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"content": "\u003cp>Have you heard? Have you somehow \u003cem>not\u003c/em> heard? Are you waking from a six-month-long coma and desperately need someone to explain the phrase “\u003ca href=\"https://www.nme.com/news/music/stepson-missing-billionaire-titanic-submarine-blink-182-concert-3458659\" target=\"_blank\" rel=\"noopener\">Blink-182 submarine stepson\u003c/a>”?\u003c/p>\n\u003cp>Never mind all that, for Taylor Swift is coming to town. Specifically, the singer’s Eras extravaganza will bring her to Levi’s Stadium in Santa Clara on July 28 and 29, events for which the cheapest ticket on Stubhub is currently $1,200 \u003cem>for a nosebleed seat behind the stage\u003c/em>.\u003c/p>\n\u003cp>In theory, Swift is simply on tour, the way other artists go on tour, in that she is traveling to different cities for musical performances. In practice, her fans crashed Ticketmaster in such a spectacular fashion that it \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\" target=\"_blank\" rel=\"noopener\">led to a Senate hearing\u003c/a>, and what she’s bringing to town is more like a circus put on by a small yet powerful nation-state. This thing has its own infrastructure and jurisdiction; it is its own GDP. As of June, the tour was bringing in an average of $13 million per show, putting it on track for the \u003ca href=\"https://www.cnbc.com/2023/07/04/taylor-swift-eras-tour-set-to-earn-record-breaking-1-billion-dollars-in-sales.html#:~:text=Taylor%20Swift%20is%20already%20one,setting%20%241%20billion%20in%20sales.\">highest-grossing tour in music history\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13925513\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The pre-sale debacle that confounded fans trying to buy Taylor Swift tickets last November brought renewed scrutiny to the giant Ticketmaster. \u003ccite>(Terry Wyatt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the tour’s impact on local economies — her Chicago and Las Vegas shows were credited with briefly bringing tourism in those cities back to pre-pandemic levels — it makes sense that wherever Swift goes, politicians are stoked. Which is fine. Be stoked! Splurge on good seats, take the whole family, buy a \u003ca href=\"https://store.taylorswift.com/collections/taylor-swift-the-eras-tour-collection/products/taylor-swift-the-eras-tour-cropped-lavender-pullover\">$65 crop top\u003c/a>.\u003c/p>\n\u003cp>But please, I beg of you: \u003cem>Stop with the \u003ca href=\"https://www.billboard.com/lists/taylor-swift-eras-tour-cities-celebrating/glendale-arizona/\">corny-ass proclamations and city renamings and “honorary mayor” nonsense\u003c/a>.\u003c/em> I’m not sure which polls you’ve been reading, but none of the ones I’ve seen suggest that residents want their civic leaders to devote time and taxpayer dollars to working up a list of song references with their aides or daughters in a patronizing attempt to get said politician’s name in the news and ultimately appeal to white middle-class voters aged 18–42.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Tampa, Swift was presented with a key to the city and named mayor for a day. Minneapolis officially became “Swiftie-apolis” for two days, while Nashville unveiled a bench with a plaque in honor of “Taylor Swift Homecoming Weekend.” Several other cities have named new streets for the singer; only New Jersey’s governor has declared that the \u003ca href=\"https://www.billboard.com/lists/taylor-swift-eras-tour-cities-celebrating/minneapolis-eras-tour/\">official state sandwich is now called a Taylor Swift Ham, Egg and Cheese\u003c/a>.\u003c/p>\n\u003cp>Santa Clara and San Francisco have both joined the fray in the past few days, getting in line to kneel in this embarrassing form of genuflection at the Altar of Swift. Santa Clara leaders, as a dozen headlines have told you by now, have \u003ca href=\"https://www.santaclaraca.gov/Home/Components/News/News/44597/3171\">temporarily renamed the city “Swiftie Clara”\u003c/a> and bestowed upon Swift an honorary mayorship. In San Francisco, Supervisor Matt Dorsey introduced, \u003ca href=\"https://www.tiktok.com/@sfstandard/video/7257635574117453099\">in a song title-laden speech\u003c/a>, a resolution that would make July 28–30 “Taylor Swift Weekend” in the city. I understand that this is supposed to be cringey-cute, but I cannot be alone here: my visceral reaction to said headlines is that they make me want to crawl under my desk and stay there forever.\u003c/p>\n\u003cp>[aside postID='pop_18933']Look, I get it. The tourism sector is struggling; the mall is closing; my friends back East keep gently asking if the streets are actually filled with zombies ransacking Walgreens. A positive, family-friendly event is coming to town, one that represents a weekend-long cash infusion for our hotels and restaurants, and maybe we \u003cem>should\u003c/em> all just feel grateful that Swift would deign to grace our poor, sad-sack city with her Midas touch.\u003c/p>\n\u003cp>But jeez, can we be grown-ups about it? Is it too much to ask our elected representatives — especially here in this supposed bastion of counterculture — to keep their attention trained on artists closer to home, on discussions about the value of live music and what the city can do to encourage a healthy arts scene that makes people want to come here and spend their money at our venues year-round?\u003c/p>\n\u003cfigure id=\"attachment_10900528\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/TayMJ.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. \" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. \u003ccite>(Emma Silvers/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the one hand, I’m well aware that I’m veering into Old Man Yells at Cloud territory here; “Taylor Swift Weekend” won’t hurt anyone. On the other, it improves absolutely nothing, except for — maybe? possibly? — the public image of the politicians, each of whom is hoping their proclamation speech goes viral, banking on media outlets \u003ca href=\"https://www.tiktok.com/@sfstandard/video/7257635574117453099\">reposting it without critique\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13931533']And here is where I acknowledge that I think Taylor Swift makes good pop songs, and I like a lot of them. While no one person should possess her current slice of market share — and while this tour illustrates so much of what’s currently broken and toxic about the music industry and perhaps, by extension, with free-market capitalism itself — none of that is exactly her fault. I respect her songwriting and her business acumen and this show is supposed to be impressive.\u003c/p>\n\u003cp>So if you have a spare $1,200 to $8,000 lying around, by all means, hit that resale ticket market, grab your clear backpack and go. \u003ca href=\"https://www.kqed.org/arts/10900446/live-review-taylor-swift-regular-super-normal-girl-like-you-and-me-at-levis-stadium\" target=\"_blank\" rel=\"noopener\">The last time I saw her was in 2015\u003c/a>, and instead of addressing the crowd as “Bay Area,” she kept saying stuff like “Thank you, Santa Clara, California!” Will she say “Swiftie Clara” this time? Or “Thank you for the Taylor Swift weekend, San Francisco”? Can someone record it and then we’ll play it on loop on a giant screen for people arriving at SFO? How can we milk this until the next tour?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’ll be in the fetal position under my desk if anyone has ideas.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Have you heard? Have you somehow \u003cem>not\u003c/em> heard? Are you waking from a six-month-long coma and desperately need someone to explain the phrase “\u003ca href=\"https://www.nme.com/news/music/stepson-missing-billionaire-titanic-submarine-blink-182-concert-3458659\" target=\"_blank\" rel=\"noopener\">Blink-182 submarine stepson\u003c/a>”?\u003c/p>\n\u003cp>Never mind all that, for Taylor Swift is coming to town. Specifically, the singer’s Eras extravaganza will bring her to Levi’s Stadium in Santa Clara on July 28 and 29, events for which the cheapest ticket on Stubhub is currently $1,200 \u003cem>for a nosebleed seat behind the stage\u003c/em>.\u003c/p>\n\u003cp>In theory, Swift is simply on tour, the way other artists go on tour, in that she is traveling to different cities for musical performances. In practice, her fans crashed Ticketmaster in such a spectacular fashion that it \u003ca href=\"https://www.npr.org/2023/01/24/1150942804/taylor-swift-ticketmaster-senate-hearing-live-nation\" target=\"_blank\" rel=\"noopener\">led to a Senate hearing\u003c/a>, and what she’s bringing to town is more like a circus put on by a small yet powerful nation-state. This thing has its own infrastructure and jurisdiction; it is its own GDP. As of June, the tour was bringing in an average of $13 million per show, putting it on track for the \u003ca href=\"https://www.cnbc.com/2023/07/04/taylor-swift-eras-tour-set-to-earn-record-breaking-1-billion-dollars-in-sales.html#:~:text=Taylor%20Swift%20is%20already%20one,setting%20%241%20billion%20in%20sales.\">highest-grossing tour in music history\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13925513\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/GettyImages-1425749504-scaled-e1677268803208-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The pre-sale debacle that confounded fans trying to buy Taylor Swift tickets last November brought renewed scrutiny to the giant Ticketmaster. \u003ccite>(Terry Wyatt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the tour’s impact on local economies — her Chicago and Las Vegas shows were credited with briefly bringing tourism in those cities back to pre-pandemic levels — it makes sense that wherever Swift goes, politicians are stoked. Which is fine. Be stoked! Splurge on good seats, take the whole family, buy a \u003ca href=\"https://store.taylorswift.com/collections/taylor-swift-the-eras-tour-collection/products/taylor-swift-the-eras-tour-cropped-lavender-pullover\">$65 crop top\u003c/a>.\u003c/p>\n\u003cp>But please, I beg of you: \u003cem>Stop with the \u003ca href=\"https://www.billboard.com/lists/taylor-swift-eras-tour-cities-celebrating/glendale-arizona/\">corny-ass proclamations and city renamings and “honorary mayor” nonsense\u003c/a>.\u003c/em> I’m not sure which polls you’ve been reading, but none of the ones I’ve seen suggest that residents want their civic leaders to devote time and taxpayer dollars to working up a list of song references with their aides or daughters in a patronizing attempt to get said politician’s name in the news and ultimately appeal to white middle-class voters aged 18–42.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Tampa, Swift was presented with a key to the city and named mayor for a day. Minneapolis officially became “Swiftie-apolis” for two days, while Nashville unveiled a bench with a plaque in honor of “Taylor Swift Homecoming Weekend.” Several other cities have named new streets for the singer; only New Jersey’s governor has declared that the \u003ca href=\"https://www.billboard.com/lists/taylor-swift-eras-tour-cities-celebrating/minneapolis-eras-tour/\">official state sandwich is now called a Taylor Swift Ham, Egg and Cheese\u003c/a>.\u003c/p>\n\u003cp>Santa Clara and San Francisco have both joined the fray in the past few days, getting in line to kneel in this embarrassing form of genuflection at the Altar of Swift. Santa Clara leaders, as a dozen headlines have told you by now, have \u003ca href=\"https://www.santaclaraca.gov/Home/Components/News/News/44597/3171\">temporarily renamed the city “Swiftie Clara”\u003c/a> and bestowed upon Swift an honorary mayorship. In San Francisco, Supervisor Matt Dorsey introduced, \u003ca href=\"https://www.tiktok.com/@sfstandard/video/7257635574117453099\">in a song title-laden speech\u003c/a>, a resolution that would make July 28–30 “Taylor Swift Weekend” in the city. I understand that this is supposed to be cringey-cute, but I cannot be alone here: my visceral reaction to said headlines is that they make me want to crawl under my desk and stay there forever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Look, I get it. The tourism sector is struggling; the mall is closing; my friends back East keep gently asking if the streets are actually filled with zombies ransacking Walgreens. A positive, family-friendly event is coming to town, one that represents a weekend-long cash infusion for our hotels and restaurants, and maybe we \u003cem>should\u003c/em> all just feel grateful that Swift would deign to grace our poor, sad-sack city with her Midas touch.\u003c/p>\n\u003cp>But jeez, can we be grown-ups about it? Is it too much to ask our elected representatives — especially here in this supposed bastion of counterculture — to keep their attention trained on artists closer to home, on discussions about the value of live music and what the city can do to encourage a healthy arts scene that makes people want to come here and spend their money at our venues year-round?\u003c/p>\n\u003cfigure id=\"attachment_10900528\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/TayMJ.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. \" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. \u003ccite>(Emma Silvers/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the one hand, I’m well aware that I’m veering into Old Man Yells at Cloud territory here; “Taylor Swift Weekend” won’t hurt anyone. On the other, it improves absolutely nothing, except for — maybe? possibly? — the public image of the politicians, each of whom is hoping their proclamation speech goes viral, banking on media outlets \u003ca href=\"https://www.tiktok.com/@sfstandard/video/7257635574117453099\">reposting it without critique\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And here is where I acknowledge that I think Taylor Swift makes good pop songs, and I like a lot of them. While no one person should possess her current slice of market share — and while this tour illustrates so much of what’s currently broken and toxic about the music industry and perhaps, by extension, with free-market capitalism itself — none of that is exactly her fault. I respect her songwriting and her business acumen and this show is supposed to be impressive.\u003c/p>\n\u003cp>So if you have a spare $1,200 to $8,000 lying around, by all means, hit that resale ticket market, grab your clear backpack and go. \u003ca href=\"https://www.kqed.org/arts/10900446/live-review-taylor-swift-regular-super-normal-girl-like-you-and-me-at-levis-stadium\" target=\"_blank\" rel=\"noopener\">The last time I saw her was in 2015\u003c/a>, and instead of addressing the crowd as “Bay Area,” she kept saying stuff like “Thank you, Santa Clara, California!” Will she say “Swiftie Clara” this time? Or “Thank you for the Taylor Swift weekend, San Francisco”? Can someone record it and then we’ll play it on loop on a giant screen for people arriving at SFO? How can we milk this until the next tour?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’ll be in the fetal position under my desk if anyone has ideas.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13924298\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-486166770.jpg\" alt=\"\" width=\"1024\" height=\"660\" class=\"size-full wp-image-13924298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-768x495.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra and his Arkestra perform with a steel sculpture on September 23, 1978, at Hill Auditorium in Ann Arbor, Michigan. \u003ccite>(Leni Sinclair/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Sun Ra Arkestra comes to San Francisco this week, and if you’re like most people, \u003ca href=\"https://en.wikipedia.org/wiki/Sun_Ra_discography\">you probably find his discography overwhelming\u003c/a>. Even diehard fans of Sun Ra, the pianist and bandleader who departed this Earthly plane 30 years ago, regularly discover new material spread across hundreds of releases.\u003c/p>\n\u003cp>The vast world of Sun Ra’s spaceways is unlike anything in the history of recorded American music. Spanning over four decades, it keeps one foot in the big-band stylings of major figures like Fletcher Henderson and Duke Ellington, and one in the infinite universe of free jazz and electronic synthesizers.\u003c/p>\n\u003cp>[aside postID='arts_13931138']The band’s shows in San Francisco, in fact, are split along these lines: two nights of the “exploratory side of Sun Ra,” and two nights of a more traditional big-band sound. And while 99-year-old bandleader Marshall Allen won’t be on the stand (he recently stopped touring outside the Philadelphia area), the spirit of refined exploration should be wholly present.\u003c/p>\n\u003cp>For a newcomer, where to start? Below are five landmark Sun Ra compositions to start you on your journey.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OK9CHK4Qmsw\u003c/p>\n\u003ch2>‘Sunology’\u003c/h2>\n\u003cp>An early tune that wouldn’t be out of place at the Savoy Ballroom in the late 1940s, Sun Ra referred to this as “a different kind of blues.” Note the Eastern influence and the wordplay of the title (“Sun-knowledge-y”), common markers in Sun Ra’s work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-cta8Jr2flk\u003c/p>\n\u003ch2>‘Fate in a Pleasant Mood’\u003c/h2>\n\u003cp>Another one of Sun Ra’s more big-band numbers, with traditional horn voicings that bend just a \u003cem>little\u003c/em> oblong. Imagine that it’s 1:49 a.m., the supper club’s about to close, and the couples on the dance floor are just as sleepy as the band. (A \u003ca href=\"https://www.youtube.com/watch?v=ZVn3wNFmXwQ\">1985 version\u003c/a> is more upbeat — and out there.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wUr2PoGa5Yc\u003c/p>\n\u003ch2>‘Interplanetary Music’\u003c/h2>\n\u003cp>Recorded in 1960, this shows the shape of Sun Ra’s music to come. Unusual instruments, rhythm and atmosphere over melody, and a repeating chant. In later live performances, this pivotal track would get a full workout.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tfdORV1-qYI\u003c/p>\n\u003ch2>‘Strange Strings’\u003c/h2>\n\u003cp>Issued in 1967, \u003cem>Strange Strings\u003c/em> is the result of Sun Ra giving his band instruments they did not know how to play, rolling tape, and seeing what would happen. Echo effects and a giant pane of sheet metal round out the wild, improvised piece. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CmY72PYQXek\u003c/p>\n\u003ch2>‘Space Is the Place’\u003c/h2>\n\u003cp>Sun Ra’s signature song, used in the 1974 film of the same name (\u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#sun-ra-films-space-is-the-place-in-oakland\">filmed in Oakland\u003c/a>), also contains his defining ethos: “There is no limit to the things that you can do.” At Sun Ra’s funeral, mourners sang this song on the way out of the church, the melodic lines overlapping with one another to create a vision of infinity. \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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Sun Ra Arkestra performs July 20–23 at SFJAZZ in San Francisco. \u003ca href=\"https://www.sfjazz.org/calendar/?month=7.2023&series=56108\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13924298\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-486166770.jpg\" alt=\"\" width=\"1024\" height=\"660\" class=\"size-full wp-image-13924298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-768x495.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra and his Arkestra perform with a steel sculpture on September 23, 1978, at Hill Auditorium in Ann Arbor, Michigan. \u003ccite>(Leni Sinclair/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Sun Ra Arkestra comes to San Francisco this week, and if you’re like most people, \u003ca href=\"https://en.wikipedia.org/wiki/Sun_Ra_discography\">you probably find his discography overwhelming\u003c/a>. Even diehard fans of Sun Ra, the pianist and bandleader who departed this Earthly plane 30 years ago, regularly discover new material spread across hundreds of releases.\u003c/p>\n\u003cp>The vast world of Sun Ra’s spaceways is unlike anything in the history of recorded American music. Spanning over four decades, it keeps one foot in the big-band stylings of major figures like Fletcher Henderson and Duke Ellington, and one in the infinite universe of free jazz and electronic synthesizers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The band’s shows in San Francisco, in fact, are split along these lines: two nights of the “exploratory side of Sun Ra,” and two nights of a more traditional big-band sound. And while 99-year-old bandleader Marshall Allen won’t be on the stand (he recently stopped touring outside the Philadelphia area), the spirit of refined exploration should be wholly present.\u003c/p>\n\u003cp>For a newcomer, where to start? Below are five landmark Sun Ra compositions to start you on your journey.\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/OK9CHK4Qmsw'\n title='//www.youtube.com/embed/OK9CHK4Qmsw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Sunology’\u003c/h2>\n\u003cp>An early tune that wouldn’t be out of place at the Savoy Ballroom in the late 1940s, Sun Ra referred to this as “a different kind of blues.” Note the Eastern influence and the wordplay of the title (“Sun-knowledge-y”), common markers in Sun Ra’s work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-cta8Jr2flk'\n title='//www.youtube.com/embed/-cta8Jr2flk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Fate in a Pleasant Mood’\u003c/h2>\n\u003cp>Another one of Sun Ra’s more big-band numbers, with traditional horn voicings that bend just a \u003cem>little\u003c/em> oblong. Imagine that it’s 1:49 a.m., the supper club’s about to close, and the couples on the dance floor are just as sleepy as the band. (A \u003ca href=\"https://www.youtube.com/watch?v=ZVn3wNFmXwQ\">1985 version\u003c/a> is more upbeat — and out there.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wUr2PoGa5Yc'\n title='//www.youtube.com/embed/wUr2PoGa5Yc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Interplanetary Music’\u003c/h2>\n\u003cp>Recorded in 1960, this shows the shape of Sun Ra’s music to come. Unusual instruments, rhythm and atmosphere over melody, and a repeating chant. In later live performances, this pivotal track would get a full workout.\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/tfdORV1-qYI'\n title='//www.youtube.com/embed/tfdORV1-qYI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Strange Strings’\u003c/h2>\n\u003cp>Issued in 1967, \u003cem>Strange Strings\u003c/em> is the result of Sun Ra giving his band instruments they did not know how to play, rolling tape, and seeing what would happen. Echo effects and a giant pane of sheet metal round out the wild, improvised piece. \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/CmY72PYQXek'\n title='//www.youtube.com/embed/CmY72PYQXek'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Space Is the Place’\u003c/h2>\n\u003cp>Sun Ra’s signature song, used in the 1974 film of the same name (\u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#sun-ra-films-space-is-the-place-in-oakland\">filmed in Oakland\u003c/a>), also contains his defining ethos: “There is no limit to the things that you can do.” At Sun Ra’s funeral, mourners sang this song on the way out of the church, the melodic lines overlapping with one another to create a vision of infinity. \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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Sun Ra Arkestra performs July 20–23 at SFJAZZ in San Francisco. \u003ca href=\"https://www.sfjazz.org/calendar/?month=7.2023&series=56108\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photos-history-of-the-bay-day-party-dregs-one-review",
"title": "Getting 'The Shot' at the History of the Bay Day Party",
"publishDate": 1689106905,
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"headTitle": "Getting ‘The Shot’ at the History of the Bay Day Party | KQED",
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"content": "\u003cp>On the latest episode of the \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\" target=\"_blank\" rel=\"noopener\">\u003cem>History of the Bay Podcast\u003c/em>\u003c/a>, host Dregs One talks with legendary hip-hop photographer \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\">D-Ray\u003c/a>. Throughout the conversation, she drives home the notion that good photography is all about getting \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06276-800x535.jpg\" alt=\"Legendary hip-hop photographer from Hayward, D-Ray, standing with influential San Francisco hip-hop engineer and artist manager D.E.O..\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Legendary hip-hop photographer D-Ray stands with influential San Francisco hip-hop engineer and artist manager, D.E.O. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She explains that access is a necessity, technical skills are important and cultural competency is key, but having the ability to get \u003cem>the shot\u003c/em> — one image that speaks to the overall spirit of the event — that’s what’s most important.\u003c/p>\n\u003cfigure id=\"attachment_13931465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06396-800x535.jpg\" alt=\"Members from the San Francisco collective Family Not a Group stop for a photo. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Members from the San Francisco collective Family Not a Group stop for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Sunday afternoon in San Francisco, The Midway was converted into a cathedral of Bay Area hip-hop culture as it hosted the first ever History of The Bay day party. A celebration of all aspects of Bay Area hip-hop culture, the event was organized by \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener\">Dregs One\u003c/a>, \u003ca href=\"https://www.instagram.com/deo415/\" target=\"_blank\" rel=\"noopener\">D.E.O.\u003c/a> and the team behind the aforementioned podcast; and hosted by the lively brother from East Oakland, \u003ca href=\"https://www.instagram.com/lordrab/\" target=\"_blank\" rel=\"noopener\">Lord Rab\u003c/a> of \u003ca href=\"https://www.instagram.com/novultures/\" target=\"_blank\" rel=\"noopener\">No Vultures\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13931466\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931466\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06358_720.jpg\" alt=\"A whole bunch of SF Giants hats and peace signs.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06358_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06358_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">A whole bunch of SF Giants hats and peace signs. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Veteran rappers who’ve put on for the region for decades rocked the stage as fans and fellow artists packed into the quaint outdoor area and rapped along to their favorite songs bar for bar. Inside were panel discussions about the state of the culture and vendors selling clothing stitched with the game given to them from the soil. I walked laps around the venue, amongst acclaimed artists of all sorts, hunting for \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931458\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931458\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06298-800x1197.jpg\" alt=\"Bay Area hip-hop producer Koast wearing the region on his back. \" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Bay Area hip-hop producer Koast wearing the region on his back. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I made images of Giants baseball hat brims pulled low over faces billowing clouds of smoke, photographed a woman with electric red hair rocking a pair of glowing golden “415” earrings, and snapped the moment when Nef The Pharoh asked the audience to raise their middle fingers.\u003c/p>\n\u003cfigure id=\"attachment_13931459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931459\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06344-800x535.jpg\" alt=\"Nef The Pharaoh asked audience members to show him their middle fingers and many of them responded accordingly. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Nef The Pharaoh asking audience members to hoist their middle fingers. \u003ccite>(Pendarvis Harshw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An \u003ca href=\"https://www.instagram.com/p/CugaXKBLWkp/?hl=en\">exhibition of Bay Area rap artifacts\u003c/a> in the hallway curated by \u003ca href=\"https://www.instagram.com/braincamping\">Anthony MacArthur\u003c/a>\u003cbr />\nshowcased a treasure trove of items: a copy of Paris’ \u003cem>The Devil Made Me Do It\u003c/em>, a Zion I flyer, a DVD of Mac Dre’s \u003cem>Treal TV\u003c/em>, an image of Rappin’ 4-Tay in \u003cem>Murder Dog\u003c/em> magazine, a tape of Souls of Mischief’s \u003cem>’93 Til Infinity\u003c/em>. Bruh, these fools even had a pair of Hammer pants on display.\u003c/p>\n\u003cfigure id=\"attachment_13931469\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931469\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/img_9240_720.jpg\" alt=\"A mini Tupac figurine and a copy of Souls of Mischief's classic '93 Til Infinity on display. \" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/img_9240_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/img_9240_720-160x120.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">A mini Tupac figurine and a copy of Souls of Mischief’s classic ”93 Til Infinity’ on display. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was one big-ass reminder of Bay Area hip-hop’s global impact; supported by the fact some of these iconic artists were in the building.\u003c/p>\n\u003cfigure id=\"attachment_13931461\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931461\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IMG_9238-800x600.jpg\" alt=\"Hip-hop in the Bay on full display.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Hip-hop in the Bay on full display. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Yukmouth of the Luniz, San Quinn, RBL Posse, Mac Mall and more hit the stage, D-Ray, the photographer who inspired my photographic philosophy for the evening, stood on stage with her designer hand bag and camera. Earlier she’d spoken on a panel alongside renowned Oakland aerosol artist \u003ca href=\"https://www.instagram.com/ladimeuna/\" target=\"_blank\" rel=\"noopener\">Dime\u003c/a> of the \u003ca href=\"https://linktr.ee/fewandfarwomen\" target=\"_blank\" rel=\"noopener\">Few & Far Women collective\u003c/a>, pioneering Oakland lyricist \u003ca href=\"https://www.instagram.com/cmgflowz/\" target=\"_blank\" rel=\"noopener\">Carla “CMG” Green\u003c/a> of \u003ca href=\"https://www.instagram.com/consciousdaughters/\" target=\"_blank\" rel=\"noopener\">Conscious Daughters\u003c/a>, and KQED Arts’ associate editor \u003ca href=\"https://www.instagram.com/nananastia/\" target=\"_blank\" rel=\"noopener\">Nastia Voynovskaya\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13931464\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06233-800x535.jpg\" alt=\"The Baby Mama Mafia, a group comprised of lyricist Beastella, DJ Ella Baker and rapper The Booth Fairy, pose for a photo.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">The Baby Mama Mafia, a group comprised of lyricist Beastella, DJ Ella Baker and rapper The Booth Fairy, pose for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As East Oakland legend and \u003ca href=\"https://youtu.be/2GZbaXdK8Js?t=109\">king of the super duper hyphy hyphy\u003c/a> Keak The Sneak hit the stage, the audience erupted. With the crowd gathering ever closer to him, Keak, who uses a wheelchair after \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\">surviving multiple gunshot wounds and a series of medical issues\u003c/a>, became hard to see.\u003c/p>\n\u003cfigure id=\"attachment_13931468\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06312_720.jpg\" alt=\"San Francisco lyricist San Quinn dropping bars with a mic in his hand and Fillmore stitched on his hat. \" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06312_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06312_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">San Francisco lyricist San Quinn drops bars at the History of the Bay party. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I stood 10 feet from the stage, periodically taking photos when the line of sight allowed for it while simultaneously rapping every lyric as Keak tore through his list of hits. At one point Keak paused to to appreciate the love from the crowd, and let out an exuberant smile. My camera clicked. I got \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931467\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931467\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06271_720.jpg\" alt=\"San Francisco lyricist and actress Tia Nomore poses for a photo.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06271_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06271_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">San Francisco lyricist and actress Tia Nomore poses for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image of his smile was emblematic of the entire day: the joy of Bay Area hip-hop, personified. The event allowed me to meet \u003ca href=\"https://www.instagram.com/noah.haytin/?hl=en\" target=\"_blank\" rel=\"noopener\">designers behind logos\u003c/a> I’ve seen for decades and shake the hand of \u003ca href=\"https://www.kqed.org/arts/13895586/a-salute-to-san-francisco-rap\">lyricists I’ve been following for years\u003c/a>. Dregs One freestyled for a minute or two straight about miscellaneous objects that folks in the audience handed him, and you could hear people laughing at his punchlines. All afternoon I saw folks hugging, passing trees and taking selfies together.\u003c/p>\n\u003cfigure id=\"attachment_13931462\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06369_720.jpg\" alt=\"People handed Dregs-One rolling trays, hats and other miscellaneous items for him to freestyle about, and he did so with ease. \" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">The audience handed Dregs One rolling trays, hats and other miscellaneous items as he freestyled about them with ease. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After making the image of Keak’s smile, I took my eye away from my viewfinder and saw that D-Ray had left her position from the crowded stage. She was now in the audience, with me, in front of the stage — except she was \u003cem>right\u003c/em> in front, with a clear view of Keak, and at that very moment holding up her phone to take a portrait. Damn, I bet she has an even better angle of \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06387-800x535.jpg\" alt=\"Legendary hip-hop photographer D-Ray gets "the shot" of Keak Da Sneak.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Legendary hip-hop photographer D-Ray makes a portrait of Keak Da Sneak. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Again, access is a necessity, technical skills are important and cultural competency is key. But a big part of getting the shot it is simply about being at the right place at the right time. And for one overcast July day in San Francisco, the right place was an outdoor patio surrounded by folks celebrating the spirit of hip-hop in the Bay Area.\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",
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"excerpt": "As Keak Da Sneak got love from the crowd, his smile reflected the whole day's spirit of Bay Area hip-hop.",
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"title": "Photos: History of the Bay Day Party with Keak, Luniz, RBL and More | KQED",
"description": "Pendarvis Harshaw shares photos and reflections from Dregs One's July 9 party in San Francisco with Keak Da Sneak, RBL Posse, Luniz, Mac Mall and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the latest episode of the \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\" target=\"_blank\" rel=\"noopener\">\u003cem>History of the Bay Podcast\u003c/em>\u003c/a>, host Dregs One talks with legendary hip-hop photographer \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\">D-Ray\u003c/a>. Throughout the conversation, she drives home the notion that good photography is all about getting \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06276-800x535.jpg\" alt=\"Legendary hip-hop photographer from Hayward, D-Ray, standing with influential San Francisco hip-hop engineer and artist manager D.E.O..\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06276.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Legendary hip-hop photographer D-Ray stands with influential San Francisco hip-hop engineer and artist manager, D.E.O. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She explains that access is a necessity, technical skills are important and cultural competency is key, but having the ability to get \u003cem>the shot\u003c/em> — one image that speaks to the overall spirit of the event — that’s what’s most important.\u003c/p>\n\u003cfigure id=\"attachment_13931465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06396-800x535.jpg\" alt=\"Members from the San Francisco collective Family Not a Group stop for a photo. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06396.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Members from the San Francisco collective Family Not a Group stop for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Sunday afternoon in San Francisco, The Midway was converted into a cathedral of Bay Area hip-hop culture as it hosted the first ever History of The Bay day party. A celebration of all aspects of Bay Area hip-hop culture, the event was organized by \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener\">Dregs One\u003c/a>, \u003ca href=\"https://www.instagram.com/deo415/\" target=\"_blank\" rel=\"noopener\">D.E.O.\u003c/a> and the team behind the aforementioned podcast; and hosted by the lively brother from East Oakland, \u003ca href=\"https://www.instagram.com/lordrab/\" target=\"_blank\" rel=\"noopener\">Lord Rab\u003c/a> of \u003ca href=\"https://www.instagram.com/novultures/\" target=\"_blank\" rel=\"noopener\">No Vultures\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13931466\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931466\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06358_720.jpg\" alt=\"A whole bunch of SF Giants hats and peace signs.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06358_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06358_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">A whole bunch of SF Giants hats and peace signs. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Veteran rappers who’ve put on for the region for decades rocked the stage as fans and fellow artists packed into the quaint outdoor area and rapped along to their favorite songs bar for bar. Inside were panel discussions about the state of the culture and vendors selling clothing stitched with the game given to them from the soil. I walked laps around the venue, amongst acclaimed artists of all sorts, hunting for \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931458\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931458\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06298-800x1197.jpg\" alt=\"Bay Area hip-hop producer Koast wearing the region on his back. \" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298-1027x1536.jpg 1027w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06298.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Bay Area hip-hop producer Koast wearing the region on his back. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I made images of Giants baseball hat brims pulled low over faces billowing clouds of smoke, photographed a woman with electric red hair rocking a pair of glowing golden “415” earrings, and snapped the moment when Nef The Pharoh asked the audience to raise their middle fingers.\u003c/p>\n\u003cfigure id=\"attachment_13931459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931459\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06344-800x535.jpg\" alt=\"Nef The Pharaoh asked audience members to show him their middle fingers and many of them responded accordingly. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06344.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Nef The Pharaoh asking audience members to hoist their middle fingers. \u003ccite>(Pendarvis Harshw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An \u003ca href=\"https://www.instagram.com/p/CugaXKBLWkp/?hl=en\">exhibition of Bay Area rap artifacts\u003c/a> in the hallway curated by \u003ca href=\"https://www.instagram.com/braincamping\">Anthony MacArthur\u003c/a>\u003cbr />\nshowcased a treasure trove of items: a copy of Paris’ \u003cem>The Devil Made Me Do It\u003c/em>, a Zion I flyer, a DVD of Mac Dre’s \u003cem>Treal TV\u003c/em>, an image of Rappin’ 4-Tay in \u003cem>Murder Dog\u003c/em> magazine, a tape of Souls of Mischief’s \u003cem>’93 Til Infinity\u003c/em>. Bruh, these fools even had a pair of Hammer pants on display.\u003c/p>\n\u003cfigure id=\"attachment_13931469\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931469\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/img_9240_720.jpg\" alt=\"A mini Tupac figurine and a copy of Souls of Mischief's classic '93 Til Infinity on display. \" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/img_9240_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/img_9240_720-160x120.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">A mini Tupac figurine and a copy of Souls of Mischief’s classic ”93 Til Infinity’ on display. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was one big-ass reminder of Bay Area hip-hop’s global impact; supported by the fact some of these iconic artists were in the building.\u003c/p>\n\u003cfigure id=\"attachment_13931461\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931461\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/IMG_9238-800x600.jpg\" alt=\"Hip-hop in the Bay on full display.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/IMG_9238-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Hip-hop in the Bay on full display. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Yukmouth of the Luniz, San Quinn, RBL Posse, Mac Mall and more hit the stage, D-Ray, the photographer who inspired my photographic philosophy for the evening, stood on stage with her designer hand bag and camera. Earlier she’d spoken on a panel alongside renowned Oakland aerosol artist \u003ca href=\"https://www.instagram.com/ladimeuna/\" target=\"_blank\" rel=\"noopener\">Dime\u003c/a> of the \u003ca href=\"https://linktr.ee/fewandfarwomen\" target=\"_blank\" rel=\"noopener\">Few & Far Women collective\u003c/a>, pioneering Oakland lyricist \u003ca href=\"https://www.instagram.com/cmgflowz/\" target=\"_blank\" rel=\"noopener\">Carla “CMG” Green\u003c/a> of \u003ca href=\"https://www.instagram.com/consciousdaughters/\" target=\"_blank\" rel=\"noopener\">Conscious Daughters\u003c/a>, and KQED Arts’ associate editor \u003ca href=\"https://www.instagram.com/nananastia/\" target=\"_blank\" rel=\"noopener\">Nastia Voynovskaya\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13931464\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06233-800x535.jpg\" alt=\"The Baby Mama Mafia, a group comprised of lyricist Beastella, DJ Ella Baker and rapper The Booth Fairy, pose for a photo.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06233.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">The Baby Mama Mafia, a group comprised of lyricist Beastella, DJ Ella Baker and rapper The Booth Fairy, pose for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As East Oakland legend and \u003ca href=\"https://youtu.be/2GZbaXdK8Js?t=109\">king of the super duper hyphy hyphy\u003c/a> Keak The Sneak hit the stage, the audience erupted. With the crowd gathering ever closer to him, Keak, who uses a wheelchair after \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\">surviving multiple gunshot wounds and a series of medical issues\u003c/a>, became hard to see.\u003c/p>\n\u003cfigure id=\"attachment_13931468\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06312_720.jpg\" alt=\"San Francisco lyricist San Quinn dropping bars with a mic in his hand and Fillmore stitched on his hat. \" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06312_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06312_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">San Francisco lyricist San Quinn drops bars at the History of the Bay party. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I stood 10 feet from the stage, periodically taking photos when the line of sight allowed for it while simultaneously rapping every lyric as Keak tore through his list of hits. At one point Keak paused to to appreciate the love from the crowd, and let out an exuberant smile. My camera clicked. I got \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931467\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931467\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06271_720.jpg\" alt=\"San Francisco lyricist and actress Tia Nomore poses for a photo.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06271_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06271_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">San Francisco lyricist and actress Tia Nomore poses for a photo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image of his smile was emblematic of the entire day: the joy of Bay Area hip-hop, personified. The event allowed me to meet \u003ca href=\"https://www.instagram.com/noah.haytin/?hl=en\" target=\"_blank\" rel=\"noopener\">designers behind logos\u003c/a> I’ve seen for decades and shake the hand of \u003ca href=\"https://www.kqed.org/arts/13895586/a-salute-to-san-francisco-rap\">lyricists I’ve been following for years\u003c/a>. Dregs One freestyled for a minute or two straight about miscellaneous objects that folks in the audience handed him, and you could hear people laughing at his punchlines. All afternoon I saw folks hugging, passing trees and taking selfies together.\u003c/p>\n\u003cfigure id=\"attachment_13931462\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06369_720.jpg\" alt=\"People handed Dregs-One rolling trays, hats and other miscellaneous items for him to freestyle about, and he did so with ease. \" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\" />\u003cfigcaption class=\"wp-caption-text\">The audience handed Dregs One rolling trays, hats and other miscellaneous items as he freestyled about them with ease. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After making the image of Keak’s smile, I took my eye away from my viewfinder and saw that D-Ray had left her position from the crowded stage. She was now in the audience, with me, in front of the stage — except she was \u003cem>right\u003c/em> in front, with a clear view of Keak, and at that very moment holding up her phone to take a portrait. Damn, I bet she has an even better angle of \u003cem>the shot\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13931463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/DSC06387-800x535.jpg\" alt=\"Legendary hip-hop photographer D-Ray gets "the shot" of Keak Da Sneak.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/DSC06387.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Legendary hip-hop photographer D-Ray makes a portrait of Keak Da Sneak. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Again, access is a necessity, technical skills are important and cultural competency is key. But a big part of getting the shot it is simply about being at the right place at the right time. And for one overcast July day in San Francisco, the right place was an outdoor patio surrounded by folks celebrating the spirit of hip-hop in the Bay Area.\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\u003c/div>\u003c/p>",
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"title": "Seeing San Francisco Through a Skateboarder’s Eyes",
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"content": "\u003cp>If you’ve ever walked around a city with a skateboarder, you’ve probably been inundated with comments about a concrete ledge’s history here, or the backstory of a set of stairs there. Through magazines and videos, skaters map the world according to the spots they skate. \u003c/p>\n\u003cp>Skaters are clerks to memorized libraries of not just existing skate spots, but potential spots, across our daily environment. Staircases become new measuring sticks for difficult tricks, and parking lot curbs become ageless playgrounds. As Dischord Records founder Ian MacKaye said in \u003ca href=\"https://www.youtube.com/watch?v=YYKYU-Qj_Ro\">a 2013 lecture to the Library of Congress\u003c/a>, skateboarding means “learning how to redefine the world around you.” \u003c/p>\n\u003cp>Viewers can now take a tour of San Francisco with this unique eye to the streets with art historian, writer and skateboarder \u003ca href=\"https://www.instagram.com/tedbarrow/?hl=en\">Ted Barrow\u003c/a> in \u003cem>Thrasher\u003c/em> magazine’s new web series “This Old Ledge.” Barrow offers a new way of seeing things most residents pass by every day, delivering onsite historical lessons on both the architectural and skateboarding history of key skate spots. Barrows’ seemingly freestyle, well-researched presentations are interspersed with archival photos from the San Francisco Public Library’s \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections\">Digital Archive\u003c/a> and \u003cem>Thrasher\u003c/em>’s \u003ca href=\"https://m.thrashermagazine.com/magazine/covers-archive/\">own\u003c/a>, telling the city’s history through those who have skated its streets. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hXrdZ5kWRqs\u003c/p>\n\u003cp>Barrow is the professor who can skate and dress better than his students. With a bemused grin and sharp tongue, his commentaries are part snark, part self-deprecation. In one episode, dedicated to the \u003ca href=\"https://artandarchitecture-sf.com/embarcadero-ribbon.html\">Embarcadero Art Ribbon project\u003c/a> that became the skate spot Bay Blocks, Barrow details the “massive compromises” made to the project before construction, including gaps added between the concrete ledges for pedestrian accessibility — and opportunity. “It’s the gaps that activate this as a [skate] spot,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“All of a sudden these ideas crystallize around you,” Barrow tells me. “You can see the actual history of a built environment in a city and how people’s stories impacted the city through the juxtaposition of buildings and different spaces.” \u003c/p>\n\u003cfigure id=\"attachment_13931481\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Thrasher.Triptych-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1268\" class=\"size-full wp-image-13931481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1536x761.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-2048x1015.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1920x951.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Karl Watson, nollie 180 switch crooked grind at Pier 7, 1996; Chico Brenes, backside kickflip at Bay Blocks, 1997; Fred Gall, switch crooked grind at Hubba Hideout, 1995. \u003ccite>(Watson and Brenes: Luke Ogden; Gall: Gabe Morford; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barrow returned to the Bay Area a few years ago after many years in New York, teaching art history at such universities as Baruch and City College, while pursuing his PhD (he successfully defended his dissertation this year) and appearing in skate videos. He also gave walking tours, sneaking in skate references when describing the First Customs House where George Washington signed the Declaration of Independence.\u003c/p>\n\u003cp>“It always seemed like there was this very rich history that videos and interviews with skateboarders didn’t always fully address,” he says, particularly around “how we think about space and how we think about place.”\u003c/p>\n\u003cfigure id=\"attachment_13931484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland.jpg\" alt=\"Two teenage boys in baggy shirts on a concrete ledge\" width=\"1200\" height=\"786\" class=\"size-full wp-image-13931484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-768x503.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Henry Sanchez and John Cardiel at Embarcadero, 1992. \u003ccite>(Tobin Yelland; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Revisiting landmarks of modern street skating\u003c/h2>\n\u003cp>“This Old Ledge” begins at Justin Herman Plaza, simply known to skaters as Embarcadero or Embarco. Designed in 1971 by modernist architect \u003ca href=\"https://www.kqed.org/arts/11316687/halprins-experiments-in-environment-still-radical-50-years-later\">Lawrence Halprin\u003c/a>, it’s one of several civic-minded projects designed by Halprin in response to a generation of failed urban renewal projects, describing it as a “total environment in which all the elements working together create a place for participation.” \u003c/p>\n\u003cp>Much of the plaza’s skateable features have changed over the years. But the silhouettes of former plaza obstacles are still visible along the bricks, Barrow shows, as are thousands of axle marks from skateboarders turning the plaza, from 1991 to 1994, into street skating’s modern laboratory of innovation. \u003c/p>\n\u003cp>[aside postID='arts_13916267']Reading these visual histories is “part of the intimidation of these skate spots,” Barrow explains. “They’re palimpsests: they’ve changed, things have been removed, but you can still read the history of skateboarding etched into those places.”\u003c/p>\n\u003cp>Researching the series, Barrow discovered how “the actual ledges and obstacles that people skated in the late ‘80s, early ‘90s weren’t there. And I always presumed that they were there.” \u003c/p>\n\u003cfigure id=\"attachment_13931482\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Hubba-Hideout-destruction.jpg\" alt=\"A backhoe demolishes a large concrete walkway\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13931482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">After years as a formative skate spot, as detailed in ‘This Old Ledge,’ Hubba Hideout was eventually demolished. \u003ccite>(Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a different episode, we follow Barrow to another skate spot Halprin unintentionally designed, Hubba Hideout. In 1976, Halprin joined a team to connect the Alcoa Building with the waterfront through a pedestrian bridge extending from the building, over Davis Street, and into a newly landscaped plaza. The X-braised Alcoa Building would eventually mark the spot for skaters to find the bridge’s “harsh, brutalist concrete” handrails going down some stairs into a plaza with Halprin’s signature red bricks. \u003c/p>\n\u003cp>Here, many would “hide out and smoke crack in the middle of one of the most profitable commercial districts in the world in broad daylight” explains Barrow. Hubba, \u003ca href=\"https://www.youtube.com/watch?v=pArkWvlAebg\">Bay Area slang for crack cocaine\u003c/a>, became skate lingo for any concrete ledge acting as a handrail downstairs.\u003c/p>\n\u003cp>\u003cem>Thrasher\u003c/em> magazine’s President, Tony Vitello, describes the now-defunct spot as “a proving ground,” with the nickname representative of San Francisco’s influence on skateboarding. “You could be at a [skatepark] planning meeting with some local government, and they’re talking about a hubba ledge.”\u003c/p>\n\u003cfigure id=\"attachment_13931483\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky.jpg\" alt=\"A man in a flannel shirt rides a skateboard high atop a concrete block\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13931483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jack Curtin, switch nosegrind at Bay Blocks. \u003ccite>(Dan Zaslavsky; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A historian’s eye for design and context\u003c/h2>\n\u003cp>Part of Vitello’s inspiration for “This Old Ledge” came at jury duty. On the wall of the courthouse was a framed photo of an abandoned San Francisco mansion, the Old Koshland House on Washington Street, whose curved exterior hubba ledge was \u003ca href=\"https://64.media.tumblr.com/b52e8b45d1554d98e9978416f510d2a1/tumblr_nqglutAUZJ1sgg3dvo1_500.gifv\">briefly a popular skate spot\u003c/a>. The photo was “dated the day after the 1906 earthquake,” with notable damage to buildings nearby. Vitello then considered the popular St. Paul’s Cathedral in London, and found drawings from when the Cathedral was built. “The out ledge that \u003ca href=\"https://www.thrashermagazine.com/articles/videos/atlantic-drift-episode-2-st-paul-s/\">everyone has skated\u003c/a> is sitting there in the 1600s, from a period before skateboarding was even invented – that trips me out.” \u003c/p>\n\u003cp>Through original videos, \u003cem>Thrasher\u003c/em>’s “been pushing to expand further into personality and cultural stuff,” Vitello says, “beyond just ‘Here’s a [skate] video with music in the background.’” \u003c/p>\n\u003cp>This push isn’t only palpable across their nearly seven million Instagram followers, but in the magazine’s hiring a full-time archivist to help log \u003cem>Thrasher\u003c/em>’s entire photo and video history. Between these archives and the number of San Francisco skate spots replicated in skateparks worldwide, “San Francisco has had such an outsized influence on skateboarding,” Vitello says, “and therefore everything connected to our culture.” \u003c/p>\n\u003cfigure id=\"attachment_13931485\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419.jpg\" alt=\"Young boys sit on their skateboards amidst a concrete and brick plaza\" width=\"1118\" height=\"739\" class=\"size-full wp-image-13931485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419.jpg 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-768x508.jpg 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Skaters at Embarcadero, 1992. \u003ccite>(Kevin Thatcher; courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Betsy Gordon, Project Manager at the Smithsonian’s National Museum of the American Indian, struck up a friendship with Barrow at the academic skate conference Pushing Boarders, where they both presented. She attests to his style of teaching: “I appreciate the fact that he has advanced skills and is very well-educated,” she says, “but never makes you feel stupid.”\u003c/p>\n\u003cp>Barrow recently contributed to \u003cem>\u003ca href=\"https://www.smithsonianstore.com/four-wheels-and-a-board-11042/\">Four Wheels and a Board: The Smithsonian History of Skateboarding\u003c/a>\u003c/em>, co-edited by Gordon. She looped in Barrow to write and contribute several pieces, including an introductory chapter to the 1990s section. “Not everybody can have that historian’s eye of seeing that context and say, ‘Oh, that trick for the ‘90s was really progressive’ with a sense of what was possible,” she says. \u003c/p>\n\u003cp>[aside postID='arts_13891248']Still, a skateboarder’s relationship with space evolves over time. \u003c/p>\n\u003cp>“Skateboarding is aging,” Gordon explains. “It was always very future-focused; now there’s more appreciation for history and what came before.” This ongoing relationship with space grounds Barrow’s deep historical knowledge into the present, making his onsite testimonies resonate that much deeper.\u003c/p>\n\u003cp>Vitello places that impact, and the project’s, into his everyday life.\u003c/p>\n\u003cp>“Sometimes you just forget to look up,” he explains. “I’ve found myself, even in a city I grew up in, looking up and looking at things a bit different.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘This Old Ledge’ is on \u003ca href=\"https://www.thrashermagazine.com/articles/videos/\">Thrasher magazine’s website\u003c/a> and \u003ca href=\"https://www.youtube.com/@ThrasherMag/videos\">YouTube channel\u003c/a> now. New episodes drop each Wednesday. Ted Barrow also runs a Patreon, \u003ca href=\"https://www.patreon.com/beratethebirds\">Berate the Birds\u003c/a>, centered around art history and skateboarding. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve ever walked around a city with a skateboarder, you’ve probably been inundated with comments about a concrete ledge’s history here, or the backstory of a set of stairs there. Through magazines and videos, skaters map the world according to the spots they skate. \u003c/p>\n\u003cp>Skaters are clerks to memorized libraries of not just existing skate spots, but potential spots, across our daily environment. Staircases become new measuring sticks for difficult tricks, and parking lot curbs become ageless playgrounds. As Dischord Records founder Ian MacKaye said in \u003ca href=\"https://www.youtube.com/watch?v=YYKYU-Qj_Ro\">a 2013 lecture to the Library of Congress\u003c/a>, skateboarding means “learning how to redefine the world around you.” \u003c/p>\n\u003cp>Viewers can now take a tour of San Francisco with this unique eye to the streets with art historian, writer and skateboarder \u003ca href=\"https://www.instagram.com/tedbarrow/?hl=en\">Ted Barrow\u003c/a> in \u003cem>Thrasher\u003c/em> magazine’s new web series “This Old Ledge.” Barrow offers a new way of seeing things most residents pass by every day, delivering onsite historical lessons on both the architectural and skateboarding history of key skate spots. Barrows’ seemingly freestyle, well-researched presentations are interspersed with archival photos from the San Francisco Public Library’s \u003ca href=\"https://sfpl.org/locations/main-library/sf-history-center/digital-collections\">Digital Archive\u003c/a> and \u003cem>Thrasher\u003c/em>’s \u003ca href=\"https://m.thrashermagazine.com/magazine/covers-archive/\">own\u003c/a>, telling the city’s history through those who have skated its streets. \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/hXrdZ5kWRqs'\n title='//www.youtube.com/embed/hXrdZ5kWRqs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Barrow is the professor who can skate and dress better than his students. With a bemused grin and sharp tongue, his commentaries are part snark, part self-deprecation. In one episode, dedicated to the \u003ca href=\"https://artandarchitecture-sf.com/embarcadero-ribbon.html\">Embarcadero Art Ribbon project\u003c/a> that became the skate spot Bay Blocks, Barrow details the “massive compromises” made to the project before construction, including gaps added between the concrete ledges for pedestrian accessibility — and opportunity. “It’s the gaps that activate this as a [skate] spot,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“All of a sudden these ideas crystallize around you,” Barrow tells me. “You can see the actual history of a built environment in a city and how people’s stories impacted the city through the juxtaposition of buildings and different spaces.” \u003c/p>\n\u003cfigure id=\"attachment_13931481\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Thrasher.Triptych-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1268\" class=\"size-full wp-image-13931481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1536x761.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-2048x1015.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Thrasher.Triptych-1920x951.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Karl Watson, nollie 180 switch crooked grind at Pier 7, 1996; Chico Brenes, backside kickflip at Bay Blocks, 1997; Fred Gall, switch crooked grind at Hubba Hideout, 1995. \u003ccite>(Watson and Brenes: Luke Ogden; Gall: Gabe Morford; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barrow returned to the Bay Area a few years ago after many years in New York, teaching art history at such universities as Baruch and City College, while pursuing his PhD (he successfully defended his dissertation this year) and appearing in skate videos. He also gave walking tours, sneaking in skate references when describing the First Customs House where George Washington signed the Declaration of Independence.\u003c/p>\n\u003cp>“It always seemed like there was this very rich history that videos and interviews with skateboarders didn’t always fully address,” he says, particularly around “how we think about space and how we think about place.”\u003c/p>\n\u003cfigure id=\"attachment_13931484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland.jpg\" alt=\"Two teenage boys in baggy shirts on a concrete ledge\" width=\"1200\" height=\"786\" class=\"size-full wp-image-13931484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Henry-Sanchez-left-and-John-Cardiel-right-at-Embarcadero_1992_Photo-by-Tobin-Yelland-768x503.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Henry Sanchez and John Cardiel at Embarcadero, 1992. \u003ccite>(Tobin Yelland; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Revisiting landmarks of modern street skating\u003c/h2>\n\u003cp>“This Old Ledge” begins at Justin Herman Plaza, simply known to skaters as Embarcadero or Embarco. Designed in 1971 by modernist architect \u003ca href=\"https://www.kqed.org/arts/11316687/halprins-experiments-in-environment-still-radical-50-years-later\">Lawrence Halprin\u003c/a>, it’s one of several civic-minded projects designed by Halprin in response to a generation of failed urban renewal projects, describing it as a “total environment in which all the elements working together create a place for participation.” \u003c/p>\n\u003cp>Much of the plaza’s skateable features have changed over the years. But the silhouettes of former plaza obstacles are still visible along the bricks, Barrow shows, as are thousands of axle marks from skateboarders turning the plaza, from 1991 to 1994, into street skating’s modern laboratory of innovation. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Reading these visual histories is “part of the intimidation of these skate spots,” Barrow explains. “They’re palimpsests: they’ve changed, things have been removed, but you can still read the history of skateboarding etched into those places.”\u003c/p>\n\u003cp>Researching the series, Barrow discovered how “the actual ledges and obstacles that people skated in the late ‘80s, early ‘90s weren’t there. And I always presumed that they were there.” \u003c/p>\n\u003cfigure id=\"attachment_13931482\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Hubba-Hideout-destruction.jpg\" alt=\"A backhoe demolishes a large concrete walkway\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13931482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hubba-Hideout-destruction-768x576.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">After years as a formative skate spot, as detailed in ‘This Old Ledge,’ Hubba Hideout was eventually demolished. \u003ccite>(Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a different episode, we follow Barrow to another skate spot Halprin unintentionally designed, Hubba Hideout. In 1976, Halprin joined a team to connect the Alcoa Building with the waterfront through a pedestrian bridge extending from the building, over Davis Street, and into a newly landscaped plaza. The X-braised Alcoa Building would eventually mark the spot for skaters to find the bridge’s “harsh, brutalist concrete” handrails going down some stairs into a plaza with Halprin’s signature red bricks. \u003c/p>\n\u003cp>Here, many would “hide out and smoke crack in the middle of one of the most profitable commercial districts in the world in broad daylight” explains Barrow. Hubba, \u003ca href=\"https://www.youtube.com/watch?v=pArkWvlAebg\">Bay Area slang for crack cocaine\u003c/a>, became skate lingo for any concrete ledge acting as a handrail downstairs.\u003c/p>\n\u003cp>\u003cem>Thrasher\u003c/em> magazine’s President, Tony Vitello, describes the now-defunct spot as “a proving ground,” with the nickname representative of San Francisco’s influence on skateboarding. “You could be at a [skatepark] planning meeting with some local government, and they’re talking about a hubba ledge.”\u003c/p>\n\u003cfigure id=\"attachment_13931483\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky.jpg\" alt=\"A man in a flannel shirt rides a skateboard high atop a concrete block\" width=\"1200\" height=\"799\" class=\"size-full wp-image-13931483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Jack-Curtin_Switch-Nosegrind-at-Bay-Blocks_Photo-by-Dan-Zaslavsky-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jack Curtin, switch nosegrind at Bay Blocks. \u003ccite>(Dan Zaslavsky; Courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A historian’s eye for design and context\u003c/h2>\n\u003cp>Part of Vitello’s inspiration for “This Old Ledge” came at jury duty. On the wall of the courthouse was a framed photo of an abandoned San Francisco mansion, the Old Koshland House on Washington Street, whose curved exterior hubba ledge was \u003ca href=\"https://64.media.tumblr.com/b52e8b45d1554d98e9978416f510d2a1/tumblr_nqglutAUZJ1sgg3dvo1_500.gifv\">briefly a popular skate spot\u003c/a>. The photo was “dated the day after the 1906 earthquake,” with notable damage to buildings nearby. Vitello then considered the popular St. Paul’s Cathedral in London, and found drawings from when the Cathedral was built. “The out ledge that \u003ca href=\"https://www.thrashermagazine.com/articles/videos/atlantic-drift-episode-2-st-paul-s/\">everyone has skated\u003c/a> is sitting there in the 1600s, from a period before skateboarding was even invented – that trips me out.” \u003c/p>\n\u003cp>Through original videos, \u003cem>Thrasher\u003c/em>’s “been pushing to expand further into personality and cultural stuff,” Vitello says, “beyond just ‘Here’s a [skate] video with music in the background.’” \u003c/p>\n\u003cp>This push isn’t only palpable across their nearly seven million Instagram followers, but in the magazine’s hiring a full-time archivist to help log \u003cem>Thrasher\u003c/em>’s entire photo and video history. Between these archives and the number of San Francisco skate spots replicated in skateparks worldwide, “San Francisco has had such an outsized influence on skateboarding,” Vitello says, “and therefore everything connected to our culture.” \u003c/p>\n\u003cfigure id=\"attachment_13931485\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419.jpg\" alt=\"Young boys sit on their skateboards amidst a concrete and brick plaza\" width=\"1118\" height=\"739\" class=\"size-full wp-image-13931485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419.jpg 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Skaters-at-Embarcadero_January-1992_photo-by-Kevin-Thatcher_419-768x508.jpg 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Skaters at Embarcadero, 1992. \u003ccite>(Kevin Thatcher; courtesy Thrasher magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Betsy Gordon, Project Manager at the Smithsonian’s National Museum of the American Indian, struck up a friendship with Barrow at the academic skate conference Pushing Boarders, where they both presented. She attests to his style of teaching: “I appreciate the fact that he has advanced skills and is very well-educated,” she says, “but never makes you feel stupid.”\u003c/p>\n\u003cp>Barrow recently contributed to \u003cem>\u003ca href=\"https://www.smithsonianstore.com/four-wheels-and-a-board-11042/\">Four Wheels and a Board: The Smithsonian History of Skateboarding\u003c/a>\u003c/em>, co-edited by Gordon. She looped in Barrow to write and contribute several pieces, including an introductory chapter to the 1990s section. “Not everybody can have that historian’s eye of seeing that context and say, ‘Oh, that trick for the ‘90s was really progressive’ with a sense of what was possible,” she says. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, a skateboarder’s relationship with space evolves over time. \u003c/p>\n\u003cp>“Skateboarding is aging,” Gordon explains. “It was always very future-focused; now there’s more appreciation for history and what came before.” This ongoing relationship with space grounds Barrow’s deep historical knowledge into the present, making his onsite testimonies resonate that much deeper.\u003c/p>\n\u003cp>Vitello places that impact, and the project’s, into his everyday life.\u003c/p>\n\u003cp>“Sometimes you just forget to look up,” he explains. “I’ve found myself, even in a city I grew up in, looking up and looking at things a bit different.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘This Old Ledge’ is on \u003ca href=\"https://www.thrashermagazine.com/articles/videos/\">Thrasher magazine’s website\u003c/a> and \u003ca href=\"https://www.youtube.com/@ThrasherMag/videos\">YouTube channel\u003c/a> now. New episodes drop each Wednesday. Ted Barrow also runs a Patreon, \u003ca href=\"https://www.patreon.com/beratethebirds\">Berate the Birds\u003c/a>, centered around art history and skateboarding. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "corpse-flower-san-francisco-conservatory-of-flowers-golden-gate-park",
"title": "Unspeakably Stinky: A Corpse Flower is Blooming at SF’s Conservatory of Flowers",
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"headTitle": "Unspeakably Stinky: A Corpse Flower is Blooming at SF’s Conservatory of Flowers | KQED",
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"content": "\u003cp>The Titan Arum, or corpse flower, has become a rockstar in the plant world for its unpredictable displays, and more notoriously, its putrid stench of rotting flesh.\u003c/p>\n\u003cp>\u003cstrong>What is it? \u003c/strong>The very large flowering plant is related to the calla lily, and in fact looks like a supersized and more macabre version, with a large central spike surrounded by a frilly maroon skirt of a leaf.\u003c/p>\n\u003cul>\n\u003cli>The Titan Arum is native only to the Indonesian island of Sumatra, but has become even more difficult to see in the wild due to habitat loss. In the last few decades, advances in technology and horticultural knowledge have allowed botanical gardens to cultivate the corpse flower more widely.\u003c/li>\n\u003cli>If you’re not familiar with why the flower has its distinctive name — when the corpse flower unfurls, tiny male and female flowers at the base of its large central spike emit a putrid odor, akin to rotting meat and stinky laundry.\u003c/li>\n\u003cli>Titan Arums have a fairly long and unpredictable flowering cycle, and they can take up to a decade before they flower for the first time. Even mature plants can go years between blooms. Essentially, they work on their own schedules — which is part of the excitement for viewers.\u003c/li>\n\u003c/ul>\n\u003cp>https://www.instagram.com/p/CuSUe7tvCS3/\u003c/p>\n\u003cp>\u003cstrong>What’s the big deal? \u003c/strong>Right now, two corpse flowers are blooming in California.\u003c/p>\n\u003cul>\n\u003cli>One is at San Francisco’s Conservatory of Flowers, while the other is at the San Diego Botanic Gardens.\u003c/li>\n\u003cli>The Conservatory’s corpse flower is named Scarlet, and last bloomed in 2019. She began blooming again earlier this week, and is \u003ca href=\"https://conservatoryofflowers.org/corpse-flower-2023/\">still standing tall\u003c/a> for her many visitors in San Francisco’s Golden Gate Park.\u003c/li>\n\u003cli>San Diego’s flower du jour last bloomed in 2021, and is already \u003ca href=\"https://sdbg.org/explore-our-plants/whats-in-bloom/corpse-plant/#live-stream\">noticeably more shriveled \u003c/a>than the peak event earlier this week. That’s because corpse flower blooms are brief, shining, stinky moments in time, typically lasting just a couple days.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>What are people saying? \u003c/strong>Ari Novy, president and CEO at the San Diego Botanic Garden, spoke to NPR’s Daniel Estrin about witnessing the symphony of stench in real time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His own description of the corpse flower’s perfume:\u003c/p>\n\u003cblockquote>\u003cp>The way I describe it is it smells like if you took your teenager’s dirty laundry and you put it in a big black garbage bag, and then you added in some hamburger meat, maybe some fish, a little garlic and some parmesan cheese. And you left that by the side of the road on a very hot desert day for about 24 hours. And then you came back to it. That’s not even exaggerating. That is really what the smell was.\u003c/p>\u003c/blockquote>\n\u003cp>On why the corpse flower has evolved to smell this rank:\u003c/p>\n\u003cblockquote>\u003cp>There are insects out there that really like the smell of rotting flesh or other fetid or rotting odors. And those insects can pollinate plants. There are several plants that utilize this strategy of using rotting flesh odors that humans find repulsive to attract a bunch of insects who actually love that smell.\u003c/p>\u003c/blockquote>\n\u003cp>On the public reaction to the bloom:\u003c/p>\n\u003cblockquote>\u003cp>This is like the rock star plant of the plant world. It’s kind of like a panda if you were in a zoo. It’s amazing, people come from all over the place. We had one bloom about 18 months ago and a guy saw it on the webcam in Texas and immediately got in his car so that he could make it for the blooming. And he drove day and night and got to San Diego 14 hours later. This plant really brings out people, and for a smell that’s so putrid and disgusting for human beings, somehow we’re still pretty attracted to it.\u003c/p>\u003c/blockquote>\n\u003chr>\n\u003cp>\u003cstrong>Want the full scoop on this stink? Hit the play button at the top of the page.\u003c/strong>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nSo, what now?\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>If you’re local to either establishment and want to catch the tail end of the bloom, you better head out quickly; the flowers will continue to droop from here on out.\u003c/li>\n\u003cli>And if you were hoping to catch that signature stench, Novy says better luck next time: “At this point in the blooming cycle, it’s done with its formal flowering. The flowers have done their work and so it doesn’t have that much of a smell. There’s some residual, but the real pungent punch typically comes in the evening, early morning on the first and second nights of flowering.”\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more,\u003ca href=\"https://www.npr.org\"> visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Unspeakably+stinky+and+unpredictable%3A+two+corpse+flowers+are+blooming+in+the+U.S.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Titan Arum, or corpse flower, has become a rockstar in the plant world for its unpredictable displays, and more notoriously, its putrid stench of rotting flesh.\u003c/p>\n\u003cp>\u003cstrong>What is it? \u003c/strong>The very large flowering plant is related to the calla lily, and in fact looks like a supersized and more macabre version, with a large central spike surrounded by a frilly maroon skirt of a leaf.\u003c/p>\n\u003cul>\n\u003cli>The Titan Arum is native only to the Indonesian island of Sumatra, but has become even more difficult to see in the wild due to habitat loss. In the last few decades, advances in technology and horticultural knowledge have allowed botanical gardens to cultivate the corpse flower more widely.\u003c/li>\n\u003cli>If you’re not familiar with why the flower has its distinctive name — when the corpse flower unfurls, tiny male and female flowers at the base of its large central spike emit a putrid odor, akin to rotting meat and stinky laundry.\u003c/li>\n\u003cli>Titan Arums have a fairly long and unpredictable flowering cycle, and they can take up to a decade before they flower for the first time. Even mature plants can go years between blooms. Essentially, they work on their own schedules — which is part of the excitement for viewers.\u003c/li>\n\u003c/ul>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>What’s the big deal? \u003c/strong>Right now, two corpse flowers are blooming in California.\u003c/p>\n\u003cul>\n\u003cli>One is at San Francisco’s Conservatory of Flowers, while the other is at the San Diego Botanic Gardens.\u003c/li>\n\u003cli>The Conservatory’s corpse flower is named Scarlet, and last bloomed in 2019. She began blooming again earlier this week, and is \u003ca href=\"https://conservatoryofflowers.org/corpse-flower-2023/\">still standing tall\u003c/a> for her many visitors in San Francisco’s Golden Gate Park.\u003c/li>\n\u003cli>San Diego’s flower du jour last bloomed in 2021, and is already \u003ca href=\"https://sdbg.org/explore-our-plants/whats-in-bloom/corpse-plant/#live-stream\">noticeably more shriveled \u003c/a>than the peak event earlier this week. That’s because corpse flower blooms are brief, shining, stinky moments in time, typically lasting just a couple days.\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>What are people saying? \u003c/strong>Ari Novy, president and CEO at the San Diego Botanic Garden, spoke to NPR’s Daniel Estrin about witnessing the symphony of stench in real time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His own description of the corpse flower’s perfume:\u003c/p>\n\u003cblockquote>\u003cp>The way I describe it is it smells like if you took your teenager’s dirty laundry and you put it in a big black garbage bag, and then you added in some hamburger meat, maybe some fish, a little garlic and some parmesan cheese. And you left that by the side of the road on a very hot desert day for about 24 hours. And then you came back to it. That’s not even exaggerating. That is really what the smell was.\u003c/p>\u003c/blockquote>\n\u003cp>On why the corpse flower has evolved to smell this rank:\u003c/p>\n\u003cblockquote>\u003cp>There are insects out there that really like the smell of rotting flesh or other fetid or rotting odors. And those insects can pollinate plants. There are several plants that utilize this strategy of using rotting flesh odors that humans find repulsive to attract a bunch of insects who actually love that smell.\u003c/p>\u003c/blockquote>\n\u003cp>On the public reaction to the bloom:\u003c/p>\n\u003cblockquote>\u003cp>This is like the rock star plant of the plant world. It’s kind of like a panda if you were in a zoo. It’s amazing, people come from all over the place. We had one bloom about 18 months ago and a guy saw it on the webcam in Texas and immediately got in his car so that he could make it for the blooming. And he drove day and night and got to San Diego 14 hours later. This plant really brings out people, and for a smell that’s so putrid and disgusting for human beings, somehow we’re still pretty attracted to it.\u003c/p>\u003c/blockquote>\n\u003chr>\n\u003cp>\u003cstrong>Want the full scoop on this stink? Hit the play button at the top of the page.\u003c/strong>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nSo, what now?\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>If you’re local to either establishment and want to catch the tail end of the bloom, you better head out quickly; the flowers will continue to droop from here on out.\u003c/li>\n\u003cli>And if you were hoping to catch that signature stench, Novy says better luck next time: “At this point in the blooming cycle, it’s done with its formal flowering. The flowers have done their work and so it doesn’t have that much of a smell. There’s some residual, but the real pungent punch typically comes in the evening, early morning on the first and second nights of flowering.”\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more,\u003ca href=\"https://www.npr.org\"> visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Unspeakably+stinky+and+unpredictable%3A+two+corpse+flowers+are+blooming+in+the+U.S.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13931462\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06369_720.jpg\" alt=\"People handed Dregs-One rolling trays, hats and other miscellaneous items for him to freestyle about, and he did so with ease.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">People handed Dregs-One rolling trays, hats and other miscellaneous items for him to freestyle about, and he did so with ease. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There aren’t many artists in the Bay Area stitching the fabrics of community more colorfully than rapper, graffiti writer and historian \u003ca href=\"https://www.instagram.com/dregs_one/?hl=en\">Dregs One\u003c/a>.\u003c/p>\n\u003cp>The proud San Francisco lyricist and social advocate has undertaken one of the more important preservation projects in recent memory with his podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/history-of-the-bay/id1643362991\">History of the Bay\u003c/a>. The series invites an intergenerational cast of Bay Area personalities — including \u003ca href=\"https://www.youtube.com/watch?v=RuJ-CQU-MJE\">P-Lo\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=vkK9dYcLjso\">Rocky Rivera\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13925761/magic-mike-richmond-calvin-t-rap-hip-hop\">Magic Mike\u003c/a> — to discuss their experiences in Bay Area hip-hop, culture and politics with a laid-back, in-the-know flavor.\u003c/p>\n\u003cp>[aside postID='arts_13931387']Having received attention for \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">archiving largely untold Bay Area rap stories\u003c/a>, Dregs is now expanding his platform to community events with the inaugural \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/derby-of-san-francisco-presents-history-of-the-bay-with-luniz-dregs-one-more-71892\">History of the Bay Day Party\u003c/a>. From the looks of it, it’ll be a real-life Bay Area Player’s Holiday.\u003c/p>\n\u003cp>In the spirit of connecting the Bay Area’s vast galaxy of hip-hop, the event includes a multitude of guests. Oakland rap legends the Luniz headline the stage, with Keak Da Sneak, Nef the Pharaoh, Mac Mall, San Quinn and Dregs One himself rounding out the afternoon lineup. (Also on stage is a panel on women in Bay Area hip-hop, moderated by KQED’s own Nastia Voynovskaya, an editor for KQED’s Bay Area hip-hop history series \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>.)\u003c/p>\n\u003cp>Beyond music, the day showcases the many subterraneous layers in hip-hop: graffiti artists (featuring a real-time mural painted by \u003ca href=\"https://www.youtube.com/watch?v=KyHVKCClBBo\">Crayone\u003c/a>); disc jockeys (with DJ sets from Juice, Sean G and \u003ca href=\"https://www.kqed.org/arts/13910221/family-not-a-group-san-francisco-rap\">Family Not A Group’s Jenset\u003c/a>); and traditionally unheard voices (CMG from the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">Conscious Daughters\u003c/a> and \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\">D-Ray\u003c/a> discuss their roles as women making waves in the scene). Throw into the mix food, ice cream from Mitchell’s, a live podcast recording, and vendors such as Derby of San Francisco and \u003ca href=\"https://www.dyingbreedsf.com/\">Dying Breed\u003c/a> purveying wildly localized merch — think Starters-esque windbreaker jackets with “FRI$CO” and “415” stitched onto them — and you’ve got a full-on function.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13923938,arts_13931108']With this summer marking the \u003ca href=\"https://www.kqed.org/arts/13923938/thats-my-word-intro\">50th anniversary of hip-hop\u003c/a>, it’s a more fitting time than ever for Dregs One to champion the musical genre and cultural lifestyle in block-party fashion. At its core, hip-hop is — and will hopefully always be — an empowering intersection for jubilant expression, self-love, knowledge and the occasional thizz dance in a space filled with other hip-hop heads who, like anyone, want to be seen and appreciated. There’s no better moment to tap in.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter 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>\u003cem>The History of the Bay Day Party gets underway Sunday, July 9, at 2 p.m. at The Midway in San Francisco. \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/derby-of-san-francisco-presents-history-of-the-bay-with-luniz-dregs-one-more-71892\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\">‘History of the Bay’ podcast\u003c/a> airs regularly with periodic live recordings at Amoeba Music in San Francisco. Abbreviated versions can be seen on \u003ca href=\"https://www.tiktok.com/@dregs_one\">Dregs One’s TikTok\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Having received attention for \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">archiving largely untold Bay Area rap stories\u003c/a>, Dregs is now expanding his platform to community events with the inaugural \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/derby-of-san-francisco-presents-history-of-the-bay-with-luniz-dregs-one-more-71892\">History of the Bay Day Party\u003c/a>. From the looks of it, it’ll be a real-life Bay Area Player’s Holiday.\u003c/p>\n\u003cp>In the spirit of connecting the Bay Area’s vast galaxy of hip-hop, the event includes a multitude of guests. Oakland rap legends the Luniz headline the stage, with Keak Da Sneak, Nef the Pharaoh, Mac Mall, San Quinn and Dregs One himself rounding out the afternoon lineup. (Also on stage is a panel on women in Bay Area hip-hop, moderated by KQED’s own Nastia Voynovskaya, an editor for KQED’s Bay Area hip-hop history series \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>.)\u003c/p>\n\u003cp>Beyond music, the day showcases the many subterraneous layers in hip-hop: graffiti artists (featuring a real-time mural painted by \u003ca href=\"https://www.youtube.com/watch?v=KyHVKCClBBo\">Crayone\u003c/a>); disc jockeys (with DJ sets from Juice, Sean G and \u003ca href=\"https://www.kqed.org/arts/13910221/family-not-a-group-san-francisco-rap\">Family Not A Group’s Jenset\u003c/a>); and traditionally unheard voices (CMG from the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">Conscious Daughters\u003c/a> and \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\">D-Ray\u003c/a> discuss their roles as women making waves in the scene). Throw into the mix food, ice cream from Mitchell’s, a live podcast recording, and vendors such as Derby of San Francisco and \u003ca href=\"https://www.dyingbreedsf.com/\">Dying Breed\u003c/a> purveying wildly localized merch — think Starters-esque windbreaker jackets with “FRI$CO” and “415” stitched onto them — and you’ve got a full-on function.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With this summer marking the \u003ca href=\"https://www.kqed.org/arts/13923938/thats-my-word-intro\">50th anniversary of hip-hop\u003c/a>, it’s a more fitting time than ever for Dregs One to champion the musical genre and cultural lifestyle in block-party fashion. At its core, hip-hop is — and will hopefully always be — an empowering intersection for jubilant expression, self-love, knowledge and the occasional thizz dance in a space filled with other hip-hop heads who, like anyone, want to be seen and appreciated. There’s no better moment to tap in.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter 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>\u003cem>The History of the Bay Day Party gets underway Sunday, July 9, at 2 p.m. at The Midway in San Francisco. \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/derby-of-san-francisco-presents-history-of-the-bay-with-luniz-dregs-one-more-71892\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\">‘History of the Bay’ podcast\u003c/a> airs regularly with periodic live recordings at Amoeba Music in San Francisco. Abbreviated versions can be seen on \u003ca href=\"https://www.tiktok.com/@dregs_one\">Dregs One’s TikTok\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "historic-lesbian-bars-san-francisco-mauds-pegs-front-anns-monas-440-tommy-vasu",
"title": "5 Historic San Francisco Lesbian Bars We Wish Still Existed",
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"headTitle": "5 Historic San Francisco Lesbian Bars We Wish Still Existed | KQED",
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"content": "\u003cfigure id=\"attachment_13930420\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930420\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-800x630.jpg\" alt=\"Three women sit on the laps of three other women, each of whom are dressed in masculine suits and hats.\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-1020x803.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-768x604.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-1536x1209.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A glorious gathering of lesbians, circa 1910. \u003ccite>(Kirn Vintage Stock/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back in March, thanks to my ongoing obsession with the city’s dives, I decided to compile a list of \u003ca href=\"https://www.kqed.org/arts/13927137/san-francisco-bars-monas-440-cobweb-palace-chinese-pagoda-elite-varieties\">five supremely entertaining bars from San Francisco history\u003c/a>. I found some gems in the archives — a spider-filled tavern in North Beach and a lawless basement bar on the edge of Chinatown, among them.\u003c/p>\n\u003cp>In the course of that research I also discovered Mona’s 440 Club — a bar for lesbians, crossdressers and genderfluid folks that was active in the 1940s. Finding a place “where girls [could] be boys” from that era prompted me to wonder: How many other fantastic little lesbian venues existed in Bay Area history that few of us know anything about today?\u003c/p>\n\u003cp>Here are five that are particularly noteworthy.\u003c/p>\n\u003ch2>Ann’s 440 Club\u003c/h2>\n\u003cfigure id=\"attachment_13930367\" class=\"wp-caption alignright\" style=\"max-width: 618px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930367\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM.png\" alt=\"A newspaper ad for 'Miss Wiggles — the Marvel in Motion’ performing at Ann's 440 Club.\" width=\"618\" height=\"784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM.png 618w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM-160x203.png 160w\" sizes=\"auto, (max-width: 618px) 100vw, 618px\">\u003cfigcaption class=\"wp-caption-text\">A newspaper ad for Ann’s 440 Club, as seen in ‘The San Francisco Examiner’ on April 30, 1960. \u003ccite>(The San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the early 1950s, when Mona’s 440 Club was sold by Mona and Jimmie Sargeant to Ann Dee she, rather naturally, renamed it Ann’s. Dee understood that her core audience should remain genderfluid lesbians and she catered to them with exotic performers like Miss Wiggles, Carol “the Dangerous Curver” Hill and “Cuban bombshell” Delia Martine. In a departure from Mona’s, however, Dee also opened up the in-house entertainment to include more male musicians and comedians — Lenny Bruce and Johnny Mathis among them.\u003c/p>\n\u003cp>Ann’s carefully curated choice of entertainers often prompted local critics to attend. In 1953, \u003cem>The San Francisco Examiner\u003c/em> praised an “Original Pantomime” show that was quite obviously a drag performance of sorts. “In a nutshell, it’s group pantomiming of Broadway hit musicals … go[ing] through the motions of the play, the songs and the dances, in a clever, sparkling and original way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mona’s had established a safe nightclub space for lesbians in San Francisco throughout the 1940s, but it was Ann’s that helped bring sapphic culture to mainstream city nightlife.\u003c/p>\n\u003ch2>The Front\u003c/h2>\n\u003cfigure id=\"attachment_13930419\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/front-800x507.jpg\" alt=\"Two women dance together in a nightclub. Other women mill around in the background.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-768x487.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1536x973.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1920x1217.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front.jpg 1976w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">No photos of The Front exist today. But we imagine it a little something like this… \u003ccite>(GENNA MARTIN/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The legacy that The Front’s owner Charlotte Coleman left on LGBTQ+ nightlife in San Francisco is immense — and it only happened because homophobia pushed her out of her day job at the IRS. Forced to resign after her employer discovered she was a lesbian, Coleman took her retirement savings — and a cue from her father, a Prohibition-era rum-runner — and went into the bar trade.\u003c/p>\n\u003cp>[aside postid='arts_13911589']Coleman bought The Blind Mouse in 1958 — a gay restaurant at 600 Front St. — and renamed it The Front. The bar had a stage and a piano, and was known for its drag shows (featuring both male and female impersonators). Coleman opened the bar in a relatively deserted part of town specifically with the goal of avoiding police harassment. Sadly, the location didn’t help. Coleman got slapped with multiple morals charges, lost her license and was forced to close The Front in 1962.\u003c/p>\n\u003cp>Coleman went on to open nine other gay venues around the city — including still-beloved bars like Twin Peaks and \u003ca href=\"https://www.kqed.org/arts/13911589/sfmoma-soapbox-derby-san-francisco-wacky-races-pops-mint-parkside-tricycle-mclaren-park\">The Mint\u003c/a> — and became known for her charitable fundraising for LGBTQ+ causes, as well as her work with the \u003ca href=\"https://en.wikipedia.org/wiki/Tavern_Guild\">Tavern Guild\u003c/a>. The Front, however, would be her last lesbian venue.\u003c/p>\n\u003cp>“The women got into so many fights, pulling hair and dumping beers over each other!” she once explained. “I always was in the middle trying to break things up. And I really didn’t make any money either, so I decided that was a lot of fun, but I couldn’t make a living.”\u003c/p>\n\u003ch2>Tommy’s Joint/ 12 Adler Place\u003c/h2>\n\u003cfigure id=\"attachment_13930430\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930430\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-800x600.jpg\" alt=\"A courtyard containing a bar with a fire escape and apartments above. A sign reads ‘12 Adler Museum.’\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Specs’ in North Beach was once a lesbian bar known as 12 Adler Place. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1948, inside a four-story brick building at 299 Broadway, San Francisco acquired its first queer bar opened by an out lesbian.\u003c/p>\n\u003cp>The owner went by the name Tommy Vasu; Vasu had dressed in masculine attire since the age of 12. Despite once being described by Herb Caen as “a gentleman among ladies,” Vasu was known to be involved in organized crime and often associated with sex workers. (The 299 Club operated on the two bottom floors of the bar’s address. The top two acted as a hotel known to be a venue for prostitution.)\u003c/p>\n\u003cp>[aside postid='arts_13927137']“Anything you wanted, Tommy could get it for you,” historian \u003ca href=\"http://www.elisarolle.com/queerplaces/ch-d-e/Eleanor%20Vasu.html\">Pat Bond once said\u003c/a>. “You wanted a watch, she’d bring out 40 watches. She liked being a gangster.”\u003c/p>\n\u003cp>Four years into successful operation, the 299 Club moved to 529 Broadway (today’s \u003ca href=\"https://www.yelp.com/biz/garden-of-eden-san-francisco?osq=garden+of+eden\">Garden of Eden\u003c/a> strip club) and was renamed Tommy’s Joint. Tommy’s was a popular venue with live entertainment. It also backed directly onto a lively lesbian bar known as 12 Adler Place, also owned by Vasu.\u003c/p>\n\u003cp>Vasu’s North Beach success was short-lived. Vice squad officers closed the adjoining bars down after just two years, revoking Vasu’s license and landing one of the venue’s bartenders in jail for allegedly serving minors. It was a major local scandal at the time, milked in the media to scaremonger about the corrupting nature of homosexuality on youth. (\u003cem>The Examiner\u003c/em> referred to 12 Adler as a “sex thrill bar.”)\u003c/p>\n\u003cp>Today, \u003ca href=\"https://www.specsbarsf.com/\">Specs’\u003c/a> pays tribute to its former incarnation with a sign in its doorway that reads “12 Adler Museum.” Sadly, zero ephemera from the original Tommy’s Joint or 12 Adler Place remains in Specs’ today. Still not quite as sad as the ending that Vasu got, however — the former bar owner was murdered in 1978, four years after serving time for dealing heroin.\u003c/p>\n\u003ch2>Peg’s Place\u003c/h2>\n\u003cfigure id=\"attachment_13930424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-800x565.jpg\" alt=\"An art deco illustration of a kiss between two women. The first, smoking, sensual and in underwear lying on a bed. The second is dressed smartly in red dress and hat.\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-1536x1084.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When Peg’s Place first opened, it was known for its air of refinement. (Illustration by Leon Bonnotte from ‘Le Sourire.’ Paris, France, 1925.) \u003ccite>(Fototeca Gilardi/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peg’s Place forged a reputation in its early years for being a refined bar where patrons weren’t even permitted to wear jeans. (Pants were okay.) \u003cem>The San Francisco Examiner\u003c/em> once described the joint at 4737 Geary as a “small bar with Norman-style stone arches, pool table, dance floor and open fire,” and “a cozy haven from the claimed harassments of the straight world.”\u003c/p>\n\u003cp>“I think they wanted you to be — maybe they call it classy,” a regular named Jackie later recalled. “They didn’t want to think they catered to bums or truck-driver types.”\u003c/p>\n\u003cp>[aside postid='arts_13930106']While in its earliest days, dancing at Peg’s wasn’t permitted because of anti-LGBTQ+ laws, the bar rules relaxed as police monitoring did. A regular named Virginia Benavides remembered a lively scene at Peg’s by the 1980s. “There was dancing, with a DJ, and the crowd was mostly white women and Black women,” she said. “I loved the energy.”\u003c/p>\n\u003cp>Owner Linda Symaco was a Filipina who first moved to the city in 1965 — and she was fierce. When the bar was attacked by a bachelor party of angry men — two of whom were off-duty cops — late one night in March 1979, Symaco relentlessly pursued justice. She, along with bouncer Arlene Levine and a customer named Kathryn Miller filed a lawsuit against three of the men in question, the city and the SFPD. Even while dealing with harassing phone calls and bomb threats to Peg’s Place, Symaco remained undeterred.\u003c/p>\n\u003cp>In the end, one of the police officers was convicted of battery and he and another man were also convicted of disturbing the peace. It took until 1985 for the San Francisco Police Commission to pay the three women $75,000 in damages.\u003c/p>\n\u003cp>Even for those who frequented Peg’s Place, it all feels like ancient history now. Today, what’s left of Peg’s is a Chinese restaurant named Dong Bei Mama.\u003c/p>\n\u003ch2>Maud’s\u003c/h2>\n\u003cfigure id=\"attachment_13930417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/mauds-800x530.png\" alt=\"A woman with cropped short hair smiles broadly as she embraces a taller woman from behind. Another pair of women embrace in the background.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-2048x1357.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1920x1272.png 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrons of Maud’s, living it up in the Haight in the ’80s. \u003ccite>(‘Last Call at Maud’s.’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nowadays, you might know it as Finnegan’s Wake, but between April 1966 and September 1989, 937 Cole St. was Maud’s, the Haight’s greatest ever lesbian bar. The owner was Rikki Streicher, a self-confessed “bar person” who wanted women who loved women to have a safe space to make connections and community together.\u003c/p>\n\u003cp>“I’ve always felt that bars were the most honest, open, free place that women could go,” Streicher said in 1993 documentary \u003ca href=\"https://www.imdb.com/title/tt0107366/?ref_=fn_al_tt_1\">\u003cem>Last Call at Maud’s\u003c/em>\u003c/a>. “So when I made this bar, I wanted it to be a composite of probably all the bars that I’ve gone to and all of the good things I’ve found in each of those bars.”\u003c/p>\n\u003cp>The wood-paneled venue was equipped with pinball and a pool table inside, a ping-pong table in the yard and — because women couldn’t legally bartend in California until 1971 (!) — a variety of men pouring the drinks (at least in the early days). Originally named The Study, it morphed into Maud’s Study, then finally just Maud’s.\u003c/p>\n\u003cp>[aside postid='arts_13930349']As late as the mid-1970s, patrons and staff were under such scrutiny that Streicher had to install an alarm to warn customers when cops were approaching. If any of the women were caught dancing or touching, there would almost certainly be legal consequences. So a red light would flash on, a short noise would sound and the women knew exactly what to do.\u003c/p>\n\u003cp>“You know, it really looks strange for anyone to walk into this bar,” one customer later recalled, “and there’s 200 dykes standing in the middle of the floor all looking at each other, not doing anything.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In its earliest years, the bar was overrun with gay hippies thanks to its proximity to Haight-Ashbury. (Even Janis Joplin stopped by once in a while.) Into the ’70s and ’80s, there were variety shows and performances. Annual (raucous) anniversary parties were held, a bar softball team was formed and many relationships and affairs forged. Maud’s most important asset, however, was its customers. The bar fostered and nurtured an incredibly tight community of gay women. Its final closing was indeed a sad one — a fact surely true of every bygone watering hole on this list.\u003c/p>\n\n",
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"excerpt": "Organized crime, Janis Joplin and alarms to get women to stop dancing? Welcome to SF’s lesbian bars of yore.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13930420\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930420\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-800x630.jpg\" alt=\"Three women sit on the laps of three other women, each of whom are dressed in masculine suits and hats.\" width=\"800\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-800x630.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-1020x803.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-768x604.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388-1536x1209.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-526105606-scaled-e1686597909388.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A glorious gathering of lesbians, circa 1910. \u003ccite>(Kirn Vintage Stock/ Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back in March, thanks to my ongoing obsession with the city’s dives, I decided to compile a list of \u003ca href=\"https://www.kqed.org/arts/13927137/san-francisco-bars-monas-440-cobweb-palace-chinese-pagoda-elite-varieties\">five supremely entertaining bars from San Francisco history\u003c/a>. I found some gems in the archives — a spider-filled tavern in North Beach and a lawless basement bar on the edge of Chinatown, among them.\u003c/p>\n\u003cp>In the course of that research I also discovered Mona’s 440 Club — a bar for lesbians, crossdressers and genderfluid folks that was active in the 1940s. Finding a place “where girls [could] be boys” from that era prompted me to wonder: How many other fantastic little lesbian venues existed in Bay Area history that few of us know anything about today?\u003c/p>\n\u003cp>Here are five that are particularly noteworthy.\u003c/p>\n\u003ch2>Ann’s 440 Club\u003c/h2>\n\u003cfigure id=\"attachment_13930367\" class=\"wp-caption alignright\" style=\"max-width: 618px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930367\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM.png\" alt=\"A newspaper ad for 'Miss Wiggles — the Marvel in Motion’ performing at Ann's 440 Club.\" width=\"618\" height=\"784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM.png 618w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-3.21.42-PM-160x203.png 160w\" sizes=\"auto, (max-width: 618px) 100vw, 618px\">\u003cfigcaption class=\"wp-caption-text\">A newspaper ad for Ann’s 440 Club, as seen in ‘The San Francisco Examiner’ on April 30, 1960. \u003ccite>(The San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the early 1950s, when Mona’s 440 Club was sold by Mona and Jimmie Sargeant to Ann Dee she, rather naturally, renamed it Ann’s. Dee understood that her core audience should remain genderfluid lesbians and she catered to them with exotic performers like Miss Wiggles, Carol “the Dangerous Curver” Hill and “Cuban bombshell” Delia Martine. In a departure from Mona’s, however, Dee also opened up the in-house entertainment to include more male musicians and comedians — Lenny Bruce and Johnny Mathis among them.\u003c/p>\n\u003cp>Ann’s carefully curated choice of entertainers often prompted local critics to attend. In 1953, \u003cem>The San Francisco Examiner\u003c/em> praised an “Original Pantomime” show that was quite obviously a drag performance of sorts. “In a nutshell, it’s group pantomiming of Broadway hit musicals … go[ing] through the motions of the play, the songs and the dances, in a clever, sparkling and original way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mona’s had established a safe nightclub space for lesbians in San Francisco throughout the 1940s, but it was Ann’s that helped bring sapphic culture to mainstream city nightlife.\u003c/p>\n\u003ch2>The Front\u003c/h2>\n\u003cfigure id=\"attachment_13930419\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/front-800x507.jpg\" alt=\"Two women dance together in a nightclub. Other women mill around in the background.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-768x487.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1536x973.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front-1920x1217.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/front.jpg 1976w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">No photos of The Front exist today. But we imagine it a little something like this… \u003ccite>(GENNA MARTIN/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The legacy that The Front’s owner Charlotte Coleman left on LGBTQ+ nightlife in San Francisco is immense — and it only happened because homophobia pushed her out of her day job at the IRS. Forced to resign after her employer discovered she was a lesbian, Coleman took her retirement savings — and a cue from her father, a Prohibition-era rum-runner — and went into the bar trade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Coleman bought The Blind Mouse in 1958 — a gay restaurant at 600 Front St. — and renamed it The Front. The bar had a stage and a piano, and was known for its drag shows (featuring both male and female impersonators). Coleman opened the bar in a relatively deserted part of town specifically with the goal of avoiding police harassment. Sadly, the location didn’t help. Coleman got slapped with multiple morals charges, lost her license and was forced to close The Front in 1962.\u003c/p>\n\u003cp>Coleman went on to open nine other gay venues around the city — including still-beloved bars like Twin Peaks and \u003ca href=\"https://www.kqed.org/arts/13911589/sfmoma-soapbox-derby-san-francisco-wacky-races-pops-mint-parkside-tricycle-mclaren-park\">The Mint\u003c/a> — and became known for her charitable fundraising for LGBTQ+ causes, as well as her work with the \u003ca href=\"https://en.wikipedia.org/wiki/Tavern_Guild\">Tavern Guild\u003c/a>. The Front, however, would be her last lesbian venue.\u003c/p>\n\u003cp>“The women got into so many fights, pulling hair and dumping beers over each other!” she once explained. “I always was in the middle trying to break things up. And I really didn’t make any money either, so I decided that was a lot of fun, but I couldn’t make a living.”\u003c/p>\n\u003ch2>Tommy’s Joint/ 12 Adler Place\u003c/h2>\n\u003cfigure id=\"attachment_13930430\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930430\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-800x600.jpg\" alt=\"A courtyard containing a bar with a fire escape and apartments above. A sign reads ‘12 Adler Museum.’\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/12-Adler-scaled-e1686624143457.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Specs’ in North Beach was once a lesbian bar known as 12 Adler Place. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1948, inside a four-story brick building at 299 Broadway, San Francisco acquired its first queer bar opened by an out lesbian.\u003c/p>\n\u003cp>The owner went by the name Tommy Vasu; Vasu had dressed in masculine attire since the age of 12. Despite once being described by Herb Caen as “a gentleman among ladies,” Vasu was known to be involved in organized crime and often associated with sex workers. (The 299 Club operated on the two bottom floors of the bar’s address. The top two acted as a hotel known to be a venue for prostitution.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Anything you wanted, Tommy could get it for you,” historian \u003ca href=\"http://www.elisarolle.com/queerplaces/ch-d-e/Eleanor%20Vasu.html\">Pat Bond once said\u003c/a>. “You wanted a watch, she’d bring out 40 watches. She liked being a gangster.”\u003c/p>\n\u003cp>Four years into successful operation, the 299 Club moved to 529 Broadway (today’s \u003ca href=\"https://www.yelp.com/biz/garden-of-eden-san-francisco?osq=garden+of+eden\">Garden of Eden\u003c/a> strip club) and was renamed Tommy’s Joint. Tommy’s was a popular venue with live entertainment. It also backed directly onto a lively lesbian bar known as 12 Adler Place, also owned by Vasu.\u003c/p>\n\u003cp>Vasu’s North Beach success was short-lived. Vice squad officers closed the adjoining bars down after just two years, revoking Vasu’s license and landing one of the venue’s bartenders in jail for allegedly serving minors. It was a major local scandal at the time, milked in the media to scaremonger about the corrupting nature of homosexuality on youth. (\u003cem>The Examiner\u003c/em> referred to 12 Adler as a “sex thrill bar.”)\u003c/p>\n\u003cp>Today, \u003ca href=\"https://www.specsbarsf.com/\">Specs’\u003c/a> pays tribute to its former incarnation with a sign in its doorway that reads “12 Adler Museum.” Sadly, zero ephemera from the original Tommy’s Joint or 12 Adler Place remains in Specs’ today. Still not quite as sad as the ending that Vasu got, however — the former bar owner was murdered in 1978, four years after serving time for dealing heroin.\u003c/p>\n\u003ch2>Peg’s Place\u003c/h2>\n\u003cfigure id=\"attachment_13930424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-800x565.jpg\" alt=\"An art deco illustration of a kiss between two women. The first, smoking, sensual and in underwear lying on a bed. The second is dressed smartly in red dress and hat.\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966-1536x1084.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-559574021-scaled-e1686626114966.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When Peg’s Place first opened, it was known for its air of refinement. (Illustration by Leon Bonnotte from ‘Le Sourire.’ Paris, France, 1925.) \u003ccite>(Fototeca Gilardi/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peg’s Place forged a reputation in its early years for being a refined bar where patrons weren’t even permitted to wear jeans. (Pants were okay.) \u003cem>The San Francisco Examiner\u003c/em> once described the joint at 4737 Geary as a “small bar with Norman-style stone arches, pool table, dance floor and open fire,” and “a cozy haven from the claimed harassments of the straight world.”\u003c/p>\n\u003cp>“I think they wanted you to be — maybe they call it classy,” a regular named Jackie later recalled. “They didn’t want to think they catered to bums or truck-driver types.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While in its earliest days, dancing at Peg’s wasn’t permitted because of anti-LGBTQ+ laws, the bar rules relaxed as police monitoring did. A regular named Virginia Benavides remembered a lively scene at Peg’s by the 1980s. “There was dancing, with a DJ, and the crowd was mostly white women and Black women,” she said. “I loved the energy.”\u003c/p>\n\u003cp>Owner Linda Symaco was a Filipina who first moved to the city in 1965 — and she was fierce. When the bar was attacked by a bachelor party of angry men — two of whom were off-duty cops — late one night in March 1979, Symaco relentlessly pursued justice. She, along with bouncer Arlene Levine and a customer named Kathryn Miller filed a lawsuit against three of the men in question, the city and the SFPD. Even while dealing with harassing phone calls and bomb threats to Peg’s Place, Symaco remained undeterred.\u003c/p>\n\u003cp>In the end, one of the police officers was convicted of battery and he and another man were also convicted of disturbing the peace. It took until 1985 for the San Francisco Police Commission to pay the three women $75,000 in damages.\u003c/p>\n\u003cp>Even for those who frequented Peg’s Place, it all feels like ancient history now. Today, what’s left of Peg’s is a Chinese restaurant named Dong Bei Mama.\u003c/p>\n\u003ch2>Maud’s\u003c/h2>\n\u003cfigure id=\"attachment_13930417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/mauds-800x530.png\" alt=\"A woman with cropped short hair smiles broadly as she embraces a taller woman from behind. Another pair of women embrace in the background.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-2048x1357.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/mauds-1920x1272.png 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrons of Maud’s, living it up in the Haight in the ’80s. \u003ccite>(‘Last Call at Maud’s.’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nowadays, you might know it as Finnegan’s Wake, but between April 1966 and September 1989, 937 Cole St. was Maud’s, the Haight’s greatest ever lesbian bar. The owner was Rikki Streicher, a self-confessed “bar person” who wanted women who loved women to have a safe space to make connections and community together.\u003c/p>\n\u003cp>“I’ve always felt that bars were the most honest, open, free place that women could go,” Streicher said in 1993 documentary \u003ca href=\"https://www.imdb.com/title/tt0107366/?ref_=fn_al_tt_1\">\u003cem>Last Call at Maud’s\u003c/em>\u003c/a>. “So when I made this bar, I wanted it to be a composite of probably all the bars that I’ve gone to and all of the good things I’ve found in each of those bars.”\u003c/p>\n\u003cp>The wood-paneled venue was equipped with pinball and a pool table inside, a ping-pong table in the yard and — because women couldn’t legally bartend in California until 1971 (!) — a variety of men pouring the drinks (at least in the early days). Originally named The Study, it morphed into Maud’s Study, then finally just Maud’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As late as the mid-1970s, patrons and staff were under such scrutiny that Streicher had to install an alarm to warn customers when cops were approaching. If any of the women were caught dancing or touching, there would almost certainly be legal consequences. So a red light would flash on, a short noise would sound and the women knew exactly what to do.\u003c/p>\n\u003cp>“You know, it really looks strange for anyone to walk into this bar,” one customer later recalled, “and there’s 200 dykes standing in the middle of the floor all looking at each other, not doing anything.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In its earliest years, the bar was overrun with gay hippies thanks to its proximity to Haight-Ashbury. (Even Janis Joplin stopped by once in a while.) Into the ’70s and ’80s, there were variety shows and performances. Annual (raucous) anniversary parties were held, a bar softball team was formed and many relationships and affairs forged. Maud’s most important asset, however, was its customers. The bar fostered and nurtured an incredibly tight community of gay women. Its final closing was indeed a sad one — a fact surely true of every bygone watering hole on this list.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rightnowish Presents: Liner Notes",
"headTitle": "Rightnowish Presents: Liner Notes | KQED",
"content": "\u003cp>Welcome to Liner Notes, the Rightnowish podcast series all about jazz in the Bay Area. Through five conversations with key players in the scene, we gain some insight into the past and present of jazz in the Bay Area.\u003c/p>\n\u003cp style=\"text-align: center\">…\u003c/p>\n\u003cfigure id=\"attachment_13930276\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930276 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-800x439.png\" alt=\"Greg Bridges is photographed in black and white as he sits behind a microphone and soundboard at KPFA studios in Berkeley, while hosting his jazz radio show. He is holding a cd case and reading the track list. \" width=\"800\" height=\"439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-800x439.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1020x560.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-768x422.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1536x843.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-2048x1124.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1920x1054.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Bridges is photographed in black and white as he sits behind a microphone and soundboard at KPFA studios in Berkeley, while hosting a jazz radio show. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4300364745&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Greg Bridges, Jazz Radio Host and Journalist\u003c/strong>\u003c/p>\n\u003cp>We start with a conversation with someone who has a wealth of knowledge, especially when it comes to jazz in the Bay: \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener\">Greg Bridges.\u003c/a>\u003c/p>\n\u003cp>As a journalist and longtime radio host at Bay Area radio stations KCSM and KPFA, Greg is steeped in Bay Area jazz history. And as a reoccurring host of events like the San Jose Jazz Festival, he has his finger on the current pulse of the culture. But this isn’t just a career choice, he was born into the world of jazz.\u003c/p>\n\u003cp>In this episode Greg shares some family history and gives us the lay of the land when it comes to jazz in the Bay. He also shares the secret ingredient that makes the Bay Area’s jazz scene unique.\u003c/p>\n\u003cfigure id=\"attachment_13930297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930297 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/IMG_3040-800x533.jpeg\" alt=\"Lidia Rodriguez is poses with her baritone saxophone. She looks off camera and in her left hand holds a succulent in a skeleton-themed pot. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lidia Rodriguez is a prominent baritone saxophone player based in San Jose by way of Stockton. She’s on a mission to spread peace and love through her instrument one show at a time. \u003ccite>(Via Lidia Rodriguez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2510938176&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cb>\u003cbr>\nLidia Rodriguez, Baritone Saxophonist and Music Educator \u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://www.lidiapeacelovesax.com/\">Lidia Rodriguez\u003c/a> is a premier baritone saxophone player who grew up in Mudville a.k.a. Stockton, CA. Now based in San Jose, Lidia teaches music education to K-5th grade students, helping young people discover the joys of playing instruments, and practice self-love and self-expression. In the evenings, Lidia can be found playing shows with a number of bands, including the Golden State Warriors’ jazz band, the Bay Blue Notes, and the percussive electronic artist Madame Gandhi.\u003c/p>\n\u003cp>In case you didn’t know, the baritone saxophone stands out among the other saxophones because it’s the biggest in size and plays the lowest notes. Lidia’s big personality and big curly hair are a perfect match for the baritone saxophone— together they command audience attention. To watch Lidia on the “bari sax” is to witness an artist be totally in sync with an instrument. Real talk, Lidia can go dumb playing Mac Dre on the sax.\u003c/p>\n\u003cp>In this episode, Lidia shares with us her journey from being a cantankerous kid who once took all the screws out of a flute, to an adult who shuts down machismo in the music scene, all while becoming a rockstar educator and performer.\u003c/p>\n\u003cfigure id=\"attachment_13930304\" class=\"wp-caption aligncenter\" style=\"max-width: 415px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930304 \" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/AMW-graduation-1-1020x1952.jpg\" alt=\"Dr. Angela Wellman wears a graduation cap and gown as she receives her PHD. \" width=\"415\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-1020x1952.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-800x1531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-160x306.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-768x1470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-803x1536.jpg 803w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1.jpg 1070w\" sizes=\"(max-width: 415px) 100vw, 415px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Angela Wellman celebrates her 2023 graduation. \u003ccite>(Via Dr. Angela Wellman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8994929597&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cstrong>\u003cbr>\nDr. Angela Wellman, Trombonist and Music Education Activist\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/wellmanangela/\" target=\"_blank\" rel=\"noopener\">Dr. Angela Wellman’s\u003c/a> musical journey traces back to her upbringing in Kansas City, MO. As a young person involved in a music training initiative that was backed by the CETA (Comprehensive Employment and Training Act) program, she found the trombone– or rather, it found her.\u003c/p>\n\u003cp>In 2005, after music carried her around the map, Angela founded the \u003ca href=\"https://opcclasses.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Oakland Public Conservatory of Music \u003c/a>as a way to assist Black and brown kids in accessing musical education. Now, after receiving numerous accolades for her work, including the National Endowment for the Arts Jazz Study Fellowship and being inducted into the Alameda County Women’s Hall of Fame, Dr. Wellman recently completed her doctorate degree in education. The focus of her dissertation: the importance of access to music for Black and brown children.\u003c/p>\n\u003cfigure id=\"attachment_13930308\" class=\"wp-caption aligncenter\" style=\"max-width: 439px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930308 \" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/photo-by-Donovan-Washington.jpg\" alt=\"A black and white photo of musician Giulio Xavier Cetto playing an upright bass.\" width=\"439\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington.jpg 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington-160x213.jpg 160w\" sizes=\"(max-width: 439px) 100vw, 439px\">\u003cfigcaption class=\"wp-caption-text\">Between touring and recording with notable musicians, bass player Giulio Xavier Cetto composes original music for his band Big Trippin. \u003ccite>(Donovan Washington)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3420729776&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Giulio Xavier Cetto, Bass player and Composer\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Raised in musical family, \u003ca href=\"https://www.giulioxaviercetto.com/\">Giulio Xavier Cetto’s\u003c/a> musical influences range from his Venezuelan-Italian heritage to Bay Area rap. Giulio can play multiple styles and genres with ease, but at the intersection of jazz and hip hop is where his artistry truly shines. He brings an electric energy to his performances, encouraging audiences to not only vibe, but to get up and dance.\u003c/p>\n\u003cp>Playing tribute to these genres, Giulio hosts and performs at a reoccurring “Sunday Slaps” night at San Francisco’s beloved jazz venue, Black Cat. He also curates a weekly jazz set at Golden Gate Park’s Stowe Lake Boathouse.\u003c/p>\n\u003cp>Between gigging and recording with notable musicians including Kev Choice, Spelling, Kassa Overall, and Fantastic Negrito, he leads and composes original music for his own jazz band, Big Trippin. On their debut album, which drops this year, you can hear Giulio’s passion for jazz and hip hop.\u003c/p>\n\u003cp>On Rightnowish, Giulio talks about his favorite San Francisco venues to perform in, how the synthesis between jazz and hip-hop shape his sound and why the bass (upright and electric) is the heart of music.\u003c/p>\n\u003cfigure id=\"attachment_13930309\" class=\"wp-caption alignnone\" style=\"max-width: 486px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930309 \" style=\"background-color: transparent;font-weight: bold;color: #767676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Elena-3-1020x1020.jpg\" alt=\"Elena Pinderhughes, an extremely talented flutist and vocalist from Berkeley, is pictured in a stylish brown and beige jacket and mocha shirt, hoop earrings and braids as she poses for a photo. \" width=\"486\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1920x1920.jpg 1920w\" sizes=\"(max-width: 486px) 100vw, 486px\">\u003cfigcaption class=\"wp-caption-text\">Elena Pinderhughes is an extremely talented flutist and vocalist from Berkeley. \u003ccite>(Darrin Baldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC9039639824&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cstrong>\u003cbr>\nElena Pinderhughes, Vocalist and Flutist \u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/iamelena/\" target=\"_blank\" rel=\"noopener\">Elena Pinderhughes\u003c/a> has been around the East Bay jazz scene since before she learned how to walk. After recording her first published work as a kid, she has gone on to share stages with Herbie Hancock and work with Carlos Santana. She’s also played NPR’s Tiny Desk with Chief Xian aTunde Adjuah (formerly Christian Scott) and even rocked on stage at Coachella with Future.\u003c/p>\n\u003cp>But Elena says she wouldn’t be where she is today without family support and the musical institutions of the East Bay. While working with her brother, pianist and vocalist Samora Pinderhughes, assisted her growth at home, organizations like the \u003ca href=\"https://www.youngmusiciansco.org/\" target=\"_blank\" rel=\"noopener\">Young Musicians Choral Orchestra\u003c/a> aided her progress in the community.\u003c/p>\n\u003cp>Elena is preparing for the next iteration of her career, relying on the tools given to her by the Bay Area’s multi-talented musical community, as she moves into the world of scoring films, making R&B music and more.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Welcome to Liner Notes, the Rightnowish podcast series all about jazz in the Bay Area. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to Liner Notes, the Rightnowish podcast series all about jazz in the Bay Area. Through five conversations with key players in the scene, we gain some insight into the past and present of jazz in the Bay Area.\u003c/p>\n\u003cp style=\"text-align: center\">…\u003c/p>\n\u003cfigure id=\"attachment_13930276\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930276 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-800x439.png\" alt=\"Greg Bridges is photographed in black and white as he sits behind a microphone and soundboard at KPFA studios in Berkeley, while hosting his jazz radio show. He is holding a cd case and reading the track list. \" width=\"800\" height=\"439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-800x439.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1020x560.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-768x422.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1536x843.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-2048x1124.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1920x1054.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Bridges is photographed in black and white as he sits behind a microphone and soundboard at KPFA studios in Berkeley, while hosting a jazz radio show. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4300364745&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Greg Bridges, Jazz Radio Host and Journalist\u003c/strong>\u003c/p>\n\u003cp>We start with a conversation with someone who has a wealth of knowledge, especially when it comes to jazz in the Bay: \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener\">Greg Bridges.\u003c/a>\u003c/p>\n\u003cp>As a journalist and longtime radio host at Bay Area radio stations KCSM and KPFA, Greg is steeped in Bay Area jazz history. And as a reoccurring host of events like the San Jose Jazz Festival, he has his finger on the current pulse of the culture. But this isn’t just a career choice, he was born into the world of jazz.\u003c/p>\n\u003cp>In this episode Greg shares some family history and gives us the lay of the land when it comes to jazz in the Bay. He also shares the secret ingredient that makes the Bay Area’s jazz scene unique.\u003c/p>\n\u003cfigure id=\"attachment_13930297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930297 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/IMG_3040-800x533.jpeg\" alt=\"Lidia Rodriguez is poses with her baritone saxophone. She looks off camera and in her left hand holds a succulent in a skeleton-themed pot. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lidia Rodriguez is a prominent baritone saxophone player based in San Jose by way of Stockton. She’s on a mission to spread peace and love through her instrument one show at a time. \u003ccite>(Via Lidia Rodriguez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2510938176&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cb>\u003cbr>\nLidia Rodriguez, Baritone Saxophonist and Music Educator \u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://www.lidiapeacelovesax.com/\">Lidia Rodriguez\u003c/a> is a premier baritone saxophone player who grew up in Mudville a.k.a. Stockton, CA. Now based in San Jose, Lidia teaches music education to K-5th grade students, helping young people discover the joys of playing instruments, and practice self-love and self-expression. In the evenings, Lidia can be found playing shows with a number of bands, including the Golden State Warriors’ jazz band, the Bay Blue Notes, and the percussive electronic artist Madame Gandhi.\u003c/p>\n\u003cp>In case you didn’t know, the baritone saxophone stands out among the other saxophones because it’s the biggest in size and plays the lowest notes. Lidia’s big personality and big curly hair are a perfect match for the baritone saxophone— together they command audience attention. To watch Lidia on the “bari sax” is to witness an artist be totally in sync with an instrument. Real talk, Lidia can go dumb playing Mac Dre on the sax.\u003c/p>\n\u003cp>In this episode, Lidia shares with us her journey from being a cantankerous kid who once took all the screws out of a flute, to an adult who shuts down machismo in the music scene, all while becoming a rockstar educator and performer.\u003c/p>\n\u003cfigure id=\"attachment_13930304\" class=\"wp-caption aligncenter\" style=\"max-width: 415px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930304 \" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/AMW-graduation-1-1020x1952.jpg\" alt=\"Dr. Angela Wellman wears a graduation cap and gown as she receives her PHD. \" width=\"415\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-1020x1952.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-800x1531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-160x306.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-768x1470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-803x1536.jpg 803w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1.jpg 1070w\" sizes=\"(max-width: 415px) 100vw, 415px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Angela Wellman celebrates her 2023 graduation. \u003ccite>(Via Dr. Angela Wellman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8994929597&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cstrong>\u003cbr>\nDr. Angela Wellman, Trombonist and Music Education Activist\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/wellmanangela/\" target=\"_blank\" rel=\"noopener\">Dr. Angela Wellman’s\u003c/a> musical journey traces back to her upbringing in Kansas City, MO. As a young person involved in a music training initiative that was backed by the CETA (Comprehensive Employment and Training Act) program, she found the trombone– or rather, it found her.\u003c/p>\n\u003cp>In 2005, after music carried her around the map, Angela founded the \u003ca href=\"https://opcclasses.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Oakland Public Conservatory of Music \u003c/a>as a way to assist Black and brown kids in accessing musical education. Now, after receiving numerous accolades for her work, including the National Endowment for the Arts Jazz Study Fellowship and being inducted into the Alameda County Women’s Hall of Fame, Dr. Wellman recently completed her doctorate degree in education. The focus of her dissertation: the importance of access to music for Black and brown children.\u003c/p>\n\u003cfigure id=\"attachment_13930308\" class=\"wp-caption aligncenter\" style=\"max-width: 439px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930308 \" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/photo-by-Donovan-Washington.jpg\" alt=\"A black and white photo of musician Giulio Xavier Cetto playing an upright bass.\" width=\"439\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington.jpg 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington-160x213.jpg 160w\" sizes=\"(max-width: 439px) 100vw, 439px\">\u003cfigcaption class=\"wp-caption-text\">Between touring and recording with notable musicians, bass player Giulio Xavier Cetto composes original music for his band Big Trippin. \u003ccite>(Donovan Washington)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3420729776&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Giulio Xavier Cetto, Bass player and Composer\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Raised in musical family, \u003ca href=\"https://www.giulioxaviercetto.com/\">Giulio Xavier Cetto’s\u003c/a> musical influences range from his Venezuelan-Italian heritage to Bay Area rap. Giulio can play multiple styles and genres with ease, but at the intersection of jazz and hip hop is where his artistry truly shines. He brings an electric energy to his performances, encouraging audiences to not only vibe, but to get up and dance.\u003c/p>\n\u003cp>Playing tribute to these genres, Giulio hosts and performs at a reoccurring “Sunday Slaps” night at San Francisco’s beloved jazz venue, Black Cat. He also curates a weekly jazz set at Golden Gate Park’s Stowe Lake Boathouse.\u003c/p>\n\u003cp>Between gigging and recording with notable musicians including Kev Choice, Spelling, Kassa Overall, and Fantastic Negrito, he leads and composes original music for his own jazz band, Big Trippin. On their debut album, which drops this year, you can hear Giulio’s passion for jazz and hip hop.\u003c/p>\n\u003cp>On Rightnowish, Giulio talks about his favorite San Francisco venues to perform in, how the synthesis between jazz and hip-hop shape his sound and why the bass (upright and electric) is the heart of music.\u003c/p>\n\u003cfigure id=\"attachment_13930309\" class=\"wp-caption alignnone\" style=\"max-width: 486px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930309 \" style=\"background-color: transparent;font-weight: bold;color: #767676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Elena-3-1020x1020.jpg\" alt=\"Elena Pinderhughes, an extremely talented flutist and vocalist from Berkeley, is pictured in a stylish brown and beige jacket and mocha shirt, hoop earrings and braids as she poses for a photo. \" width=\"486\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1920x1920.jpg 1920w\" sizes=\"(max-width: 486px) 100vw, 486px\">\u003cfigcaption class=\"wp-caption-text\">Elena Pinderhughes is an extremely talented flutist and vocalist from Berkeley. \u003ccite>(Darrin Baldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC9039639824&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cstrong>\u003cbr>\nElena Pinderhughes, Vocalist and Flutist \u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/iamelena/\" target=\"_blank\" rel=\"noopener\">Elena Pinderhughes\u003c/a> has been around the East Bay jazz scene since before she learned how to walk. After recording her first published work as a kid, she has gone on to share stages with Herbie Hancock and work with Carlos Santana. She’s also played NPR’s Tiny Desk with Chief Xian aTunde Adjuah (formerly Christian Scott) and even rocked on stage at Coachella with Future.\u003c/p>\n\u003cp>But Elena says she wouldn’t be where she is today without family support and the musical institutions of the East Bay. While working with her brother, pianist and vocalist Samora Pinderhughes, assisted her growth at home, organizations like the \u003ca href=\"https://www.youngmusiciansco.org/\" target=\"_blank\" rel=\"noopener\">Young Musicians Choral Orchestra\u003c/a> aided her progress in the community.\u003c/p>\n\u003cp>Elena is preparing for the next iteration of her career, relying on the tools given to her by the Bay Area’s multi-talented musical community, as she moves into the world of scoring films, making R&B music and more.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "chile-lindo-chilean-empanadas-mission-district-san-francisco-hella-hungry",
"title": "Chilean Empanadas Have Been a Mission District Staple for 50 Years",
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"content": "\u003cp>\u003cstrong>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>There are certain restaurants in the Bay Area that, for a variety of reasons, are easy to miss — often old-school eateries without the buzz or viral TikTok and Instagram accounts to lure you in from afar.\u003c/p>\n\u003cp>But these modest establishments are just as capable of delivering culinary euphoria. In many cases, they also have decades’ worth of history waiting to be consumed. That’s exactly what the Mission’s \u003ca href=\"https://chilelindo.com/\">Chile Lindo\u003c/a> represents.\u003c/p>\n\u003cp>Ever since it opened in 1973, the small, independently-owned empanaderia has been a hideout for Chilean nationals. Many had come to California after being exiled from their native land under the harsh military dictatorship of Augusto Pinochet, who rose to power after a United States-backed military coup. Like many diasporas carrying trauma, they’ve found refuge in places like Chile Lindo.\u003c/p>\n\u003cp>Just one block east of the bustling 16th Street BART station, the shop blooms inside the Redstone Building, with a hand-painted advertisement for Chilean empanadas glossing the window. Since taking ownership in 1995, Paula Tejeda has seen her fair share of adversity, though. The restaurant’s original location is largely non-operational at the moment after a series of eviction notices, kitchen accidents and near closures throughout the pandemic. Yet somehow, Tejeda has found a way forward, as so many immigrants and children of immigrants do.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last week, with the support of the Mission Housing Development Agency, she opened a sister location, Chile Lindo Kitchen Culture, directly across the street.\u003c/p>\n\u003cfigure id=\"attachment_13930164\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930164 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/chile_lindo_storefront-800x533.jpg\" alt=\"A Chilean food maker stands in front of her colorful shop on 16th Street in San Francisco\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_storefront-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_storefront-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_storefront-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_storefront-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_storefront-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_storefront.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tejeda stands in front of the original Chile Lindo on 16th Street. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the preservation of Chile’s culture isn’t always noticeable in the Bay Area — particularly when compared to other, more visible immigrant groups — Chileans maintain a deep reverence for their homeland, rallying around national treasures like soccer, empanadas and Chilean-style hotdogs, known as “completos.”\u003c/p>\n\u003cp>Few San Franciscans can speak to the unique history of Chile’s influence in the Mission like Tejeda can. There’s a reason her neighbors know her as “\u003ca href=\"https://missionlocal.org/2014/11/sometimes-its-not-all-about-the-empanadas/\">the Girl from Empanada\u003c/a>.” I stopped by Tejeda’s new shop to speak with her about gentrification, Chilean representation and the modern struggles of small business owners in San Francisco, all while she baked empanadas and prepared Chilenitos — cookie-sized Chilean pastries layered with wafers, dulce de leche and meringue.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>********\u003c/i>\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: What’s the history of Chile Lindo and how did you get involved in the Bay Area’s food scene?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Paula Tejeda:\u003c/b> Chile Lindo has been here since 1973. It was owned by a Chilean woman for over a decade. She sold it to another Chilean. [In 1995] I had just moved from New York City and didn’t have work. Before that, I went to Laney College and studied television production and had an internship at KTVU and KPIX. I was admitted to San Francisco State but dropped out and moved to Chile and then to NYC.\u003c/p>\n\u003cp>[Back in San Francisco,] I was running around the neighborhood selling sandwiches. The Women’s Initiative for Self-Employment was around, and they had a Latin branch called ALAS. People in the community told me to get a loan from the program, and one day I got a call that Chile Lindo was for sale. It was going to go to a Cuban, they told us, and they wanted a Chilean owner. It was rundown at the time. I didn’t have a penny to buy this. So I went to the program to get a loan, and [the owner] gave me the keys right away. Overnight, I was a business owner. I was running around the neighborhood with a basket [selling empanadas].\u003c/p>\n\u003cfigure id=\"attachment_13930161\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930161\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/chile_lindo_empanadas-800x1200.jpg\" alt=\"a large baking tray of empanadas before entering the oven\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_empanadas-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_empanadas-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_empanadas-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_empanadas-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_empanadas-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_empanadas-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_empanadas-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A fresh batch of Chilean empanadas. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How have you maintained your love for Chilean food and managed to run your business for nearly three decades?\u003c/b>\u003c/p>\n\u003cp>In 2009 I joined the street food movement. I was known as “the Girl from Empanada.” I joined programs to learn about business loans and how to keep the business afloat. I had a vision to bridge the cultures of Chile and the United States. It’s always been my motivation in more ways than one. With Chile Lindo, with food, you can create a network and represent your culture. I wanted to sell food, but also to produce artists and to provide intercultural consultations.\u003c/p>\n\u003cp>After 28 years, I’ve become a reference [point] for the link between Chile, California, the Bay Area, local artists, the Mission and North Beach. That’s very much been my motivation to keep going. To persevere as entrepreneurs, we have so many projects all the time because it’s one of the only ways to endure the hardships and losses of each day. We’re motivated by something bigger, a vision to make a difference. That has always been my drive. I know I can be an ambassador for all things Chilean.\u003c/p>\n\u003cp>\u003cb>What distinguishes Chilean empanadas from neighboring varieties, including those from Argentina, Mexico, Puerto Rico or \u003c/b>\u003ca href=\"https://www.kqed.org/arts/13926749/tasty-tings-jamaican-beef-patties-sf-oakland\">\u003cb>Jamaica\u003c/b>\u003c/a>\u003cb>?\u003c/b>\u003c/p>\n\u003cp>The idea of anything breaded is an international concept. Chilean empanadas are kind of renowned in South America because the Chileans made it their national food. You hear a lot about the asado in Argentina. Peru has a very unique and sophisticated cuisine. Mexico as well. But for Chileans, empanadas and wine are what they have to celebrate their independence. They celebrate for a month as if it happened yesterday.\u003c/p>\n\u003cp>[pullquote size=\"large\" align=\"right\" citation=\"Paula Tejeda\"]“I had a vision to bridge the cultures of Chile and the United States.”[/pullquote]The original difference is that [a Chilean empanada is] larger and baked. The Argentinian [style] is often deep-fried and smaller. Ours uses onions, cumin, paprika, beef, raisins, olive and a slice of hard-boiled egg. That’s called a pino, or a picadillo in some other countries. It’s labor-intensive for each product. We have always taken pride in Chilean empanadas.\u003c/p>\n\u003cp>\u003cb>What other dishes do you serve that are also popular in Chile? \u003c/b>\u003c/p>\n\u003cp>We serve Chilean pastries, empanadas, coffee. I just added the Chilean hot dog to the menu. It’s called “el completo” and has mayo, chopped tomatoes and avocado.\u003c/p>\n\u003cp>But when I started at Chile Lindo, I used to prepare many traditional dishes. Sandwiches with pork, steak, avocado. A typical Chilean lunch is a nice filet of fish with potato salad and parsley. That’s universal. A Chilean salad is tomatoes with finely sliced onions and cilantro. Or celery with cubed avocado and lemon, olive oil, salt. They’re simple recipes with ingredients you can recognize anywhere but are slightly different from what you see here [in California]. Anything with avocado is Chilean.\u003c/p>\n\u003cfigure id=\"attachment_13930162\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930162\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/chile_lindo_hot_dog-800x1200.jpg\" alt=\"A Chilean hotdog, which includes avocado, mayo, and chopped tomatoes, is held out by the foodmaker\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_hot_dog-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_hot_dog-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_hot_dog-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_hot_dog-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_hot_dog-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_hot_dog-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_hot_dog-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “completo” is a beloved Chilean hot dog. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>I imagine it’s more difficult than ever to operate a small food business in San Francisco. How do today’s neighborhood challenges compare to your previous decades here? What struggles are today’s business owners and food makers dealing with?\u003c/b>\u003c/p>\n\u003cp>The struggles have been one after the other, especially since COVID. Prices for rent and for payroll are going through the roof. When you sell a $3 coffee and have to pay $21 an hour, that’s hard. No one really works for less than $20 an hour [in SF]. Rents and city prices are outrageous, and it’s creating a cycle where everything is becoming unsustainable. We’ve lost customers, community, foot traffic. Buses to Silicon Valley, BART commuters, that’s all gone. That was a good part of my business.\u003c/p>\n\u003cp>There are many factors that have been building over the years, including mental health, not just homelessness. We blame the administrations, but this has been building for decades now. It’s the corporate takeovers and lack of human relationships. The new guard doesn’t even know who I am. When I call my new distributors, they don’t call back. I’m probably an account they don’t even want to bother with. Before, my rep knew me. They cared about me. We were a community. My landlord, I used to be able to call them. Now it’s run by a management company. If you’re one day late, you get a late fee. They don’t have the 25-year relationship I had with my former landlord. Phone calls, emails, all of this means you go back and forth trying, and what do you get? Not a person, but a phone and an automated prompt. We need a permit for our awning now. I’ve been here 28 years, and now I need a permit for my awning?\u003c/p>\n\u003cp>I had my parklet, a huge investment, during the pandemic. That was destroyed. It became a drug den with graffiti — I couldn’t keep up with it, the stress from the city that puts it on me if the vandalism isn’t cleaned up. We can’t keep repainting it. If we want to have a piano player? We need a permit. Outdoor tables? Health department. Some of these are legitimate, but for a sole proprietor, you’re one person doing operations, shopping, managing new staff, training, serving and financing. It’s not sustainable.\u003c/p>\n\u003cfigure id=\"attachment_13930163\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/chile_lindo_model-800x533.jpg\" alt=\"A small diorama replica of the restaurant Chile Lindo is displayed on the counter inside Chile Lindo\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_model-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_model-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_model-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_model-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_model-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_model.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A small diorama replica of the original Chile Lindo is displayed inside Chile Lindo Kitchen Culture. Art by Cindy De Losa. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>That’s sad to hear. I often read about small businesses that can’t survive anymore in the Bay Area.\u003c/b>\u003c/p>\n\u003cp>It needs to be simplified for small business owners. Philz Coffee became what it became because he built it [in 2003]. If he tried to start today, would he be able to [do it] in our present situation? I don’t think so.\u003c/p>\n\u003cp>In terms of how much [small businesses] contribute, it’s a list of things: We create payroll. We train a new workforce, often students or immigrants. We buy locally from other small businesses. We provide a venue for arts that generates income for local bands and performers. We make the city interesting for tourists. We provide spaces for community members to come and go, to make friends. We pay taxes and licenses to the city. We give free food and coffee to the homeless community — we all do it, I’ve seen it with my own eyes and I do it myself. We clean sidewalks and pick up garbage. Those food delivery models? They depend on us.\u003c/p>\n\u003cp>It’s all such a fragile community. If we continue being eliminated, you are really hurting everyone; it’s a domino effect. People really need to become aware of how vulnerable we are and the reasons why so many small businesses are falling through the cracks.\u003c/p>\n\u003cp>\u003cb>Food is definitely a place for gathering safely. How is that embodied for you at Chile Lindo?\u003c/b>\u003c/p>\n\u003cp>When the pandemic hit, I had to reinvent myself completely. As we are recovering from the pandemic still, I’ve now opened my new kitchen and event space. I’ve decorated Kitchen Culture with paintings, posters, artesanias. It’s all traditional. Chile is a long country, a lot of what’s representative of the north is different from the central and southern parts. I tried to include it all. I also have memorabilia from the Mission. This is a space for music, meetings, poetry, jazz and some private parties. It’s a place where community groups can cater lunch. I’m organizing my own special events as well. I’m still figuring it out.\u003c/p>\n\u003cfigure id=\"attachment_13930160\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930160\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/chile_lindo_chilenitos-800x533.jpg\" alt=\"Chilean pastries are displayed on a marble counter top\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_chilenitos-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_chilenitos-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_chilenitos-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_chilenitos-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_chilenitos-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_chilenitos.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Chilenitos” are a national dessert in Chile. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s the Chilean community in the Bay Area like? Is there a particular restaurant or venue besides your own where Chileans can gather?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13926749,arts_13919032,arts_13929494']\u003c/span>There aren’t many Chilean restaurants in San Francisco. Some open and then they close. There used to be one in Berkeley called Cafe Valparaiso that was opened in support of those exiled during the dictatorship. They moved now. There used to be Sabores del Sur in Walnut Creek. They closed. Chileans don’t have such a strong presence, and they aren’t very knowledgeable of the strength of working as an immigrant group. It makes me crazy. There are some Chileans in Berkeley. There used to be a group in Stockton that got together. There’s a Chilean cultural group from the 1960s called \u003ca href=\"https://centrochilenolautaro.org/\">Chilean Centro Lautaro\u003c/a>. There are Chileans in Davis. There are Facebook groups. But we’re a little individualistic in nature, which makes us resilient and strong but [is] counterproductive in helping those in the community. The only thing that gets all the Chileans together is soccer.\u003c/p>\n\u003cp>There is also an older Chilean community here of intellectuals that goes back to the gold rush. The town of Marysville was the third largest city during the gold rush, and it was co-founded by \u003ca href=\"https://www.hmdb.org/m.asp?m=55758\">Jose Manuel Ramirez\u003c/a>, who was Chilean. He was already wealthy and was a part of the gold rush in Europe, then went back to Chile and hired miners, since Chile has always been a mining country. They found a lot of gold here. There’s a plaque on the sidewalk next to Francis Ford Copolla’s Cafe Zoetrope and film studios, for an area called \u003ca href=\"https://sf.curbed.com/2012/10/15/10317694/chilecito-or-san-franciscos-little-chile\">Chilecito (“Little Chile”)\u003c/a>, where the Chilean miners camped.\u003c/p>\n\u003cp>\u003cb>I never knew that. Thanks for sharing this unique Bay Area history. What’s next for you at Chile Lindo?\u003c/b>\u003c/p>\n\u003cp>I want to have a podcast or YouTube channel to share this kind of history. If I can outreach to the enormously diverse group of dreamers and entrepreneurs here, motivated by arts, I would like to interview people about food and the connections between Chile and California. Chile and California are actually parallel, with literally the same geography and Mediterranean weather, mountain ranges, the Pacific Ocean and the same distance from the equator. They’re a mirror image.\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The original \u003c/i>\u003ca href=\"https://www.instagram.com/chilelindosf/\">\u003ci>Chile Lindo\u003c/i>\u003c/a>\u003ci> (2944 16th St., San Francisco\u003c/i>) \u003ci>is currently closed for renovation. Its newly opened sister location, Chile Lindo Kitchen Culture (2935 16th St.), is located across the street and is open from Thurs. to Sat. from 10 a.m. to 6 p.m. Kitchen Culture plans to host music, poetry, performances, and community conversations. It’s available for catering and private parties.\u003c/i>\u003c/p>\n\n",
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"title": "Chilean Empanadas at Chile Lindo Are a Mission District Staple | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>There are certain restaurants in the Bay Area that, for a variety of reasons, are easy to miss — often old-school eateries without the buzz or viral TikTok and Instagram accounts to lure you in from afar.\u003c/p>\n\u003cp>But these modest establishments are just as capable of delivering culinary euphoria. In many cases, they also have decades’ worth of history waiting to be consumed. That’s exactly what the Mission’s \u003ca href=\"https://chilelindo.com/\">Chile Lindo\u003c/a> represents.\u003c/p>\n\u003cp>Ever since it opened in 1973, the small, independently-owned empanaderia has been a hideout for Chilean nationals. Many had come to California after being exiled from their native land under the harsh military dictatorship of Augusto Pinochet, who rose to power after a United States-backed military coup. Like many diasporas carrying trauma, they’ve found refuge in places like Chile Lindo.\u003c/p>\n\u003cp>Just one block east of the bustling 16th Street BART station, the shop blooms inside the Redstone Building, with a hand-painted advertisement for Chilean empanadas glossing the window. Since taking ownership in 1995, Paula Tejeda has seen her fair share of adversity, though. The restaurant’s original location is largely non-operational at the moment after a series of eviction notices, kitchen accidents and near closures throughout the pandemic. Yet somehow, Tejeda has found a way forward, as so many immigrants and children of immigrants do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last week, with the support of the Mission Housing Development Agency, she opened a sister location, Chile Lindo Kitchen Culture, directly across the street.\u003c/p>\n\u003cfigure id=\"attachment_13930164\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930164 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/chile_lindo_storefront-800x533.jpg\" alt=\"A Chilean food maker stands in front of her colorful shop on 16th Street in San Francisco\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_storefront-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_storefront-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_storefront-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_storefront-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_storefront-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_storefront.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tejeda stands in front of the original Chile Lindo on 16th Street. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the preservation of Chile’s culture isn’t always noticeable in the Bay Area — particularly when compared to other, more visible immigrant groups — Chileans maintain a deep reverence for their homeland, rallying around national treasures like soccer, empanadas and Chilean-style hotdogs, known as “completos.”\u003c/p>\n\u003cp>Few San Franciscans can speak to the unique history of Chile’s influence in the Mission like Tejeda can. There’s a reason her neighbors know her as “\u003ca href=\"https://missionlocal.org/2014/11/sometimes-its-not-all-about-the-empanadas/\">the Girl from Empanada\u003c/a>.” I stopped by Tejeda’s new shop to speak with her about gentrification, Chilean representation and the modern struggles of small business owners in San Francisco, all while she baked empanadas and prepared Chilenitos — cookie-sized Chilean pastries layered with wafers, dulce de leche and meringue.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>********\u003c/i>\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: What’s the history of Chile Lindo and how did you get involved in the Bay Area’s food scene?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Paula Tejeda:\u003c/b> Chile Lindo has been here since 1973. It was owned by a Chilean woman for over a decade. She sold it to another Chilean. [In 1995] I had just moved from New York City and didn’t have work. Before that, I went to Laney College and studied television production and had an internship at KTVU and KPIX. I was admitted to San Francisco State but dropped out and moved to Chile and then to NYC.\u003c/p>\n\u003cp>[Back in San Francisco,] I was running around the neighborhood selling sandwiches. The Women’s Initiative for Self-Employment was around, and they had a Latin branch called ALAS. People in the community told me to get a loan from the program, and one day I got a call that Chile Lindo was for sale. It was going to go to a Cuban, they told us, and they wanted a Chilean owner. It was rundown at the time. I didn’t have a penny to buy this. So I went to the program to get a loan, and [the owner] gave me the keys right away. Overnight, I was a business owner. I was running around the neighborhood with a basket [selling empanadas].\u003c/p>\n\u003cfigure id=\"attachment_13930161\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930161\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/chile_lindo_empanadas-800x1200.jpg\" alt=\"a large baking tray of empanadas before entering the oven\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_empanadas-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_empanadas-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_empanadas-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_empanadas-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_empanadas-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_empanadas-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_empanadas-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A fresh batch of Chilean empanadas. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How have you maintained your love for Chilean food and managed to run your business for nearly three decades?\u003c/b>\u003c/p>\n\u003cp>In 2009 I joined the street food movement. I was known as “the Girl from Empanada.” I joined programs to learn about business loans and how to keep the business afloat. I had a vision to bridge the cultures of Chile and the United States. It’s always been my motivation in more ways than one. With Chile Lindo, with food, you can create a network and represent your culture. I wanted to sell food, but also to produce artists and to provide intercultural consultations.\u003c/p>\n\u003cp>After 28 years, I’ve become a reference [point] for the link between Chile, California, the Bay Area, local artists, the Mission and North Beach. That’s very much been my motivation to keep going. To persevere as entrepreneurs, we have so many projects all the time because it’s one of the only ways to endure the hardships and losses of each day. We’re motivated by something bigger, a vision to make a difference. That has always been my drive. I know I can be an ambassador for all things Chilean.\u003c/p>\n\u003cp>\u003cb>What distinguishes Chilean empanadas from neighboring varieties, including those from Argentina, Mexico, Puerto Rico or \u003c/b>\u003ca href=\"https://www.kqed.org/arts/13926749/tasty-tings-jamaican-beef-patties-sf-oakland\">\u003cb>Jamaica\u003c/b>\u003c/a>\u003cb>?\u003c/b>\u003c/p>\n\u003cp>The idea of anything breaded is an international concept. Chilean empanadas are kind of renowned in South America because the Chileans made it their national food. You hear a lot about the asado in Argentina. Peru has a very unique and sophisticated cuisine. Mexico as well. But for Chileans, empanadas and wine are what they have to celebrate their independence. They celebrate for a month as if it happened yesterday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The original difference is that [a Chilean empanada is] larger and baked. The Argentinian [style] is often deep-fried and smaller. Ours uses onions, cumin, paprika, beef, raisins, olive and a slice of hard-boiled egg. That’s called a pino, or a picadillo in some other countries. It’s labor-intensive for each product. We have always taken pride in Chilean empanadas.\u003c/p>\n\u003cp>\u003cb>What other dishes do you serve that are also popular in Chile? \u003c/b>\u003c/p>\n\u003cp>We serve Chilean pastries, empanadas, coffee. I just added the Chilean hot dog to the menu. It’s called “el completo” and has mayo, chopped tomatoes and avocado.\u003c/p>\n\u003cp>But when I started at Chile Lindo, I used to prepare many traditional dishes. Sandwiches with pork, steak, avocado. A typical Chilean lunch is a nice filet of fish with potato salad and parsley. That’s universal. A Chilean salad is tomatoes with finely sliced onions and cilantro. Or celery with cubed avocado and lemon, olive oil, salt. They’re simple recipes with ingredients you can recognize anywhere but are slightly different from what you see here [in California]. Anything with avocado is Chilean.\u003c/p>\n\u003cfigure id=\"attachment_13930162\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930162\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/chile_lindo_hot_dog-800x1200.jpg\" alt=\"A Chilean hotdog, which includes avocado, mayo, and chopped tomatoes, is held out by the foodmaker\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_hot_dog-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_hot_dog-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_hot_dog-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_hot_dog-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_hot_dog-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_hot_dog-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_hot_dog-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “completo” is a beloved Chilean hot dog. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>I imagine it’s more difficult than ever to operate a small food business in San Francisco. How do today’s neighborhood challenges compare to your previous decades here? What struggles are today’s business owners and food makers dealing with?\u003c/b>\u003c/p>\n\u003cp>The struggles have been one after the other, especially since COVID. Prices for rent and for payroll are going through the roof. When you sell a $3 coffee and have to pay $21 an hour, that’s hard. No one really works for less than $20 an hour [in SF]. Rents and city prices are outrageous, and it’s creating a cycle where everything is becoming unsustainable. We’ve lost customers, community, foot traffic. Buses to Silicon Valley, BART commuters, that’s all gone. That was a good part of my business.\u003c/p>\n\u003cp>There are many factors that have been building over the years, including mental health, not just homelessness. We blame the administrations, but this has been building for decades now. It’s the corporate takeovers and lack of human relationships. The new guard doesn’t even know who I am. When I call my new distributors, they don’t call back. I’m probably an account they don’t even want to bother with. Before, my rep knew me. They cared about me. We were a community. My landlord, I used to be able to call them. Now it’s run by a management company. If you’re one day late, you get a late fee. They don’t have the 25-year relationship I had with my former landlord. Phone calls, emails, all of this means you go back and forth trying, and what do you get? Not a person, but a phone and an automated prompt. We need a permit for our awning now. I’ve been here 28 years, and now I need a permit for my awning?\u003c/p>\n\u003cp>I had my parklet, a huge investment, during the pandemic. That was destroyed. It became a drug den with graffiti — I couldn’t keep up with it, the stress from the city that puts it on me if the vandalism isn’t cleaned up. We can’t keep repainting it. If we want to have a piano player? We need a permit. Outdoor tables? Health department. Some of these are legitimate, but for a sole proprietor, you’re one person doing operations, shopping, managing new staff, training, serving and financing. It’s not sustainable.\u003c/p>\n\u003cfigure id=\"attachment_13930163\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/chile_lindo_model-800x533.jpg\" alt=\"A small diorama replica of the restaurant Chile Lindo is displayed on the counter inside Chile Lindo\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_model-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_model-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_model-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_model-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_model-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_model.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A small diorama replica of the original Chile Lindo is displayed inside Chile Lindo Kitchen Culture. Art by Cindy De Losa. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>That’s sad to hear. I often read about small businesses that can’t survive anymore in the Bay Area.\u003c/b>\u003c/p>\n\u003cp>It needs to be simplified for small business owners. Philz Coffee became what it became because he built it [in 2003]. If he tried to start today, would he be able to [do it] in our present situation? I don’t think so.\u003c/p>\n\u003cp>In terms of how much [small businesses] contribute, it’s a list of things: We create payroll. We train a new workforce, often students or immigrants. We buy locally from other small businesses. We provide a venue for arts that generates income for local bands and performers. We make the city interesting for tourists. We provide spaces for community members to come and go, to make friends. We pay taxes and licenses to the city. We give free food and coffee to the homeless community — we all do it, I’ve seen it with my own eyes and I do it myself. We clean sidewalks and pick up garbage. Those food delivery models? They depend on us.\u003c/p>\n\u003cp>It’s all such a fragile community. If we continue being eliminated, you are really hurting everyone; it’s a domino effect. People really need to become aware of how vulnerable we are and the reasons why so many small businesses are falling through the cracks.\u003c/p>\n\u003cp>\u003cb>Food is definitely a place for gathering safely. How is that embodied for you at Chile Lindo?\u003c/b>\u003c/p>\n\u003cp>When the pandemic hit, I had to reinvent myself completely. As we are recovering from the pandemic still, I’ve now opened my new kitchen and event space. I’ve decorated Kitchen Culture with paintings, posters, artesanias. It’s all traditional. Chile is a long country, a lot of what’s representative of the north is different from the central and southern parts. I tried to include it all. I also have memorabilia from the Mission. This is a space for music, meetings, poetry, jazz and some private parties. It’s a place where community groups can cater lunch. I’m organizing my own special events as well. I’m still figuring it out.\u003c/p>\n\u003cfigure id=\"attachment_13930160\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930160\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/chile_lindo_chilenitos-800x533.jpg\" alt=\"Chilean pastries are displayed on a marble counter top\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_chilenitos-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_chilenitos-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_chilenitos-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_chilenitos-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_chilenitos-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/chile_lindo_chilenitos.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Chilenitos” are a national dessert in Chile. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s the Chilean community in the Bay Area like? Is there a particular restaurant or venue besides your own where Chileans can gather?\u003c/b>\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>There aren’t many Chilean restaurants in San Francisco. Some open and then they close. There used to be one in Berkeley called Cafe Valparaiso that was opened in support of those exiled during the dictatorship. They moved now. There used to be Sabores del Sur in Walnut Creek. They closed. Chileans don’t have such a strong presence, and they aren’t very knowledgeable of the strength of working as an immigrant group. It makes me crazy. There are some Chileans in Berkeley. There used to be a group in Stockton that got together. There’s a Chilean cultural group from the 1960s called \u003ca href=\"https://centrochilenolautaro.org/\">Chilean Centro Lautaro\u003c/a>. There are Chileans in Davis. There are Facebook groups. But we’re a little individualistic in nature, which makes us resilient and strong but [is] counterproductive in helping those in the community. The only thing that gets all the Chileans together is soccer.\u003c/p>\n\u003cp>There is also an older Chilean community here of intellectuals that goes back to the gold rush. The town of Marysville was the third largest city during the gold rush, and it was co-founded by \u003ca href=\"https://www.hmdb.org/m.asp?m=55758\">Jose Manuel Ramirez\u003c/a>, who was Chilean. He was already wealthy and was a part of the gold rush in Europe, then went back to Chile and hired miners, since Chile has always been a mining country. They found a lot of gold here. There’s a plaque on the sidewalk next to Francis Ford Copolla’s Cafe Zoetrope and film studios, for an area called \u003ca href=\"https://sf.curbed.com/2012/10/15/10317694/chilecito-or-san-franciscos-little-chile\">Chilecito (“Little Chile”)\u003c/a>, where the Chilean miners camped.\u003c/p>\n\u003cp>\u003cb>I never knew that. Thanks for sharing this unique Bay Area history. What’s next for you at Chile Lindo?\u003c/b>\u003c/p>\n\u003cp>I want to have a podcast or YouTube channel to share this kind of history. If I can outreach to the enormously diverse group of dreamers and entrepreneurs here, motivated by arts, I would like to interview people about food and the connections between Chile and California. Chile and California are actually parallel, with literally the same geography and Mediterranean weather, mountain ranges, the Pacific Ocean and the same distance from the equator. They’re a mirror image.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The original \u003c/i>\u003ca href=\"https://www.instagram.com/chilelindosf/\">\u003ci>Chile Lindo\u003c/i>\u003c/a>\u003ci> (2944 16th St., San Francisco\u003c/i>) \u003ci>is currently closed for renovation. Its newly opened sister location, Chile Lindo Kitchen Culture (2935 16th St.), is located across the street and is open from Thurs. to Sat. from 10 a.m. to 6 p.m. Kitchen Culture plans to host music, poetry, performances, and community conversations. It’s available for catering and private parties.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "hip-hop-for-change-studio-oakland-san-francisco-leadership-change",
"title": "At Hip Hop For Change, Two New Creative Studios and a Seismic Shift",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>There’s a new creative hub blossoming between auto shops and construction businesses in San Francisco’s Bayview-Hunters Point. On a recent afternoon, \u003ca href=\"https://www.hiphopforchange.org/\">Hip Hop For Change\u003c/a>’s education director Marlon Richardson beams with excitement as he walks us through the 1,200-square-foot studio, which will soon come alive with possibilities: a recording space for music and podcasts; a lighting set-up for photography and video shoots; a screen-printing press for artist merch.\u003c/p>\n\u003cp>On June 26, Hip Hop For Change’s new San Francisco studio will be ready to welcome the thousands of children and young people the organization serves every year, plus local artists from its staff and the surrounding community. A second studio is coming soon to the organization’s North Oakland headquarters. And other developments are on the horizon, including a 24/7 online radio station and Pipeline 2 Positivity, a paid internship program for system-impacted youth to get training in artistic, professional and restorative justice skills.\u003c/p>\n\u003cp>“We’re putting them in a system that’s going to change the individual for the better, that’s going to prepare them for a world that has historically kept them out of the equation,” says Richardson, an MC and producer who performs as \u003ca href=\"https://www.instagram.com/unlearntheworld/\">UnLearn The World\u003c/a>. “And we’re saying that you can do so by being your most authentic self, finding your voice and letting your voice be heard as loud as possible across all these different creative spectrums.”\u003c/p>\n\u003cp>These new, ambitious projects come at an exciting time for Hip Hop For Change, but also one of seismic shifts for the organization. The most prominent hip-hop education nonprofit in the Bay Area has recently received an influx of funding from partners such as Meta and the San Francisco 49ers, which has allowed it to expand its youth programming. And the organization has ambitions to take its hip-hop curriculum — which teaches history, culture, beatmaking and other music skills at schools throughout California — nationwide.\u003c/p>\n\u003cfigure id=\"attachment_13930126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marlon Richardson, education director, poses for a portrait at Hip Hop For Change’s new Bayview-Hunters Point film and recording studio in San Francisco on May 8, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This period of growth has not been without turbulence: In March, the nonprofit announced on its Instagram that founder Khafre James was removed as executive director in January, and that he subsequently resigned. James, who oversaw the growth of the organization from a grassroots initiative, had been the face of the organization for 10 years, and the announcement stirred up controversy and speculation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since James’ departure, Hip Hop For Change is now collectively helmed by Richardson, grassroots director Malina King, marketing and creative director \u003ca href=\"https://www.instagram.com/stretchito/\">Marc Stretch\u003c/a> and grants manager \u003ca href=\"https://www.instagram.com/pallavi.kidambi/\">Pallavi Kidambi\u003c/a>. And the four of them were tight-lipped during our interview about the circumstances surrounding James’ departure, saying only that the organization’s board of directors hired an outside investigator to look into allegations about his leadership, which led to his removal. When reached by KQED, James pointed to a “disgruntled employee” and said “there was no merit” to the allegations.\u003c/p>\n\u003cp>“I’ve always been proud of what I started at Hip Hop For Change, and I wish them the best simply for the fact that they’re teaching babies in the community, the culture,” says James, whose new nonprofit, Hip Hop For the People, is hosting a free health and wellness summit at the New Parish with Inspectah Deck of Wu-Tang Clan on June 25. “As long as they’re doing that, they have my full blessing.”\u003c/p>\n\u003cfigure id=\"attachment_13930127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malina King, grassroots director, poses for a portrait at Hip Hop For Change’s new Bayview film and recording studio in San Francisco on May 8, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Hip Hop For Change, its four leaders are focused on forward motion. King is building up the grassroots staff — the canvassing team with clipboards often seen asking passersby if they want to help end white supremacy — and expanding their professional development opportunities. Richardson is busy getting more hip-hop history and musical programming into schools up and down the state, from Los Angeles to Santa Rosa.\u003c/p>\n\u003cp>A number of schools have already seen those programs unlock students’ creativity and self-expression. Dr. Delores Thompson, the pathway coordinator at Oakland School for the Arts who began her career at Black-owned television station \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\">Soul Beat TV\u003c/a>, says she appreciates Hip Hop For Change’s emphasis on storytelling — an empowering facet of the culture that is often neglected in the mainstream music industry.\u003c/p>\n\u003cfigure id=\"attachment_13930128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pallavi Kidambi, grants manager, poses for a portrait at Hip Hop for Change’s new Bayview film and recording studio in San Francisco on May 8, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had hip-hop artists like Grandmaster Flash, ‘The Message,’ Public Enemy, you know, all these people that actually told stories and either undergirded movements and or started movements,” she says.\u003c/p>\n\u003cp>“Storytellers not only can lift up our community, but they can also help our community to go to the next level or kind of kite us to where we’re going,” Thompson adds. [aside postid='arts_13929183']\u003c/p>\n\u003cp>Kidambi, the grants manager, is securing more funding and also working on next year’s annual Women’s Empowerment Summit. Along with Stretch, the four Hip Hop For Change leaders are moving as a unit. All artists themselves, the youngest among them are still establishing themselves within hip-hop while the oldest have seen its evolution into a global force. As conversations about inclusivity evolve, the team has embraced intergenerational collaboration, and is a rare example of an explicitly pro-woman and pro-LGBTQ+ hip-hop organization.\u003c/p>\n\u003cfigure id=\"attachment_13930129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Stretch, marketing and creative director, poses for a portrait at Hip Hop For Change’s new Bayview film and recording studio in San Francisco on May 8, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I am a Black Latina queer woman from East Oakland, and that is hip-hop,” says King. “I’m in the right place.”\u003c/p>\n\u003cp>“Hip-hop is expansive,” says Stretch. “It’s not defined by the ’90s, it’s not defined by the 2000s. It’s defined by whoever is listening to it, whoever’s creating it. … The culture is for all of us now, and we take from it what’s important to us. And sometimes the important part is just to be quiet and listen to someone else.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Hip Hop For Change’s \u003ca href=\"https://www.hiphopforchange.org/copy-of-agents-of-change\">Pipeline 2 Positivity\u003c/a> youth internship program is currently accepting applications. The organization’s San Francisco studio opens for bookings on June 26.\u003c/em>\u003c/p>\n\u003cp>\u003cem>UnLearn The World hosts a \u003ca href=\"https://www.instagram.com/p/CtH_AFluII8/\">youth MC Competition for Town Nights\u003c/a> with \u003ca href=\"https://www.kqed.org/arts/13918908/oakland-department-violence-prevention-curyj-restorative-justice-town-nights\">CURYJ\u003c/a> on June 16 at Josie de la Cruz Park in Oakland. UnLearn The World and Marc Stretch host \u003ca href=\"https://enjoymillvalley.com/double-the-juneteenth-mill-valleys-freedom-festival-on-downtown-plaza-is-june-17-marin-citys-follows-on-june-19/\">Mill Valley’s Juneteenth celebration\u003c/a> on June 17. And Hip Hop For Change curates a youth performance showcase at the \u003ca href=\"https://www.sjearthquakes.com/news/news-earthquakes-announce-2023-theme-nights\">San Jose Earthquakes\u003c/a> soccer game on July 1, celebrating hip-hop’s 50th anniversary.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Correction: \u003c/em>\u003c/strong>\u003cem>This story listed the size of Hip Hop For Change’s San Francisco studio as 12,000 square feet when it is 1,200. \u003c/em>\u003c/p>\n\n",
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"title": "At Hip Hop for Change, New Leadership and an SF Studio | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>There’s a new creative hub blossoming between auto shops and construction businesses in San Francisco’s Bayview-Hunters Point. On a recent afternoon, \u003ca href=\"https://www.hiphopforchange.org/\">Hip Hop For Change\u003c/a>’s education director Marlon Richardson beams with excitement as he walks us through the 1,200-square-foot studio, which will soon come alive with possibilities: a recording space for music and podcasts; a lighting set-up for photography and video shoots; a screen-printing press for artist merch.\u003c/p>\n\u003cp>On June 26, Hip Hop For Change’s new San Francisco studio will be ready to welcome the thousands of children and young people the organization serves every year, plus local artists from its staff and the surrounding community. A second studio is coming soon to the organization’s North Oakland headquarters. And other developments are on the horizon, including a 24/7 online radio station and Pipeline 2 Positivity, a paid internship program for system-impacted youth to get training in artistic, professional and restorative justice skills.\u003c/p>\n\u003cp>“We’re putting them in a system that’s going to change the individual for the better, that’s going to prepare them for a world that has historically kept them out of the equation,” says Richardson, an MC and producer who performs as \u003ca href=\"https://www.instagram.com/unlearntheworld/\">UnLearn The World\u003c/a>. “And we’re saying that you can do so by being your most authentic self, finding your voice and letting your voice be heard as loud as possible across all these different creative spectrums.”\u003c/p>\n\u003cp>These new, ambitious projects come at an exciting time for Hip Hop For Change, but also one of seismic shifts for the organization. The most prominent hip-hop education nonprofit in the Bay Area has recently received an influx of funding from partners such as Meta and the San Francisco 49ers, which has allowed it to expand its youth programming. And the organization has ambitions to take its hip-hop curriculum — which teaches history, culture, beatmaking and other music skills at schools throughout California — nationwide.\u003c/p>\n\u003cfigure id=\"attachment_13930126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marlon Richardson, education director, poses for a portrait at Hip Hop For Change’s new Bayview-Hunters Point film and recording studio in San Francisco on May 8, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This period of growth has not been without turbulence: In March, the nonprofit announced on its Instagram that founder Khafre James was removed as executive director in January, and that he subsequently resigned. James, who oversaw the growth of the organization from a grassroots initiative, had been the face of the organization for 10 years, and the announcement stirred up controversy and speculation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since James’ departure, Hip Hop For Change is now collectively helmed by Richardson, grassroots director Malina King, marketing and creative director \u003ca href=\"https://www.instagram.com/stretchito/\">Marc Stretch\u003c/a> and grants manager \u003ca href=\"https://www.instagram.com/pallavi.kidambi/\">Pallavi Kidambi\u003c/a>. And the four of them were tight-lipped during our interview about the circumstances surrounding James’ departure, saying only that the organization’s board of directors hired an outside investigator to look into allegations about his leadership, which led to his removal. When reached by KQED, James pointed to a “disgruntled employee” and said “there was no merit” to the allegations.\u003c/p>\n\u003cp>“I’ve always been proud of what I started at Hip Hop For Change, and I wish them the best simply for the fact that they’re teaching babies in the community, the culture,” says James, whose new nonprofit, Hip Hop For the People, is hosting a free health and wellness summit at the New Parish with Inspectah Deck of Wu-Tang Clan on June 25. “As long as they’re doing that, they have my full blessing.”\u003c/p>\n\u003cfigure id=\"attachment_13930127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malina King, grassroots director, poses for a portrait at Hip Hop For Change’s new Bayview film and recording studio in San Francisco on May 8, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Hip Hop For Change, its four leaders are focused on forward motion. King is building up the grassroots staff — the canvassing team with clipboards often seen asking passersby if they want to help end white supremacy — and expanding their professional development opportunities. Richardson is busy getting more hip-hop history and musical programming into schools up and down the state, from Los Angeles to Santa Rosa.\u003c/p>\n\u003cp>A number of schools have already seen those programs unlock students’ creativity and self-expression. Dr. Delores Thompson, the pathway coordinator at Oakland School for the Arts who began her career at Black-owned television station \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\">Soul Beat TV\u003c/a>, says she appreciates Hip Hop For Change’s emphasis on storytelling — an empowering facet of the culture that is often neglected in the mainstream music industry.\u003c/p>\n\u003cfigure id=\"attachment_13930128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pallavi Kidambi, grants manager, poses for a portrait at Hip Hop for Change’s new Bayview film and recording studio in San Francisco on May 8, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had hip-hop artists like Grandmaster Flash, ‘The Message,’ Public Enemy, you know, all these people that actually told stories and either undergirded movements and or started movements,” she says.\u003c/p>\n\u003cp>“Storytellers not only can lift up our community, but they can also help our community to go to the next level or kind of kite us to where we’re going,” Thompson adds. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kidambi, the grants manager, is securing more funding and also working on next year’s annual Women’s Empowerment Summit. Along with Stretch, the four Hip Hop For Change leaders are moving as a unit. All artists themselves, the youngest among them are still establishing themselves within hip-hop while the oldest have seen its evolution into a global force. As conversations about inclusivity evolve, the team has embraced intergenerational collaboration, and is a rare example of an explicitly pro-woman and pro-LGBTQ+ hip-hop organization.\u003c/p>\n\u003cfigure id=\"attachment_13930129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Stretch, marketing and creative director, poses for a portrait at Hip Hop For Change’s new Bayview film and recording studio in San Francisco on May 8, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I am a Black Latina queer woman from East Oakland, and that is hip-hop,” says King. “I’m in the right place.”\u003c/p>\n\u003cp>“Hip-hop is expansive,” says Stretch. “It’s not defined by the ’90s, it’s not defined by the 2000s. It’s defined by whoever is listening to it, whoever’s creating it. … The culture is for all of us now, and we take from it what’s important to us. And sometimes the important part is just to be quiet and listen to someone else.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Hip Hop For Change’s \u003ca href=\"https://www.hiphopforchange.org/copy-of-agents-of-change\">Pipeline 2 Positivity\u003c/a> youth internship program is currently accepting applications. The organization’s San Francisco studio opens for bookings on June 26.\u003c/em>\u003c/p>\n\u003cp>\u003cem>UnLearn The World hosts a \u003ca href=\"https://www.instagram.com/p/CtH_AFluII8/\">youth MC Competition for Town Nights\u003c/a> with \u003ca href=\"https://www.kqed.org/arts/13918908/oakland-department-violence-prevention-curyj-restorative-justice-town-nights\">CURYJ\u003c/a> on June 16 at Josie de la Cruz Park in Oakland. UnLearn The World and Marc Stretch host \u003ca href=\"https://enjoymillvalley.com/double-the-juneteenth-mill-valleys-freedom-festival-on-downtown-plaza-is-june-17-marin-citys-follows-on-june-19/\">Mill Valley’s Juneteenth celebration\u003c/a> on June 17. And Hip Hop For Change curates a youth performance showcase at the \u003ca href=\"https://www.sjearthquakes.com/news/news-earthquakes-announce-2023-theme-nights\">San Jose Earthquakes\u003c/a> soccer game on July 1, celebrating hip-hop’s 50th anniversary.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Poetry of the Pacific with Terisa Siagatonu",
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"content": "\u003cp> \u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>So many of us come from water but\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>when you come from water\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>no one believes you.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Colonization keeps laughing.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Global warming is grinning\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>at all your grief.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>How you mourn the loss of a home\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>that isn’t even gone yet.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>That no one believes you’re from.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>This is an excerpt from \u003ca href=\"https://www.instagram.com/terisasiagatonu/\" target=\"_blank\" rel=\"noopener noreferrer\">Terisa Siagatonu’s\u003c/a> poem “\u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/146222/atlas-5aa944cf31dad\">Atlas\u003c/a>.”\u003c/p>\n\u003cp>Terisa’s poetry navigates climate change and its impact on marginalized communities, from the lens of someone who was proudly raised in San Francisco by a family with deep Samoan roots.\u003c/p>\n\u003cp>In our conversation, Terisa looks back at January 2022’s \u003ca href=\"https://www.kqed.org/news/11901877/bay-area-tongans-wait-in-hope-and-fear-for-news-of-family-after-tsunami\" target=\"_blank\" rel=\"noopener noreferrer\">underwater eruption\u003c/a> that caused massive tsunamis in Samoa, Tonga, Fiji and other nations in Oceania. Initially, the disaster made headlines and relief efforts filled social media feeds, but Terisa questions what sustained care looks like for those impacted by a changing global climate.\u003c/p>\n\u003cp>She’s currently an \u003ca href=\"https://www.emersoncollective.com/persons/terisa-siagatonu\" target=\"_blank\" rel=\"noopener\">Emerson Collective Fellow\u003c/a>, where she’s working with a group of “Climate Pivoters” and penning a novel about the hidden costs of climate change. That’s in addition to a forthcoming children’s book about Oceania.\u003c/p>\n\u003cp>Her latest work comes on the heels of years of speaking on this topic at venues across the country and around the world, even addressing members of the United Nations. This week on Rightnowish, Terisa Siagatonu discusses climate justice and how she “languages” her experience.\u003c/p>\n\u003cfigure id=\"attachment_13912228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/download-4-800x1203.jpg\" alt=\"Poet Terisa Siagatonu looks off to the side as she sits on a set of stairs.\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4.jpg 851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet Terisa Siagatonu looks off to the side as she sits on a set of stairs. \u003ccite>(Courtesy of Terisa Siagatonu )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This episode originally aired on April 22, 2022 .\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3839630834&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of the episode with Terisa Siagatonu.\u003c/strong>\u003c/p>\n\u003cp>Terisa: For those who don’t know, [in January 2022,] there was an underwater volcanic eruption right on the coast of the island and Kingdom of Tonga… I saw a lot of Tongan friends of mine really nervous about not getting a hold of family members. I also saw the power of the Pacific Ocean herself, in terms of how the waves of eruption could reach our coast here in the US. And it speaks to this notion that I hold with me all the time that Hawaiian scholar, activist poet, Haunani-Kay Trask talks about in her work, “upon the survival of the Pacific depends the survival of the world.”\u003c/p>\n\u003cp>Terisa: Because so many times the world kind of relegates [Pacific Islanders] to the margins of their consciousness and of world maps and forgets that there are people from water – like my people – that are only heard about when it comes to natural disasters or when it comes to tragedy. What happens in the Pacific should matter to all of us.\u003c/p>\n\u003cp>\u003cem>Pen: When I thought about speaking to you it was about how can we keep this story alive? Make sure that [devastation from the volcanic eruption] is not just something tragic that happens and we move on, because we know that this will impact people for some time to come. So how do you keep that in people’s foresight?\u003c/em>\u003c/p>\n\u003cp>Terisa: I think social media helps… I think it’s also a great time to talk about what do people know about Pacific Islanders outside of devastation and climate change outside of your honeymoon vacations? … If we’re talking about what happened in Tonga, let’s talk about Tongans. Let’s talk about how the Pacific migration even came to the U.S. Let’s have more nuanced conversations about it. A lot of times my lane is to help language, and stand in the gap between what people know and what people don’t know using art.\u003c/p>\n\u003cp>\u003cem>Pen: …Your poem titled “Atlas” you wrote that over 5 years ago still has huge implications today….for example, where you \u003cspan style=\"font-weight: 400\">talk about identifying with bodies of water…\u003c/span>\u003c/em>\u003cem> Growing up in the Bay Area, I’m so accustomed to identifying with land. Like I know somebody from the neighborhood. It’s Chris from 73rd, he’s from a piece of land. But I don’t talk about the creek that runs through his neighborhood or the body of water that the community was built around. And so this Atlas poem, you do a wonderful job of identifying water with people. Do people receive it that way?\u003c/em>\u003c/p>\n\u003cp>Terisa: You’re really hitting it on the head with the reasons I wrote it… expanding our notions of where we come from, that not all of us just come from land, but it is the water that surrounds us too, and it runs through us and our communities. Because I come from an island and my community comes from an island, water is of importance to us, but water is important to all of us! Being from the Bay, we are water people, we’re here on California’s coast and how much do we know about the quality of the water right here in our backyards?\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>How everyone is beginning\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>to hear more about your island\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>but only in the context of\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>vacations and honeymoons,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>football and military life,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>exotic women exotic fruit exotic beaches\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>but never asks about the rest of its body.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Terisa: I don’t even think people realize that Samoa is actually two separate islands because of colonization in that the eastern island, called American Samoa, it’s a U.S. territory. I don’t think a lot of people even know that. I don’t even think people know what a U.S. territory is, which isn’t to shame them because I once didn’t know it either… And so my hope is for people to at least get curious. I don’t expect people to be experts and be supremely knowledgeable about who Samoans are… So much about being Samoan can also be linked directly to what it means to be American. I say that because of Samoan’s high rates in the U.S. military. I say that because so many of people’s insight into who Samoans are come from the NFL… I want people to care enough about helping to connect those dots for themselves because there’s a deep colonial history to why that is, why Samoans are who we are\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>When people ask me where I’m from,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>they don’t believe me when I say water.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>So instead, I tell them that home is a machete\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>and that I belong to places\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>that don’t belong to themselves anymore,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>broken and butchered places that have made me\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>a hyphen of a woman:\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>a Samoan-American that carries the weight of both\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>colonizer and colonized,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>both blade and blood.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Terisa: It sometimes feels like the hyphen itself is like this bridge with no railings. So you just don’t know if you’re safe. You don’t know how to traverse it all the time. And I think part of being a bicultural kid in diaspora is that I am always yearning for a sense of belonging in being samoan enough to claim my Samoan identity, but sometimes not feeling adequate and living up to what that means, because of things like language loss and how I don’t fully know my language anymore, or I never learned it because my family was in survival mode when they immigrated here and thought teaching me English was going to be more helpful for for me and my upbringing.\u003c/p>\n\u003cp>Terisa: It’s also rejecting my Americanness sometimes because of U.S. imperialism and how much it has desecrated not just the Pacific, but so many of our countries. And so sometimes that identity is so hard for me to really reckon with… So I got deeper into exploring my indigeneity as a Samoan. And also making peace with: maybe I live on this hyphen. Maybe it’s not a matter of like equalizing my Samoaness and my Americanness, and I just stand on this hyphen and write my poems over here, over the water [laughs]\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>California, nestled on the western coast of the most powerful\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>country on this planet.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Samoa, an island so microscopic on a map, it’s no wonder\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>people doubt its existence.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>California, a state of emergency away from having the drought\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>rid it of all its water.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Samoa, a state of emergency away from becoming a saltwater cemetery\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>if the sea level doesn’t stop rising.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Since writing this piece five years ago where has it taken you?\u003c/em>\u003c/p>\n\u003cp>Terisa: It was one of the poems that I took with me to the U.N. Conference on Climate Change in Paris, where the Paris Agreement was created back in 2015. It has been the door that has remained open to many opportunities that I’ve gotten to expand the conversation of who Pacific Islanders are, what is at stake, and what is the cost of not knowing what’s what’s happening in the Pacific in terms of the climate and why people should care. And so that little poem means a lot to me. [laughs]\u003c/p>\n\u003cp>\u003cem>Pen: What did it feel like [presenting the poem to the United Nations]?\u003c/em>\u003c/p>\n\u003cp>Terisa: It felt exhilarating because it’s a global stage, people came from around the world to spend a few weeks together to talk about how are we going to get ourselves out of this climate devastation and what are our best solutions.. I am grateful for the times in which I can share work about the Pacific, about being Samoan. Something that maybe they didn’t have any knowledge of before. And I’m always thankful for those opportunities to share work in those ways… But there is this element of tokenization that happens often people want to hear your story… They for sure want to hear the tragic, traumatic parts of it so that they can feel something so that they can be stirred up with emotions in order to care and change and act. But then there’s this gross feeling to it sometimes too, where there’s this extraction… extracting people for their trauma, for their most devastating parts and not like seeing them as these whole human communities that deserve more.\u003c/p>\n\u003cp>Terisa: And so these climate convenings are interesting in those ways. I try to manage how much energy I give, to who and why… It’s like trying to heal the system within the system. I mean, we don’t even have to be at a global convening to feel that. I think that’s a daily thing for me, to ask what are people’s intentions? Am I clear on my own values? Am I aligned with them?\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned value. How do you show your value as an artist in this line of work?\u003c/em>\u003c/p>\n\u003cp>Terisa: There was a moment where I was in a Bay Area organizing space in which the facilitator was asking us, “like what our values were? And in asking us more importantly, like, do we know what our values are? and how do we know what they are? And she was asking us, like, Do you write them down? Do you review them? Do you adjust them? And I had to get real of myself around like, No, I don’t do a lot of those things. I think we in our head theoretically is like, Yeah, I have values. Of course I have them. Who do you think I am? But it’s like, how do I measure if I’m aligned with my values?… I think it’s a daily practice and I’m not an expert at it at all. Every day I’m trying to figure out how to do it better.\u003c/p>\n\u003cp>\u003cem>Pen: Mannnn. I never write down my values, as much as a write. It’s like duh! I write everything else down: to do list, shopping list. Anything else is like targeted intention.\u003c/em>\u003c/p>\n\u003cp>Terisa: now that we’re talking about it, I actually should revisit it because I haven’t looked at them in a while\u003c/p>\n\u003cp>\u003cem>Pen: I mean, it makes sense to revisit it now. Right? as you take on new journeys, right?\u003c/em>\u003c/p>\n\u003cp>Terisa: right!\u003c/p>\n\u003cp>\u003cem>Pen: Do you ever think of yourself as a climate changer?\u003c/em>\u003c/p>\n\u003cp>Terisa: Yeah, I do now! It took me a while to really own that I’m an environmentalist or I’m a climate change organizer because I had a perception of like, you had to care about this work in a particular way to deem yourself as a real and true climate changer… But then I realized, not only do I think that’s not true, we’re literally running out of time, so I don’t actually care. I’m just going to put my head down and do my work in this narrow lane that I know and trust that enough of us are in our own lanes with our own gifts trying our best to try everything!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>So many of us come from water but\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>when you come from water\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>no one believes you.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Colonization keeps laughing.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Global warming is grinning\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>at all your grief.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>How you mourn the loss of a home\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>that isn’t even gone yet.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>That no one believes you’re from.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>This is an excerpt from \u003ca href=\"https://www.instagram.com/terisasiagatonu/\" target=\"_blank\" rel=\"noopener noreferrer\">Terisa Siagatonu’s\u003c/a> poem “\u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/146222/atlas-5aa944cf31dad\">Atlas\u003c/a>.”\u003c/p>\n\u003cp>Terisa’s poetry navigates climate change and its impact on marginalized communities, from the lens of someone who was proudly raised in San Francisco by a family with deep Samoan roots.\u003c/p>\n\u003cp>In our conversation, Terisa looks back at January 2022’s \u003ca href=\"https://www.kqed.org/news/11901877/bay-area-tongans-wait-in-hope-and-fear-for-news-of-family-after-tsunami\" target=\"_blank\" rel=\"noopener noreferrer\">underwater eruption\u003c/a> that caused massive tsunamis in Samoa, Tonga, Fiji and other nations in Oceania. Initially, the disaster made headlines and relief efforts filled social media feeds, but Terisa questions what sustained care looks like for those impacted by a changing global climate.\u003c/p>\n\u003cp>She’s currently an \u003ca href=\"https://www.emersoncollective.com/persons/terisa-siagatonu\" target=\"_blank\" rel=\"noopener\">Emerson Collective Fellow\u003c/a>, where she’s working with a group of “Climate Pivoters” and penning a novel about the hidden costs of climate change. That’s in addition to a forthcoming children’s book about Oceania.\u003c/p>\n\u003cp>Her latest work comes on the heels of years of speaking on this topic at venues across the country and around the world, even addressing members of the United Nations. This week on Rightnowish, Terisa Siagatonu discusses climate justice and how she “languages” her experience.\u003c/p>\n\u003cfigure id=\"attachment_13912228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/download-4-800x1203.jpg\" alt=\"Poet Terisa Siagatonu looks off to the side as she sits on a set of stairs.\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4.jpg 851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet Terisa Siagatonu looks off to the side as she sits on a set of stairs. \u003ccite>(Courtesy of Terisa Siagatonu )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This episode originally aired on April 22, 2022 .\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3839630834&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of the episode with Terisa Siagatonu.\u003c/strong>\u003c/p>\n\u003cp>Terisa: For those who don’t know, [in January 2022,] there was an underwater volcanic eruption right on the coast of the island and Kingdom of Tonga… I saw a lot of Tongan friends of mine really nervous about not getting a hold of family members. I also saw the power of the Pacific Ocean herself, in terms of how the waves of eruption could reach our coast here in the US. And it speaks to this notion that I hold with me all the time that Hawaiian scholar, activist poet, Haunani-Kay Trask talks about in her work, “upon the survival of the Pacific depends the survival of the world.”\u003c/p>\n\u003cp>Terisa: Because so many times the world kind of relegates [Pacific Islanders] to the margins of their consciousness and of world maps and forgets that there are people from water – like my people – that are only heard about when it comes to natural disasters or when it comes to tragedy. What happens in the Pacific should matter to all of us.\u003c/p>\n\u003cp>\u003cem>Pen: When I thought about speaking to you it was about how can we keep this story alive? Make sure that [devastation from the volcanic eruption] is not just something tragic that happens and we move on, because we know that this will impact people for some time to come. So how do you keep that in people’s foresight?\u003c/em>\u003c/p>\n\u003cp>Terisa: I think social media helps… I think it’s also a great time to talk about what do people know about Pacific Islanders outside of devastation and climate change outside of your honeymoon vacations? … If we’re talking about what happened in Tonga, let’s talk about Tongans. Let’s talk about how the Pacific migration even came to the U.S. Let’s have more nuanced conversations about it. A lot of times my lane is to help language, and stand in the gap between what people know and what people don’t know using art.\u003c/p>\n\u003cp>\u003cem>Pen: …Your poem titled “Atlas” you wrote that over 5 years ago still has huge implications today….for example, where you \u003cspan style=\"font-weight: 400\">talk about identifying with bodies of water…\u003c/span>\u003c/em>\u003cem> Growing up in the Bay Area, I’m so accustomed to identifying with land. Like I know somebody from the neighborhood. It’s Chris from 73rd, he’s from a piece of land. But I don’t talk about the creek that runs through his neighborhood or the body of water that the community was built around. And so this Atlas poem, you do a wonderful job of identifying water with people. Do people receive it that way?\u003c/em>\u003c/p>\n\u003cp>Terisa: You’re really hitting it on the head with the reasons I wrote it… expanding our notions of where we come from, that not all of us just come from land, but it is the water that surrounds us too, and it runs through us and our communities. Because I come from an island and my community comes from an island, water is of importance to us, but water is important to all of us! Being from the Bay, we are water people, we’re here on California’s coast and how much do we know about the quality of the water right here in our backyards?\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>How everyone is beginning\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>to hear more about your island\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>but only in the context of\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>vacations and honeymoons,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>football and military life,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>exotic women exotic fruit exotic beaches\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>but never asks about the rest of its body.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Terisa: I don’t even think people realize that Samoa is actually two separate islands because of colonization in that the eastern island, called American Samoa, it’s a U.S. territory. I don’t think a lot of people even know that. I don’t even think people know what a U.S. territory is, which isn’t to shame them because I once didn’t know it either… And so my hope is for people to at least get curious. I don’t expect people to be experts and be supremely knowledgeable about who Samoans are… So much about being Samoan can also be linked directly to what it means to be American. I say that because of Samoan’s high rates in the U.S. military. I say that because so many of people’s insight into who Samoans are come from the NFL… I want people to care enough about helping to connect those dots for themselves because there’s a deep colonial history to why that is, why Samoans are who we are\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>When people ask me where I’m from,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>they don’t believe me when I say water.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>So instead, I tell them that home is a machete\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>and that I belong to places\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>that don’t belong to themselves anymore,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>broken and butchered places that have made me\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>a hyphen of a woman:\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>a Samoan-American that carries the weight of both\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>colonizer and colonized,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>both blade and blood.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Terisa: It sometimes feels like the hyphen itself is like this bridge with no railings. So you just don’t know if you’re safe. You don’t know how to traverse it all the time. And I think part of being a bicultural kid in diaspora is that I am always yearning for a sense of belonging in being samoan enough to claim my Samoan identity, but sometimes not feeling adequate and living up to what that means, because of things like language loss and how I don’t fully know my language anymore, or I never learned it because my family was in survival mode when they immigrated here and thought teaching me English was going to be more helpful for for me and my upbringing.\u003c/p>\n\u003cp>Terisa: It’s also rejecting my Americanness sometimes because of U.S. imperialism and how much it has desecrated not just the Pacific, but so many of our countries. And so sometimes that identity is so hard for me to really reckon with… So I got deeper into exploring my indigeneity as a Samoan. And also making peace with: maybe I live on this hyphen. Maybe it’s not a matter of like equalizing my Samoaness and my Americanness, and I just stand on this hyphen and write my poems over here, over the water [laughs]\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>California, nestled on the western coast of the most powerful\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>country on this planet.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Samoa, an island so microscopic on a map, it’s no wonder\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>people doubt its existence.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>California, a state of emergency away from having the drought\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>rid it of all its water.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Samoa, a state of emergency away from becoming a saltwater cemetery\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>if the sea level doesn’t stop rising.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Since writing this piece five years ago where has it taken you?\u003c/em>\u003c/p>\n\u003cp>Terisa: It was one of the poems that I took with me to the U.N. Conference on Climate Change in Paris, where the Paris Agreement was created back in 2015. It has been the door that has remained open to many opportunities that I’ve gotten to expand the conversation of who Pacific Islanders are, what is at stake, and what is the cost of not knowing what’s what’s happening in the Pacific in terms of the climate and why people should care. And so that little poem means a lot to me. [laughs]\u003c/p>\n\u003cp>\u003cem>Pen: What did it feel like [presenting the poem to the United Nations]?\u003c/em>\u003c/p>\n\u003cp>Terisa: It felt exhilarating because it’s a global stage, people came from around the world to spend a few weeks together to talk about how are we going to get ourselves out of this climate devastation and what are our best solutions.. I am grateful for the times in which I can share work about the Pacific, about being Samoan. Something that maybe they didn’t have any knowledge of before. And I’m always thankful for those opportunities to share work in those ways… But there is this element of tokenization that happens often people want to hear your story… They for sure want to hear the tragic, traumatic parts of it so that they can feel something so that they can be stirred up with emotions in order to care and change and act. But then there’s this gross feeling to it sometimes too, where there’s this extraction… extracting people for their trauma, for their most devastating parts and not like seeing them as these whole human communities that deserve more.\u003c/p>\n\u003cp>Terisa: And so these climate convenings are interesting in those ways. I try to manage how much energy I give, to who and why… It’s like trying to heal the system within the system. I mean, we don’t even have to be at a global convening to feel that. I think that’s a daily thing for me, to ask what are people’s intentions? Am I clear on my own values? Am I aligned with them?\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned value. How do you show your value as an artist in this line of work?\u003c/em>\u003c/p>\n\u003cp>Terisa: There was a moment where I was in a Bay Area organizing space in which the facilitator was asking us, “like what our values were? And in asking us more importantly, like, do we know what our values are? and how do we know what they are? And she was asking us, like, Do you write them down? Do you review them? Do you adjust them? And I had to get real of myself around like, No, I don’t do a lot of those things. I think we in our head theoretically is like, Yeah, I have values. Of course I have them. Who do you think I am? But it’s like, how do I measure if I’m aligned with my values?… I think it’s a daily practice and I’m not an expert at it at all. Every day I’m trying to figure out how to do it better.\u003c/p>\n\u003cp>\u003cem>Pen: Mannnn. I never write down my values, as much as a write. It’s like duh! I write everything else down: to do list, shopping list. Anything else is like targeted intention.\u003c/em>\u003c/p>\n\u003cp>Terisa: now that we’re talking about it, I actually should revisit it because I haven’t looked at them in a while\u003c/p>\n\u003cp>\u003cem>Pen: I mean, it makes sense to revisit it now. Right? as you take on new journeys, right?\u003c/em>\u003c/p>\n\u003cp>Terisa: right!\u003c/p>\n\u003cp>\u003cem>Pen: Do you ever think of yourself as a climate changer?\u003c/em>\u003c/p>\n\u003cp>Terisa: Yeah, I do now! It took me a while to really own that I’m an environmentalist or I’m a climate change organizer because I had a perception of like, you had to care about this work in a particular way to deem yourself as a real and true climate changer… But then I realized, not only do I think that’s not true, we’re literally running out of time, so I don’t actually care. I’m just going to put my head down and do my work in this narrow lane that I know and trust that enough of us are in our own lanes with our own gifts trying our best to try everything!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "This Self-Taught Bay Area Pitmaster Is Slanging Saucy, Hawaiian-Inspired Barbecue",
"headTitle": "This Self-Taught Bay Area Pitmaster Is Slanging Saucy, Hawaiian-Inspired Barbecue | KQED",
"content": "\u003cp>No one has ever gone to Old Oakland’s \u003ca href=\"https://www.instagram.com/rusticales_oaklandarbor/?hl=en\">Sante Adairius\u003c/a> to grub on an island-style carnitas quesadilla. The narrow, wood-laden bar, whose quaint interior somehow reminds me of a scene from \u003ci>The\u003c/i> \u003ci>Lord of the Rings\u003c/i>, is better known for rustic ales.\u003c/p>\n\u003cp>But thanks to Olivier Grandvoinet and his pop-up, \u003ca href=\"https://www.instagram.com/islandbaycocina/\">Island Bay Cocina\u003c/a>, it’ll be possible to combine a German Maibock-style Günther with a bite of wood-smoked, guava-and-habanero-drenched pork this Saturday afternoon.\u003c/p>\n\u003cp>The pairing may sound uncommon. That’s because Grandvoinet — a mixed-race Black man who was born in Oregon, raised in Hawaii and came of age in San Francisco’s North Beach, where he mostly befriended immigrant and first-generation Latinos while attending high school in Potrero Hill — isn’t your average mainland American. His unique upbringing shows in his hard-to-categorize recipes. One thing is consistent, though: The man loves \u003ca href=\"https://www.kqed.org/bbq\">barbecuing\u003c/a>.\u003c/p>\n\u003cp>“I bring that Hawaiian spirit and a love for slow cooking,” says Grandvoinet. “I treat pork like it’s royalty, with the care it needs to be transformed into something special.”\u003c/p>\n\u003cp>After leaving his career in tech to pursue full-time food making during the pandemic, Grandvoinet has committed himself to the pursuit of soulful relaxation and liberated joy through serving his community — literally. And what food provides a more hands-off, share-your-plate, kick-back-and-enjoy-life’s-leisurely-pleasures vibe than wood-smoked barbecue?\u003c/p>\n\u003cfigure id=\"attachment_13929958\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929958\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/island-bay-cocina-carnitas-800x600.jpg\" alt=\"a rack of carnitas in the smoker\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-carnitas-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-carnitas-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-carnitas-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-carnitas-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-carnitas-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-carnitas.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rack of “carnitas” (which are smoked for 10 hours) being prepared for quesadillas. \u003ccite>(Courtesy of Olivier G.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Growing up, I felt a huge lack of barbecue from the Bay. Da’ Pitt on Divisadero was the best back in the day, but then it got replaced by some wack gentrified barbecue. I was bummed. I knew I needed to make some good barbecue,” Grandvoinet says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As someone who grew up in a single-parent home “eating food off EBT in a wealthy San Francisco neighborhood,” Grandvoinet became a tech worker to help his mom keep up with the rising costs of living. But after four years, Grandvoinet felt unfulfilled and tokenized in the industry. After a layoff during the pandemic, he never looked back and dove into life as an aspiring pitmaster. Like many late-twentysomethings, he used YouTube and the internet to learn his new craft. Now, Grandvoinet embraces his non-traditional approach to the pit.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13911062,arts_13915646,arts_13929494']\u003c/span>What does that taste like? Besides his flagship “Fat Daddy Quesadilla” (which includes the aforementioned fat-slicked carnitas, crispy jack cheese, cilantro, onions and homemade guava habanero barbecue sauce), the “Big Kahuna” is Grandvoinet’s signature plate: a grilled all-beef hot dog topped with an intimidating amount of pulled pork, island slaw and barbecue sauce.\u003c/p>\n\u003cp>On other occasions, the chef might cook up Spam musubi (always under $5, he proudly emphasizes) or empanadas filled with chopped 14-hour brisket and diced jalapeños. Or he might serve a kalua pork sando with a side of five-cheese macaroni. And of course, he slangs hella racks of ribs, most notably at the popular San Francisco day party, “\u003ca href=\"https://www.instagram.com/rnbandribs/?hl=en\">R&B and Ribs\u003c/a>,” where he has been one of the rotating chefs since 2022.\u003c/p>\n\u003cp>When he’s not working as a self-taught chef, Grandvoinet tours the Bay Area to amplify other small food businesses through his social media channel, \u003ca href=\"https://www.instagram.com/oli_be_eatin/\">Oli Be Eatin\u003c/a>. His Mexican American sous chef and business partner, \u003ca href=\"https://www.instagram.com/drea.eats_/\">Drea Eats\u003c/a>, also contributes to the brand with her Latinx perspective and flavors. Together, they’re eating and cooking as a way to exchange cultural flavors.\u003c/p>\n\u003cfigure id=\"attachment_13929959\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/island-bay-cocina-hot-dog-800x600.jpg\" alt='a photo of \"the Big Kahuna\" which consists of a beef hot dog topped with pulled pork and island-style coleslaw' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-hot-dog-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-hot-dog-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-hot-dog-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-hot-dog-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-hot-dog-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-hot-dog.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Big Kahuna” consists of a beef hot dog topped with pulled pork and island-style slaw. \u003ccite>(Courtesy of Olivier G. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I moved here [from Hawaii], I didn’t have a community to fall into. Most of my friends were Mexican American, Peruvian, Salvadoran. As a non-Latino, I never try to pose as something I’m not. But the cocina is where I learned so much about cooking — in the kitchen of my best friend’s home,” he says. \u003ci>\u003c/i>\u003c/p>\n\u003cp>From starting out in an immigrant’s cocina to supplying his own food concoctions for the Bay Area’s diverse masses at various locations around the region, Grandvoinet is simply on a quest to answer his own question: “Where’s the good barbecue at?”\u003c/p>\n\u003cp>\u003ci>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12127869 aligncenter\" 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/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/islandbaycocina/\">\u003ci>Island Bay Cocina\u003c/i>\u003c/a>\u003ci> will be at \u003c/i>\u003ca href=\"https://www.instagram.com/rusticales_oaklandarbor/\">\u003ci>Sante Adairius Oakland Arbor\u003c/i>\u003c/a>\u003ci> (460 8th St., Oakland) on Sat., June 3 from 2 p.m. to 8 p.m. or until sold out. Follow on \u003ca href=\"https://www.instagram.com/islandbaycocina/\">Instagram\u003c/a> for more information on future locations and events. For catering services, contact IslandBayCocina@gmail.com.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No one has ever gone to Old Oakland’s \u003ca href=\"https://www.instagram.com/rusticales_oaklandarbor/?hl=en\">Sante Adairius\u003c/a> to grub on an island-style carnitas quesadilla. The narrow, wood-laden bar, whose quaint interior somehow reminds me of a scene from \u003ci>The\u003c/i> \u003ci>Lord of the Rings\u003c/i>, is better known for rustic ales.\u003c/p>\n\u003cp>But thanks to Olivier Grandvoinet and his pop-up, \u003ca href=\"https://www.instagram.com/islandbaycocina/\">Island Bay Cocina\u003c/a>, it’ll be possible to combine a German Maibock-style Günther with a bite of wood-smoked, guava-and-habanero-drenched pork this Saturday afternoon.\u003c/p>\n\u003cp>The pairing may sound uncommon. That’s because Grandvoinet — a mixed-race Black man who was born in Oregon, raised in Hawaii and came of age in San Francisco’s North Beach, where he mostly befriended immigrant and first-generation Latinos while attending high school in Potrero Hill — isn’t your average mainland American. His unique upbringing shows in his hard-to-categorize recipes. One thing is consistent, though: The man loves \u003ca href=\"https://www.kqed.org/bbq\">barbecuing\u003c/a>.\u003c/p>\n\u003cp>“I bring that Hawaiian spirit and a love for slow cooking,” says Grandvoinet. “I treat pork like it’s royalty, with the care it needs to be transformed into something special.”\u003c/p>\n\u003cp>After leaving his career in tech to pursue full-time food making during the pandemic, Grandvoinet has committed himself to the pursuit of soulful relaxation and liberated joy through serving his community — literally. And what food provides a more hands-off, share-your-plate, kick-back-and-enjoy-life’s-leisurely-pleasures vibe than wood-smoked barbecue?\u003c/p>\n\u003cfigure id=\"attachment_13929958\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929958\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/island-bay-cocina-carnitas-800x600.jpg\" alt=\"a rack of carnitas in the smoker\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-carnitas-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-carnitas-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-carnitas-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-carnitas-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-carnitas-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-carnitas.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rack of “carnitas” (which are smoked for 10 hours) being prepared for quesadillas. \u003ccite>(Courtesy of Olivier G.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Growing up, I felt a huge lack of barbecue from the Bay. Da’ Pitt on Divisadero was the best back in the day, but then it got replaced by some wack gentrified barbecue. I was bummed. I knew I needed to make some good barbecue,” Grandvoinet says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As someone who grew up in a single-parent home “eating food off EBT in a wealthy San Francisco neighborhood,” Grandvoinet became a tech worker to help his mom keep up with the rising costs of living. But after four years, Grandvoinet felt unfulfilled and tokenized in the industry. After a layoff during the pandemic, he never looked back and dove into life as an aspiring pitmaster. Like many late-twentysomethings, he used YouTube and the internet to learn his new craft. Now, Grandvoinet embraces his non-traditional approach to the pit.\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>What does that taste like? Besides his flagship “Fat Daddy Quesadilla” (which includes the aforementioned fat-slicked carnitas, crispy jack cheese, cilantro, onions and homemade guava habanero barbecue sauce), the “Big Kahuna” is Grandvoinet’s signature plate: a grilled all-beef hot dog topped with an intimidating amount of pulled pork, island slaw and barbecue sauce.\u003c/p>\n\u003cp>On other occasions, the chef might cook up Spam musubi (always under $5, he proudly emphasizes) or empanadas filled with chopped 14-hour brisket and diced jalapeños. Or he might serve a kalua pork sando with a side of five-cheese macaroni. And of course, he slangs hella racks of ribs, most notably at the popular San Francisco day party, “\u003ca href=\"https://www.instagram.com/rnbandribs/?hl=en\">R&B and Ribs\u003c/a>,” where he has been one of the rotating chefs since 2022.\u003c/p>\n\u003cp>When he’s not working as a self-taught chef, Grandvoinet tours the Bay Area to amplify other small food businesses through his social media channel, \u003ca href=\"https://www.instagram.com/oli_be_eatin/\">Oli Be Eatin\u003c/a>. His Mexican American sous chef and business partner, \u003ca href=\"https://www.instagram.com/drea.eats_/\">Drea Eats\u003c/a>, also contributes to the brand with her Latinx perspective and flavors. Together, they’re eating and cooking as a way to exchange cultural flavors.\u003c/p>\n\u003cfigure id=\"attachment_13929959\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/island-bay-cocina-hot-dog-800x600.jpg\" alt='a photo of \"the Big Kahuna\" which consists of a beef hot dog topped with pulled pork and island-style coleslaw' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-hot-dog-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-hot-dog-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-hot-dog-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-hot-dog-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-hot-dog-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/island-bay-cocina-hot-dog.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Big Kahuna” consists of a beef hot dog topped with pulled pork and island-style slaw. \u003ccite>(Courtesy of Olivier G. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I moved here [from Hawaii], I didn’t have a community to fall into. Most of my friends were Mexican American, Peruvian, Salvadoran. As a non-Latino, I never try to pose as something I’m not. But the cocina is where I learned so much about cooking — in the kitchen of my best friend’s home,” he says. \u003ci>\u003c/i>\u003c/p>\n\u003cp>From starting out in an immigrant’s cocina to supplying his own food concoctions for the Bay Area’s diverse masses at various locations around the region, Grandvoinet is simply on a quest to answer his own question: “Where’s the good barbecue at?”\u003c/p>\n\u003cp>\u003ci>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12127869 aligncenter\" 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/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/islandbaycocina/\">\u003ci>Island Bay Cocina\u003c/i>\u003c/a>\u003ci> will be at \u003c/i>\u003ca href=\"https://www.instagram.com/rusticales_oaklandarbor/\">\u003ci>Sante Adairius Oakland Arbor\u003c/i>\u003c/a>\u003ci> (460 8th St., Oakland) on Sat., June 3 from 2 p.m. to 8 p.m. or until sold out. Follow on \u003ca href=\"https://www.instagram.com/islandbaycocina/\">Instagram\u003c/a> for more information on future locations and events. For catering services, contact IslandBayCocina@gmail.com.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"closealltabs": {
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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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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"order": 15
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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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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"link": "/radio/program/latino-usa",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
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"masters-of-scale": {
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
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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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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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},
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"tagline": "KQED's series of daily listener commentaries since 1991",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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