Tony! Toni! Toné! plays the Paramount Theatre in Oakland on Nov. 14 and 15, and The Masonic in San Francisco on Nov. 17. \u003ca href=\"https://www.ticketmaster.com/tony-toni-tone-tickets/artist/874672\">Details and ticket info here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Do you have any favorite memories of when you first started playing together? Like out in Oakland clubs?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: We’ve had our share of clubs, one being the \u003ca href=\"https://www.facebook.com/gmackeynurhyme/photos/a.474949895894297/499512880104665/\">Lucky Lion\u003c/a>. That was a place – I guess it would be like First Avenue in Minneapolis, for bands in Oakland. But playing outside in parks was the bigger thing in Oakland. We played a lot of parks. Arroyo Viejo Park, as well as Elmhurst Park on C Street and 98th — I think that was my first gig at a park. My best memories are of playing at parks, not at clubs.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: That’s great memories, too, because DeFremery Park, Sobrante Park, Arroyo Viejo Park, San Antonio Park. Maaan, every park we must have jammed at, you know?\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/e1YYqeKUp-M'\n title='//www.youtube.com/embed/e1YYqeKUp-M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>I read, Raphael, that when you kind of stealthily announced the tour, you wanted it to be very organic — not be leading with the business aspect, but with family. Is that right?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: Yeah… for a long time I was quoted as saying, ‘I’ll probably never do [Tony! Toni! Toné!] again.’ And I did say that, but I kind of said it knowing I can’t control that, right? But I knew I wanted to put the announcement out very beautifully. I wanted to see us look how we look. Get the right photos out, and \u003ca href=\"https://spinningplatters.com/2023/03/29/breaking-raphael-saadiq-is-touring-with-tony-toni-tone/\">throw a billboard up in the middle of East Oakland\u003c/a>, where we started. And not tell D’Wayne and not tell Tim. Not tell any management people. We felt like Oakland should know first.\u003c/p>\n\u003cfigure id=\"attachment_13937964\" class=\"wp-caption aligncenter\" style=\"max-width: 2504px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937964\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Tony-Toni-Tone.jpg\" alt=\"Three Black men in semi-formal fashionable clothes stand in a row, looking into the camera\" width=\"2504\" height=\"1704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone.jpg 2504w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1536x1045.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-2048x1394.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1920x1307.jpg 1920w\" sizes=\"(max-width: 2504px) 100vw, 2504px\">\u003cfigcaption class=\"wp-caption-text\">The image that Raphael Saadiq put on a billboard in Oakland to announce Tony! Toni! Toné!’s reunion tour. \u003ccite>(David 'Odiwams' Wright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know, we’ve not just played music in that city, but we’ve lost family members in that city. We ate a lot of cheeseburgers in that city. We ate a lot of donuts. We’ve had a lot of fights with people. We dodged bullets… We watched karate movies at Eastmont Mall at the Lux. We got to watch buildings go up and go down. We watched the whole city change from Black to what it is now. You know, we’ve seen a lot. We walked those streets so much. We watched our parents get old and, you know, watched our father [pass away]. So many people we said ‘good morning’ to that’s not there no more. Older people who taught us, that died a natural death, who had a good life.\u003c/p>\n\u003cp>So we have a lot ingrained in us that’s not just music. We’re not just music anymore. We’re feeling like this ancestor thing coming out. Spirit just took over. We’re just riding the wave. I really feel like that. And that’s how I’ve been feeling on the tour.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: The music is the score to our lives, you know. It helped us stay focused. We learned a lot. We still learn a lot. We walked away from the industry. It wasn’t like we weren’t selling [records]. We just had other goals that we wanted to pursue and it took us a while to gather all of those thoughts and those passions. And when you see us on stage together, you can see we’ve been through a lot and it shines. And Oakland is our base, no matter what.\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Tony! Toni! Toné! plays the Paramount Theatre in Oakland on Nov. 14 and 15, and The Masonic in San Francisco on Nov. 17. \u003ca href=\"https://www.ticketmaster.com/tony-toni-tone-tickets/artist/874672\">Details and ticket info here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Local Surfers Raise Awareness, Call for Ceasefire with ‘Gaza Surf Club’ Screening",
"headTitle": "Local Surfers Raise Awareness, Call for Ceasefire with ‘Gaza Surf Club’ Screening | KQED",
"content": "\u003cp>“Gaza is nothing without the beach. It’s the only escape for the people.”\u003c/p>\n\u003cp>That’s a line from a Palestinian surfer in \u003ca href=\"https://www.youtube.com/watch?v=FdHF9AOZeGw\">\u003ci>Gaza Surf Club\u003c/i>\u003c/a>, a 2016 film which documents an intergenerational and mixed-gender group of surfers in Gaza. On Friday, Nov. 17, the documentary screens in San Francisco and Berkeley as part of a grassroots effort to raise relief funds for families impacted by the ongoing conflict between Israel and Hamas.\u003c/p>\n\u003cp>The death toll from Israeli air strikes in Gaza surpassed 11,000 late last week, according to Gaza’s ministry of health. While the Israeli government has said its air strikes are a necessary response to the Oct. 7 attacks by Hamas that took around 240 people hostage and killed approximately 1,200 in Israel, a human rights expert from the U.N. has said the Israeli military’s current bombardment could soon amount to “\u003ca href=\"https://www.ohchr.org/en/press-releases/2023/10/un-expert-warns-new-instance-mass-ethnic-cleansing-palestinians-calls\">ethnic cleansing\u003c/a>.”\u003c/p>\n\u003cp>“This is about amplifying Palestinian voices, which aren’t very accessible right now,” says Yasmine El-Hage, a Bay Area surfer of Lebanese, Peruvian and Iranian descent who is co-organizing the San Francisco event. “Lives in the Middle East and for people of color worldwide aren’t valued equally in our discourse. We see the numbers [of deaths] rising to 11,000, but we need to be reminded that these are people with dreams, just like us.”\u003c/p>\n\u003cp>For El-Hage and her community of waveriders, that means cultivating a space for connection and discourse centered on a universal human need: access to water. El-Hage — who has volunteered her time as a member of an oil spill emergency response team, and who is active in advocating for clean water rights in San Francisco’s Bayview-Hunters Point community — has previously worked in refugee camps amid various crises. For her, surfing is an escape and a reflection of the human condition, regardless of where you stand on a map.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[Surfing is] a taste of freedom for all of us, no matter what you’re doing, whatever is going on, you just go out into the ocean and it’s incredibly peaceful,” El-Hage says. “So many of us understand that feeling deeply.”\u003c/p>\n\u003cp>The screening marks a collaboration between El-Hage and other surfers and community advocates: Drew Madsen of the \u003ca href=\"https://bwtf.surfrider.org/\">Blue Water Task Force\u003c/a> and Golden Gate Longboard Collective; Leenah, a surfer who is organizing a Surf Power Hour in solidarity with Palestinians in the Peninsula; and Marie Salem, a California community organizer.\u003c/p>\n\u003cp>The organizers welcome those in the Bay Area who care about the conflict in Gaza but haven’t been quite sure how to get involved. In addition to the screening, a friend of El-Hage, who grew up in Gaza and currently has family there, will speak about their experiences in a Q&A after the film. And the Bay Area’s own \u003ca href=\"https://www.kqed.org/arts/13928345/mishmish-vegan-palestinian-pop-up\">vegan Palestinian pop-up, Mishmish\u003c/a>, will be on hand to serve diasporic plates throughout the night.\u003c/p>\n\u003cfigure id=\"attachment_13928355\" class=\"wp-caption alignnone\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg\" alt=\"\" width=\"1366\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1025x1536.jpeg 1025w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Bazella, a carrot and green pea stew, served at Mishmish. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The screening will be hosted at a private location with a suggestion donation of $10, and the option to lend additional aid to the \u003ca href=\"https://www.palestinercs.org/en\">Palestine Red Crescent Society\u003c/a>, a member of the International Red Cross. In order to attend, audience members must show proof of having reached out to their representatives \u003ca href=\"https://www.jewishvoiceforpeace.org/resource/call-congress-support-ceasefire/\">calling for a ceasefire\u003c/a>.\u003c/p>\n\u003cp>Coincidentally, the East Bay surf club \u003ca href=\"https://www.instagram.com/queersurf/?hl=en\">Queer Surf\u003c/a>, in conjunction with Cinema Iran, will screen the film in Berkeley that same night. El-Hage says the events weren’t coordinated, but are a reflection of a “collective consciousness in this heavy moment.”\u003c/p>\n\u003cp>El-Hage, who is in the process of applying to medical school, notes that 2.2 million people in Gaza currently don’t have access to food, water, fuel, electricity, medicine and other basic needs. “Why are we calling for a ceasefire? People are lacking basic services and are under siege,” she says. “\u003ca href=\"https://www.npr.org/2023/10/19/1206479861/israel-gaza-hamas-children-population-war-palestinians\">40% of them are under the age of 14\u003c/a>. That’s a crucial humanitarian issue.”\u003c/p>\n\u003cp>El-Hage continues: “Here in the Bay Area, we love surfing. We love the ocean. We can all approach this with that love and learn about a group of amazing people who just happen to speak another language, and that can lead to taking more action.”\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>\u003cem>\u003ca href=\"https://gazasurfclub.com/\">‘Gaza Surf Club’\u003c/a> screens in San Francisco on Friday, Nov. 17 at 7 p.m. For more details, \u003ca href=\"mailto:sfsurfingpals@gmail.com\">email the organizers\u003c/a>. \u003ca href=\"https://www.instagram.com/queersurf/?hl=en\">Queer Surf\u003c/a> will screen the film Friday, Nov. 17 at 7 p.m. at \u003ca href=\"https://www.2727.today/\">2727 Gallery\u003c/a> (2727 California St., Berkeley). $10 donation suggested. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Gaza is nothing without the beach. It’s the only escape for the people.”\u003c/p>\n\u003cp>That’s a line from a Palestinian surfer in \u003ca href=\"https://www.youtube.com/watch?v=FdHF9AOZeGw\">\u003ci>Gaza Surf Club\u003c/i>\u003c/a>, a 2016 film which documents an intergenerational and mixed-gender group of surfers in Gaza. On Friday, Nov. 17, the documentary screens in San Francisco and Berkeley as part of a grassroots effort to raise relief funds for families impacted by the ongoing conflict between Israel and Hamas.\u003c/p>\n\u003cp>The death toll from Israeli air strikes in Gaza surpassed 11,000 late last week, according to Gaza’s ministry of health. While the Israeli government has said its air strikes are a necessary response to the Oct. 7 attacks by Hamas that took around 240 people hostage and killed approximately 1,200 in Israel, a human rights expert from the U.N. has said the Israeli military’s current bombardment could soon amount to “\u003ca href=\"https://www.ohchr.org/en/press-releases/2023/10/un-expert-warns-new-instance-mass-ethnic-cleansing-palestinians-calls\">ethnic cleansing\u003c/a>.”\u003c/p>\n\u003cp>“This is about amplifying Palestinian voices, which aren’t very accessible right now,” says Yasmine El-Hage, a Bay Area surfer of Lebanese, Peruvian and Iranian descent who is co-organizing the San Francisco event. “Lives in the Middle East and for people of color worldwide aren’t valued equally in our discourse. We see the numbers [of deaths] rising to 11,000, but we need to be reminded that these are people with dreams, just like us.”\u003c/p>\n\u003cp>For El-Hage and her community of waveriders, that means cultivating a space for connection and discourse centered on a universal human need: access to water. El-Hage — who has volunteered her time as a member of an oil spill emergency response team, and who is active in advocating for clean water rights in San Francisco’s Bayview-Hunters Point community — has previously worked in refugee camps amid various crises. For her, surfing is an escape and a reflection of the human condition, regardless of where you stand on a map.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[Surfing is] a taste of freedom for all of us, no matter what you’re doing, whatever is going on, you just go out into the ocean and it’s incredibly peaceful,” El-Hage says. “So many of us understand that feeling deeply.”\u003c/p>\n\u003cp>The screening marks a collaboration between El-Hage and other surfers and community advocates: Drew Madsen of the \u003ca href=\"https://bwtf.surfrider.org/\">Blue Water Task Force\u003c/a> and Golden Gate Longboard Collective; Leenah, a surfer who is organizing a Surf Power Hour in solidarity with Palestinians in the Peninsula; and Marie Salem, a California community organizer.\u003c/p>\n\u003cp>The organizers welcome those in the Bay Area who care about the conflict in Gaza but haven’t been quite sure how to get involved. In addition to the screening, a friend of El-Hage, who grew up in Gaza and currently has family there, will speak about their experiences in a Q&A after the film. And the Bay Area’s own \u003ca href=\"https://www.kqed.org/arts/13928345/mishmish-vegan-palestinian-pop-up\">vegan Palestinian pop-up, Mishmish\u003c/a>, will be on hand to serve diasporic plates throughout the night.\u003c/p>\n\u003cfigure id=\"attachment_13928355\" class=\"wp-caption alignnone\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg\" alt=\"\" width=\"1366\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5HOA9KqO.jpg-large-1025x1536.jpeg 1025w\" sizes=\"(max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Bazella, a carrot and green pea stew, served at Mishmish. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The screening will be hosted at a private location with a suggestion donation of $10, and the option to lend additional aid to the \u003ca href=\"https://www.palestinercs.org/en\">Palestine Red Crescent Society\u003c/a>, a member of the International Red Cross. In order to attend, audience members must show proof of having reached out to their representatives \u003ca href=\"https://www.jewishvoiceforpeace.org/resource/call-congress-support-ceasefire/\">calling for a ceasefire\u003c/a>.\u003c/p>\n\u003cp>Coincidentally, the East Bay surf club \u003ca href=\"https://www.instagram.com/queersurf/?hl=en\">Queer Surf\u003c/a>, in conjunction with Cinema Iran, will screen the film in Berkeley that same night. El-Hage says the events weren’t coordinated, but are a reflection of a “collective consciousness in this heavy moment.”\u003c/p>\n\u003cp>El-Hage, who is in the process of applying to medical school, notes that 2.2 million people in Gaza currently don’t have access to food, water, fuel, electricity, medicine and other basic needs. “Why are we calling for a ceasefire? People are lacking basic services and are under siege,” she says. “\u003ca href=\"https://www.npr.org/2023/10/19/1206479861/israel-gaza-hamas-children-population-war-palestinians\">40% of them are under the age of 14\u003c/a>. That’s a crucial humanitarian issue.”\u003c/p>\n\u003cp>El-Hage continues: “Here in the Bay Area, we love surfing. We love the ocean. We can all approach this with that love and learn about a group of amazing people who just happen to speak another language, and that can lead to taking more action.”\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>\u003cem>\u003ca href=\"https://gazasurfclub.com/\">‘Gaza Surf Club’\u003c/a> screens in San Francisco on Friday, Nov. 17 at 7 p.m. For more details, \u003ca href=\"mailto:sfsurfingpals@gmail.com\">email the organizers\u003c/a>. \u003ca href=\"https://www.instagram.com/queersurf/?hl=en\">Queer Surf\u003c/a> will screen the film Friday, Nov. 17 at 7 p.m. at \u003ca href=\"https://www.2727.today/\">2727 Gallery\u003c/a> (2727 California St., Berkeley). $10 donation suggested. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Team of All-Star Chefs Offers a ‘Multisensory Experience’ Inspired by Mexican Immigration",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13933138/bolita-masa-berkeley-pop-up-farmers-market-tetelas-tamales\">Emmanuel Galvan\u003c/a>, the Mexican American chef and founder of \u003ca href=\"https://www.instagram.com/bolitamasa/\">Berkeley’s Bolita Masa\u003c/a>, doesn’t know how to define home. It’s an elusive concept for the San Francisco resident who grew up in Napa Valley raised by Mexican immigrants.\u003c/p>\n\u003cp>“As the son of Jalisco, I don’t feel like I’m from there. I don’t feel Mexican enough,” Galvan says. “But I also don’t feel white enough to fit into [the United States]. As Mexican Americans, we’re battling that tension. [Food] is a way to address that.”\u003c/p>\n\u003cp>Luckily for the tortilla-loving gastronome, \u003ca href=\"https://www.kqed.org/arts/13933138/bolita-masa-berkeley-pop-up-farmers-market-tetelas-tamales\">his recipes are a way to explore his origin\u003c/a>: What is it? What does it taste like? And who gets invited to the table to experience it?\u003c/p>\n\u003cp>On Nov. 18, Galvan will explore the various textures and ingredients of being Mexican American by hosting “Ofrendas: Neither Here Nor There.” Co-organized with Jacob Croom of \u003ca href=\"https://www.instagram.com/my.friend.fernando/\">My Friend Fernando\u003c/a> (a Chicano supper club that migrates around the East Bay), the event will showcase five chefs from around the U.S. and Mexico in a “multisensory hour” of small bites, drinks, cumbia music and art at the \u003ca href=\"https://www.kqed.org/arts/tag/institute-for-contemporary-art\">Institute of Contemporary Art\u003c/a> in San Francisco’s Dogpatch.\u003c/p>\n\u003cp>In addition to Galvan and Croom, “Ofrendas” will feature Luna Vela of the James Beard Award-winning \u003ca href=\"https://www.instagram.com/nixtataqueria/\">Nixta Taqueria\u003c/a> in Austin; \u003ca href=\"https://atlanta.eater.com/2022/5/12/23067797/atlanta-chef-maricela-vega-launching-masa-tortilla-business-chico\">Maricela Vega\u003c/a>, who cut her teeth as the executive chef at Atlanta’s 8ARM; and Tony Ortiz, who originally hails from Zacatecas and recently launched \u003ca href=\"https://www.instagram.com/chileconmiel/?hl=en\">Chile Con Miel\u003c/a> in New York City. The \u003ca href=\"https://www.instagram.com/bsidebrujas/?hl=en\">B-Side Brujas\u003c/a> will also be in the house, spinning Spanish music vinyls.\u003c/p>\n\u003cfigure id=\"attachment_13937892\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/ofrendas-bowl.jpg\" alt=\"filled with Mexican soup presented against a bright pink backdrop\" width=\"1920\" height=\"2353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-800x980.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-1020x1250.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-768x941.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-1253x1536.jpg 1253w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-1671x2048.jpg 1671w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luna Vela’s tortilla bowls are an ode to childhood soups presented in an elevated form. \u003ccite>(Courtesy of Emmanuel Galvin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The meal itself won’t be a sit-down dinner. In fact, there won’t be any seating at all. Instead, guests are encouraged to mingle and explore — and to check out the artwork being displayed in the museum itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Through these projects we learn more about who we are and get to express that a little bit more,” says Galvan. “We don’t always explore the actual tensions and the disparity that exists in Mexico. We’re trying to present history through the romance of its ingredients. Some of us will address it more directly in our dishes. Some of it will happen through conversations.”\u003c/p>\n\u003cp>The New York City–based Ortiz, for example, is preparing nicuatole, an indigenous Oaxacan corn gelatin dessert with fig leaf oil and quince. The red puree of his dish is intended to symbolize the loss of lives in \u003ca href=\"https://www.bbc.com/news/world-latin-america-67227493\">a tragic post-hurricane flood that recently devastated western Mexico\u003c/a>.\u003c/p>\n\u003cp>\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13933138,arts_13931115,arts_13920076']\u003c/span>\u003c/strong>\u003c/b>For Galvan’s part, his approach to tamal making is inherently representative of what he feels it’s like to be Mexican American: “Tamales are covered, and [eating one] is an unraveling to see what’s inside. There is a level of complexity about what’s hidden inside for people who want to engage with that. But if you don’t want to, it’s also just a tasty bite to enjoy.”\u003c/p>\n\u003cp>Other dishes will include grilled oysters, star-shaped tortilla bowls filled with sopa de estrellitas, and enchiladas bathed in a squash and sikil’pak (Mayan pumpkin seed) sauce.\u003c/p>\n\u003cp>“Growing up, [indigenous Mexican cuisine] was seen as icky or not sexy,” says Galvan. “But now it’s food that every chef wants to eat or make. This is our offering. An ofrenda.”\u003c/p>\n\u003cp>Galvan and Croom are paying the up-front costs of the event themselves, and they hope to continue offering it as a regular series throughout the Bay Area — which, for now, is home.\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>\u003cem>\u003ca href=\"https://www.icasf.org/calendar/157-ofrendas-neither-here-nor-there\">“Ofrendas: Neither Here Nor There”\u003c/a> will take place at the ICA SF (901 Minnesota St., San Francisco) on Sat., Nov. 18 from 6 to 9 p.m. \u003ca href=\"https://www.icasf.org/calendar/157-ofrendas-neither-here-nor-there\">Tickets are $75\u003c/a> per person and will include five small dishes, two beverages and access to \u003ca href=\"https://www.icasf.org/exhibitions\">the museum’s galleries\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13933138/bolita-masa-berkeley-pop-up-farmers-market-tetelas-tamales\">Emmanuel Galvan\u003c/a>, the Mexican American chef and founder of \u003ca href=\"https://www.instagram.com/bolitamasa/\">Berkeley’s Bolita Masa\u003c/a>, doesn’t know how to define home. It’s an elusive concept for the San Francisco resident who grew up in Napa Valley raised by Mexican immigrants.\u003c/p>\n\u003cp>“As the son of Jalisco, I don’t feel like I’m from there. I don’t feel Mexican enough,” Galvan says. “But I also don’t feel white enough to fit into [the United States]. As Mexican Americans, we’re battling that tension. [Food] is a way to address that.”\u003c/p>\n\u003cp>Luckily for the tortilla-loving gastronome, \u003ca href=\"https://www.kqed.org/arts/13933138/bolita-masa-berkeley-pop-up-farmers-market-tetelas-tamales\">his recipes are a way to explore his origin\u003c/a>: What is it? What does it taste like? And who gets invited to the table to experience it?\u003c/p>\n\u003cp>On Nov. 18, Galvan will explore the various textures and ingredients of being Mexican American by hosting “Ofrendas: Neither Here Nor There.” Co-organized with Jacob Croom of \u003ca href=\"https://www.instagram.com/my.friend.fernando/\">My Friend Fernando\u003c/a> (a Chicano supper club that migrates around the East Bay), the event will showcase five chefs from around the U.S. and Mexico in a “multisensory hour” of small bites, drinks, cumbia music and art at the \u003ca href=\"https://www.kqed.org/arts/tag/institute-for-contemporary-art\">Institute of Contemporary Art\u003c/a> in San Francisco’s Dogpatch.\u003c/p>\n\u003cp>In addition to Galvan and Croom, “Ofrendas” will feature Luna Vela of the James Beard Award-winning \u003ca href=\"https://www.instagram.com/nixtataqueria/\">Nixta Taqueria\u003c/a> in Austin; \u003ca href=\"https://atlanta.eater.com/2022/5/12/23067797/atlanta-chef-maricela-vega-launching-masa-tortilla-business-chico\">Maricela Vega\u003c/a>, who cut her teeth as the executive chef at Atlanta’s 8ARM; and Tony Ortiz, who originally hails from Zacatecas and recently launched \u003ca href=\"https://www.instagram.com/chileconmiel/?hl=en\">Chile Con Miel\u003c/a> in New York City. The \u003ca href=\"https://www.instagram.com/bsidebrujas/?hl=en\">B-Side Brujas\u003c/a> will also be in the house, spinning Spanish music vinyls.\u003c/p>\n\u003cfigure id=\"attachment_13937892\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/ofrendas-bowl.jpg\" alt=\"filled with Mexican soup presented against a bright pink backdrop\" width=\"1920\" height=\"2353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-800x980.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-1020x1250.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-768x941.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-1253x1536.jpg 1253w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ofrendas-bowl-1671x2048.jpg 1671w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luna Vela’s tortilla bowls are an ode to childhood soups presented in an elevated form. \u003ccite>(Courtesy of Emmanuel Galvin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The meal itself won’t be a sit-down dinner. In fact, there won’t be any seating at all. Instead, guests are encouraged to mingle and explore — and to check out the artwork being displayed in the museum itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Through these projects we learn more about who we are and get to express that a little bit more,” says Galvan. “We don’t always explore the actual tensions and the disparity that exists in Mexico. We’re trying to present history through the romance of its ingredients. Some of us will address it more directly in our dishes. Some of it will happen through conversations.”\u003c/p>\n\u003cp>The New York City–based Ortiz, for example, is preparing nicuatole, an indigenous Oaxacan corn gelatin dessert with fig leaf oil and quince. The red puree of his dish is intended to symbolize the loss of lives in \u003ca href=\"https://www.bbc.com/news/world-latin-america-67227493\">a tragic post-hurricane flood that recently devastated western Mexico\u003c/a>.\u003c/p>\n\u003cp>\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>For Galvan’s part, his approach to tamal making is inherently representative of what he feels it’s like to be Mexican American: “Tamales are covered, and [eating one] is an unraveling to see what’s inside. There is a level of complexity about what’s hidden inside for people who want to engage with that. But if you don’t want to, it’s also just a tasty bite to enjoy.”\u003c/p>\n\u003cp>Other dishes will include grilled oysters, star-shaped tortilla bowls filled with sopa de estrellitas, and enchiladas bathed in a squash and sikil’pak (Mayan pumpkin seed) sauce.\u003c/p>\n\u003cp>“Growing up, [indigenous Mexican cuisine] was seen as icky or not sexy,” says Galvan. “But now it’s food that every chef wants to eat or make. This is our offering. An ofrenda.”\u003c/p>\n\u003cp>Galvan and Croom are paying the up-front costs of the event themselves, and they hope to continue offering it as a regular series throughout the Bay Area — which, for now, is home.\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>\u003cem>\u003ca href=\"https://www.icasf.org/calendar/157-ofrendas-neither-here-nor-there\">“Ofrendas: Neither Here Nor There”\u003c/a> will take place at the ICA SF (901 Minnesota St., San Francisco) on Sat., Nov. 18 from 6 to 9 p.m. \u003ca href=\"https://www.icasf.org/calendar/157-ofrendas-neither-here-nor-there\">Tickets are $75\u003c/a> per person and will include five small dishes, two beverages and access to \u003ca href=\"https://www.icasf.org/exhibitions\">the museum’s galleries\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How the Web Series and Album ‘Rent Check’ Are Fueling a ‘San Francisco Renaissance’",
"headTitle": "How the Web Series and Album ‘Rent Check’ Are Fueling a ‘San Francisco Renaissance’ | KQED",
"content": "\u003cp>[dropcap]O[/dropcap]n a Thursday night in rapper-producer \u003ca href=\"https://www.instagram.com/aft.fng/\">Afterthought\u003c/a>’s home studio in the Fillmore, he, fellow musician \u003ca href=\"https://www.instagram.com/baghead.fng/\">Baghead\u003c/a> and comedian \u003ca href=\"https://www.instagram.com/everybodylovezmike/\">Mike Evans Jr.\u003c/a> are plotting out the weekend’s itinerary. It’s the two-year anniversary of their 17-member artist collective, \u003ca href=\"https://www.instagram.com/familynotagroup__/\">Family Not a Group\u003c/a> (FNG), and there are Costco trips to be made (they’re cooking jambalaya for 100 people for their anniversary party at El Rio) and a half-dozen friends’ DJ gigs to hit up.\u003c/p>\n\u003cp>Afterthought is still jet-lagged from his tour in Europe, and Baghead hasn’t even had the chance to take off his nametag from the school where he and Evans work by day. The three are tired and hungry, yet fueled by the excitement of dreams within reach — it’s all in a day’s work for up-and-coming creatives who were born, raised and working hard to stay rooted in one of the most expensive cities in the U.S.\u003c/p>\n\u003cp>That sense of hope and precarity is the backdrop of \u003ca href=\"https://www.youtube.com/playlist?list=PLrtmArB3wmUWthlTLmCihg0YHisf4UU3K\">\u003ci>Rent Check\u003c/i>\u003c/a>, a new web series starring Evans as a fictional version of himself — a relatable, tie-dye-wearing striver trying to make it in San Francisco. Evans started writing it in 2019, and the project catalyzed the formation of FNG, who came together during the recording of the accompanying \u003ci>Rent Check\u003c/i> album in 2021. In the two years since, FNG’s momentum seems to have grown exponentially: the crew’s many endeavors have had a lift-all-boats effect for young, diverse artists from the City, and the energy is contagious.\u003c/p>\n\u003cp>“A lot of people who are around us think about us as having elevated to a level or whatever,” says Afterthought, who executive produced the \u003ci>Rent Check\u003c/i> album with Evans and Baghead. “But we still have no money, and most of us work regular jobs in addition to being artists. It’s the hardest position where it’s like, ‘Do I quit and be so uncertain?’ — which is basically what \u003cem>Rent Check\u003c/em> is dealing with.”\u003c/p>\n\u003cp>https://youtu.be/amSk_NUZUn0?si=-t55CtKinvdIWaI8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The community-funded web series was a huge, collective effort. Evans co-directed \u003ci>Rent Check\u003c/i> with Jules Retzlaff, and the small, independent \u003ca href=\"https://www.instagram.com/surgemediacollective/\">Surge Media Collective\u003c/a>’s Jill Hill and Annie Aguirre came on as producers. The cast includes many FNG members and standout Bay Area musicians like \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\">Stunnaman02\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13913890/la-dona-ybca-san-francisco-guaranteed-income-pilot-artists\">La Doña\u003c/a>. After its YouTube release in May, the show will get a proper celebration Nov. 4 at the \u003ca href=\"https://www.brava.org/all-events/rent-check\">Brava Theater\u003c/a> with a screening and live performance of the \u003ci>Rent Check\u003c/i> album, which hits streaming platforms on Nov. 3.\u003c/p>\n\u003cp>“I think it’s very Bay Area and of us to have been like, ‘We’re gonna do this shit grassroots and do this shit on our own,’” Evans says.\u003c/p>\n\u003cfigure id=\"attachment_13936838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936838\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg\" alt=\"A person wearing a baseball cap holds a basketball covered in signatures.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Evans Jr. holds a basketball signed by everyone who collaborated on his web series, ‘Rent Check,’ in San Francisco on Oct. 19, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]I[/dropcap]n \u003ci>Rent Check\u003c/i>’s surreal vignettes, as the fictional Evans communes with a hyphy ghost and battles bullies on the basketball court, the 12 episodes coalesce into an absurd, hilarious and at-times poignant story about a young man’s search for meaning and belonging.\u003c/p>\n\u003cp>Amid gross-out gags and raunchy jokes, \u003ci>Rent Check\u003c/i> is sophisticated in how it blends social and political commentary with humor, building on Bay Area shows and films like Rafael Casal and Daveed Diggs’ \u003ca href=\"https://www.kqed.org/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race\">\u003ci>Blindspotting\u003c/i>\u003c/a>, Boots Riley’s \u003ca href=\"https://www.kqed.org/arts/13930923/tune-yards-boots-riley-im-a-virgo\">\u003ci>I’m a Virgo\u003c/i>\u003c/a> and Joe Talbot’s \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003ci>Last Black Man of San Francisco\u003c/i>\u003c/a> (whose star, Jimmie Fails, plays a fitness coach in \u003cem>Rent Check\u003c/em>). Race, gentrification and inequality are the focal points of those works, but \u003ci>Rent Check\u003c/i> doesn’t strain to overly explain itself. Instead, social injustices are the backdrop of Evans’ misadventures, and, by trusting the viewer to \u003ci>get it\u003c/i>, the show is able to take the conversation to interesting places.\u003c/p>\n\u003cp>https://youtu.be/aJy_-GNJysQ?si=jBCAXG9c6RzEPf5S\u003c/p>\n\u003cp>A particularly hard-hitting episode called \u003ci>Pimp of the Year\u003c/i> explores a viewpoint often heard on the street level of Bay Area activism, about the limitations of electoral politics. While smoking weed dressed as Spiderman on Halloween, days before the 2020 election, the fictional Evans argues the importance of voting blue to two friends (in cheesy zebra-print coats and dollar-sign necklaces) who insist that all politicians are pimps.\u003c/p>\n\u003cp>“A president never change shit in the hood, bro,” says a character played by rapper-activist \u003ca href=\"https://www.kqed.org/arts/13936224/hyphy-kids-got-trauma-pt-4-my-generations-report-card\">Rich Iyala\u003c/a>. “Never! As far as I’m concerned, it’s just another white man in power.”\u003c/p>\n\u003cp>To Evans, the encounter hasn’t lost its relevance in 2023. “In all reality, it’s like no matter who the president is, they’re still a part of the same fucked up machine that’s literally killing babies across across the world right now,” Evans says. “In that episode I play the character of the typical person that believes in the two-party system, that believes all Democrats are our saviors.” [aside label='More on San Francisco Artists' postid='arts_13934125,arts_13928057,arts_13932870']\u003c/p>\n\u003cp>[dropcap]T[/dropcap]hese political conversations aren’t just happening on screen. Evans met Iyala on a trip to Sacramento to protest statewide police brutality, and many of the \u003ci>Rent Check\u003c/i> collaborators have a history of boots-on-the-ground social justice activism. Evans connected with \u003ci>Rent Check\u003c/i> series co-director Jules Retzlaff while campaigning for justice for Mario Woods, who was killed by the San Francisco Police Department in 2015. And in 2016, Retzlaff and \u003ci>Rent Check\u003c/i> album executive producer Baghead were two of the four \u003ca href=\"https://www.kqed.org/news/10944195/s-f-state-students-go-on-hunger-strike-for-raise-in-ethnic-studies-budget\">San Francisco State University students who participated in a hunger strike\u003c/a> in response to cuts to the ethnic studies department.\u003c/p>\n\u003cp>The crew’s politics come across poignantly on the \u003ci>Rent Check\u003c/i> album track “Cut the Stimmy” by EaSWay, Frak, Afterthought and Kaly Jay (who plays the aforementioned hyphy ghost), where a chorus of “fuck Joe Biden” is rambunctious enough to incite a mosh pit.\u003c/p>\n\u003cp>https://youtu.be/i_TJpYcz2lc?si=8P1M6jraAnHGDDEq\u003c/p>\n\u003cp>“The way we’re pushing the song now is trying to express that politics is about who has right to food and water, who has a right to shelter, who doesn’t,” says Baghead. “Whether it’s gentrification in San Francisco or what’s happening in Palestine, we see the establishment as people who continue to support the structures that are in place now that will put profit — put wealth, capital — over people’s lives.”\u003c/p>\n\u003cp>The \u003ci>Rent Check\u003c/i> crew and FNG might look like they’re all about having a good time on the surface, but there’s a deeper purpose to bringing people together through laughter. After so many working class people and artists have been pushed out, Baghead calls what they’re doing the “San Francisco renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13936839\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936839\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED.jpg\" alt=\"A collage of polaroid-type photos of people hand on a wall indoors.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Polaroid photos of ‘Rent Check’ collaborators hang on the door of Afterthought’s home studio in San Francisco on Oct. 19, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Really what I want for us is more stability in our artistic careers and in San Francisco — that’s the constant fight that we’re battling,” says Afterthought, noting the album and many FNG projects wouldn’t have happened without his parents generously opening their home to their huge crew of 20-somethings. “I get a parking ticket now and it’s like, all right, well, I gotta pay for the parking ticket, or I pay for this music video.”\u003c/p>\n\u003cp>“We have hella fun, but we’re still creating music in spaces where we’re critically thinking about what’s happening and what our role is as a people,” Baghead adds, “What can we do, you know? And doing it from a place of knowing that we deserve to have joy.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Rent Check film screening and concert takes place at the Brava Theater in San Francisco on Nov. 4. \u003ca href=\"https://www.brava.org/all-events/rent-check\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n a Thursday night in rapper-producer \u003ca href=\"https://www.instagram.com/aft.fng/\">Afterthought\u003c/a>’s home studio in the Fillmore, he, fellow musician \u003ca href=\"https://www.instagram.com/baghead.fng/\">Baghead\u003c/a> and comedian \u003ca href=\"https://www.instagram.com/everybodylovezmike/\">Mike Evans Jr.\u003c/a> are plotting out the weekend’s itinerary. It’s the two-year anniversary of their 17-member artist collective, \u003ca href=\"https://www.instagram.com/familynotagroup__/\">Family Not a Group\u003c/a> (FNG), and there are Costco trips to be made (they’re cooking jambalaya for 100 people for their anniversary party at El Rio) and a half-dozen friends’ DJ gigs to hit up.\u003c/p>\n\u003cp>Afterthought is still jet-lagged from his tour in Europe, and Baghead hasn’t even had the chance to take off his nametag from the school where he and Evans work by day. The three are tired and hungry, yet fueled by the excitement of dreams within reach — it’s all in a day’s work for up-and-coming creatives who were born, raised and working hard to stay rooted in one of the most expensive cities in the U.S.\u003c/p>\n\u003cp>That sense of hope and precarity is the backdrop of \u003ca href=\"https://www.youtube.com/playlist?list=PLrtmArB3wmUWthlTLmCihg0YHisf4UU3K\">\u003ci>Rent Check\u003c/i>\u003c/a>, a new web series starring Evans as a fictional version of himself — a relatable, tie-dye-wearing striver trying to make it in San Francisco. Evans started writing it in 2019, and the project catalyzed the formation of FNG, who came together during the recording of the accompanying \u003ci>Rent Check\u003c/i> album in 2021. In the two years since, FNG’s momentum seems to have grown exponentially: the crew’s many endeavors have had a lift-all-boats effect for young, diverse artists from the City, and the energy is contagious.\u003c/p>\n\u003cp>“A lot of people who are around us think about us as having elevated to a level or whatever,” says Afterthought, who executive produced the \u003ci>Rent Check\u003c/i> album with Evans and Baghead. “But we still have no money, and most of us work regular jobs in addition to being artists. It’s the hardest position where it’s like, ‘Do I quit and be so uncertain?’ — which is basically what \u003cem>Rent Check\u003c/em> is dealing with.”\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/amSk_NUZUn0'\n title='//www.youtube.com/embed/amSk_NUZUn0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The community-funded web series was a huge, collective effort. Evans co-directed \u003ci>Rent Check\u003c/i> with Jules Retzlaff, and the small, independent \u003ca href=\"https://www.instagram.com/surgemediacollective/\">Surge Media Collective\u003c/a>’s Jill Hill and Annie Aguirre came on as producers. The cast includes many FNG members and standout Bay Area musicians like \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\">Stunnaman02\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13913890/la-dona-ybca-san-francisco-guaranteed-income-pilot-artists\">La Doña\u003c/a>. After its YouTube release in May, the show will get a proper celebration Nov. 4 at the \u003ca href=\"https://www.brava.org/all-events/rent-check\">Brava Theater\u003c/a> with a screening and live performance of the \u003ci>Rent Check\u003c/i> album, which hits streaming platforms on Nov. 3.\u003c/p>\n\u003cp>“I think it’s very Bay Area and of us to have been like, ‘We’re gonna do this shit grassroots and do this shit on our own,’” Evans says.\u003c/p>\n\u003cfigure id=\"attachment_13936838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936838\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg\" alt=\"A person wearing a baseball cap holds a basketball covered in signatures.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-012-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Evans Jr. holds a basketball signed by everyone who collaborated on his web series, ‘Rent Check,’ in San Francisco on Oct. 19, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n \u003ci>Rent Check\u003c/i>’s surreal vignettes, as the fictional Evans communes with a hyphy ghost and battles bullies on the basketball court, the 12 episodes coalesce into an absurd, hilarious and at-times poignant story about a young man’s search for meaning and belonging.\u003c/p>\n\u003cp>Amid gross-out gags and raunchy jokes, \u003ci>Rent Check\u003c/i> is sophisticated in how it blends social and political commentary with humor, building on Bay Area shows and films like Rafael Casal and Daveed Diggs’ \u003ca href=\"https://www.kqed.org/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race\">\u003ci>Blindspotting\u003c/i>\u003c/a>, Boots Riley’s \u003ca href=\"https://www.kqed.org/arts/13930923/tune-yards-boots-riley-im-a-virgo\">\u003ci>I’m a Virgo\u003c/i>\u003c/a> and Joe Talbot’s \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003ci>Last Black Man of San Francisco\u003c/i>\u003c/a> (whose star, Jimmie Fails, plays a fitness coach in \u003cem>Rent Check\u003c/em>). Race, gentrification and inequality are the focal points of those works, but \u003ci>Rent Check\u003c/i> doesn’t strain to overly explain itself. Instead, social injustices are the backdrop of Evans’ misadventures, and, by trusting the viewer to \u003ci>get it\u003c/i>, the show is able to take the conversation to interesting places.\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/aJy_-GNJysQ'\n title='//www.youtube.com/embed/aJy_-GNJysQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A particularly hard-hitting episode called \u003ci>Pimp of the Year\u003c/i> explores a viewpoint often heard on the street level of Bay Area activism, about the limitations of electoral politics. While smoking weed dressed as Spiderman on Halloween, days before the 2020 election, the fictional Evans argues the importance of voting blue to two friends (in cheesy zebra-print coats and dollar-sign necklaces) who insist that all politicians are pimps.\u003c/p>\n\u003cp>“A president never change shit in the hood, bro,” says a character played by rapper-activist \u003ca href=\"https://www.kqed.org/arts/13936224/hyphy-kids-got-trauma-pt-4-my-generations-report-card\">Rich Iyala\u003c/a>. “Never! As far as I’m concerned, it’s just another white man in power.”\u003c/p>\n\u003cp>To Evans, the encounter hasn’t lost its relevance in 2023. “In all reality, it’s like no matter who the president is, they’re still a part of the same fucked up machine that’s literally killing babies across across the world right now,” Evans says. “In that episode I play the character of the typical person that believes in the two-party system, that believes all Democrats are our saviors.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>hese political conversations aren’t just happening on screen. Evans met Iyala on a trip to Sacramento to protest statewide police brutality, and many of the \u003ci>Rent Check\u003c/i> collaborators have a history of boots-on-the-ground social justice activism. Evans connected with \u003ci>Rent Check\u003c/i> series co-director Jules Retzlaff while campaigning for justice for Mario Woods, who was killed by the San Francisco Police Department in 2015. And in 2016, Retzlaff and \u003ci>Rent Check\u003c/i> album executive producer Baghead were two of the four \u003ca href=\"https://www.kqed.org/news/10944195/s-f-state-students-go-on-hunger-strike-for-raise-in-ethnic-studies-budget\">San Francisco State University students who participated in a hunger strike\u003c/a> in response to cuts to the ethnic studies department.\u003c/p>\n\u003cp>The crew’s politics come across poignantly on the \u003ci>Rent Check\u003c/i> album track “Cut the Stimmy” by EaSWay, Frak, Afterthought and Kaly Jay (who plays the aforementioned hyphy ghost), where a chorus of “fuck Joe Biden” is rambunctious enough to incite a mosh pit.\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/i_TJpYcz2lc'\n title='//www.youtube.com/embed/i_TJpYcz2lc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The way we’re pushing the song now is trying to express that politics is about who has right to food and water, who has a right to shelter, who doesn’t,” says Baghead. “Whether it’s gentrification in San Francisco or what’s happening in Palestine, we see the establishment as people who continue to support the structures that are in place now that will put profit — put wealth, capital — over people’s lives.”\u003c/p>\n\u003cp>The \u003ci>Rent Check\u003c/i> crew and FNG might look like they’re all about having a good time on the surface, but there’s a deeper purpose to bringing people together through laughter. After so many working class people and artists have been pushed out, Baghead calls what they’re doing the “San Francisco renaissance.”\u003c/p>\n\u003cfigure id=\"attachment_13936839\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936839\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED.jpg\" alt=\"A collage of polaroid-type photos of people hand on a wall indoors.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231019-RentCheck-013-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Polaroid photos of ‘Rent Check’ collaborators hang on the door of Afterthought’s home studio in San Francisco on Oct. 19, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Really what I want for us is more stability in our artistic careers and in San Francisco — that’s the constant fight that we’re battling,” says Afterthought, noting the album and many FNG projects wouldn’t have happened without his parents generously opening their home to their huge crew of 20-somethings. “I get a parking ticket now and it’s like, all right, well, I gotta pay for the parking ticket, or I pay for this music video.”\u003c/p>\n\u003cp>“We have hella fun, but we’re still creating music in spaces where we’re critically thinking about what’s happening and what our role is as a people,” Baghead adds, “What can we do, you know? And doing it from a place of knowing that we deserve to have joy.”\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Rent Check film screening and concert takes place at the Brava Theater in San Francisco on Nov. 4. \u003ca href=\"https://www.brava.org/all-events/rent-check\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Berkeley’s Rexx Life Raj Provides Medicine for the Soul on 'California Poppy 3'",
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"content": "\u003cp>It’s always a bright moment in the Bay Area whenever \u003ca href=\"https://www.instagram.com/rexxliferaj/?hl=en\">Rexx Life Raj\u003c/a> — Berkeley’s ascendant, bluesy rapper — drops a new album.\u003c/p>\n\u003cp>Over the past decade, Raj has been on a dynastic run of spiritual music-making. With each release, he’s built a trademark sound as an introspective, emotionally charged lyricist who can shift seamlessly from \u003ca href=\"https://www.youtube.com/watch?v=LGa1Gbt3ElA\">bragging about owning Teslas\u003c/a> to deeply \u003ca href=\"https://www.kqed.org/arts/13915940/rexx-life-raj-the-blue-hour-empire\">mourning the loss of his parents\u003c/a>.\u003c/p>\n\u003cp>Now, he returns with \u003ci>California Poppy 3\u003c/i>, the third installment in an ongoing series. The \u003ci>California Poppy\u003c/i> triumvirate spans more than six years of Raj’s life, and maintains a unifying sound and theme that feel like one endlessly expansive album, with each installment arriving a few years apart. With messages about self-love and coping through trauma, his music has become a sort of audio medicine for fans.\u003c/p>\n\u003cp>Featuring local rap stars with epic statures of their own like Kamaiyah, Damian Lillard and LaRussell, \u003cem>California Poppy 3\u003c/em> is as soulful and summery as Raj’s previous explorations on joyful West Coast living.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IsU51o2zyys\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Singles like “\u003ca href=\"https://www.youtube.com/watch?v=Opij5eEKNBM\">Dandelion Root\u003c/a>” exemplify the rapper’s sense of intentional living and aphoristic wisdom. Over an acoustic-washed instrumental, he scorns his generation’s addiction to lustful attention-seeking: “Slow motion better than no motion, gradual ascension… I can’t trust no [man] that free his morals to grab attention / After you done hoeing yourself out, what you gon’ tell your children?”\u003c/p>\n\u003cp>Across the album, Raj — a former football player — is like a sage village elder rhapsodizing about his mistakes, his accomplishments, and his aspirations for a brighter outcome. With a subdued style in contrast to the typical frequency of aggressively cocky rap, he’s carved out a clear and necessary lane in an overcrowded genre. Rather than overpowering the listener with empty production or unchecked egoism, his toned-down vocals are refreshing, uplifting and soul-repairing.\u003c/p>\n\u003cp>But the thing about Raj is that he knows how to flex, too. In the saucy video for “\u003ca href=\"https://www.youtube.com/watch?v=G_8fURKT_yE\">Backslide\u003c/a>,” he rides around Barcelona in foreign machinery while wearing a handwoven tie-dye hat and Makaveli T-shirt, displaying a hard-earned, lavish lifestyle. For a kid from Telegraph Avenue who just a few years ago rapped “Look, I ain’t never had shit / I always wanted more, though,” he’s certainly made it.\u003c/p>\n\u003cp>Just a few days ago, Rexx posted that “i’ve always had an idealized version of myself in my mind. life is the never ending journey to reach him.” In \u003cem>California Poppy 3\u003c/em>, he’s one step closer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rexx Life Raj’s release party for ‘California Poppy 3’ is on Sunday, Oct. 29, at Victory Hall (360 Ritch St., San Francisco) from 6 p.m. to 10 p.m. \u003ca href=\"https://partiful.com/e/gG7dUmvHnsRlDApLO7pw\">Details and RSVP here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s always a bright moment in the Bay Area whenever \u003ca href=\"https://www.instagram.com/rexxliferaj/?hl=en\">Rexx Life Raj\u003c/a> — Berkeley’s ascendant, bluesy rapper — drops a new album.\u003c/p>\n\u003cp>Over the past decade, Raj has been on a dynastic run of spiritual music-making. With each release, he’s built a trademark sound as an introspective, emotionally charged lyricist who can shift seamlessly from \u003ca href=\"https://www.youtube.com/watch?v=LGa1Gbt3ElA\">bragging about owning Teslas\u003c/a> to deeply \u003ca href=\"https://www.kqed.org/arts/13915940/rexx-life-raj-the-blue-hour-empire\">mourning the loss of his parents\u003c/a>.\u003c/p>\n\u003cp>Now, he returns with \u003ci>California Poppy 3\u003c/i>, the third installment in an ongoing series. The \u003ci>California Poppy\u003c/i> triumvirate spans more than six years of Raj’s life, and maintains a unifying sound and theme that feel like one endlessly expansive album, with each installment arriving a few years apart. With messages about self-love and coping through trauma, his music has become a sort of audio medicine for fans.\u003c/p>\n\u003cp>Featuring local rap stars with epic statures of their own like Kamaiyah, Damian Lillard and LaRussell, \u003cem>California Poppy 3\u003c/em> is as soulful and summery as Raj’s previous explorations on joyful West Coast living.\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/IsU51o2zyys'\n title='//www.youtube.com/embed/IsU51o2zyys'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Singles like “\u003ca href=\"https://www.youtube.com/watch?v=Opij5eEKNBM\">Dandelion Root\u003c/a>” exemplify the rapper’s sense of intentional living and aphoristic wisdom. Over an acoustic-washed instrumental, he scorns his generation’s addiction to lustful attention-seeking: “Slow motion better than no motion, gradual ascension… I can’t trust no [man] that free his morals to grab attention / After you done hoeing yourself out, what you gon’ tell your children?”\u003c/p>\n\u003cp>Across the album, Raj — a former football player — is like a sage village elder rhapsodizing about his mistakes, his accomplishments, and his aspirations for a brighter outcome. With a subdued style in contrast to the typical frequency of aggressively cocky rap, he’s carved out a clear and necessary lane in an overcrowded genre. Rather than overpowering the listener with empty production or unchecked egoism, his toned-down vocals are refreshing, uplifting and soul-repairing.\u003c/p>\n\u003cp>But the thing about Raj is that he knows how to flex, too. In the saucy video for “\u003ca href=\"https://www.youtube.com/watch?v=G_8fURKT_yE\">Backslide\u003c/a>,” he rides around Barcelona in foreign machinery while wearing a handwoven tie-dye hat and Makaveli T-shirt, displaying a hard-earned, lavish lifestyle. For a kid from Telegraph Avenue who just a few years ago rapped “Look, I ain’t never had shit / I always wanted more, though,” he’s certainly made it.\u003c/p>\n\u003cp>Just a few days ago, Rexx posted that “i’ve always had an idealized version of myself in my mind. life is the never ending journey to reach him.” In \u003cem>California Poppy 3\u003c/em>, he’s one step closer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rexx Life Raj’s release party for ‘California Poppy 3’ is on Sunday, Oct. 29, at Victory Hall (360 Ritch St., San Francisco) from 6 p.m. to 10 p.m. \u003ca href=\"https://partiful.com/e/gG7dUmvHnsRlDApLO7pw\">Details and RSVP here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Book Tells the Stud’s History Through Hundreds of Bartender-Made Pins",
"headTitle": "A New Book Tells the Stud’s History Through Hundreds of Bartender-Made Pins | KQED",
"content": "\u003cp>It’s been a banner few months for one of San Francisco’s most important queer venues. The Stud, which closed its doors in the first months of the pandemic, \u003ca href=\"https://www.kqed.org/arts/13934286/the-stud-will-reopen-in-a-new-location-in-early-2024\">recently announced\u003c/a> it will reopen in early 2024 in a new location, continuing the bar’s now 57-year history.\u003c/p>\n\u003cp>[aside postID='arts_13934286']In further cause for celebration, that history will soon be even more visible thanks to an image-filled, nearly 200-page book published by the Oakland press \u003ca href=\"https://www.instagram.com/landandseaoakland/\">Land and Sea\u003c/a>. \u003ci>\u003ca href=\"https://studpinarchives.com/Book\">The Stud Pin Archive and Ephemera 1970–1999\u003c/a>\u003c/i> contains photographs, news clippings and documentation of the Stud’s pin collection (numbering over 250 pins!), lovingly documented by former bartender Chloe Miller. On Friday, Oct. 20, \u003ca href=\"https://etaletc.com/\">Et al.\u003c/a>’s Mission Street gallery will host a launch party for the book, with music and performances befitting the eclectic, welcoming nature of the bar.\u003c/p>\n\u003cp>For Miller, the project came out of a desire to preserve, but also from a basic curiosity about the artist behind the pins. When Miller worked at the Stud, the pins held up pictures on a wall opposite her well, operating as thumbtacks for pieces of Stud ephemera. Most were created by longtime Stud bartender Paul “Gidget” Sinclair, who often placed a telltale lower-case “g” on his pared-down, visually arresting pin designs.\u003c/p>\n\u003cp>“They were hilarious,” she remembers thinking. “They’re really comical. Like, whoever made them has to be such a funny person.” She tracked down Sinclair’s identity (he died from AIDS in the late 1990s) through stories in the \u003ci>Bay Area Reporter\u003c/i> and by talking to former Stud bartenders.\u003c/p>\n\u003cfigure id=\"attachment_13936574\" class=\"wp-caption aligncenter\" style=\"max-width: 1376px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Gidgetphoto.jpg\" alt=\"Three white people pose in fancy dress and makeup at a party\" width=\"1376\" height=\"1047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto-768x584.jpg 768w\" sizes=\"(max-width: 1376px) 100vw, 1376px\">\u003cfigcaption class=\"wp-caption-text\">A photo from the Stud archives featuring Paul ‘Gidget’ Sinclair at right. \u003ccite>(Courtesy Land and Sea)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pins capture a real sense of the time in which they were made — and the events that were notable in the lives of Stud staff and patrons. “The pinbacks are like tiny time capsules,” Miller writes in the book’s introduction. Alongside cheeky designs made for parties and dance nights are pins that mark \u003ca href=\"https://www.instagram.com/p/BtMDNiNh6Mc/\">the Challenger disaster\u003c/a>, the \u003ca href=\"https://www.instagram.com/p/Btl5Cc2hwnk/\">Atlanta Child Murders\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BsQ8w0Vh2zP/\">49ers games\u003c/a> and \u003ca href=\"https://www.instagram.com/p/Buozak0Bw9Q/\">the royal wedding\u003c/a> of Diana and Charles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In late 2018, Miller started the Instagram account \u003ca href=\"https://www.instagram.com/stud_pin_archives\">@stud_pin_archives\u003c/a>, posting tightly cropped photographs of the 2.5-inch and 3-inch (mostly round) pins. Miller says putting the archive on the site was very purposeful; she and Rachel Ryan, the Stud collective president, often talk about how to make the bar’s history as easy to access as possible.\u003c/p>\n\u003cp>“When you give [a collection] to a museum or historical society, it just goes into the basement before it gets processed,” Miller says, noting that interested viewers aren’t always researchers; they might not know how to jump through the necessary institutional hoops to visit archival material in person. “Instagram is accessible to almost everybody. It’s something that somebody who is queer living in Texas or Indiana could see. Or even in another country.”\u003c/p>\n\u003cfigure id=\"attachment_13936575\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936575\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/pins.jpg\" alt=\"Black and white image of crowded sea of round pins with graphics advertising parties or the bar\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Some of the over 250 pins in the Stud’s pin archive, many created by Paul ‘Gidget’ Sinclair. \u003ccite>(Courtesy Stud Pin Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was also a real sense of urgency in getting the pins out into the world — one of Miller’s main sources died during the pandemic. So many with knowledge of the bar’s history were lost to the AIDS epidemic, Miller says, that it’s rare to have access to people with memories of those decades.\u003c/p>\n\u003cp>The book expands greatly on the Instagram account, including short essays by Miller and Stud collective member Marke Bieschke, context-providing articles from local newspapers and juicy bits of ephemera, like this jotted-down memory from New Year’s Eve 1970: “they locked the bar @ midnite & passed out window pane acid & everyone got naked & crazy ‘til dawn!!”\u003c/p>\n\u003cp>The publication is a true homage to Sinclair, and to the “Studettes who came before us,” as Miller writes. More than anything, this material sheds light on those who do the hard, creative work of making a safe and happy place for others to enjoy: the bartenders. In a \u003ca href=\"https://youtu.be/rpMXef15YLg?feature=shared&t=344\">1982 video about the Stud\u003c/a>, Sinclair speaks cheerfully about the bar’s philosophy: “People who work here, we all love each other, and care about each other. And that’s what’s generated!”\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>\u003c/p>\n\u003cp>\u003ci>‘The Stud Pin Archive and Ephemera’ book release party will take place 6–10 p.m. Friday, Oct. 20 at \u003ca href=\"https://etaletc.com/\">Et al. etc.\u003c/a> (2831 Mission St., San Francisco) with DJs Josh Cheon and Lakeverett and performances by Hollywood Texas and Cliff Hengst. Books and other Stud-related merch will be available for sale.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a banner few months for one of San Francisco’s most important queer venues. The Stud, which closed its doors in the first months of the pandemic, \u003ca href=\"https://www.kqed.org/arts/13934286/the-stud-will-reopen-in-a-new-location-in-early-2024\">recently announced\u003c/a> it will reopen in early 2024 in a new location, continuing the bar’s now 57-year history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In further cause for celebration, that history will soon be even more visible thanks to an image-filled, nearly 200-page book published by the Oakland press \u003ca href=\"https://www.instagram.com/landandseaoakland/\">Land and Sea\u003c/a>. \u003ci>\u003ca href=\"https://studpinarchives.com/Book\">The Stud Pin Archive and Ephemera 1970–1999\u003c/a>\u003c/i> contains photographs, news clippings and documentation of the Stud’s pin collection (numbering over 250 pins!), lovingly documented by former bartender Chloe Miller. On Friday, Oct. 20, \u003ca href=\"https://etaletc.com/\">Et al.\u003c/a>’s Mission Street gallery will host a launch party for the book, with music and performances befitting the eclectic, welcoming nature of the bar.\u003c/p>\n\u003cp>For Miller, the project came out of a desire to preserve, but also from a basic curiosity about the artist behind the pins. When Miller worked at the Stud, the pins held up pictures on a wall opposite her well, operating as thumbtacks for pieces of Stud ephemera. Most were created by longtime Stud bartender Paul “Gidget” Sinclair, who often placed a telltale lower-case “g” on his pared-down, visually arresting pin designs.\u003c/p>\n\u003cp>“They were hilarious,” she remembers thinking. “They’re really comical. Like, whoever made them has to be such a funny person.” She tracked down Sinclair’s identity (he died from AIDS in the late 1990s) through stories in the \u003ci>Bay Area Reporter\u003c/i> and by talking to former Stud bartenders.\u003c/p>\n\u003cfigure id=\"attachment_13936574\" class=\"wp-caption aligncenter\" style=\"max-width: 1376px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Gidgetphoto.jpg\" alt=\"Three white people pose in fancy dress and makeup at a party\" width=\"1376\" height=\"1047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gidgetphoto-768x584.jpg 768w\" sizes=\"(max-width: 1376px) 100vw, 1376px\">\u003cfigcaption class=\"wp-caption-text\">A photo from the Stud archives featuring Paul ‘Gidget’ Sinclair at right. \u003ccite>(Courtesy Land and Sea)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pins capture a real sense of the time in which they were made — and the events that were notable in the lives of Stud staff and patrons. “The pinbacks are like tiny time capsules,” Miller writes in the book’s introduction. Alongside cheeky designs made for parties and dance nights are pins that mark \u003ca href=\"https://www.instagram.com/p/BtMDNiNh6Mc/\">the Challenger disaster\u003c/a>, the \u003ca href=\"https://www.instagram.com/p/Btl5Cc2hwnk/\">Atlanta Child Murders\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BsQ8w0Vh2zP/\">49ers games\u003c/a> and \u003ca href=\"https://www.instagram.com/p/Buozak0Bw9Q/\">the royal wedding\u003c/a> of Diana and Charles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In late 2018, Miller started the Instagram account \u003ca href=\"https://www.instagram.com/stud_pin_archives\">@stud_pin_archives\u003c/a>, posting tightly cropped photographs of the 2.5-inch and 3-inch (mostly round) pins. Miller says putting the archive on the site was very purposeful; she and Rachel Ryan, the Stud collective president, often talk about how to make the bar’s history as easy to access as possible.\u003c/p>\n\u003cp>“When you give [a collection] to a museum or historical society, it just goes into the basement before it gets processed,” Miller says, noting that interested viewers aren’t always researchers; they might not know how to jump through the necessary institutional hoops to visit archival material in person. “Instagram is accessible to almost everybody. It’s something that somebody who is queer living in Texas or Indiana could see. Or even in another country.”\u003c/p>\n\u003cfigure id=\"attachment_13936575\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936575\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/pins.jpg\" alt=\"Black and white image of crowded sea of round pins with graphics advertising parties or the bar\" width=\"1500\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/pins-768x512.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Some of the over 250 pins in the Stud’s pin archive, many created by Paul ‘Gidget’ Sinclair. \u003ccite>(Courtesy Stud Pin Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was also a real sense of urgency in getting the pins out into the world — one of Miller’s main sources died during the pandemic. So many with knowledge of the bar’s history were lost to the AIDS epidemic, Miller says, that it’s rare to have access to people with memories of those decades.\u003c/p>\n\u003cp>The book expands greatly on the Instagram account, including short essays by Miller and Stud collective member Marke Bieschke, context-providing articles from local newspapers and juicy bits of ephemera, like this jotted-down memory from New Year’s Eve 1970: “they locked the bar @ midnite & passed out window pane acid & everyone got naked & crazy ‘til dawn!!”\u003c/p>\n\u003cp>The publication is a true homage to Sinclair, and to the “Studettes who came before us,” as Miller writes. More than anything, this material sheds light on those who do the hard, creative work of making a safe and happy place for others to enjoy: the bartenders. In a \u003ca href=\"https://youtu.be/rpMXef15YLg?feature=shared&t=344\">1982 video about the Stud\u003c/a>, Sinclair speaks cheerfully about the bar’s philosophy: “People who work here, we all love each other, and care about each other. And that’s what’s generated!”\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>\u003c/p>\n\u003cp>\u003ci>‘The Stud Pin Archive and Ephemera’ book release party will take place 6–10 p.m. Friday, Oct. 20 at \u003ca href=\"https://etaletc.com/\">Et al. etc.\u003c/a> (2831 Mission St., San Francisco) with DJs Josh Cheon and Lakeverett and performances by Hollywood Texas and Cliff Hengst. Books and other Stud-related merch will be available for sale.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "counterpulse-vivvyanne-forevermore-drag-the-show",
"title": "At CounterPulse Festival, VivvyAnne ForeverMORE!’s Drag Extravaganza Sparkles",
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"content": "\u003cfigure id=\"attachment_13936003\" class=\"wp-caption aligncenter\" style=\"max-width: 1667px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Cornelius.SQ_.jpg\" alt=\"\" width=\"1667\" height=\"1667\" class=\"size-full wp-image-13936003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_.jpg 1667w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1667px) 100vw, 1667px\">\u003cfigcaption class=\"wp-caption-text\">VivvyAnne ForeverMORE!, whose drag extravaganza ‘The Show’ is part of this year’s CounterPulse Festival. \u003ccite>(Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a young drag queen, \u003ca href=\"https://www.vivvys.com/\">VivvyAnne ForeverMORE!\u003c/a> spent many a night backstage, listening to her drag elders gossip and cackle under the glow of dressing room lights. Now, as a drag mother herself, she’s passed down wisdom to younger artists while gluing eyelashes and rhinestones.\u003c/p>\n\u003cp>This form of queer oral history — rarely documented or seen by the general public — is part of her upcoming drag extravaganza simply titled \u003ca href=\"https://www.theshow.rocks/\">\u003ci>The Show\u003c/i>\u003c/a>. The multi-venue event takes place on Oct. 14 as part of San Francisco’s CounterPulse Festival, and features an array of performances that invite audiences to partake in the otherwise private, behind-the-scenes rituals that make drag not just a form of entertainment, but a way to foster community and chosen family.\u003c/p>\n\u003cp>ForeverMORE! says that she and co-producer Julie Phelps, executive director of CounterPulse!, had the word “epic” in mind while designing the programming, which takes place in and around the Tenderloin, much of it free and outdoors. “I want these incidental moments of drag art on the street to be these moments of potential beauty for people,” says ForeverMORE!\u003c/p>\n\u003cp>Festivities kick off from 1–5 p.m. with “The Peepshow,” where 16 drag artists — including leading disability justice advocate Glamputee and Lisa Frankenstein, co-host of Oasis’ popular drag party Princess — take turns lip syncing behind the glass of CounterPulse’s lobby.\u003c/p>\n\u003cfigure id=\"attachment_13935934\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055.jpg\" alt=\"A drag artist on crutches swings their ponytail. \" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Glamputee performs at KQED for a Clutch the Pearls showcase on June 8, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The audience is literally on Turk Street, which is a very active area,” ForeverMORE! says, noting the neighborhood’s poignant history: CounterPulse is just blocks from the former site of Compton’s Cafeteria, an all-night diner where trans women and drag queens rioted against police brutality in 1966.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For ForeverMORE!, the history of how LGBTQ+ identity was criminalized adds weight to \u003ci>The Show\u003c/i>’s glamorous and theatrical displays. “We didn’t just exist at nighttime, but we weren’t allowed to gather in public,” she says.\u003c/p>\n\u003cp>Celebrating gender-nonconformity in daylight is a core theme that runs through \u003ci>The Show\u003c/i> — and an important one as \u003ca href=\"https://www.kqed.org/arts/13927432/drag-up-fight-back-protest-san-francisco-trans-lgbtq\">anti-trans laws\u003c/a> continue to sweep the nation.\u003c/p>\n\u003cfigure id=\"attachment_13899332\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NickiJizz_COVER.jpg\" alt=\"\" width=\"1440\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-768x432.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Drag queen Nicki Jizz hosts Reparations, a night of all-Black performers at Oasis. \u003ccite>(Courtesy of Nicki Jizz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From 2–5 p.m. at The Strand Theater (a short walk from CounterPulse), eight drag artists will partake in one-on-one conversations on stage. Meant to replicate those aforementioned backstage kikis, “The Talks” pair \u003ca href=\"https://www.kqed.org/arts/tag/nicki-jizz\">Nicki Jizz\u003c/a>, creator of San Francisco’s only all-Black drag show \u003ci>Reparations\u003c/i>, for a conversation with KING LOTUS BOY, the 2023 San Francisco Drag King Contest winner and another formidable disability justice activist. Glamamore — VivvyAnne ForeverMORE!’s drag mother and \u003ca href=\"https://www.kqed.org/arts/13919897/san-francisco-arts-commission-juanita-more-30-years\">couture designer to the drag stars\u003c/a> — will be in conversation with drag artist, choreographer and author Fauxnique.\u003c/p>\n\u003cp>“I love backstage, not because it’s VIP, but because it’s funny and hilarious and full of jokes, you know?” ForeverMORE! says.\u003c/p>\n\u003cfigure id=\"attachment_13935941\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935941\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Churro Nomi performs at KQED for a Clutch the Pearls showcase on June 8, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just a high-heeled hop and skip away from The Strand at Civic Center UN Plaza, “The Photoshoot” will feature street performances from VERA, Newonce, HELIXIR, Bindi Masala, Venus Superstar Bizarre, Mary Vice and Yves Saint Croissant. DJ aunteejoan will spin while Butter Rugged and Marcel Pardo Ariza snap pictures.\u003c/p>\n\u003cp>“Then we have drag artists walking to Civic Center from where they parked or from BART or whatever,” says ForeverMORE! of the atmosphere she hopes to cultivate. “Like maybe you’re visiting San Francisco and you just happened to be walking down Market and you pass by Newonce and you’re like, ‘Why is there a drag queen at 4 p.m.?’” [aside postid='arts_13934286']\u003c/p>\n\u003cp>All of the events are free except for “The Finale” and a VIP reception with food and drinks at the Line Hotel, where ForeverMORE! will announce a new arts initiative with her collaborators at the Stud Collective, the group of workers who plan to reopen their historic LGBTQ+ venue in a new location in 2024. And finally, \u003cem>The Show\u003c/em> will wrap with a performance at CounterPulse that includes live vocals and aerial dance, starring Dulce De Leche, Militia Scunt, Gina LaDivina, Pseuda, Churro Nomi and Major Hammy.\u003c/p>\n\u003cp>ForeverMORE! says she dreamt up \u003ci>The Show\u003c/i> to celebrate the dedicated drag artists who — through ingenuity, sacrifice and resourcefulness — created an intergenerational community that helps each other find the courage to flourish. “One of the coolest parts, particularly about Bay Area drag, is you can start here,” she says. “You can start off here and be encouraged pretty quickly. People will embrace you and pull you in and offer support.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Show’ takes place at CounterPulse and other San Francisco locations Oct. 14 1–8:30 p.m. “The Peepshow” will stream on \u003ca href=\"https://www.twitch.tv/counterpulsesf\">CounterPulse’s Twitch channel\u003c/a>, and “The Peepshow,” “The Talks” and “The Finale” offer ASL interpretation. \u003ca href=\"https://www.theshow.rocks/\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "At CounterPulse Festival, VivvyAnne ForeverMORE!’s Drag Extravaganza Sparkles | KQED",
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"headline": "At CounterPulse Festival, VivvyAnne ForeverMORE!’s Drag Extravaganza Sparkles",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13936003\" class=\"wp-caption aligncenter\" style=\"max-width: 1667px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Cornelius.SQ_.jpg\" alt=\"\" width=\"1667\" height=\"1667\" class=\"size-full wp-image-13936003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_.jpg 1667w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.SQ_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1667px) 100vw, 1667px\">\u003cfigcaption class=\"wp-caption-text\">VivvyAnne ForeverMORE!, whose drag extravaganza ‘The Show’ is part of this year’s CounterPulse Festival. \u003ccite>(Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a young drag queen, \u003ca href=\"https://www.vivvys.com/\">VivvyAnne ForeverMORE!\u003c/a> spent many a night backstage, listening to her drag elders gossip and cackle under the glow of dressing room lights. Now, as a drag mother herself, she’s passed down wisdom to younger artists while gluing eyelashes and rhinestones.\u003c/p>\n\u003cp>This form of queer oral history — rarely documented or seen by the general public — is part of her upcoming drag extravaganza simply titled \u003ca href=\"https://www.theshow.rocks/\">\u003ci>The Show\u003c/i>\u003c/a>. The multi-venue event takes place on Oct. 14 as part of San Francisco’s CounterPulse Festival, and features an array of performances that invite audiences to partake in the otherwise private, behind-the-scenes rituals that make drag not just a form of entertainment, but a way to foster community and chosen family.\u003c/p>\n\u003cp>ForeverMORE! says that she and co-producer Julie Phelps, executive director of CounterPulse!, had the word “epic” in mind while designing the programming, which takes place in and around the Tenderloin, much of it free and outdoors. “I want these incidental moments of drag art on the street to be these moments of potential beauty for people,” says ForeverMORE!\u003c/p>\n\u003cp>Festivities kick off from 1–5 p.m. with “The Peepshow,” where 16 drag artists — including leading disability justice advocate Glamputee and Lisa Frankenstein, co-host of Oasis’ popular drag party Princess — take turns lip syncing behind the glass of CounterPulse’s lobby.\u003c/p>\n\u003cfigure id=\"attachment_13935934\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055.jpg\" alt=\"A drag artist on crutches swings their ponytail. \" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-055-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Glamputee performs at KQED for a Clutch the Pearls showcase on June 8, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The audience is literally on Turk Street, which is a very active area,” ForeverMORE! says, noting the neighborhood’s poignant history: CounterPulse is just blocks from the former site of Compton’s Cafeteria, an all-night diner where trans women and drag queens rioted against police brutality in 1966.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For ForeverMORE!, the history of how LGBTQ+ identity was criminalized adds weight to \u003ci>The Show\u003c/i>’s glamorous and theatrical displays. “We didn’t just exist at nighttime, but we weren’t allowed to gather in public,” she says.\u003c/p>\n\u003cp>Celebrating gender-nonconformity in daylight is a core theme that runs through \u003ci>The Show\u003c/i> — and an important one as \u003ca href=\"https://www.kqed.org/arts/13927432/drag-up-fight-back-protest-san-francisco-trans-lgbtq\">anti-trans laws\u003c/a> continue to sweep the nation.\u003c/p>\n\u003cfigure id=\"attachment_13899332\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NickiJizz_COVER.jpg\" alt=\"\" width=\"1440\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NickiJizz_COVER-768x432.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Drag queen Nicki Jizz hosts Reparations, a night of all-Black performers at Oasis. \u003ccite>(Courtesy of Nicki Jizz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From 2–5 p.m. at The Strand Theater (a short walk from CounterPulse), eight drag artists will partake in one-on-one conversations on stage. Meant to replicate those aforementioned backstage kikis, “The Talks” pair \u003ca href=\"https://www.kqed.org/arts/tag/nicki-jizz\">Nicki Jizz\u003c/a>, creator of San Francisco’s only all-Black drag show \u003ci>Reparations\u003c/i>, for a conversation with KING LOTUS BOY, the 2023 San Francisco Drag King Contest winner and another formidable disability justice activist. Glamamore — VivvyAnne ForeverMORE!’s drag mother and \u003ca href=\"https://www.kqed.org/arts/13919897/san-francisco-arts-commission-juanita-more-30-years\">couture designer to the drag stars\u003c/a> — will be in conversation with drag artist, choreographer and author Fauxnique.\u003c/p>\n\u003cp>“I love backstage, not because it’s VIP, but because it’s funny and hilarious and full of jokes, you know?” ForeverMORE! says.\u003c/p>\n\u003cfigure id=\"attachment_13935941\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935941\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Clutch-the-Pearls-event-at-KQED-Headquarters-on-Thursday-June-8-2023.-Estefany-Gonzalez-009-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Churro Nomi performs at KQED for a Clutch the Pearls showcase on June 8, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just a high-heeled hop and skip away from The Strand at Civic Center UN Plaza, “The Photoshoot” will feature street performances from VERA, Newonce, HELIXIR, Bindi Masala, Venus Superstar Bizarre, Mary Vice and Yves Saint Croissant. DJ aunteejoan will spin while Butter Rugged and Marcel Pardo Ariza snap pictures.\u003c/p>\n\u003cp>“Then we have drag artists walking to Civic Center from where they parked or from BART or whatever,” says ForeverMORE! of the atmosphere she hopes to cultivate. “Like maybe you’re visiting San Francisco and you just happened to be walking down Market and you pass by Newonce and you’re like, ‘Why is there a drag queen at 4 p.m.?’” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of the events are free except for “The Finale” and a VIP reception with food and drinks at the Line Hotel, where ForeverMORE! will announce a new arts initiative with her collaborators at the Stud Collective, the group of workers who plan to reopen their historic LGBTQ+ venue in a new location in 2024. And finally, \u003cem>The Show\u003c/em> will wrap with a performance at CounterPulse that includes live vocals and aerial dance, starring Dulce De Leche, Militia Scunt, Gina LaDivina, Pseuda, Churro Nomi and Major Hammy.\u003c/p>\n\u003cp>ForeverMORE! says she dreamt up \u003ci>The Show\u003c/i> to celebrate the dedicated drag artists who — through ingenuity, sacrifice and resourcefulness — created an intergenerational community that helps each other find the courage to flourish. “One of the coolest parts, particularly about Bay Area drag, is you can start here,” she says. “You can start off here and be encouraged pretty quickly. People will embrace you and pull you in and offer support.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Show’ takes place at CounterPulse and other San Francisco locations Oct. 14 1–8:30 p.m. “The Peepshow” will stream on \u003ca href=\"https://www.twitch.tv/counterpulsesf\">CounterPulse’s Twitch channel\u003c/a>, and “The Peepshow,” “The Talks” and “The Finale” offer ASL interpretation. \u003ca href=\"https://www.theshow.rocks/\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Miso Helped Me Find My Community in San Francisco",
"headTitle": "How Miso Helped Me Find My Community in San Francisco | KQED",
"content": "\u003cfigure id=\"attachment_13934485\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934485\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS68729__RPT2423-Enhanced-NR-KQED.jpg\" alt=\"A person sits on the hood of a car parked on the side of a street.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68729__RPT2423-Enhanced-NR-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68729__RPT2423-Enhanced-NR-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68729__RPT2423-Enhanced-NR-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68729__RPT2423-Enhanced-NR-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68729__RPT2423-Enhanced-NR-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68729__RPT2423-Enhanced-NR-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68729__RPT2423-Enhanced-NR-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kofi Ansong grabs a seat in front of Aedan Koji Kitchen, the fermented foods shop that helped him cultivate his newfound passion for miso. \u003ccite>(Raphael Timmons/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]I[/dropcap] knew nothing about miso when I moved to San Francisco.\u003c/p>\n\u003cp>For the whole first year, I felt out of place meandering the city’s foggy hills and longed to feel at home — or, short of that, to at least recreate the life I had back in New England. Instead of reaching out to new acquaintances, I socialized primarily through FaceTime calls with friends back East. Instead of exploring the city’s food scene, I frequently Ubered to familiar chain restaurants like Shake Shack. And when I cooked for myself, it was exclusively a spaghetti recipe I’d learned in high school.\u003c/p>\n\u003cp>This was back in 2021, and as I grappled with my own displacement, I was also becoming aware of the displacement around me. My new neighbors in the Mission consisted of well-to-do transplants and the houseless people that I passed by every day, splayed out along the sidewalks. The worst thing about it was my sense that I was becoming numb to these sights of human suffering. Was I doing anything to make San Francisco a better place? If not, I felt leaving the Bay was the only contribution I could make.\u003c/p>\n\u003cp>Amidst these tormented thoughts, one day I noticed my neighbor was reselling the Japanese chef’s Maori Murota’s book \u003ci>Japanese Home Cooking\u003c/i>. Honestly, I had no intention of breaking our tacit vow to only ever nod silently at one another. But the book’s cover had a drawing of a bowl of ramen — the preferred meal of my favorite childhood manga character, Naruto. Immediately, I wanted nothing more but to forget my present worries, binge-watch the Chunin Exams arc and scarf down a big bowl of noodles. I finally introduced myself to the neighbor, an interior designer named Seth, and bought the book.\u003c/p>\n\u003cfigure id=\"attachment_13935911\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/japanese-cookbook-cover_kofi.jpg\" alt=\"The cover of a cookbook titled 'Japanese Home Cooking' by Maori Murota. The cover illustration depicts a pair of chopsticks lifting half a soft-boiled egg from a bowl of ramen noodles.\" width=\"1920\" height=\"2400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/japanese-cookbook-cover_kofi.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/japanese-cookbook-cover_kofi-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/japanese-cookbook-cover_kofi-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/japanese-cookbook-cover_kofi-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/japanese-cookbook-cover_kofi-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/japanese-cookbook-cover_kofi-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/japanese-cookbook-cover_kofi-1638x2048.jpg 1638w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The book that launched Ansong’s yearlong exploration of miso. \u003ccite>(Courtesy of Kofi Ansong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One obstacle remained: Murota’s instructions for preparing the broth, which called for hours of simmering and many different pots, intimidated novice-cook me. In contrast, Murota’s brown miso vegetable soup seemed more approachable, with a simple dashi base made by soaking shiitake mushrooms and kombu in water overnight. I was relieved that my local grocery store carried the soup’s key ingredient: brown miso paste.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, I wasn’t sure what to expect. Growing up in the suburbs of Connecticut didn’t lend itself to exposure to Japanese cuisine. My mother cooked foods from our Ghanaian heritage like banku, a ball of corn dough served in rich stew, and I understood it was the fermenting of the corn’s starches that gave the banku its bittersweetness. This thick, salty paste, made from fermented soybeans, was something different.\u003c/p>\n\u003cp>As it turned out, the vegetables I’d selected for the soup emerged transformed and delicious after being steeped in the miso broth. The radishes had mellowed and were now earthy rather than spicy. Tender potatoes made the soup creamy. The broth itself was excellent, each sip full of savory umami yet still refreshing. In short, I was hooked on miso.\u003c/p>\n\u003cfigure id=\"attachment_13934483\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS68712__RPT2207-KQED.jpg\" alt=\"A collection of mason jars of beans and preserves.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68712__RPT2207-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68712__RPT2207-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68712__RPT2207-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68712__RPT2207-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68712__RPT2207-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68712__RPT2207-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68712__RPT2207-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Miso ingredients and products at San Francisco’s Aedan Koji Kitchen. \u003ccite>(Raphael Timmons/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I soon began exploring more dishes I could make with the seasoning paste. Murota’s book contains a recipe for Japanese curry, and I found that adding miso deepened the sweetness from the apple and brought out the stew’s mouth-watering aromas. On another occasion, when I was recovering from a cold, I soothed myself with a cup of steaming hot water mixed with miso. I liked the nutty concoction so much that I now alternate between it and tea for breakfast.\u003c/p>\n\u003cp>Miso’s brilliance comes from both its versatility and complexity. It has an intricate flavor, and it’s also easy and rewarding to use. And my success with these new recipes encouraged me to embrace changes that extended beyond cooking.\u003c/p>\n\u003cp>For example, I wanted to share my newfound interest with others — and FaceTiming my friends on the East Coast was no longer cutting it. Two classmates I vaguely knew from college had also moved to San Francisco, and I decided to invite them to my first dinner party. I prepared a pot of my miso curry.\u003c/p>\n\u003cp>Before I knew it, Jason and I were discussing the merits of our respective approaches to chopping onions. As I squeezed a packet of miso into the stew, Daniel lamented that he forgot to bring the miso he had been cooking with.\u003c/p>\n\u003cfigure id=\"attachment_13934484\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS68722__RPT2326-KQED.jpg\" alt=\"People stick toothpicks into balls of rice covered in toppings.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68722__RPT2326-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68722__RPT2326-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68722__RPT2326-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68722__RPT2326-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68722__RPT2326-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68722__RPT2326-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68722__RPT2326-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rice balls topped with miso and other ingredients at Aedan Koji Kitchen. \u003ccite>(Raphael Timmons/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once we realized we were all aspiring cooks, any initial awkwardness melted away. The conversation rapidly bounced around from miso to cooking more generally to cooking memes and, finally, to whatever crossed our minds. Once we started eating the curry, however, the only sounds were our collective “mmms,” “wows” and slurps. We finished the meal so satisfied that we decided to start a biweekly dinner series, which has since become a cornerstone of my time in the Bay. These home-cooked meals provide the stability and comfort I longed for.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13929177,arts_13920714,arts_13929836']\u003c/span>The dinners have also introduced me to a host of new foods and people. It turned out that the miso Daniel had forgotten to bring was from \u003ca href=\"https://www.aedansf.com/koji-kitchen\">Aedan Koji Kitchen\u003c/a>, a specialty shop in the Mission that makes and sells Japanese fermented foods. He claimed that it was the best miso he had ever eaten. Later that week I purchased a tub of their country miso, fermented with barley. Dumping a spoonful into a new batch of curry gave it a hint of seaweed taste. I thought to myself, \u003ci>yeah, Daniel was right\u003c/i>. It really was the best miso I’d ever had.\u003c/p>\n\u003cp>Eventually, I took Koji Kitchen’s \u003ca href=\"https://www.aedansf.com/classes\">miso-making course\u003c/a>, taught by the store’s friendly, theatrical owner, Mariko Grady. As participants in the class pressed freshly fermented soybeans into mason jars, Grady exclaimed that the blend of bacteria on our hands would render each person’s miso unique, gesturing her hands in a claw-like motion to impersonate our hand germs. She instructed us only to make miso when we are happy because vibes — along with the germs — wind up getting imparted into the miso.\u003c/p>\n\u003cfigure id=\"attachment_13934480\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS68689__RPT1565-KQED.jpg\" alt=\"A person with a headband and glasses speaks in front of a group of people seated at a table in an indoor setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68689__RPT1565-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68689__RPT1565-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68689__RPT1565-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68689__RPT1565-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68689__RPT1565-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68689__RPT1565-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68689__RPT1565-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mariko Grady (center), owner of Aedan Koji Kitchen, explains the basics of making miso to the class. \u003ccite>(Raphael Timmons/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, I learned that Grady had in fact co-founded a Japanese theater troupe with her college friends, and that she had acted with the troupe for 30 years before settling down in SF with her family. She never considered miso to be a big part of her life until she sold homemade miso to raise money for victims of the 2011 earthquake in Japan. The demand was so high that she embraced miso-making as a new career. She founded Aedan Fermented Foods as a farmers market stand in 2012 and opened her physical store in 2022. She’s now arguably the \u003ca href=\"https://www.sfchronicle.com/food/article/San-Francisco-is-getting-a-new-store-devoted-to-17076201.php\">most widely\u003c/a> \u003ca href=\"https://www.insidehook.com/article/food-drink-san-francisco/mariko-grady-aedan-miso\">acclaimed\u003c/a> \u003ca href=\"https://www.foodandwine.com/seasonings/aedan-miso-san-francisco-koji\">miso maker\u003c/a> in the Bay. For Grady, making miso has never been a predictable or solitary journey; her actions unexpectedly changed her and those around her.\u003c/p>\n\u003cp>This has been my experience with miso as well: More than anything, my interest in miso has provided me with a hobby to anchor myself in this strange and new city. It has emboldened me to cook whatever intrigues me, to embrace change more generally and to invite friends to accompany me along the way.\u003c/p>\n\u003cfigure id=\"attachment_13934481\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS68695__RPT1719-KQED.jpg\" alt=\"A person with a goatee smiles while holding a plastic container filled with a dark paste.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68695__RPT1719-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68695__RPT1719-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68695__RPT1719-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68695__RPT1719-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68695__RPT1719-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68695__RPT1719-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68695__RPT1719-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The author holds a container of miso during a class at Aedan Koji Kitchen. \u003ccite>(Raphael Timmons/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just the other week, Jason and I took BART to Berkeley’s Tokyo Fish Market, determined to recreate a smoked toro, or tuna belly, that we had tried at a friend’s house. Back at my apartment, as the tendrils of smoke rose from the slices of blowtorched fish, Jason remarked that a day like this would have surprised him a year ago. I couldn’t have agreed more.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It had been over a year since I had Ubered to Shake Shack, and calling friends back East was no longer my default weekend activity. Because of miso, San Francisco has become a lot less lonely and a lot more tasty. And I am excited for whatever changes come next.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13934485\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934485\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS68729__RPT2423-Enhanced-NR-KQED.jpg\" alt=\"A person sits on the hood of a car parked on the side of a street.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68729__RPT2423-Enhanced-NR-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68729__RPT2423-Enhanced-NR-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68729__RPT2423-Enhanced-NR-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68729__RPT2423-Enhanced-NR-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68729__RPT2423-Enhanced-NR-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68729__RPT2423-Enhanced-NR-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68729__RPT2423-Enhanced-NR-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kofi Ansong grabs a seat in front of Aedan Koji Kitchen, the fermented foods shop that helped him cultivate his newfound passion for miso. \u003ccite>(Raphael Timmons/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp> knew nothing about miso when I moved to San Francisco.\u003c/p>\n\u003cp>For the whole first year, I felt out of place meandering the city’s foggy hills and longed to feel at home — or, short of that, to at least recreate the life I had back in New England. Instead of reaching out to new acquaintances, I socialized primarily through FaceTime calls with friends back East. Instead of exploring the city’s food scene, I frequently Ubered to familiar chain restaurants like Shake Shack. And when I cooked for myself, it was exclusively a spaghetti recipe I’d learned in high school.\u003c/p>\n\u003cp>This was back in 2021, and as I grappled with my own displacement, I was also becoming aware of the displacement around me. My new neighbors in the Mission consisted of well-to-do transplants and the houseless people that I passed by every day, splayed out along the sidewalks. The worst thing about it was my sense that I was becoming numb to these sights of human suffering. Was I doing anything to make San Francisco a better place? If not, I felt leaving the Bay was the only contribution I could make.\u003c/p>\n\u003cp>Amidst these tormented thoughts, one day I noticed my neighbor was reselling the Japanese chef’s Maori Murota’s book \u003ci>Japanese Home Cooking\u003c/i>. Honestly, I had no intention of breaking our tacit vow to only ever nod silently at one another. But the book’s cover had a drawing of a bowl of ramen — the preferred meal of my favorite childhood manga character, Naruto. Immediately, I wanted nothing more but to forget my present worries, binge-watch the Chunin Exams arc and scarf down a big bowl of noodles. I finally introduced myself to the neighbor, an interior designer named Seth, and bought the book.\u003c/p>\n\u003cfigure id=\"attachment_13935911\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/japanese-cookbook-cover_kofi.jpg\" alt=\"The cover of a cookbook titled 'Japanese Home Cooking' by Maori Murota. The cover illustration depicts a pair of chopsticks lifting half a soft-boiled egg from a bowl of ramen noodles.\" width=\"1920\" height=\"2400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/japanese-cookbook-cover_kofi.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/japanese-cookbook-cover_kofi-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/japanese-cookbook-cover_kofi-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/japanese-cookbook-cover_kofi-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/japanese-cookbook-cover_kofi-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/japanese-cookbook-cover_kofi-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/japanese-cookbook-cover_kofi-1638x2048.jpg 1638w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The book that launched Ansong’s yearlong exploration of miso. \u003ccite>(Courtesy of Kofi Ansong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One obstacle remained: Murota’s instructions for preparing the broth, which called for hours of simmering and many different pots, intimidated novice-cook me. In contrast, Murota’s brown miso vegetable soup seemed more approachable, with a simple dashi base made by soaking shiitake mushrooms and kombu in water overnight. I was relieved that my local grocery store carried the soup’s key ingredient: brown miso paste.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, I wasn’t sure what to expect. Growing up in the suburbs of Connecticut didn’t lend itself to exposure to Japanese cuisine. My mother cooked foods from our Ghanaian heritage like banku, a ball of corn dough served in rich stew, and I understood it was the fermenting of the corn’s starches that gave the banku its bittersweetness. This thick, salty paste, made from fermented soybeans, was something different.\u003c/p>\n\u003cp>As it turned out, the vegetables I’d selected for the soup emerged transformed and delicious after being steeped in the miso broth. The radishes had mellowed and were now earthy rather than spicy. Tender potatoes made the soup creamy. The broth itself was excellent, each sip full of savory umami yet still refreshing. In short, I was hooked on miso.\u003c/p>\n\u003cfigure id=\"attachment_13934483\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS68712__RPT2207-KQED.jpg\" alt=\"A collection of mason jars of beans and preserves.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68712__RPT2207-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68712__RPT2207-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68712__RPT2207-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68712__RPT2207-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68712__RPT2207-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68712__RPT2207-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68712__RPT2207-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Miso ingredients and products at San Francisco’s Aedan Koji Kitchen. \u003ccite>(Raphael Timmons/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I soon began exploring more dishes I could make with the seasoning paste. Murota’s book contains a recipe for Japanese curry, and I found that adding miso deepened the sweetness from the apple and brought out the stew’s mouth-watering aromas. On another occasion, when I was recovering from a cold, I soothed myself with a cup of steaming hot water mixed with miso. I liked the nutty concoction so much that I now alternate between it and tea for breakfast.\u003c/p>\n\u003cp>Miso’s brilliance comes from both its versatility and complexity. It has an intricate flavor, and it’s also easy and rewarding to use. And my success with these new recipes encouraged me to embrace changes that extended beyond cooking.\u003c/p>\n\u003cp>For example, I wanted to share my newfound interest with others — and FaceTiming my friends on the East Coast was no longer cutting it. Two classmates I vaguely knew from college had also moved to San Francisco, and I decided to invite them to my first dinner party. I prepared a pot of my miso curry.\u003c/p>\n\u003cp>Before I knew it, Jason and I were discussing the merits of our respective approaches to chopping onions. As I squeezed a packet of miso into the stew, Daniel lamented that he forgot to bring the miso he had been cooking with.\u003c/p>\n\u003cfigure id=\"attachment_13934484\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS68722__RPT2326-KQED.jpg\" alt=\"People stick toothpicks into balls of rice covered in toppings.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68722__RPT2326-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68722__RPT2326-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68722__RPT2326-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68722__RPT2326-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68722__RPT2326-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68722__RPT2326-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68722__RPT2326-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rice balls topped with miso and other ingredients at Aedan Koji Kitchen. \u003ccite>(Raphael Timmons/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once we realized we were all aspiring cooks, any initial awkwardness melted away. The conversation rapidly bounced around from miso to cooking more generally to cooking memes and, finally, to whatever crossed our minds. Once we started eating the curry, however, the only sounds were our collective “mmms,” “wows” and slurps. We finished the meal so satisfied that we decided to start a biweekly dinner series, which has since become a cornerstone of my time in the Bay. These home-cooked meals provide the stability and comfort I longed for.\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 dinners have also introduced me to a host of new foods and people. It turned out that the miso Daniel had forgotten to bring was from \u003ca href=\"https://www.aedansf.com/koji-kitchen\">Aedan Koji Kitchen\u003c/a>, a specialty shop in the Mission that makes and sells Japanese fermented foods. He claimed that it was the best miso he had ever eaten. Later that week I purchased a tub of their country miso, fermented with barley. Dumping a spoonful into a new batch of curry gave it a hint of seaweed taste. I thought to myself, \u003ci>yeah, Daniel was right\u003c/i>. It really was the best miso I’d ever had.\u003c/p>\n\u003cp>Eventually, I took Koji Kitchen’s \u003ca href=\"https://www.aedansf.com/classes\">miso-making course\u003c/a>, taught by the store’s friendly, theatrical owner, Mariko Grady. As participants in the class pressed freshly fermented soybeans into mason jars, Grady exclaimed that the blend of bacteria on our hands would render each person’s miso unique, gesturing her hands in a claw-like motion to impersonate our hand germs. She instructed us only to make miso when we are happy because vibes — along with the germs — wind up getting imparted into the miso.\u003c/p>\n\u003cfigure id=\"attachment_13934480\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS68689__RPT1565-KQED.jpg\" alt=\"A person with a headband and glasses speaks in front of a group of people seated at a table in an indoor setting.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68689__RPT1565-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68689__RPT1565-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68689__RPT1565-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68689__RPT1565-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68689__RPT1565-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68689__RPT1565-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68689__RPT1565-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mariko Grady (center), owner of Aedan Koji Kitchen, explains the basics of making miso to the class. \u003ccite>(Raphael Timmons/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, I learned that Grady had in fact co-founded a Japanese theater troupe with her college friends, and that she had acted with the troupe for 30 years before settling down in SF with her family. She never considered miso to be a big part of her life until she sold homemade miso to raise money for victims of the 2011 earthquake in Japan. The demand was so high that she embraced miso-making as a new career. She founded Aedan Fermented Foods as a farmers market stand in 2012 and opened her physical store in 2022. She’s now arguably the \u003ca href=\"https://www.sfchronicle.com/food/article/San-Francisco-is-getting-a-new-store-devoted-to-17076201.php\">most widely\u003c/a> \u003ca href=\"https://www.insidehook.com/article/food-drink-san-francisco/mariko-grady-aedan-miso\">acclaimed\u003c/a> \u003ca href=\"https://www.foodandwine.com/seasonings/aedan-miso-san-francisco-koji\">miso maker\u003c/a> in the Bay. For Grady, making miso has never been a predictable or solitary journey; her actions unexpectedly changed her and those around her.\u003c/p>\n\u003cp>This has been my experience with miso as well: More than anything, my interest in miso has provided me with a hobby to anchor myself in this strange and new city. It has emboldened me to cook whatever intrigues me, to embrace change more generally and to invite friends to accompany me along the way.\u003c/p>\n\u003cfigure id=\"attachment_13934481\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/RS68695__RPT1719-KQED.jpg\" alt=\"A person with a goatee smiles while holding a plastic container filled with a dark paste.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68695__RPT1719-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68695__RPT1719-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68695__RPT1719-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68695__RPT1719-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68695__RPT1719-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68695__RPT1719-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/RS68695__RPT1719-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The author holds a container of miso during a class at Aedan Koji Kitchen. \u003ccite>(Raphael Timmons/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just the other week, Jason and I took BART to Berkeley’s Tokyo Fish Market, determined to recreate a smoked toro, or tuna belly, that we had tried at a friend’s house. Back at my apartment, as the tendrils of smoke rose from the slices of blowtorched fish, Jason remarked that a day like this would have surprised him a year ago. I couldn’t have agreed more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It had been over a year since I had Ubered to Shake Shack, and calling friends back East was no longer my default weekend activity. Because of miso, San Francisco has become a lot less lonely and a lot more tasty. And I am excited for whatever changes come next.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Can't Make It to the Mall? See Sheila E. in the Park — For Free",
"headTitle": "Can’t Make It to the Mall? See Sheila E. in the Park — For Free | KQED",
"content": "\u003cfigure id=\"attachment_13935796\" class=\"wp-caption aligncenter\" style=\"max-width: 1632px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE.jpg\" alt=\"A woman in black smiles into the camera near a set of timbales\" width=\"1632\" height=\"1632\" class=\"size-full wp-image-13935796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE.jpg 1632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE-1536x1536.jpg 1536w\" sizes=\"(max-width: 1632px) 100vw, 1632px\">\u003cfigcaption class=\"wp-caption-text\">Sheila E., a bona fide Oakland legend. \u003ccite>(Artist photo / Rob Shanahan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a near-perfect 29 seconds on our great and glorious internet. Sheila E. starts filming herself at the mall near a man with a boombox blasting her 1984 hit “The Glamorous Life.” “Dude is playing my song in the mall — he doesn’t even know it’s me,” she says. As the old online mantra goes, \u003ca href=\"https://www.instagram.com/p/CvaLth7trIF/\">you won’t believe what happens next\u003c/a>. \u003c/p>\n\u003cp>If this is how people these days discover legends of music like Sheila E., I am 100% fine with it. The percussion legend recently \u003ca href=\"https://www.tiktok.com/@hwdwalkoffame/video/7255720226535312682\">got a star on the Hollywood Walk of Fame\u003c/a>. She toured with Marvin Gaye, recorded with Beyoncé and played in Prince’s band for years. Insert shrug emoji here, because between Instagram and TikTok, these 29 seconds have been seen by over a million people. \u003c/p>\n\u003cp>Sheila E. plays a \u003ca href=\"https://www.eventbrite.com/e/due-south-w-sheila-e-and-the-e-train-satya-dj-umami-free-tickets-663913401857\">free show in McLaren Park\u003c/a> this weekend, and if you know someone enamored of this video, please, please, please take them to see her perform live. Their entire conception of drumming will be forever changed. They’ll know what timbales are, and how a master of their craft uses them. And, in the beautiful setting of the Jerry Garcia Amphitheater, they’ll be hard-pressed to find a better way to spend a Saturday in the city. \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>\u003cem>Sheila E. and the E-Train perform on Saturday, Oct. 7, at the Jerry Garcia Amphitheater in McLaren Park, San Francisco. Also on the bill are Satya and DJ Umami. 3 p.m. to 6 p.m. Free. \u003ca href=\"https://www.eventbrite.com/e/due-south-w-sheila-e-and-the-e-train-satya-dj-umami-free-tickets-663913401857?aff=oddtdtcreator\">Details and information here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The Oakland legend — yes, from *that* TikTok — plays a free outdoor show in San Francisco's McLaren Park.",
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"description": "The Oakland legend — yes, from *that* TikTok — plays a free outdoor show in San Francisco's McLaren Park.",
"title": "Can't Make It to the Mall? See Sheila E. in the Park — For Free | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13935796\" class=\"wp-caption aligncenter\" style=\"max-width: 1632px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE.jpg\" alt=\"A woman in black smiles into the camera near a set of timbales\" width=\"1632\" height=\"1632\" class=\"size-full wp-image-13935796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE.jpg 1632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/SheilaE.RobShanahan.SQUARE-1536x1536.jpg 1536w\" sizes=\"(max-width: 1632px) 100vw, 1632px\">\u003cfigcaption class=\"wp-caption-text\">Sheila E., a bona fide Oakland legend. \u003ccite>(Artist photo / Rob Shanahan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a near-perfect 29 seconds on our great and glorious internet. Sheila E. starts filming herself at the mall near a man with a boombox blasting her 1984 hit “The Glamorous Life.” “Dude is playing my song in the mall — he doesn’t even know it’s me,” she says. As the old online mantra goes, \u003ca href=\"https://www.instagram.com/p/CvaLth7trIF/\">you won’t believe what happens next\u003c/a>. \u003c/p>\n\u003cp>If this is how people these days discover legends of music like Sheila E., I am 100% fine with it. The percussion legend recently \u003ca href=\"https://www.tiktok.com/@hwdwalkoffame/video/7255720226535312682\">got a star on the Hollywood Walk of Fame\u003c/a>. She toured with Marvin Gaye, recorded with Beyoncé and played in Prince’s band for years. Insert shrug emoji here, because between Instagram and TikTok, these 29 seconds have been seen by over a million people. \u003c/p>\n\u003cp>Sheila E. plays a \u003ca href=\"https://www.eventbrite.com/e/due-south-w-sheila-e-and-the-e-train-satya-dj-umami-free-tickets-663913401857\">free show in McLaren Park\u003c/a> this weekend, and if you know someone enamored of this video, please, please, please take them to see her perform live. Their entire conception of drumming will be forever changed. They’ll know what timbales are, and how a master of their craft uses them. And, in the beautiful setting of the Jerry Garcia Amphitheater, they’ll be hard-pressed to find a better way to spend a Saturday in the city. \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>\u003cem>Sheila E. and the E-Train perform on Saturday, Oct. 7, at the Jerry Garcia Amphitheater in McLaren Park, San Francisco. Also on the bill are Satya and DJ Umami. 3 p.m. to 6 p.m. Free. \u003ca href=\"https://www.eventbrite.com/e/due-south-w-sheila-e-and-the-e-train-satya-dj-umami-free-tickets-663913401857?aff=oddtdtcreator\">Details and information here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Bay Area Streetwear Legend Wants Everyone to Eat",
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"content": "\u003cp>Over a decade ago, Mike Liwanag — the founder of the \u003ca href=\"https://www.instagram.com/savsbrand/?hl=en\">Savs clothing brand\u003c/a> — began his career in streetwear by selling Manny Pacquiao shirts “out the trunk” without any permission or permits.\u003c/p>\n\u003cp>At the time, social media wasn’t much of an option. So instead of selling direct-to-customer online, he had to hustle outside of popular venues where Pacquiao’s fights were being broadcasted. The young Filipino American clothing maker blew up in 2008 after selling over 20,000 shirts in four fights. The hype even reached Pacquiao himself.\u003c/p>\n\u003cp>“I was working 80 to 90 hours a week with a full-time job, just selling in the streets, and [Pacquiao] found out and invited me to meet him,” Liwanag says. “I was nervous at first, but we chopped it up and he gave us his blessing. He’s a real one. He could’ve sued us. Instead I was able to stack my bread and quit my job.”\u003c/p>\n\u003cp>In 2012 he founded Savs, one of the region’s premier clothing brands that specializes in custom sports apparel, basketball shorts and Filipino American drip. You may have seen their \u003ca href=\"https://savs.co/collections/collabs/products/savs-x-the-lumpia-company-jersey-green-collar\">retro baseball jerseys — with “Lumpia” scripted across the chest\u003c/a> — at an A’s or Giants game.\u003c/p>\n\u003cp>Liwanag has since become \u003ca href=\"https://www.youtube.com/watch?app=desktop&v=Krc8JHwQHFc\">a godfather of Bay Area streetwear\u003c/a>. A veteran in the game, he’s helped launch other viral Filipino-owned brands — namely, \u003ca href=\"https://whocaressupplyco.com/\">Who Cares?\u003c/a> and \u003ca href=\"https://collectandselect.com/\">Collect and Select\u003c/a> — and continues finding ways to give back to his community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His latest idea? A food and clothing festival called \u003ca href=\"https://www.eventbrite.com/e/the-everybody-eats-festival-tickets-706380451947\">Everybody Eats\u003c/a>.\u003c/p>\n\u003cp>Co-organized by San Francisco event mogul \u003ca href=\"https://www.instagram.com/anthonypresents/?hl=en\">Anthony Presents\u003c/a>, as well as the aforementioned Who Cares? and Collect and Select — two independent brands run by a pair of brothers who got their start as Liwanag’s teenage employees — Everybody Eats is rooted in family-style celebration, flavorful culture and collective wealth. The annual festival cross-stitches homegrown Bay Area platforms together through music, special-edition apparel, social advocacy and, of course, food. From heavyweights like World Famous Hot Boys and Señor Sisig — whose owners Liwanag has been close with since his early days — to up-and-comers like \u003ca href=\"https://www.instagram.com/busog.ba/?hl=en\">Busog\u003c/a> (Tagalog for “full”), Vatos Tacos and \u003ca href=\"https://www.kqed.org/arts/13929263/ube-choco-taco-macs-by-icky-filipino-union-city\">Macs By Icky\u003c/a>, the event will offer plenty of ways to eat, literally.\u003c/p>\n\u003cfigure id=\"attachment_13935586\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/EverybodyEats-snapback.jpg\" alt=\"A man pulls the brim of a green baseball cap down over his eyes. The cap's logo reads, "Everybody Eats."\" width=\"1920\" height=\"2400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-1638x2048.jpg 1638w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A limited-edition snapback from 2022’s inaugural Everybody Eats festival. The cap was a collaboration between Who Cares? and Savs. \u003ccite>(Courtesy of Hometeam.Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition, local clothing brands including Bass Resources (owned by East Bay rapper P-Lo), Dirty Pesos, Breed, Beyond Deadstock, Adapt and \u003ca href=\"https://www.kqed.org/arts/13923522/jordan-jimenez-jsquared-visuals-viral-nba-photos-pop-up-gallery-show\">JSquared\u003c/a>’s Maraud will be in attendance.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13929263,arts_13923522,arts_13932574']\u003c/span>“It’s tied closely to how we live, how we work, how we interact,” says Liwanag. “The saying \u003ca href=\"https://savs.co/products/savs-x-whocares-everybody-eats-trimless-hoop-shorts\">‘everybody eats’ was made popular in [the 2002 film] \u003ci>Paid In Full\u003c/i>\u003c/a>, and it just represents doing what you gotta do and giving back. The pie is big enough for everyone to get a slice.”\u003c/p>\n\u003cp>The event initially started in 2022 as a 10-year-anniversary celebration for Savs, but has since expanded into a yearly showcase for brands that Liwanag is a fan of. Speaking with him is like taking a seminar on purpose-driven entrepreneurialism. Inspired by artists like \u003ca href=\"https://www.kqed.org/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay\">Vallejo’s LaRussell\u003c/a> — who often centers his business model on free or give-what-you-can experiences — it’s clear that Liwanag is dedicated to uplifting the Bay Area’s creative community by serving others.\u003c/p>\n\u003cp>“It’s not about the money. It’s about the freedom and ability to help others realize their dreams,” says Liwanag. “We’re making [Everybody Eats] a free community event where people can feel good and fund charities. That’s more gratifying than a paycheck for me at this point.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003ca href=\"https://www.eventbrite.com/e/the-everybody-eats-festival-tickets-706380451947\">\u003ci>Everybody Eats\u003c/i>\u003c/a>\u003ci> will feature over 30 foodmakers and clothing brands in addition to music and guest speakers. It will take place on Sat., Oct. 7 from noon to 5 p.m. at The Crossing (200 Folsom St., San Francisco).\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over a decade ago, Mike Liwanag — the founder of the \u003ca href=\"https://www.instagram.com/savsbrand/?hl=en\">Savs clothing brand\u003c/a> — began his career in streetwear by selling Manny Pacquiao shirts “out the trunk” without any permission or permits.\u003c/p>\n\u003cp>At the time, social media wasn’t much of an option. So instead of selling direct-to-customer online, he had to hustle outside of popular venues where Pacquiao’s fights were being broadcasted. The young Filipino American clothing maker blew up in 2008 after selling over 20,000 shirts in four fights. The hype even reached Pacquiao himself.\u003c/p>\n\u003cp>“I was working 80 to 90 hours a week with a full-time job, just selling in the streets, and [Pacquiao] found out and invited me to meet him,” Liwanag says. “I was nervous at first, but we chopped it up and he gave us his blessing. He’s a real one. He could’ve sued us. Instead I was able to stack my bread and quit my job.”\u003c/p>\n\u003cp>In 2012 he founded Savs, one of the region’s premier clothing brands that specializes in custom sports apparel, basketball shorts and Filipino American drip. You may have seen their \u003ca href=\"https://savs.co/collections/collabs/products/savs-x-the-lumpia-company-jersey-green-collar\">retro baseball jerseys — with “Lumpia” scripted across the chest\u003c/a> — at an A’s or Giants game.\u003c/p>\n\u003cp>Liwanag has since become \u003ca href=\"https://www.youtube.com/watch?app=desktop&v=Krc8JHwQHFc\">a godfather of Bay Area streetwear\u003c/a>. A veteran in the game, he’s helped launch other viral Filipino-owned brands — namely, \u003ca href=\"https://whocaressupplyco.com/\">Who Cares?\u003c/a> and \u003ca href=\"https://collectandselect.com/\">Collect and Select\u003c/a> — and continues finding ways to give back to his community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His latest idea? A food and clothing festival called \u003ca href=\"https://www.eventbrite.com/e/the-everybody-eats-festival-tickets-706380451947\">Everybody Eats\u003c/a>.\u003c/p>\n\u003cp>Co-organized by San Francisco event mogul \u003ca href=\"https://www.instagram.com/anthonypresents/?hl=en\">Anthony Presents\u003c/a>, as well as the aforementioned Who Cares? and Collect and Select — two independent brands run by a pair of brothers who got their start as Liwanag’s teenage employees — Everybody Eats is rooted in family-style celebration, flavorful culture and collective wealth. The annual festival cross-stitches homegrown Bay Area platforms together through music, special-edition apparel, social advocacy and, of course, food. From heavyweights like World Famous Hot Boys and Señor Sisig — whose owners Liwanag has been close with since his early days — to up-and-comers like \u003ca href=\"https://www.instagram.com/busog.ba/?hl=en\">Busog\u003c/a> (Tagalog for “full”), Vatos Tacos and \u003ca href=\"https://www.kqed.org/arts/13929263/ube-choco-taco-macs-by-icky-filipino-union-city\">Macs By Icky\u003c/a>, the event will offer plenty of ways to eat, literally.\u003c/p>\n\u003cfigure id=\"attachment_13935586\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/EverybodyEats-snapback.jpg\" alt=\"A man pulls the brim of a green baseball cap down over his eyes. The cap's logo reads, "Everybody Eats."\" width=\"1920\" height=\"2400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/EverybodyEats-snapback-1638x2048.jpg 1638w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A limited-edition snapback from 2022’s inaugural Everybody Eats festival. The cap was a collaboration between Who Cares? and Savs. \u003ccite>(Courtesy of Hometeam.Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition, local clothing brands including Bass Resources (owned by East Bay rapper P-Lo), Dirty Pesos, Breed, Beyond Deadstock, Adapt and \u003ca href=\"https://www.kqed.org/arts/13923522/jordan-jimenez-jsquared-visuals-viral-nba-photos-pop-up-gallery-show\">JSquared\u003c/a>’s Maraud will be in attendance.\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>“It’s tied closely to how we live, how we work, how we interact,” says Liwanag. “The saying \u003ca href=\"https://savs.co/products/savs-x-whocares-everybody-eats-trimless-hoop-shorts\">‘everybody eats’ was made popular in [the 2002 film] \u003ci>Paid In Full\u003c/i>\u003c/a>, and it just represents doing what you gotta do and giving back. The pie is big enough for everyone to get a slice.”\u003c/p>\n\u003cp>The event initially started in 2022 as a 10-year-anniversary celebration for Savs, but has since expanded into a yearly showcase for brands that Liwanag is a fan of. Speaking with him is like taking a seminar on purpose-driven entrepreneurialism. Inspired by artists like \u003ca href=\"https://www.kqed.org/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay\">Vallejo’s LaRussell\u003c/a> — who often centers his business model on free or give-what-you-can experiences — it’s clear that Liwanag is dedicated to uplifting the Bay Area’s creative community by serving others.\u003c/p>\n\u003cp>“It’s not about the money. It’s about the freedom and ability to help others realize their dreams,” says Liwanag. “We’re making [Everybody Eats] a free community event where people can feel good and fund charities. That’s more gratifying than a paycheck for me at this point.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003ca href=\"https://www.eventbrite.com/e/the-everybody-eats-festival-tickets-706380451947\">\u003ci>Everybody Eats\u003c/i>\u003c/a>\u003ci> will feature over 30 foodmakers and clothing brands in addition to music and guest speakers. It will take place on Sat., Oct. 7 from noon to 5 p.m. at The Crossing (200 Folsom St., San Francisco).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[aside postid='arts_13902953']In 1993, at the height of grunge’s powers, Nirvana hit the stage at New York City’s Sony Studios and recorded one of the most beloved \u003cem>MTV Unplugged\u003c/em> sets of all time. Videos of the performance continue to garner tens of millions of views on YouTube. What few people might notice, however, is the white T-shirt \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a> wears under his iconic green cardigan. It’s a \u003ca href=\"http://frightwig.org/\">Frightwig\u003c/a> shirt, worn to honor the all-female San Francisco punk band that smashed barriers in the ’80s underground scene.\u003c/p>\n\u003cp>Frightwig was an undeniable influence on bands like L7, Faith No More, the Melvins and, in particular, Hole. Courtney Love once said: “Me, Kat [Bjelland from Babes in Toyland], and Jennifer Finch [from L7] all watched Frightwig on the same night and all decided to start bands the next day. Frightwig are the true grandmothers of riot grrrl.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P7lbJ0Oi6Jc&list=RDEMt2y_auEXtocfjlb6IFHw7g&index=2\u003c/p>\n\u003cp>Well, \u003ca href=\"https://www.kqed.org/arts/13911761/the-linda-lindas-npr-tiny-desk-la-public-library-racist-sexist-boy\" target=\"_blank\" rel=\"noopener\">riot grrl is back\u003c/a> — and so are its godmothers. In its original incarnation, Frightwig released two albums — \u003cem>Cat Farm Faboo \u003c/em>(Subterranean Records) and \u003cem>Faster, Frightwig, Kill! Kill!\u003c/em> (Caroline) — plus a couple of EPs. Now, 40 years after the outspoken band first formed, they’re releasing a new album, \u003cem>We\u003c/em> \u003cem>Need to Talk. \u003c/em>The record sees original bassist/vocalist Deanna Mitchell and guitarist/vocalist \u003ca href=\"http://mamamiadbruzzi.com/home/\">Mia d’Bruzzi\u003c/a> joined by guitarist Rebecca Sevrin (in Frightwig since 1986), drummer Tina Fagnani and keyboardist \u003ca href=\"https://en.wikipedia.org/wiki/Eric_Drew_Feldman\">Eric Drew Feldman\u003c/a>. They’ll celebrate the album release with a show at Bottom of the Hill on Friday, Sept. 29.\u003c/p>\n\u003cp>\u003cem>We Need to Talk\u003c/em> includes Frightwig’s 2014 single, the fiercely feminist “War on Women,” and swings frenetically between overtly political content (like “Redistribution of Wealth” and “Hot Air Rising”) and the deeply personal. “\u003ca href=\"https://www.youtube.com/watch?v=e-EFJgPlqNg&t=284s\">What Is Love?\u003c/a>” for example, is a rip-roaring ode to single life that starts with a proverbial “toilet full of boyfriends” and ends in a furious crescendo that includes lines repurposed (and drenched in sarcasm) from the Rolling Stones’ “\u003ca href=\"https://www.youtube.com/watch?v=krxU5Y9lCS8\">You Can’t Always Get What You Want\u003c/a>” and The Beatles’ “\u003ca href=\"https://www.youtube.com/watch?v=nGbWU8S3vzs\">She Loves You\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elsewhere on the 11-tracker, there’s “Aging Sux,” a frenzied 43-second anthem of empowerment for anyone wishing to age ungracefully, and “Ride Your Bike,” a catchy, humor-imbued ass-shaker. In contrast, “Shine Your Light” is a five-minute ballad written and sung by original Frightwig drummer Cecilia Kuhn, who passed away from cancer in 2017. “Shine Your Light” will be released as a 7″ single adorned with Kuhn’s face and middle finger, still proudly held aloft.\u003c/p>\n\u003cfigure id=\"attachment_13935332\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez.jpg\" alt=\"An illustration of a blonde woman, rendered in the style of Alfonse Mucha, wearing a crown of flowers and holding her right middle finger aloft.\" width=\"640\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Shine Your Light” by Frightwig honors drummer Cecilia Kuhn who died in 2017. \u003ccite>(Courtesy of Deanna Mitchell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frightwig were one of those bands that slammed open a lot of doors for others, but never quite got the props they deserved themselves. \u003cem>We Need to Talk\u003c/em> is an opportunity to right that wrong.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Frightwig’s ‘We Need to Talk’ is out via \u003ca href=\"https://label51recordings.com/\">Label 51 Recordings\u003c/a> on Friday, Sept. 29. To celebrate the release, the band plays \u003ca href=\"http://www.bottomofthehill.com/iC202309.html\">Bottom of the Hill\u003c/a> that night, with openers \u003ca href=\"https://www.instagram.com/falseflagsf/\">False Flag\u003c/a> and \u003ca href=\"https://www.instagram.com/chakifunkwizard/?hl=en\">Chaki\u003c/a>. A free show will also take place at the Golden Gate Park Bandshell on Oct. 7.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1993, at the height of grunge’s powers, Nirvana hit the stage at New York City’s Sony Studios and recorded one of the most beloved \u003cem>MTV Unplugged\u003c/em> sets of all time. Videos of the performance continue to garner tens of millions of views on YouTube. What few people might notice, however, is the white T-shirt \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a> wears under his iconic green cardigan. It’s a \u003ca href=\"http://frightwig.org/\">Frightwig\u003c/a> shirt, worn to honor the all-female San Francisco punk band that smashed barriers in the ’80s underground scene.\u003c/p>\n\u003cp>Frightwig was an undeniable influence on bands like L7, Faith No More, the Melvins and, in particular, Hole. Courtney Love once said: “Me, Kat [Bjelland from Babes in Toyland], and Jennifer Finch [from L7] all watched Frightwig on the same night and all decided to start bands the next day. Frightwig are the true grandmothers of riot grrrl.”\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/P7lbJ0Oi6Jc'\n title='//www.youtube.com/embed/P7lbJ0Oi6Jc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Well, \u003ca href=\"https://www.kqed.org/arts/13911761/the-linda-lindas-npr-tiny-desk-la-public-library-racist-sexist-boy\" target=\"_blank\" rel=\"noopener\">riot grrl is back\u003c/a> — and so are its godmothers. In its original incarnation, Frightwig released two albums — \u003cem>Cat Farm Faboo \u003c/em>(Subterranean Records) and \u003cem>Faster, Frightwig, Kill! Kill!\u003c/em> (Caroline) — plus a couple of EPs. Now, 40 years after the outspoken band first formed, they’re releasing a new album, \u003cem>We\u003c/em> \u003cem>Need to Talk. \u003c/em>The record sees original bassist/vocalist Deanna Mitchell and guitarist/vocalist \u003ca href=\"http://mamamiadbruzzi.com/home/\">Mia d’Bruzzi\u003c/a> joined by guitarist Rebecca Sevrin (in Frightwig since 1986), drummer Tina Fagnani and keyboardist \u003ca href=\"https://en.wikipedia.org/wiki/Eric_Drew_Feldman\">Eric Drew Feldman\u003c/a>. They’ll celebrate the album release with a show at Bottom of the Hill on Friday, Sept. 29.\u003c/p>\n\u003cp>\u003cem>We Need to Talk\u003c/em> includes Frightwig’s 2014 single, the fiercely feminist “War on Women,” and swings frenetically between overtly political content (like “Redistribution of Wealth” and “Hot Air Rising”) and the deeply personal. “\u003ca href=\"https://www.youtube.com/watch?v=e-EFJgPlqNg&t=284s\">What Is Love?\u003c/a>” for example, is a rip-roaring ode to single life that starts with a proverbial “toilet full of boyfriends” and ends in a furious crescendo that includes lines repurposed (and drenched in sarcasm) from the Rolling Stones’ “\u003ca href=\"https://www.youtube.com/watch?v=krxU5Y9lCS8\">You Can’t Always Get What You Want\u003c/a>” and The Beatles’ “\u003ca href=\"https://www.youtube.com/watch?v=nGbWU8S3vzs\">She Loves You\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elsewhere on the 11-tracker, there’s “Aging Sux,” a frenzied 43-second anthem of empowerment for anyone wishing to age ungracefully, and “Ride Your Bike,” a catchy, humor-imbued ass-shaker. In contrast, “Shine Your Light” is a five-minute ballad written and sung by original Frightwig drummer Cecilia Kuhn, who passed away from cancer in 2017. “Shine Your Light” will be released as a 7″ single adorned with Kuhn’s face and middle finger, still proudly held aloft.\u003c/p>\n\u003cfigure id=\"attachment_13935332\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez.jpg\" alt=\"An illustration of a blonde woman, rendered in the style of Alfonse Mucha, wearing a crown of flowers and holding her right middle finger aloft.\" width=\"640\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Shine Your Light” by Frightwig honors drummer Cecilia Kuhn who died in 2017. \u003ccite>(Courtesy of Deanna Mitchell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frightwig were one of those bands that slammed open a lot of doors for others, but never quite got the props they deserved themselves. \u003cem>We Need to Talk\u003c/em> is an opportunity to right that wrong.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Frightwig’s ‘We Need to Talk’ is out via \u003ca href=\"https://label51recordings.com/\">Label 51 Recordings\u003c/a> on Friday, Sept. 29. To celebrate the release, the band plays \u003ca href=\"http://www.bottomofthehill.com/iC202309.html\">Bottom of the Hill\u003c/a> that night, with openers \u003ca href=\"https://www.instagram.com/falseflagsf/\">False Flag\u003c/a> and \u003ca href=\"https://www.instagram.com/chakifunkwizard/?hl=en\">Chaki\u003c/a>. A free show will also take place at the Golden Gate Park Bandshell on Oct. 7.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Personal Tribute in Music to a Mission District Organizer",
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"content": "\u003cp>After singer and guitarist \u003ca href=\"https://www.heydavidjames.com/\" target=\"_blank\" rel=\"noopener\">David James\u003c/a> ran into his estranged father, Jesse James, in late ‘90s San Francisco, they met up at the St. John Coltrane Church on Divisadero Street to reconcile their relationship. But it wasn’t until after his father passed in 2005 that the musician learned the full extent of the elder James’s legacy in the city: In 1965, he founded \u003ca href=\"https://www.foundsf.org/index.php?title=Mission_Rebels_in_Action\" target=\"_blank\" rel=\"noopener\">Mission Rebels\u003c/a>, an organization that provided job training, educational opportunities and apprenticeships to impoverished youth.\u003c/p>\n\u003cp>On Sept. 22 and 24, David James and seven ensemble musicians will pay tribute to Jesse James — known to some as “the Rev” for his reputation as a street minister — in a multimedia performance titled \u003cem>Mission Rebel No. 1. \u003c/em>Accompanying projected images of his father and samples of his father’s voice, the music includes jazz, funk, classical and hip-hop, says James, adding that he formed the set from an intuitive and emotional place.\u003c/p>\n\u003cp>“In a weird way, it is a love letter to my dad,” says David James, of the performances at San Francisco’s Brava Theater and Palo Alto’s Mitchell Park Community Center. “I guess it’s me trying to understand him a little more.”\u003c/p>\n\u003cfigure id=\"attachment_13934972\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Rev.-Jesse-James-by-Linda-Wilson.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934972\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Rev.-Jesse-James-by-Linda-Wilson.jpeg\" alt=\"a black and white photo of an older Black man using a wheelchair\" width=\"768\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Rev.-Jesse-James-by-Linda-Wilson.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Rev.-Jesse-James-by-Linda-Wilson-160x213.jpeg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘The Rev’ Jesse James, date unknown. \u003ccite>(Linda Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each segment is based on a moment in Jesse James’ life. One is centered around his life in Harlem — before he moved to San Francisco in the ‘60s — and his experiences with addiction and incarceration as a Muslim man.\u003c/p>\n\u003cp>“I realized that this person’s life is quite a story,” says his son.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='news_11906012']While David James grew up in the Mission and then West Oakland without his father, he found a love for music that he later learned was a part of his father’s life too. In one image featured in the performance, Jesse James, wearing a houndstooth blazer and large glasses, bellows into a microphone.\u003c/p>\n\u003cp>David James, meanwhile, sang as a kid, picked up multiple instruments, joined a band just out of high school and later played with Bay Area bands Spearhead, The Coup and the Afrofunk Experience. (He now plays with the band GPS, which in 2016 released the \u003ca href=\"https://www.kqed.org/news/10879005/brian-andres-david-james-and-kneedelus-oh-my-3-new-albums-by-california-artists\">locally acclaimed album \u003cem>Billionaire Blues\u003c/em>\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13934973\" class=\"wp-caption aligncenter\" style=\"max-width: 715px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/David-James-by-Lenny-Gonzalez-5.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934973\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/David-James-by-Lenny-Gonzalez-5.jpeg\" alt=\"a Black man with long hair sits in a blue shirt and red pants, holding a guitar and smiling\" width=\"715\" height=\"732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/David-James-by-Lenny-Gonzalez-5.jpeg 715w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/David-James-by-Lenny-Gonzalez-5-160x164.jpeg 160w\" sizes=\"(max-width: 715px) 100vw, 715px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David James says that learning about his late father’s work has been inspiring. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since embarking on this historical recovery of his father’s life and impact, James has been inspired by his findings. His father’s legacy in San Francisco, for example, lives on through \u003ca href=\"https://www.horizons-sf.org/\" target=\"_blank\" rel=\"noopener\">Horizons Unlimited\u003c/a>, a program that grew out of Mission Rebels and still serves young people of color in the city.\u003c/p>\n\u003cp>“It’s this ripple that he put out just through his life and talking to these kids,” says James, “which wound up becoming so much bigger.”\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\">\u003cem>‘Mission Rebel No. 1’ \u003c/em>\u003cem>premieres at 8 p.m. on Friday, Sept. 22 at the Brava Theater (2789 24th St.) in San Francisco. \u003ca href=\"https://brava.my.salesforce-sites.com/ticket/#/instances/a0F2M00000MSo0WUAT\" target=\"_blank\" rel=\"noopener\">Tickets here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A second performance takes place at 2 p.m. on Sunday, Sept. 24 at the Mitchell Park Community Center (3700 Middlefield Road) in Palo Alto. \u003ca href=\"https://www.eventbrite.com/e/earthwise-welcomes-david-jamess-gps-mission-rebel-no-1-finding-reverend-j-tickets-601712878417\">Tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After singer and guitarist \u003ca href=\"https://www.heydavidjames.com/\" target=\"_blank\" rel=\"noopener\">David James\u003c/a> ran into his estranged father, Jesse James, in late ‘90s San Francisco, they met up at the St. John Coltrane Church on Divisadero Street to reconcile their relationship. But it wasn’t until after his father passed in 2005 that the musician learned the full extent of the elder James’s legacy in the city: In 1965, he founded \u003ca href=\"https://www.foundsf.org/index.php?title=Mission_Rebels_in_Action\" target=\"_blank\" rel=\"noopener\">Mission Rebels\u003c/a>, an organization that provided job training, educational opportunities and apprenticeships to impoverished youth.\u003c/p>\n\u003cp>On Sept. 22 and 24, David James and seven ensemble musicians will pay tribute to Jesse James — known to some as “the Rev” for his reputation as a street minister — in a multimedia performance titled \u003cem>Mission Rebel No. 1. \u003c/em>Accompanying projected images of his father and samples of his father’s voice, the music includes jazz, funk, classical and hip-hop, says James, adding that he formed the set from an intuitive and emotional place.\u003c/p>\n\u003cp>“In a weird way, it is a love letter to my dad,” says David James, of the performances at San Francisco’s Brava Theater and Palo Alto’s Mitchell Park Community Center. “I guess it’s me trying to understand him a little more.”\u003c/p>\n\u003cfigure id=\"attachment_13934972\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Rev.-Jesse-James-by-Linda-Wilson.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934972\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Rev.-Jesse-James-by-Linda-Wilson.jpeg\" alt=\"a black and white photo of an older Black man using a wheelchair\" width=\"768\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Rev.-Jesse-James-by-Linda-Wilson.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Rev.-Jesse-James-by-Linda-Wilson-160x213.jpeg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘The Rev’ Jesse James, date unknown. \u003ccite>(Linda Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each segment is based on a moment in Jesse James’ life. One is centered around his life in Harlem — before he moved to San Francisco in the ‘60s — and his experiences with addiction and incarceration as a Muslim man.\u003c/p>\n\u003cp>“I realized that this person’s life is quite a story,” says his son.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While David James grew up in the Mission and then West Oakland without his father, he found a love for music that he later learned was a part of his father’s life too. In one image featured in the performance, Jesse James, wearing a houndstooth blazer and large glasses, bellows into a microphone.\u003c/p>\n\u003cp>David James, meanwhile, sang as a kid, picked up multiple instruments, joined a band just out of high school and later played with Bay Area bands Spearhead, The Coup and the Afrofunk Experience. (He now plays with the band GPS, which in 2016 released the \u003ca href=\"https://www.kqed.org/news/10879005/brian-andres-david-james-and-kneedelus-oh-my-3-new-albums-by-california-artists\">locally acclaimed album \u003cem>Billionaire Blues\u003c/em>\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13934973\" class=\"wp-caption aligncenter\" style=\"max-width: 715px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/David-James-by-Lenny-Gonzalez-5.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13934973\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/David-James-by-Lenny-Gonzalez-5.jpeg\" alt=\"a Black man with long hair sits in a blue shirt and red pants, holding a guitar and smiling\" width=\"715\" height=\"732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/David-James-by-Lenny-Gonzalez-5.jpeg 715w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/David-James-by-Lenny-Gonzalez-5-160x164.jpeg 160w\" sizes=\"(max-width: 715px) 100vw, 715px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David James says that learning about his late father’s work has been inspiring. \u003ccite>(Lenny Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since embarking on this historical recovery of his father’s life and impact, James has been inspired by his findings. His father’s legacy in San Francisco, for example, lives on through \u003ca href=\"https://www.horizons-sf.org/\" target=\"_blank\" rel=\"noopener\">Horizons Unlimited\u003c/a>, a program that grew out of Mission Rebels and still serves young people of color in the city.\u003c/p>\n\u003cp>“It’s this ripple that he put out just through his life and talking to these kids,” says James, “which wound up becoming so much bigger.”\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\">\u003cem>‘Mission Rebel No. 1’ \u003c/em>\u003cem>premieres at 8 p.m. on Friday, Sept. 22 at the Brava Theater (2789 24th St.) in San Francisco. \u003ca href=\"https://brava.my.salesforce-sites.com/ticket/#/instances/a0F2M00000MSo0WUAT\" target=\"_blank\" rel=\"noopener\">Tickets here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A second performance takes place at 2 p.m. on Sunday, Sept. 24 at the Mitchell Park Community Center (3700 Middlefield Road) in Palo Alto. \u003ca href=\"https://www.eventbrite.com/e/earthwise-welcomes-david-jamess-gps-mission-rebel-no-1-finding-reverend-j-tickets-601712878417\">Tickets here\u003c/a>. \u003c/em>\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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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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"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.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"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": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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