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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>\u003cspan style=\"font-weight: 400\">Here’s an outright confession: I’m not a morning pastries kind of guy. Coffee and a bagel? Sure. But when it comes to morning sweets, it takes a certain kind of treat to really get me out of bed. The French and Italian stuff just doesn’t do it for me. I need Mexican pan dulce. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’ve ever bitten into a pillowy, freshly warmed concha, then you know why it’s the most popular morning (and late night) snack for millions of Mexicans of all ages. From the classic chocolate brown and vanilla white flavors to versions whose swirling pinks and oranges resemble a rainbow sherbet spillage, conchas—along with the many other varieties of pan dulce—are a must-have for any madrugada.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So when I heard about \u003c/span>\u003ca href=\"https://www.instagram.com/norte.54/?hl=en\">\u003cspan style=\"font-weight: 400\">Norte 54, a pop-up bakery\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> founded in 2020 by former Nopa pastry assistant Raquel Goldman, I knew I had to tap in. Here, the conchas come with decadent, nontraditional toppings like salted caramel, Duvalin (a Mexican candy) and strawberry—some are even filled with fruit. These modernized conchas are just one part of how Goldman is leading the way for a new wave of Mexican baked goods in San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Born in Mexico City, Goldman was mostly raised in Miami before moving to the Bay Area as an adult. While living in the Bay, she discovered the joy of baking and cultural self-expression. She attended the San Francisco Cooking School’s culinary and pastry program in 2018 and has since built a reputation as one of the 415’s most forward-thinking Mexican American bakers. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With original creations like her Poli cake (a sophisticated interpretation of a famous Twinkie-like Mexican cake) and her rendition of a Mexico City-style Garibaldi, the Cole Valley resident isn’t trying to compete with the classic panaderias of the Mission. Instead, she’s creating her own lane, unique to her identity as a “chilanga” who grew up visiting her family in Mexico City but never felt fully seen as a Mexicana. Now, Goldman is reclaiming her roots and serving up some of the hottest pan dulces in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The pan dulce at Norte 54 was more than enough to get me out of bed and across the Bay Bridge for a morning conversation about heritage, home and concha-shaped happiness.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for length and clarity.\u003c/span>\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cspan style=\"font-weight: 400\">********\u003c/span>\u003c/p>\n\u003cp>\u003cb>KQED: What’s the story behind Norte 54?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Norte 54 is the name of the house where my grandmother lives in Colonia Emiliano Zapata in Mexico City. I started Norte 54 in 2020, baking from my home [in San Francisco] for the first three months of the pandemic. My former boss and co-owner of Nopalito\u003c/span> \u003cspan style=\"font-weight: 400\">found out and asked me where I was baking. When I told her I was doing it from home, she told me they had space at Nopalito. Everyone was pivoting at that time. Nopalito had just opened a street-serving window on 18th St. to figure out a way to keep going. So I started serving my conchas there and used their kitchen.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13919034\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919034 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/norte54_box-800x533.jpg\" alt=\"a to-go box filled with a variety of Mexican pastries \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_box-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_box-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_box-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_box-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_box-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_box-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_box-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A to-go box filled with a variety of Mexican pastries (top: conchas; bottom left: Garibaldis; bottom right: Poli Cakes). \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Can you explain your “modern Mexican baked goods” approach?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s kind of ironic. Conchas have been around for centuries, essentially. There’s nothing modern about that, really. It’s more about leaning into things that I want to look good visually, graphically. That’s a modern design aspect. And we’re in California—I’m trying to tap into local ingredients and highlight seasonal produce. In that sense, it’s modern. I want to stay classic—I don’t want to do anything that is too trendy, I guess. I want to pay homage to a classic panaderia—chocolate, vanilla—as much as possible. I have other ideas and I love what’s happening outside of that in other places, but I want to stay clean and simple. And delicious.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What are “Garibaldis”? I’ve never heard of those pastries, but I’m guessing they’re connected to Plaza Garibaldi in Mexico City?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Garibaldi was an Italian revolutionary, a Civil War hero in Italy. Mexico has ties to that because many Italians left Italy during that time, and that’s why Garibaldi Plaza [in Mexico City] is named after him. Once Mexico went into their own Civil War, many Italians left that area. But there was a panaderia in Garibaldi called \u003c/span>\u003ca href=\"https://www.elglobo.com.mx/\">\u003cspan style=\"font-weight: 400\">El Globo\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that survived. The original location opened at Plaza Garibaldi but then became a national chain. The traditional Garibaldi [pastry] is a pound cake with apricot jam and covered in sprinkles. They’re typical in Mexico City. Mine isn’t covered in sprinkles, though. I use amaranth, and instead of only using apricot jam, I use seasonal fruits. I cycle through whatever is available. This week is stone fruit. Heading into fall, I’ll most likely use apple butter or pear compote. Whatever fruits I can get.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What are some of the most popular menu items that define your bakery? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Conchas, Garibaldis, novias [sugar buns]. These are pastries I enjoyed while learning techniques from a Mexican baker online. I was exposed to lots of the things he made. Novias are always the same. Conchas I change the topping flavor. And I have a stuffed concha with changing fruit inside. Also, Poli cakes. That’s my version of \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=m2EqosUo9uQ\">\u003cspan style=\"font-weight: 400\">a Gansito—with jam, marshmallow and chocolate\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. I get my berries from a local strawberry farmer at the market. “Poli” is his name. He jokingly told me to make Gansitos. So I did and dedicated it to him. I rolled out the Poli cake a year and a half ago. Nothing has its own following like that.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13919035\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919035\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/norte54_poli-scaled.jpg\" alt=\"a knife slices a Mexican chocolate pastry in half, revealing layers of marshmallow, cake and strawberry jam inside\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_poli-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_poli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_poli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_poli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_poli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_poli-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_poli-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_poli-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goldman slices open a Poli cake to reveal layers of marshmallow, cake and strawberry jam. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tell me about your “churro donut.” I’ve never eaten one before.\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a seasonal item, usually for October. It’s a cake doughnut that gets tossed in cinnamon sugar. I like doughnuts, and I like churros, so I thought making this cake doughnut could be fun. Doughnuts aren’t extremely common in Mexico, but I found a way to justify having them. I want to appeal to the core values of Mexicano culture and flavor. It’s a good marriage of straddling both cultures. Who doesn’t love fried dough?\u003c/span>\u003c/p>\n\u003cp>\u003cb>San Francisco, particularly the Mission, has a strong lineage of panaderias. How have you been able to learn from what’s already available here while still adding your own touches and flavors? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13899700,arts_13917120']I know many panaderias exist. La Mejor, La Victoria, Luna. They have great pan, conchas, everything. But to be honest, I haven’t bothered too much in seeing what others are doing. I appreciate and enjoy them, but I like to stay in my lane and do my own thing. I’m not trying to do what they’re doing, and I’m not at that scale yet anyways. I’m still operating on a micro level and doing things how I’m able to.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Can you tell us more about your Mexican pastry box delivery service? It reminds me of panaderos in Mexico who sell their goods by going door to door in the neighborhood.\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a box with five items (there’s also a mini version for pickup on Sundays at Grand Coffee). It always has a concha, granola and a chocolate chip cookie. The other two items are rotating specials: maybe tres leches, Garibaldis, or Poli cakes. If I want to try something exciting, I might make a pie de queso (cheesecake). Those are items that won’t come out at markets; they’re just for the box orders and available for one-time orders or subscription. It’s a fun way to play around and experiment. I only offer SF delivery at this time.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s next at Norte 54?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">October is Latinx Heritage Month so there will be lots to look forward to. I’ll be rolling out pan de muerto and these cute little calaveras. It’s a challenging but fun time, since I make so many during that time. It’s just another way for me to tap into my culture.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.norte54.com/\">\u003ci>\u003cspan style=\"font-weight: 400\">Norte 54\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is open on Tuesdays 10am–2pm at Ferry Plaza Market; Thursdays 3–7pm at \u003ca href=\"http://missioncommunitymarket.org/\">Mission Mercado\u003c/a> (March to November); Tues.–Sun. 11:30am until sold out at Nopalito (306 Broderick St., San Francisco); Wed.–Sun. noon until sold out at Nopalito To Go (3690 18th St., San Francisco); Mexican pastry \u003c/span>\u003c/i>\u003ca href=\"https://www.norte54.com/plans-pricing\">\u003ci>\u003cspan style=\"font-weight: 400\">box delivery available weekly\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> (SF only).\u003c/span>\u003c/i>\u003c/p>\n\n",
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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>\u003cspan style=\"font-weight: 400\">Here’s an outright confession: I’m not a morning pastries kind of guy. Coffee and a bagel? Sure. But when it comes to morning sweets, it takes a certain kind of treat to really get me out of bed. The French and Italian stuff just doesn’t do it for me. I need Mexican pan dulce. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’ve ever bitten into a pillowy, freshly warmed concha, then you know why it’s the most popular morning (and late night) snack for millions of Mexicans of all ages. From the classic chocolate brown and vanilla white flavors to versions whose swirling pinks and oranges resemble a rainbow sherbet spillage, conchas—along with the many other varieties of pan dulce—are a must-have for any madrugada.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So when I heard about \u003c/span>\u003ca href=\"https://www.instagram.com/norte.54/?hl=en\">\u003cspan style=\"font-weight: 400\">Norte 54, a pop-up bakery\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> founded in 2020 by former Nopa pastry assistant Raquel Goldman, I knew I had to tap in. Here, the conchas come with decadent, nontraditional toppings like salted caramel, Duvalin (a Mexican candy) and strawberry—some are even filled with fruit. These modernized conchas are just one part of how Goldman is leading the way for a new wave of Mexican baked goods in San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Born in Mexico City, Goldman was mostly raised in Miami before moving to the Bay Area as an adult. While living in the Bay, she discovered the joy of baking and cultural self-expression. She attended the San Francisco Cooking School’s culinary and pastry program in 2018 and has since built a reputation as one of the 415’s most forward-thinking Mexican American bakers. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With original creations like her Poli cake (a sophisticated interpretation of a famous Twinkie-like Mexican cake) and her rendition of a Mexico City-style Garibaldi, the Cole Valley resident isn’t trying to compete with the classic panaderias of the Mission. Instead, she’s creating her own lane, unique to her identity as a “chilanga” who grew up visiting her family in Mexico City but never felt fully seen as a Mexicana. Now, Goldman is reclaiming her roots and serving up some of the hottest pan dulces in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The pan dulce at Norte 54 was more than enough to get me out of bed and across the Bay Bridge for a morning conversation about heritage, home and concha-shaped happiness.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for length and clarity.\u003c/span>\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cspan style=\"font-weight: 400\">********\u003c/span>\u003c/p>\n\u003cp>\u003cb>KQED: What’s the story behind Norte 54?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Norte 54 is the name of the house where my grandmother lives in Colonia Emiliano Zapata in Mexico City. I started Norte 54 in 2020, baking from my home [in San Francisco] for the first three months of the pandemic. My former boss and co-owner of Nopalito\u003c/span> \u003cspan style=\"font-weight: 400\">found out and asked me where I was baking. When I told her I was doing it from home, she told me they had space at Nopalito. Everyone was pivoting at that time. Nopalito had just opened a street-serving window on 18th St. to figure out a way to keep going. So I started serving my conchas there and used their kitchen.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13919034\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919034 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/norte54_box-800x533.jpg\" alt=\"a to-go box filled with a variety of Mexican pastries \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_box-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_box-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_box-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_box-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_box-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_box-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_box-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A to-go box filled with a variety of Mexican pastries (top: conchas; bottom left: Garibaldis; bottom right: Poli Cakes). \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Can you explain your “modern Mexican baked goods” approach?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s kind of ironic. Conchas have been around for centuries, essentially. There’s nothing modern about that, really. It’s more about leaning into things that I want to look good visually, graphically. That’s a modern design aspect. And we’re in California—I’m trying to tap into local ingredients and highlight seasonal produce. In that sense, it’s modern. I want to stay classic—I don’t want to do anything that is too trendy, I guess. I want to pay homage to a classic panaderia—chocolate, vanilla—as much as possible. I have other ideas and I love what’s happening outside of that in other places, but I want to stay clean and simple. And delicious.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What are “Garibaldis”? I’ve never heard of those pastries, but I’m guessing they’re connected to Plaza Garibaldi in Mexico City?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Garibaldi was an Italian revolutionary, a Civil War hero in Italy. Mexico has ties to that because many Italians left Italy during that time, and that’s why Garibaldi Plaza [in Mexico City] is named after him. Once Mexico went into their own Civil War, many Italians left that area. But there was a panaderia in Garibaldi called \u003c/span>\u003ca href=\"https://www.elglobo.com.mx/\">\u003cspan style=\"font-weight: 400\">El Globo\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that survived. The original location opened at Plaza Garibaldi but then became a national chain. The traditional Garibaldi [pastry] is a pound cake with apricot jam and covered in sprinkles. They’re typical in Mexico City. Mine isn’t covered in sprinkles, though. I use amaranth, and instead of only using apricot jam, I use seasonal fruits. I cycle through whatever is available. This week is stone fruit. Heading into fall, I’ll most likely use apple butter or pear compote. Whatever fruits I can get.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What are some of the most popular menu items that define your bakery? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Conchas, Garibaldis, novias [sugar buns]. These are pastries I enjoyed while learning techniques from a Mexican baker online. I was exposed to lots of the things he made. Novias are always the same. Conchas I change the topping flavor. And I have a stuffed concha with changing fruit inside. Also, Poli cakes. That’s my version of \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=m2EqosUo9uQ\">\u003cspan style=\"font-weight: 400\">a Gansito—with jam, marshmallow and chocolate\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. I get my berries from a local strawberry farmer at the market. “Poli” is his name. He jokingly told me to make Gansitos. So I did and dedicated it to him. I rolled out the Poli cake a year and a half ago. Nothing has its own following like that.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13919035\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919035\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/norte54_poli-scaled.jpg\" alt=\"a knife slices a Mexican chocolate pastry in half, revealing layers of marshmallow, cake and strawberry jam inside\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_poli-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_poli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_poli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_poli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_poli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_poli-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_poli-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/norte54_poli-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goldman slices open a Poli cake to reveal layers of marshmallow, cake and strawberry jam. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tell me about your “churro donut.” I’ve never eaten one before.\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a seasonal item, usually for October. It’s a cake doughnut that gets tossed in cinnamon sugar. I like doughnuts, and I like churros, so I thought making this cake doughnut could be fun. Doughnuts aren’t extremely common in Mexico, but I found a way to justify having them. I want to appeal to the core values of Mexicano culture and flavor. It’s a good marriage of straddling both cultures. Who doesn’t love fried dough?\u003c/span>\u003c/p>\n\u003cp>\u003cb>San Francisco, particularly the Mission, has a strong lineage of panaderias. How have you been able to learn from what’s already available here while still adding your own touches and flavors? \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>I know many panaderias exist. La Mejor, La Victoria, Luna. They have great pan, conchas, everything. But to be honest, I haven’t bothered too much in seeing what others are doing. I appreciate and enjoy them, but I like to stay in my lane and do my own thing. I’m not trying to do what they’re doing, and I’m not at that scale yet anyways. I’m still operating on a micro level and doing things how I’m able to.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Can you tell us more about your Mexican pastry box delivery service? It reminds me of panaderos in Mexico who sell their goods by going door to door in the neighborhood.\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a box with five items (there’s also a mini version for pickup on Sundays at Grand Coffee). It always has a concha, granola and a chocolate chip cookie. The other two items are rotating specials: maybe tres leches, Garibaldis, or Poli cakes. If I want to try something exciting, I might make a pie de queso (cheesecake). Those are items that won’t come out at markets; they’re just for the box orders and available for one-time orders or subscription. It’s a fun way to play around and experiment. I only offer SF delivery at this time.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s next at Norte 54?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">October is Latinx Heritage Month so there will be lots to look forward to. I’ll be rolling out pan de muerto and these cute little calaveras. It’s a challenging but fun time, since I make so many during that time. It’s just another way for me to tap into my culture.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.norte54.com/\">\u003ci>\u003cspan style=\"font-weight: 400\">Norte 54\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is open on Tuesdays 10am–2pm at Ferry Plaza Market; Thursdays 3–7pm at \u003ca href=\"http://missioncommunitymarket.org/\">Mission Mercado\u003c/a> (March to November); Tues.–Sun. 11:30am until sold out at Nopalito (306 Broderick St., San Francisco); Wed.–Sun. noon until sold out at Nopalito To Go (3690 18th St., San Francisco); Mexican pastry \u003c/span>\u003c/i>\u003ca href=\"https://www.norte54.com/plans-pricing\">\u003ci>\u003cspan style=\"font-weight: 400\">box delivery available weekly\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> (SF only).\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Megan Slankard's 'California' Is a Breakup Anthem for the Whole State",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There are three ingredients necessary to make a perfect breakup anthem.\u003c/p>\n\u003col>\n\u003cli>Bitterness with a soupçon of rage\u003c/li>\n\u003cli>Sharp jabs directed at the ex, and\u003c/li>\n\u003cli>A catchy goddamn chorus.\u003c/li>\n\u003c/ol>\n\u003cp>When the sufficiently pissed off songwriter brews these three together correctly, a special alchemy takes place and lightning strikes. (See: “You Outta Know” by Alanis Morissette, “F–k You” by CeeLo Green, Fleetwood Mac’s “Go Your Own Way,” etc.)\u003c/p>\n\u003cp>Enter San Francisco’s own \u003ca href=\"https://www.meganslankard.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Megan Slankard\u003c/a> and her new single “California”—a soaring breakup track that Slankard says should act as a “gentle reminder of why it might not be the best idea to date a songwriter.” It’s a song that checks all the breakup anthem boxes, sneaks up on you, then gets stuck in your head for days.\u003c/p>\n\u003cp>Within the first verse, Slankard is berating her ex for being a mama’s boy and running away from his issues. A single drumbeat runs underneath it all, hitting sporadically like closed fist punches. Then comes a dismissal—”\u003cem>You do what you’ve gotta, you take what you wanna\u003c/em>“—followed by a firm demand. “\u003cem>You’d better leave me with California\u003c/em>,” Slankard seethes. The whole thing takes off in Tom Petty-esque guitar flourishes, soulful excoriations and even some “\u003cem>na-na-na\u003c/em>“s to yell along with in a live setting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The video is a love letter to San Francisco, with all its (literal) ups and downs.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GfjI_Orb4Ks\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“California” is the first new music Slankard has released since the pandemic. The single is available on all platforms now and will also be on Slankard’s upcoming album\u003cem> California and Other Stories, \u003c/em>dropping Oct. 28. In the meantime, you can catch Slankard at \u003ca href=\"https://dice.fm/event/9dqe7-glen-phillips-of-toad-the-wet-sprocket-16th-sep-the-guild-theatre-menlo-park-tickets\">Menlo Park’s Guild Theater on Sept. 16\u003c/a> if you’d like do some cathartic singing along in person.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There are three ingredients necessary to make a perfect breakup anthem.\u003c/p>\n\u003col>\n\u003cli>Bitterness with a soupçon of rage\u003c/li>\n\u003cli>Sharp jabs directed at the ex, and\u003c/li>\n\u003cli>A catchy goddamn chorus.\u003c/li>\n\u003c/ol>\n\u003cp>When the sufficiently pissed off songwriter brews these three together correctly, a special alchemy takes place and lightning strikes. (See: “You Outta Know” by Alanis Morissette, “F–k You” by CeeLo Green, Fleetwood Mac’s “Go Your Own Way,” etc.)\u003c/p>\n\u003cp>Enter San Francisco’s own \u003ca href=\"https://www.meganslankard.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Megan Slankard\u003c/a> and her new single “California”—a soaring breakup track that Slankard says should act as a “gentle reminder of why it might not be the best idea to date a songwriter.” It’s a song that checks all the breakup anthem boxes, sneaks up on you, then gets stuck in your head for days.\u003c/p>\n\u003cp>Within the first verse, Slankard is berating her ex for being a mama’s boy and running away from his issues. A single drumbeat runs underneath it all, hitting sporadically like closed fist punches. Then comes a dismissal—”\u003cem>You do what you’ve gotta, you take what you wanna\u003c/em>“—followed by a firm demand. “\u003cem>You’d better leave me with California\u003c/em>,” Slankard seethes. The whole thing takes off in Tom Petty-esque guitar flourishes, soulful excoriations and even some “\u003cem>na-na-na\u003c/em>“s to yell along with in a live setting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The video is a love letter to San Francisco, with all its (literal) ups and downs.\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/GfjI_Orb4Ks'\n title='//www.youtube.com/embed/GfjI_Orb4Ks'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>“California” is the first new music Slankard has released since the pandemic. The single is available on all platforms now and will also be on Slankard’s upcoming album\u003cem> California and Other Stories, \u003c/em>dropping Oct. 28. In the meantime, you can catch Slankard at \u003ca href=\"https://dice.fm/event/9dqe7-glen-phillips-of-toad-the-wet-sprocket-16th-sep-the-guild-theatre-menlo-park-tickets\">Menlo Park’s Guild Theater on Sept. 16\u003c/a> if you’d like do some cathartic singing along in person.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Aklasan Fest, The Only Filipino Punk Festival in the U.S., Celebrates Its Return",
"headTitle": "Aklasan Fest, The Only Filipino Punk Festival in the U.S., Celebrates Its Return | KQED",
"content": "\u003cp>While the San Francisco Bay area was focused on the larger Outside Lands festival, where mainstream punk band Green Day took the main stage earlier this month, 3 miles south, in the city’s South of Market neighborhood, a smaller minority of predominantly POC and queer folks gathered at Bindlestiff Studios to enjoy the seventh annual Aklasan Fest. The punk scene as we know it is usually a space dominated by cis white men, but in true punk fashion, Aklasan Fest prioritized the often unheard and unseen voices of punk, creating an inclusive space that was not only educating attendees about Filpino oppression but also highlighting the struggles of marginalized identities through the lens of Filipinos and Filipino Americans.\u003c/p>\n\u003cp>Rupert Estanisalo, who founded the event in 2014, says Aklasan Fest is “the only Filipino punk festival or event like this.” He says he wanted to “create a space just for Filipino punks that looked like me and cared about the issues I cared about that are anti-imperialist, activist and pro-people of color.” In Tagalog, Aklasan means “Rise Up,” and after a two-year pandemic-induced hiatus, it returned, featuring 15 bands from across the country.\u003c/p>\n\u003cfigure id=\"attachment_13917915\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917915 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees headbang and dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Filipino-American photographer, Aklasan is important because it creates a space for us to gather, as a community, to express ourselves and tell our stories artistically. Being the only Filipino punk show in the nation in itself is special. The festival is carving its path and place in the punk scene, surrounded by a robust and tight-knit community who cares about the music and the people.\u003c/p>\n\u003cfigure id=\"attachment_13917916\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917916 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-768x258.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-2048x687.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1920x644.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Juan Salazar, the lead vocalist for Bomb PE, (left) and Brenton Aragon, a vocalist with Moxiebeat, (right) perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022 (\u003cspan class=\"credit\" aria-label=\"Image credit\">Justin Katigbak for NPR)\u003c/span> \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917919\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917919 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1020x750.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1536x1130.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-2048x1507.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1920x1413.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Rupert Estanislao, the lead vocalist for Toxic Culture and Bolo, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the dark setting of Bindlestiff, you find yourself surrounded by straight-edge, immigrant, tatted, vegan, working class, Filipino and Filipino-American hardcore punks as well as fans who range in ages, races and genders, moshing to music in both Tagalog and English. Romeo Reyes-Pagdilao, the lead singer of Silakbo, says, “You got bands like us (Silakbo) or our friends like Material Support and Moxiebeat. They got songs talking about our experiences, being Filipino, working people, and growing up in the bell of the beast, the United States.”\u003c/p>\n\u003cfigure id=\"attachment_13917920\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917921\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Jackie Maegan, the lead vocalist for Material Support, performs at the the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Material Support performed “Cost of Living,” written to highlight how difficult it is for working-class people to afford basic housing or food for their families in America. One of the most memorable moments of the festival was when Jackie Mariano, Material Support’s lead singer, gutturally sang out “racialized mass graves” to punctuate the end of the song. “When we wrote it,” Mariano says, “I was thinking of the concept of how we’re forced to navigate the world by class and race. My dad, who died in 2016, is buried in a nice Catholic cemetery in Queens (NY) in a conservative, white, middle-class neighborhood, and with that being our only ‘real estate,’ I still felt like we were out of place, didn’t belong there. What a different juxtaposition for my Filipino immigrant dad to be laid to rest in a nice place, versus many other people who die in war, occupation and are dumped in mass graves. When COVID happened, it’s like the concept of racialized mass graves was made real on Potter’s Field — people constantly forgotten because they were marginalized in life and in death.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Material Support, most of the bands featured at the festival highlighted the social and economic issues faced by thousands of Filipinos and Filipino-Americans here in the United States and in the Philippines. About the song “World of Death,” Reyes-Pagdilo tells me: “It’s about the world around me and how it can seem very bleak — from climate change (to) living in San Francisco, (the city) with the highest homeless population (where) drug abuse is really rampant — meanwhile, we don’t make enough to eat and (we) work ourselves to the bone.”\u003c/p>\n\u003cfigure id=\"attachment_13917922\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917923\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917923 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango and Samar, of Mirrored Fatality, perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aklasan Fest is like no other, but it’s also become a place of community for many of those who played and attended. AJ Santos, of Material Support and a Filipino immigrant, says the festival is “one of the most important punk fests in the entire world … because it’s one of the festivals that feels like a genuine community — because most of the punk fests that I have been in don’t have the feeling of community.” Aklasan has created a space that centers the voices of Filipinos and Filipino-Americans to agitate, organize and mobilize their community to fight for genuine freedom in the Philippines.\u003c/p>\n\u003cfigure id=\"attachment_13917924\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-2048x1360.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1920x1275.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Frankie Ortanez, the lead vocalist for Kanta Kanta, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917925\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg\" alt=\"\" width=\"2560\" height=\"850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1536x510.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-2048x680.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1920x637.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Romeo Reyes-Pagdilao, the lead vocalist for Silakbo, performs (left) as attendees headbang and dance to the music (right) at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>As someone new to punk music and who’s only been to a few shows, I felt connected to the people there through their music and how they showed up for each other. As in any gathering of Filipinos, you’re greeted by everyone, taken care of and walk away well fed. At the festival, people in the crowd were handing out water, socializing in between sets and picking up people who’d fallen down during the mosh pit. Bands let other bands borrow their instruments and then stuck around to watch the others play their sets in a show of support. At times, it felt more like I was spending time with family than at a festival.\u003c/p>\n\u003cp>Closing out the night’s lineup, after the last notes from Material Support, Rupert led the crowd in a chant of “Makibaka! Huwag matakot!,” which translates to “Fight! Do not be afraid!”, reminding fans that this festival is bigger than just the beats, screams and guitar riffs: More importantly, it’s about community and our fight for freedom.\u003c/p>\n\u003cfigure id=\"attachment_13917926\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917927\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917928\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Justin Katigbak is a Filipino-American documentary photographer and videographer. See more of Justin Katigbak’s work on his website, \u003c/em>\u003ca href=\"http://www.justinkatigbak.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>justinkatigbak.com\u003c/em>\u003c/a>\u003cem>, or on Instagram, at \u003c/em>\u003ca href=\"https://www.instagram.com/justin.katigbak/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@justin.katigbak\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cb>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>.\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the San Francisco Bay area was focused on the larger Outside Lands festival, where mainstream punk band Green Day took the main stage earlier this month, 3 miles south, in the city’s South of Market neighborhood, a smaller minority of predominantly POC and queer folks gathered at Bindlestiff Studios to enjoy the seventh annual Aklasan Fest. The punk scene as we know it is usually a space dominated by cis white men, but in true punk fashion, Aklasan Fest prioritized the often unheard and unseen voices of punk, creating an inclusive space that was not only educating attendees about Filpino oppression but also highlighting the struggles of marginalized identities through the lens of Filipinos and Filipino Americans.\u003c/p>\n\u003cp>Rupert Estanisalo, who founded the event in 2014, says Aklasan Fest is “the only Filipino punk festival or event like this.” He says he wanted to “create a space just for Filipino punks that looked like me and cared about the issues I cared about that are anti-imperialist, activist and pro-people of color.” In Tagalog, Aklasan means “Rise Up,” and after a two-year pandemic-induced hiatus, it returned, featuring 15 bands from across the country.\u003c/p>\n\u003cfigure id=\"attachment_13917915\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917915 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees headbang and dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Filipino-American photographer, Aklasan is important because it creates a space for us to gather, as a community, to express ourselves and tell our stories artistically. Being the only Filipino punk show in the nation in itself is special. The festival is carving its path and place in the punk scene, surrounded by a robust and tight-knit community who cares about the music and the people.\u003c/p>\n\u003cfigure id=\"attachment_13917916\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917916 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-768x258.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-2048x687.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1920x644.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Juan Salazar, the lead vocalist for Bomb PE, (left) and Brenton Aragon, a vocalist with Moxiebeat, (right) perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022 (\u003cspan class=\"credit\" aria-label=\"Image credit\">Justin Katigbak for NPR)\u003c/span> \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917919\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917919 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1020x750.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1536x1130.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-2048x1507.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1920x1413.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Rupert Estanislao, the lead vocalist for Toxic Culture and Bolo, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the dark setting of Bindlestiff, you find yourself surrounded by straight-edge, immigrant, tatted, vegan, working class, Filipino and Filipino-American hardcore punks as well as fans who range in ages, races and genders, moshing to music in both Tagalog and English. Romeo Reyes-Pagdilao, the lead singer of Silakbo, says, “You got bands like us (Silakbo) or our friends like Material Support and Moxiebeat. They got songs talking about our experiences, being Filipino, working people, and growing up in the bell of the beast, the United States.”\u003c/p>\n\u003cfigure id=\"attachment_13917920\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917921\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Jackie Maegan, the lead vocalist for Material Support, performs at the the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Material Support performed “Cost of Living,” written to highlight how difficult it is for working-class people to afford basic housing or food for their families in America. One of the most memorable moments of the festival was when Jackie Mariano, Material Support’s lead singer, gutturally sang out “racialized mass graves” to punctuate the end of the song. “When we wrote it,” Mariano says, “I was thinking of the concept of how we’re forced to navigate the world by class and race. My dad, who died in 2016, is buried in a nice Catholic cemetery in Queens (NY) in a conservative, white, middle-class neighborhood, and with that being our only ‘real estate,’ I still felt like we were out of place, didn’t belong there. What a different juxtaposition for my Filipino immigrant dad to be laid to rest in a nice place, versus many other people who die in war, occupation and are dumped in mass graves. When COVID happened, it’s like the concept of racialized mass graves was made real on Potter’s Field — people constantly forgotten because they were marginalized in life and in death.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Material Support, most of the bands featured at the festival highlighted the social and economic issues faced by thousands of Filipinos and Filipino-Americans here in the United States and in the Philippines. About the song “World of Death,” Reyes-Pagdilo tells me: “It’s about the world around me and how it can seem very bleak — from climate change (to) living in San Francisco, (the city) with the highest homeless population (where) drug abuse is really rampant — meanwhile, we don’t make enough to eat and (we) work ourselves to the bone.”\u003c/p>\n\u003cfigure id=\"attachment_13917922\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917923\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917923 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango and Samar, of Mirrored Fatality, perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aklasan Fest is like no other, but it’s also become a place of community for many of those who played and attended. AJ Santos, of Material Support and a Filipino immigrant, says the festival is “one of the most important punk fests in the entire world … because it’s one of the festivals that feels like a genuine community — because most of the punk fests that I have been in don’t have the feeling of community.” Aklasan has created a space that centers the voices of Filipinos and Filipino-Americans to agitate, organize and mobilize their community to fight for genuine freedom in the Philippines.\u003c/p>\n\u003cfigure id=\"attachment_13917924\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-2048x1360.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1920x1275.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Frankie Ortanez, the lead vocalist for Kanta Kanta, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917925\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg\" alt=\"\" width=\"2560\" height=\"850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1536x510.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-2048x680.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1920x637.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Romeo Reyes-Pagdilao, the lead vocalist for Silakbo, performs (left) as attendees headbang and dance to the music (right) at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>As someone new to punk music and who’s only been to a few shows, I felt connected to the people there through their music and how they showed up for each other. As in any gathering of Filipinos, you’re greeted by everyone, taken care of and walk away well fed. At the festival, people in the crowd were handing out water, socializing in between sets and picking up people who’d fallen down during the mosh pit. Bands let other bands borrow their instruments and then stuck around to watch the others play their sets in a show of support. At times, it felt more like I was spending time with family than at a festival.\u003c/p>\n\u003cp>Closing out the night’s lineup, after the last notes from Material Support, Rupert led the crowd in a chant of “Makibaka! Huwag matakot!,” which translates to “Fight! Do not be afraid!”, reminding fans that this festival is bigger than just the beats, screams and guitar riffs: More importantly, it’s about community and our fight for freedom.\u003c/p>\n\u003cfigure id=\"attachment_13917926\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917927\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917928\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Justin Katigbak is a Filipino-American documentary photographer and videographer. See more of Justin Katigbak’s work on his website, \u003c/em>\u003ca href=\"http://www.justinkatigbak.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>justinkatigbak.com\u003c/em>\u003c/a>\u003cem>, or on Instagram, at \u003c/em>\u003ca href=\"https://www.instagram.com/justin.katigbak/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@justin.katigbak\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cb>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>.\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At Lumpia Lands, Filipino Flavor Is the Star of the Show",
"headTitle": "At Lumpia Lands, Filipino Flavor Is the Star of the Show | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">In the Philippines, a “palengke” is a one-stop outdoor market where everything can be found—from food and alcohol to furniture, jewelry and even cockfights. These are crucial outposts where locals gather to share news, exchange ideas and connect.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the concept that inspired Anthony Schlander (aka \u003c/span>\u003ca href=\"https://www.instagram.com/anthonypresents/?hl=en\">\u003cspan style=\"font-weight: 400\">Anthony Presents\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">), the local Filipino American entrepreneur and creative director at San Francisco’s \u003c/span>\u003ca href=\"https://www.instagram.com/districtsixsf/?hl=en\">\u003cspan style=\"font-weight: 400\">District Six\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, to launch Lumpia Lands.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">District Six’s Aug. 21 event will feature no fewer than 10 vendors—all Filipino-owned—who will be on hand at the open-air entertainment venue to celebrate Filipino flavors, culture and unity.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a festival with Filipino talent from all over the country,” Schlander says. “A lot of us don’t have the knowledge or bridges to grow. We don’t all know how to market. But if we can all be in the same area together, we can buy food from our vendors, we can support our small businesses. If they win, we all win.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The festival is part of a bigger series of events at District Six—including \u003c/span>\u003ca href=\"https://youtu.be/YLnBcR44_VM?t=1265\">\u003cspan style=\"font-weight: 400\">Ube Fest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> earlier this year—that promote “family friendly” experiences centered on various diasporic cultures with Bay Area roots.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13917818\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917818\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-scaled.jpg\" alt=\"A crowd of festival attendees, many of them holding beer cans, on a beautiful sunny day.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of happy festival-goers at a previous District Six event. \u003ccite>(Courtesy of Carla Jay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lumpia Lands is the perfect example of this. It’s a spoof on \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13917310/outside-lands-2022-photos-review\">\u003cspan style=\"font-weight: 400\">Outside Lands (the massive annual music festival whose famous acts and concert-goers take over Golden Gate Park each summer\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">), but with a significantly smaller, hyper-local and food-centric vibe that features live performances from Filipino artists like VRO and DJ Marcus Lee.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Of course, there will be hella lumpia, too. From traditional pork lumpia to vegetarian versions, there will be more than enough options for any connoisseur of the Filipino egg rolls.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My favorite is shrimp lumpia from Lumpia Company, but don’t tell my mom,” Schlander says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13915581,arts_13913828']The lineup for the day will include food pop-ups from \u003c/span>\u003ca href=\"https://www.instagram.com/draeslemonade/\">\u003cspan style=\"font-weight: 400\">Drae’s Lemonade\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (fresh lemonade and cocktails), \u003c/span>\u003ca href=\"https://www.instagram.com/iriesbites/\">\u003cspan style=\"font-weight: 400\">Iries Bites\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (sweet items like madeleines dipped in ube as well as chocolate-covered mangoes), Made By Grace (BBQ skewers) and \u003c/span>\u003ca href=\"https://www.instagram.com/lilalijocatering/?hl=en\">\u003cspan style=\"font-weight: 400\">Lil Alijo\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (crab lumpia), among others. (The aforementioned District Six regular \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">\u003cspan style=\"font-weight: 400\">Lumpia Company—which is co-owned by hip-hip entrepreneur E-40\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and his business partner, Alex Retodo—won’t be able to make it this time due to scheduling conflicts.) Each vendor is planning an exclusive Lumpia Lands item. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Schlander is emphatic that the event is not solely for Filipino patrons, nor is it lumpia exclusive. There will be candle makers. There will be clothing brands. There will be essential oils. There will be entertainers. And at the center of it all: Filipino flavor. Because that’s what a “palengke” is all about.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We can impact the economy [with these events],” he says. “A lot of these folks are small business owners. With Lumpia Lands, as a Filipino, I’m fortunate enough to help lead a part of this larger Filipino renaissance.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://dothebay.com/events/2022/8/20/lumpia-lands-2022-tickets\">\u003ci>\u003cspan style=\"font-weight: 400\">Lumpia Lands\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> takes place at District Six (428 11th St., San Francisco) on Sunday, Aug. 21, from noon–5pm (it had previously been scheduled for Sat., Aug 20). Individual tickets are $5; group table reservations are $50. Buying tickets in advance is highly recommended.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"excerpt": "The District Six festival's headliners include ube-dipped cake, lemonade cocktails and, of course, hella lumpia.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In the Philippines, a “palengke” is a one-stop outdoor market where everything can be found—from food and alcohol to furniture, jewelry and even cockfights. These are crucial outposts where locals gather to share news, exchange ideas and connect.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the concept that inspired Anthony Schlander (aka \u003c/span>\u003ca href=\"https://www.instagram.com/anthonypresents/?hl=en\">\u003cspan style=\"font-weight: 400\">Anthony Presents\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">), the local Filipino American entrepreneur and creative director at San Francisco’s \u003c/span>\u003ca href=\"https://www.instagram.com/districtsixsf/?hl=en\">\u003cspan style=\"font-weight: 400\">District Six\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, to launch Lumpia Lands.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">District Six’s Aug. 21 event will feature no fewer than 10 vendors—all Filipino-owned—who will be on hand at the open-air entertainment venue to celebrate Filipino flavors, culture and unity.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a festival with Filipino talent from all over the country,” Schlander says. “A lot of us don’t have the knowledge or bridges to grow. We don’t all know how to market. But if we can all be in the same area together, we can buy food from our vendors, we can support our small businesses. If they win, we all win.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The festival is part of a bigger series of events at District Six—including \u003c/span>\u003ca href=\"https://youtu.be/YLnBcR44_VM?t=1265\">\u003cspan style=\"font-weight: 400\">Ube Fest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> earlier this year—that promote “family friendly” experiences centered on various diasporic cultures with Bay Area roots.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13917818\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917818\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-scaled.jpg\" alt=\"A crowd of festival attendees, many of them holding beer cans, on a beautiful sunny day.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lumpia-Lands_district-six-crowd-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of happy festival-goers at a previous District Six event. \u003ccite>(Courtesy of Carla Jay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lumpia Lands is the perfect example of this. It’s a spoof on \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13917310/outside-lands-2022-photos-review\">\u003cspan style=\"font-weight: 400\">Outside Lands (the massive annual music festival whose famous acts and concert-goers take over Golden Gate Park each summer\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">), but with a significantly smaller, hyper-local and food-centric vibe that features live performances from Filipino artists like VRO and DJ Marcus Lee.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Of course, there will be hella lumpia, too. From traditional pork lumpia to vegetarian versions, there will be more than enough options for any connoisseur of the Filipino egg rolls.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My favorite is shrimp lumpia from Lumpia Company, but don’t tell my mom,” Schlander says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The lineup for the day will include food pop-ups from \u003c/span>\u003ca href=\"https://www.instagram.com/draeslemonade/\">\u003cspan style=\"font-weight: 400\">Drae’s Lemonade\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (fresh lemonade and cocktails), \u003c/span>\u003ca href=\"https://www.instagram.com/iriesbites/\">\u003cspan style=\"font-weight: 400\">Iries Bites\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (sweet items like madeleines dipped in ube as well as chocolate-covered mangoes), Made By Grace (BBQ skewers) and \u003c/span>\u003ca href=\"https://www.instagram.com/lilalijocatering/?hl=en\">\u003cspan style=\"font-weight: 400\">Lil Alijo\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (crab lumpia), among others. (The aforementioned District Six regular \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">\u003cspan style=\"font-weight: 400\">Lumpia Company—which is co-owned by hip-hip entrepreneur E-40\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and his business partner, Alex Retodo—won’t be able to make it this time due to scheduling conflicts.) Each vendor is planning an exclusive Lumpia Lands item. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Schlander is emphatic that the event is not solely for Filipino patrons, nor is it lumpia exclusive. There will be candle makers. There will be clothing brands. There will be essential oils. There will be entertainers. And at the center of it all: Filipino flavor. Because that’s what a “palengke” is all about.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We can impact the economy [with these events],” he says. “A lot of these folks are small business owners. With Lumpia Lands, as a Filipino, I’m fortunate enough to help lead a part of this larger Filipino renaissance.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://dothebay.com/events/2022/8/20/lumpia-lands-2022-tickets\">\u003ci>\u003cspan style=\"font-weight: 400\">Lumpia Lands\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> takes place at District Six (428 11th St., San Francisco) on Sunday, Aug. 21, from noon–5pm (it had previously been scheduled for Sat., Aug 20). Individual tickets are $5; group table reservations are $50. Buying tickets in advance is highly recommended.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "life-between-the-stages-lil-kayla-and-san-jose-jazz",
"title": "Life Between the Stages: Lil Kayla and San Jose Jazz",
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"content": "\u003cp>Mentally I’m somewhere between a Lil Kayla show and the San Jose Jazz Summer Festival. Yup, that’s where I’m at in this stage in life. It clicked this weekend after attending both.\u003c/p>\n\u003cp>I’m an old head at the Lil Kayla show, and a youngsta at the jazz fest. A position that grants me a unique view on the culture around me. I had a moment of gratitude this weekend for being where I am; I like this stage, the in-between stage.\u003c/p>\n\u003cfigure id=\"attachment_13917669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917669 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04034-e1660629307215-800x617.jpg\" alt=\"Fans capture footage as Lil Kayla performs at The Chapel in San Francisco on Friday August 12, 2022.\" width=\"800\" height=\"617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215.jpg 1288w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans capture footage as Lil Kayla performs at The Chapel in San Francisco on Friday, Aug. 12, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/thereal_lilkayla/\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Kayla\u003c/a>, a young lyricist with a big personality and a larger following, is the pride of San Francisco’s Sunnydale projects.\u003c/p>\n\u003cp>On Friday night she brought out the neighborhood, devoted fans and her grandmother. A large portion of the audience inside The Chapel were young women with Xs marked on their hands, a sign of being under the legal drinking age.\u003c/p>\n\u003cp>Girls with big eyelashes passed Backwoods back and forth, others revealed braces on their teeth as they smiled. I saw a person with a ring light attached to the back of their phone—a handheld personal stage, ready for her to show out.\u003c/p>\n\u003cfigure id=\"attachment_13917676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-800x535.jpg\" alt=\"A portion of the crowd at the Lil Kayla show at The Chapel in San Francisco on August 12, 2022. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of the crowd at the Lil Kayla show at The Chapel in San Francisco on Aug. 12, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening acts from San Francisco’s \u003ca href=\"https://www.instagram.com/loafyprincesss/\" target=\"_blank\" rel=\"noopener noreferrer\">Mya’Mya\u003c/a> and East Oakland’s “hyphy princess” \u003ca href=\"https://www.instagram.com/princessjourney_/\" target=\"_blank\" rel=\"noopener noreferrer\">Journey B. The Reason\u003c/a> were interspersed with sets from \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ ShellHeart\u003c/a> and \u003ca href=\"https://www.instagram.com/drewwwbanga/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Banga\u003c/a>. The crowd was already going when event host \u003ca href=\"https://www.instagram.com/troyllf/\" target=\"_blank\" rel=\"noopener noreferrer\">Troy LLF \u003c/a>announced Lil Kayla was up next.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13910972']Phones came out, camera lights came on, arms went skyward, and the from the moment she walked on the stage the crowd recited Lil Kayla’s lyrics bar for bar.\u003c/p>\n\u003cp>About two-thirds of the way into her set, Lil Kayla invited a few audience members to come on stage and spit her rhymes without skipping a word. Three out of four of the women who participated did so without an issue. Crowd participation on another level. Everyone was Lil Kayla that night.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lil Kayla - One More Chance (OFFICIAL MUSIC VIDEO) dir. by KIING FILMZ\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7ngL8H5yRQw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>While standing directly next to the stage taking photos of Lil Kayla, I got a tap on my shoulder. It was a younger brother who was wearing a ski mask, despite the Tucson-like temperatures. Before asking if he could get past me to get on stage, he said, “Excuse me, sir.”\u003c/p>\n\u003cp>That’s where I’m at in life!? “Sir,” in the middle of a Bay Area hip-hop function? Well I’ll be damned. Let me take my geriatric ass to a jazz festival.\u003c/p>\n\u003cfigure id=\"attachment_13917662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-800x535.jpg\" alt=\"Radio host Greg Bridges and photographer Robert Birnbach engage in a conversation about jazz, photography and more during the 2022 San Jose Jazz Summer Fest on Saturday August 13, 2022. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Radio host Greg Bridges and photographer Robert Birnbach engage in a conversation about jazz, photography and more during the 2022 San Jose Jazz Summer Fest on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next morning I drove to the San Jose Jazz Summer Fest, and posted in the back of the Tech Interactive’s New Venture Hall. On stage sat jazz scholar and radio show host \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener noreferrer\">Greg Bridges\u003c/a> and photographer \u003ca href=\"https://www.instagram.com/rbsphoto/\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Birnbach\u003c/a>.\u003c/p>\n\u003cp>“Photographers have a way of adding to the story that the music is telling,” Bridges said at the onset of the conversation. Birnbach discussed best practices for photographing musicians and their instruments from different angles on stage, among other topics.\u003c/p>\n\u003cp>Jumping around from photographic example to photographic example as he talked, Birnbach told the audience his preselected collection of images had gotten out of order. As Birnbach fished for a specific picture, Bridges reminded the audience, “This is jazz, we improvise.”\u003c/p>\n\u003cfigure id=\"attachment_13917674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04134-1-800x535.jpg\" alt=\"Alabama Mike poses for a photo after performing at the at the 2022 San José Jazz Summer Festival.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alabama Mike poses for a photo after performing at the 2022 San Jose Jazz Summer Fest. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I went into the jazz fest not knowing what to expect. Improvisation was my entire game plan.\u003c/p>\n\u003cp>After the August sun bounced off of \u003ca href=\"https://www.instagram.com/alabama_mike_blues/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Alabama Mike\u003c/a>‘s gold teeth as he ran through his set, next up was \u003ca href=\"https://diunna.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Diunna Greenleaf\u003c/a>. As she settled into a chair on stage, she said that sitting on stage isn’t her normal forte, but if she were to fall no one in the audience would be strong enough to pick her up.\u003c/p>\n\u003cp>A big woman with an even larger voice, she held the crowd down from her perch. That is, until she deemed that the crowd wasn’t giving back what she was putting out.\u003c/p>\n\u003cp>During Greenleaf’s rendition of Ray Charles’ “Hard Times,” she got out of the chair and slowly walked down the stage’s steps to join the crowd. The grass where people were sprawled on blankets chillin’ became an impromptu stage. With no microphone, standing in the middle of the crowd and nearly wailing, Greenleaf pushed audience members’ emotional buttons. One person in a white dress was in tears. Another in an orange shirt clasped their hands together, as if in prayer.\u003c/p>\n\u003cfigure id=\"attachment_13917663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04162-e1660627054394-800x561.jpg\" alt='Diunna Greenleaf performs \"Hard Times\" in front of a captive audience at the 2022 San José Jazz Summer Festival.' width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394.jpg 1422w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diunna Greenleaf performs “Hard Times” in front of a captive audience at the 2022 San Jose Jazz Summer Fest. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What stage of grief produces this kind of art?\u003c/p>\n\u003cp>After Greenleaf’s performance, came \u003ca href=\"https://ragman.org/tribal-gold\" target=\"_blank\" rel=\"noopener noreferrer\">Tribal Gold\u003c/a>, a combination of the New Orleans Suspects and Big Chief Juan Pardo & the Golden Comanche. They hit the stage and it was instantly Mardi Gras, with the area in front of the stage becoming a dance floor—a sub-stage, if you will.\u003c/p>\n\u003cfigure id=\"attachment_13917668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04203-800x535.jpg\" alt=\"Big Chief Juan Pardo & the Golden Comanche of Tribal Gold perform at the San José Jazz Summer Festival on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Chief Juan Pardo & the Golden Comanche of Tribal Gold perform at the San Jose Jazz Summer Fest on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A toddler dancing to the the jazz and blues got me thinking about the stages of life: how it’s less about age, and more about where your spirit is at that place and time. I’m clearly at that stage between hyphy and swinging jazz. But I still have questions.\u003c/p>\n\u003cp>How much say do we have in choosing what stage we’re on? Is the stage between stages a stage in itself? What differentiates those who love the limelight from those disabled by stage fright? If life is a series of stages, is it real or is it… staged?\u003c/p>\n\u003cfigure id=\"attachment_13917665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-800x535.jpg\" alt=\"Rapper Pallaví aka Fijiana watching friend and fellow rapper Stoni perform in the Regulars Only backyard on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Pallaví aka Fijiana watching friend and fellow rapper Stoni perform in the Regulars Only backyard on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These thoughts ran through my head as I pushed north, up 880 to the final event of the evening: a backyard bonfire and performance at the Regulars Only house.\u003c/p>\n\u003cp>A long list of artists, including \u003ca href=\"https://www.instagram.com/pass510/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Passwurdz\u003c/a>, \u003ca href=\"https://www.instagram.com/iamfijiana/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Fijiana\u003c/a>, \u003ca href=\"https://www.instagram.com/mksmth_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mksmth\u003c/a>, \u003ca href=\"https://www.instagram.com/thedakotawytefoxx/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">The Dakota Wytefoxx\u003c/a>, \u003ca href=\"https://www.instagram.com/popit4gee/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gee Pop\u003c/a>, \u003ca href=\"https://www.instagram.com/wantmoren8/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">WantMoren8\u003c/a>, \u003ca href=\"https://www.instagram.com/tia.nomore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tia Nomore\u003c/a>, \u003ca href=\"https://www.instagram.com/poosie_apex/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Poo$ie,\u003c/a> \u003ca href=\"https://www.instagram.com/princessjourney_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">JourneyB tha Reason\u003c/a>, \u003ca href=\"https://www.instagram.com/kvnalln/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Allen\u003c/a>, \u003ca href=\"https://www.instagram.com/callherstoni/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stoni\u003c/a> and more graced the stage.\u003c/p>\n\u003cp>The audience itself was full of talented individuals who could’ve easily rocked the mic with the scheduled performers. Folks like \u003ca href=\"https://www.instagram.com/mad.lines/\" target=\"_blank\" rel=\"noopener noreferrer\">MADlines\u003c/a> and \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>, \u003ca href=\"https://www.instagram.com/kingtahoe/\" target=\"_blank\" rel=\"noopener noreferrer\">King Tahoe \u003c/a>and \u003ca href=\"https://www.instagram.com/guapdad4000/\" target=\"_blank\" rel=\"noopener noreferrer\">Guapdad 4000\u003c/a>. \u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a> held down the grill, while \u003ca href=\"https://www.instagram.com/rexxliferaj/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> was in full photographer mode.\u003c/p>\n\u003cfigure id=\"attachment_13917666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-800x535.jpg\" alt=\"Wantmoren8 spitting rhymes during a performance in the Regulars Only backyard on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390.jpg 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wantmoren8 spitting rhymes during a performance in the Regulars Only backyard on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point Raj hit the stage and grabbed the mic, just to take an orchestrated photo of the crowd. A sea of who’s-who. Smiles and peace signs. Only a portion of the full list of attendees that evening, but it captured the sentiment.\u003c/p>\n\u003cp>The view from the stage shows people at the function, and it shows a house in the background, one that’s being remodeled.\u003c/p>\n\u003cp>https://www.instagram.com/p/ChTIrgOvexd/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This weekend was a reminder that it’s not always about reaching a new level or getting to that next platform, it’s more about appreciating the stage you’re on—even if you’re in between stages.\u003c/p>\n\n",
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"excerpt": "If you're one part hip-hop function and one part jazz festival, you're not alone, writes Pendarvis Harshaw.",
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"title": "Life Between the Stages: Lil Kayla and San Jose Jazz | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mentally I’m somewhere between a Lil Kayla show and the San Jose Jazz Summer Festival. Yup, that’s where I’m at in this stage in life. It clicked this weekend after attending both.\u003c/p>\n\u003cp>I’m an old head at the Lil Kayla show, and a youngsta at the jazz fest. A position that grants me a unique view on the culture around me. I had a moment of gratitude this weekend for being where I am; I like this stage, the in-between stage.\u003c/p>\n\u003cfigure id=\"attachment_13917669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917669 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04034-e1660629307215-800x617.jpg\" alt=\"Fans capture footage as Lil Kayla performs at The Chapel in San Francisco on Friday August 12, 2022.\" width=\"800\" height=\"617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215.jpg 1288w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans capture footage as Lil Kayla performs at The Chapel in San Francisco on Friday, Aug. 12, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/thereal_lilkayla/\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Kayla\u003c/a>, a young lyricist with a big personality and a larger following, is the pride of San Francisco’s Sunnydale projects.\u003c/p>\n\u003cp>On Friday night she brought out the neighborhood, devoted fans and her grandmother. A large portion of the audience inside The Chapel were young women with Xs marked on their hands, a sign of being under the legal drinking age.\u003c/p>\n\u003cp>Girls with big eyelashes passed Backwoods back and forth, others revealed braces on their teeth as they smiled. I saw a person with a ring light attached to the back of their phone—a handheld personal stage, ready for her to show out.\u003c/p>\n\u003cfigure id=\"attachment_13917676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-800x535.jpg\" alt=\"A portion of the crowd at the Lil Kayla show at The Chapel in San Francisco on August 12, 2022. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of the crowd at the Lil Kayla show at The Chapel in San Francisco on Aug. 12, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening acts from San Francisco’s \u003ca href=\"https://www.instagram.com/loafyprincesss/\" target=\"_blank\" rel=\"noopener noreferrer\">Mya’Mya\u003c/a> and East Oakland’s “hyphy princess” \u003ca href=\"https://www.instagram.com/princessjourney_/\" target=\"_blank\" rel=\"noopener noreferrer\">Journey B. The Reason\u003c/a> were interspersed with sets from \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ ShellHeart\u003c/a> and \u003ca href=\"https://www.instagram.com/drewwwbanga/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Banga\u003c/a>. The crowd was already going when event host \u003ca href=\"https://www.instagram.com/troyllf/\" target=\"_blank\" rel=\"noopener noreferrer\">Troy LLF \u003c/a>announced Lil Kayla was up next.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Phones came out, camera lights came on, arms went skyward, and the from the moment she walked on the stage the crowd recited Lil Kayla’s lyrics bar for bar.\u003c/p>\n\u003cp>About two-thirds of the way into her set, Lil Kayla invited a few audience members to come on stage and spit her rhymes without skipping a word. Three out of four of the women who participated did so without an issue. Crowd participation on another level. Everyone was Lil Kayla that night.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lil Kayla - One More Chance (OFFICIAL MUSIC VIDEO) dir. by KIING FILMZ\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7ngL8H5yRQw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>While standing directly next to the stage taking photos of Lil Kayla, I got a tap on my shoulder. It was a younger brother who was wearing a ski mask, despite the Tucson-like temperatures. Before asking if he could get past me to get on stage, he said, “Excuse me, sir.”\u003c/p>\n\u003cp>That’s where I’m at in life!? “Sir,” in the middle of a Bay Area hip-hop function? Well I’ll be damned. Let me take my geriatric ass to a jazz festival.\u003c/p>\n\u003cfigure id=\"attachment_13917662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-800x535.jpg\" alt=\"Radio host Greg Bridges and photographer Robert Birnbach engage in a conversation about jazz, photography and more during the 2022 San Jose Jazz Summer Fest on Saturday August 13, 2022. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Radio host Greg Bridges and photographer Robert Birnbach engage in a conversation about jazz, photography and more during the 2022 San Jose Jazz Summer Fest on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next morning I drove to the San Jose Jazz Summer Fest, and posted in the back of the Tech Interactive’s New Venture Hall. On stage sat jazz scholar and radio show host \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener noreferrer\">Greg Bridges\u003c/a> and photographer \u003ca href=\"https://www.instagram.com/rbsphoto/\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Birnbach\u003c/a>.\u003c/p>\n\u003cp>“Photographers have a way of adding to the story that the music is telling,” Bridges said at the onset of the conversation. Birnbach discussed best practices for photographing musicians and their instruments from different angles on stage, among other topics.\u003c/p>\n\u003cp>Jumping around from photographic example to photographic example as he talked, Birnbach told the audience his preselected collection of images had gotten out of order. As Birnbach fished for a specific picture, Bridges reminded the audience, “This is jazz, we improvise.”\u003c/p>\n\u003cfigure id=\"attachment_13917674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04134-1-800x535.jpg\" alt=\"Alabama Mike poses for a photo after performing at the at the 2022 San José Jazz Summer Festival.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alabama Mike poses for a photo after performing at the 2022 San Jose Jazz Summer Fest. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I went into the jazz fest not knowing what to expect. Improvisation was my entire game plan.\u003c/p>\n\u003cp>After the August sun bounced off of \u003ca href=\"https://www.instagram.com/alabama_mike_blues/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Alabama Mike\u003c/a>‘s gold teeth as he ran through his set, next up was \u003ca href=\"https://diunna.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Diunna Greenleaf\u003c/a>. As she settled into a chair on stage, she said that sitting on stage isn’t her normal forte, but if she were to fall no one in the audience would be strong enough to pick her up.\u003c/p>\n\u003cp>A big woman with an even larger voice, she held the crowd down from her perch. That is, until she deemed that the crowd wasn’t giving back what she was putting out.\u003c/p>\n\u003cp>During Greenleaf’s rendition of Ray Charles’ “Hard Times,” she got out of the chair and slowly walked down the stage’s steps to join the crowd. The grass where people were sprawled on blankets chillin’ became an impromptu stage. With no microphone, standing in the middle of the crowd and nearly wailing, Greenleaf pushed audience members’ emotional buttons. One person in a white dress was in tears. Another in an orange shirt clasped their hands together, as if in prayer.\u003c/p>\n\u003cfigure id=\"attachment_13917663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04162-e1660627054394-800x561.jpg\" alt='Diunna Greenleaf performs \"Hard Times\" in front of a captive audience at the 2022 San José Jazz Summer Festival.' width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394.jpg 1422w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diunna Greenleaf performs “Hard Times” in front of a captive audience at the 2022 San Jose Jazz Summer Fest. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What stage of grief produces this kind of art?\u003c/p>\n\u003cp>After Greenleaf’s performance, came \u003ca href=\"https://ragman.org/tribal-gold\" target=\"_blank\" rel=\"noopener noreferrer\">Tribal Gold\u003c/a>, a combination of the New Orleans Suspects and Big Chief Juan Pardo & the Golden Comanche. They hit the stage and it was instantly Mardi Gras, with the area in front of the stage becoming a dance floor—a sub-stage, if you will.\u003c/p>\n\u003cfigure id=\"attachment_13917668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04203-800x535.jpg\" alt=\"Big Chief Juan Pardo & the Golden Comanche of Tribal Gold perform at the San José Jazz Summer Festival on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Chief Juan Pardo & the Golden Comanche of Tribal Gold perform at the San Jose Jazz Summer Fest on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A toddler dancing to the the jazz and blues got me thinking about the stages of life: how it’s less about age, and more about where your spirit is at that place and time. I’m clearly at that stage between hyphy and swinging jazz. But I still have questions.\u003c/p>\n\u003cp>How much say do we have in choosing what stage we’re on? Is the stage between stages a stage in itself? What differentiates those who love the limelight from those disabled by stage fright? If life is a series of stages, is it real or is it… staged?\u003c/p>\n\u003cfigure id=\"attachment_13917665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-800x535.jpg\" alt=\"Rapper Pallaví aka Fijiana watching friend and fellow rapper Stoni perform in the Regulars Only backyard on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Pallaví aka Fijiana watching friend and fellow rapper Stoni perform in the Regulars Only backyard on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These thoughts ran through my head as I pushed north, up 880 to the final event of the evening: a backyard bonfire and performance at the Regulars Only house.\u003c/p>\n\u003cp>A long list of artists, including \u003ca href=\"https://www.instagram.com/pass510/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Passwurdz\u003c/a>, \u003ca href=\"https://www.instagram.com/iamfijiana/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Fijiana\u003c/a>, \u003ca href=\"https://www.instagram.com/mksmth_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mksmth\u003c/a>, \u003ca href=\"https://www.instagram.com/thedakotawytefoxx/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">The Dakota Wytefoxx\u003c/a>, \u003ca href=\"https://www.instagram.com/popit4gee/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gee Pop\u003c/a>, \u003ca href=\"https://www.instagram.com/wantmoren8/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">WantMoren8\u003c/a>, \u003ca href=\"https://www.instagram.com/tia.nomore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tia Nomore\u003c/a>, \u003ca href=\"https://www.instagram.com/poosie_apex/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Poo$ie,\u003c/a> \u003ca href=\"https://www.instagram.com/princessjourney_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">JourneyB tha Reason\u003c/a>, \u003ca href=\"https://www.instagram.com/kvnalln/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Allen\u003c/a>, \u003ca href=\"https://www.instagram.com/callherstoni/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stoni\u003c/a> and more graced the stage.\u003c/p>\n\u003cp>The audience itself was full of talented individuals who could’ve easily rocked the mic with the scheduled performers. Folks like \u003ca href=\"https://www.instagram.com/mad.lines/\" target=\"_blank\" rel=\"noopener noreferrer\">MADlines\u003c/a> and \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>, \u003ca href=\"https://www.instagram.com/kingtahoe/\" target=\"_blank\" rel=\"noopener noreferrer\">King Tahoe \u003c/a>and \u003ca href=\"https://www.instagram.com/guapdad4000/\" target=\"_blank\" rel=\"noopener noreferrer\">Guapdad 4000\u003c/a>. \u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a> held down the grill, while \u003ca href=\"https://www.instagram.com/rexxliferaj/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> was in full photographer mode.\u003c/p>\n\u003cfigure id=\"attachment_13917666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-800x535.jpg\" alt=\"Wantmoren8 spitting rhymes during a performance in the Regulars Only backyard on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390.jpg 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wantmoren8 spitting rhymes during a performance in the Regulars Only backyard on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point Raj hit the stage and grabbed the mic, just to take an orchestrated photo of the crowd. A sea of who’s-who. Smiles and peace signs. Only a portion of the full list of attendees that evening, but it captured the sentiment.\u003c/p>\n\u003cp>The view from the stage shows people at the function, and it shows a house in the background, one that’s being remodeled.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This weekend was a reminder that it’s not always about reaching a new level or getting to that next platform, it’s more about appreciating the stage you’re on—even if you’re in between stages.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Beyond the Grave: How Old Tombstones Became Part of the Fabric of San Francisco | KQED",
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"content": "\u003cp>At first glance, San Francisco is strangely devoid of gravestones. It’s been illegal to bury new bodies in the city for over 120 years. And, as most Bay Area residents already know, the city was emptied of the vast majority of its dead back in the 1930s, when bodies were moved en masse to Colma.\u003c/p>\n\u003cp>Twenty-six thousand occupants of the Odd Fellows Cemetery—today’s \u003ca href=\"https://sfrecpark.org/1000/Rossi-Playground-Picnic-Area\" target=\"_blank\" rel=\"noopener noreferrer\">Rossi Park\u003c/a> and surrounding areas—ended up in \u003ca href=\"https://www.greenlawnmemorialpark.com/history\" target=\"_blank\" rel=\"noopener noreferrer\">Greenlawn Memorial Park\u003c/a>, for example. Those bodies are now buried in a part of the Colma cemetery not open to the public.\u003c/p>\n\u003cfigure id=\"attachment_13917413\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917413\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/opensfhistory_wnp15.208-800x502.jpg\" alt=\"A woman in black Victorian mourning dress gazes down upon a graveyard full of marble monuments and gravestones.\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/opensfhistory_wnp15.208-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/opensfhistory_wnp15.208-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/opensfhistory_wnp15.208-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/opensfhistory_wnp15.208.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Odd Fellows Cemetery as it was in the 1900s. The Columbarium on the right of the shot is the only thing that remains today. \u003ccite>(OpenSFHistory / wnp15.208)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917412\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/opensfhistory_wnp14.2426-800x636.jpg\" alt=\"\" width=\"800\" height=\"636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/opensfhistory_wnp14.2426-800x636.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/opensfhistory_wnp14.2426-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/opensfhistory_wnp14.2426-768x611.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/opensfhistory_wnp14.2426.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers in the process of converting Odd Fellows Cemetery into Rossi Playground in December 1933. \u003ccite>(OpenSFHistory / wnp14.2426)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While almost all of San Francisco’s dead were moved to Colma, many of their headstones and mausoleums remained in the city. That’s because even when relatives of the deceased were successfully contacted, they frequently couldn’t afford to have grave markers moved. (The mass eviction happened during the Great Depression, after all.) The thousands of gravestones left behind were inherited by the Department of Public Works, who started using them in city infrastructure projects.\u003c/p>\n\u003cp>As a result, the north and west sides of San Francisco are still awash with tombstones. They ended up on that side of the city in large part because of where San Francisco’s four largest burial plots were originally located. The Laurel Hill, Masonic, Odd Fellows and Calvary cemeteries once dominated the area around Geary and Masonic. (Laurel Hill Cemetery alone covered 54 acres.)\u003c/p>\n\u003cp>Here’s where you can still find glimpses of what’s left of the grave markers in our midst.\u003c/p>\n\u003ch2>Ocean Beach / The Great Highway\u003c/h2>\n\u003cfigure id=\"attachment_13917358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917358\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-1298760629-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1298760629-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1298760629-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1298760629-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1298760629-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1298760629-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1298760629-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1298760629-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A small dog hangs out on part of an old mausoleum, half submerged in sand. The former burial chamber showed up at the intersection of Rivera St. and the Great Highway in 2012. \u003ccite>(Megan Farmer/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the 35,000 bodies in Laurel Hill Cemetery were exhumed and removed, their once distinguished burial monuments were smashed up into more manageable slabs and transported to the beach. Some of the largest pieces were then piled up into fortifying, erosion-reducing diagonal walls along Ocean Beach. Some of the gravestones were also used as bedding in the Great Highway—the road the new walls were intended to protect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Entirely intact headstones with perfectly legible epitaphs have since been uncovered at sporadic intervals on the shoreline. In 1977, \u003cem>The Chronicle\u003c/em> talked to beachgoers who were stunned to find headstones in the sand. In 2012, grave markers from 1876 and 1890 showed up on the beach within weeks of each other. Brace yourself after inclement weather, then—there’s undoubtedly more where these came from.\u003c/p>\n\u003ch2>Buena Vista Park’s Gutters\u003c/h2>\n\u003cfigure id=\"attachment_13917441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/buena-vista-800x495.jpg\" alt=\"\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/buena-vista-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/buena-vista-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/buena-vista-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/buena-vista-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/buena-vista-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/buena-vista-2048x1267.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/buena-vista-1920x1188.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(R, L) Pieces of headstones in Buena Vista Park’s rain gutters, (C) How the gutters look from the path. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many of the Ocean Beach tombstones stayed intact, the marble ones that made it to Buena Vista Park were smashed up into small fragments and used to line rain gutters. Tantalizing small portions of names and dates are still visible in places, though the vast majority of the stones were positioned with their epitaphs facing down.\u003c/p>\n\u003cp>[aside postid='arts_13883118']While Buena Vista is the oldest park in San Francisco (it was established in 1867), the gravestone gutters were a direct result of Franklin D. Roosevelt’s solution to the Great Depression in 1935. Roosevelt introduced the \u003ca href=\"https://www.history.com/topics/great-depression/works-progress-administration\" target=\"_blank\" rel=\"noopener noreferrer\">Works Progress Administration\u003c/a> to improve and beautify public spaces while also providing millions of people with jobs—8.3 million people over eight years, in fact. It was some of those WPA workers who constructed the gutters.\u003c/p>\n\u003cp>To visit the former headstones, enter near the playground at Waller. The gutters run directly opposite and can be followed from there.\u003c/p>\n\u003ch2>Aquatic Park’s Sea Wall\u003c/h2>\n\u003cfigure id=\"attachment_13917437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917437\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/aquatic-park-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/aquatic-park-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/aquatic-park-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/aquatic-park-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/aquatic-park-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/aquatic-park-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/aquatic-park-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/aquatic-park-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Remnants of gravestones and pieces of tombs seen next to Aquatic Park’s seawall during low tide. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The WPA was responsible for more than just city maintenance in the 1930s. Workers also constructed schools, hospitals and recreation areas. Aquatic Park’s sea wall—to the left of the beach and on the walk towards the long, curved pier that helps keeps the waters calm—was one of these projects. And it utilized unclaimed gravestones from Odd Fellows Cemetery in order to save money on construction.\u003c/p>\n\u003cp>At low tide, the tombstones at Aquatic Park are remarkably visible once you start actively looking for them. What’s left of the rectangular gravestones stands out starkly against the Bay’s natural detritus.\u003c/p>\n\u003ch2>The Wave Organ\u003c/h2>\n\u003cfigure id=\"attachment_13917454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/wave-organ-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Details of the Wave Organ clearly show large segments of old mausoleums and tombs. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Behind St. Francis Yacht Club, at the end of a jetty, a strange sculpture stands, amplifying the sounds of the waves below. \u003cem>The Wave Organ\u003c/em> was designed by artist Peter Richards in 1986, constructed by sculptor and stone mason George Gonzales, and sponsored by the Exploratorium. (Both men had previously been artists-in-residence at the museum.)\u003c/p>\n\u003cp>The organ is made from cement tubes, 25 PVC organ pipes, found bricks and, yes, large chunks of abandoned turn-of-the-century crypts and mausoleums. Roman numerals are still visible in several parts of \u003cem>The Wave Organ\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13917455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/wave-organ-numerals-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-numerals-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-numerals-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-numerals-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-numerals-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-numerals-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-numerals-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-numerals-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inscriptions of old roman numerals on the Wave Organ. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The walk along the jetty up to the sculpture is also littered with old graveyard remnants. Parts of gravestones and unusual corners of crypts and tombs are clearly visible on either side of the path.\u003c/p>\n\u003cfigure id=\"attachment_13917457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/wave-organ-approach-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-approach-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-approach-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-approach-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-approach-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-approach-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-approach-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-approach-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Large pieces of old grave monuments are dotted along either side of the jetty approaching the Wave Organ. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fact that there were still so many of these cemetery relics available in the 1980s to construct \u003cem>The Wave Organ\u003c/em> demonstrates just how much was left behind in the 1930s.\u003c/p>\n\u003ch2>Marina District’s Yacht Harbor\u003c/h2>\n\u003cfigure id=\"attachment_13917444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917444\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-10.30.24-AM-800x591.png\" alt=\"\" width=\"800\" height=\"591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-10.30.24-AM-800x591.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-10.30.24-AM-1020x753.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-10.30.24-AM-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-10.30.24-AM-768x567.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-10.30.24-AM-1536x1134.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-10.30.24-AM.png 1734w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The white portions of the wall at the Marina’s yacht club are likely made up of old gravestones. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In November 1934, piles of discarded gravestones arrived in the Marina District and construction crews began turning them into a sea wall for the yacht harbor. Photos from the time show workers organizing small uniform rectangles of white slabs. The white stones in the harbor wall still stand out next to the bricks and darker stones.\u003c/p>\n\u003cp>[aside postid='arts_13894837']Not all of the abandoned gravestones in San Francisco found themselves utilized in such a fashion. Over the years, random tombstones have been uncovered in a variety of unexpected places. In July 1977, a group of Miraloma Park children called the police after they found a collection of turn-of-the-century headstones while playing on Mount Davidson. In 1998, a rototiller working at Turk and Arguello hit the gravestone of a saloon owner named Pierre Giraud who had died in 1878, aged 39. And in 2017, electricians working on an Iris Avenue home in Laurel Heights found a 155-year-old headstone etched with the names of an entire family, including an infant son.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though few graves remain in the city—the Columbarium and cemeteries at the Presidio and Mission Dolores are all that’s left—the memories of the evicted dead are harder to scrub from the city. Their memorials, after all, make up the very fabric of it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At first glance, San Francisco is strangely devoid of gravestones. It’s been illegal to bury new bodies in the city for over 120 years. And, as most Bay Area residents already know, the city was emptied of the vast majority of its dead back in the 1930s, when bodies were moved en masse to Colma.\u003c/p>\n\u003cp>Twenty-six thousand occupants of the Odd Fellows Cemetery—today’s \u003ca href=\"https://sfrecpark.org/1000/Rossi-Playground-Picnic-Area\" target=\"_blank\" rel=\"noopener noreferrer\">Rossi Park\u003c/a> and surrounding areas—ended up in \u003ca href=\"https://www.greenlawnmemorialpark.com/history\" target=\"_blank\" rel=\"noopener noreferrer\">Greenlawn Memorial Park\u003c/a>, for example. Those bodies are now buried in a part of the Colma cemetery not open to the public.\u003c/p>\n\u003cfigure id=\"attachment_13917413\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917413\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/opensfhistory_wnp15.208-800x502.jpg\" alt=\"A woman in black Victorian mourning dress gazes down upon a graveyard full of marble monuments and gravestones.\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/opensfhistory_wnp15.208-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/opensfhistory_wnp15.208-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/opensfhistory_wnp15.208-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/opensfhistory_wnp15.208.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Odd Fellows Cemetery as it was in the 1900s. The Columbarium on the right of the shot is the only thing that remains today. \u003ccite>(OpenSFHistory / wnp15.208)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917412\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/opensfhistory_wnp14.2426-800x636.jpg\" alt=\"\" width=\"800\" height=\"636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/opensfhistory_wnp14.2426-800x636.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/opensfhistory_wnp14.2426-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/opensfhistory_wnp14.2426-768x611.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/opensfhistory_wnp14.2426.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers in the process of converting Odd Fellows Cemetery into Rossi Playground in December 1933. \u003ccite>(OpenSFHistory / wnp14.2426)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While almost all of San Francisco’s dead were moved to Colma, many of their headstones and mausoleums remained in the city. That’s because even when relatives of the deceased were successfully contacted, they frequently couldn’t afford to have grave markers moved. (The mass eviction happened during the Great Depression, after all.) The thousands of gravestones left behind were inherited by the Department of Public Works, who started using them in city infrastructure projects.\u003c/p>\n\u003cp>As a result, the north and west sides of San Francisco are still awash with tombstones. They ended up on that side of the city in large part because of where San Francisco’s four largest burial plots were originally located. The Laurel Hill, Masonic, Odd Fellows and Calvary cemeteries once dominated the area around Geary and Masonic. (Laurel Hill Cemetery alone covered 54 acres.)\u003c/p>\n\u003cp>Here’s where you can still find glimpses of what’s left of the grave markers in our midst.\u003c/p>\n\u003ch2>Ocean Beach / The Great Highway\u003c/h2>\n\u003cfigure id=\"attachment_13917358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917358\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/GettyImages-1298760629-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1298760629-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1298760629-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1298760629-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1298760629-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1298760629-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1298760629-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/GettyImages-1298760629-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A small dog hangs out on part of an old mausoleum, half submerged in sand. The former burial chamber showed up at the intersection of Rivera St. and the Great Highway in 2012. \u003ccite>(Megan Farmer/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the 35,000 bodies in Laurel Hill Cemetery were exhumed and removed, their once distinguished burial monuments were smashed up into more manageable slabs and transported to the beach. Some of the largest pieces were then piled up into fortifying, erosion-reducing diagonal walls along Ocean Beach. Some of the gravestones were also used as bedding in the Great Highway—the road the new walls were intended to protect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Entirely intact headstones with perfectly legible epitaphs have since been uncovered at sporadic intervals on the shoreline. In 1977, \u003cem>The Chronicle\u003c/em> talked to beachgoers who were stunned to find headstones in the sand. In 2012, grave markers from 1876 and 1890 showed up on the beach within weeks of each other. Brace yourself after inclement weather, then—there’s undoubtedly more where these came from.\u003c/p>\n\u003ch2>Buena Vista Park’s Gutters\u003c/h2>\n\u003cfigure id=\"attachment_13917441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/buena-vista-800x495.jpg\" alt=\"\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/buena-vista-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/buena-vista-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/buena-vista-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/buena-vista-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/buena-vista-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/buena-vista-2048x1267.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/buena-vista-1920x1188.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(R, L) Pieces of headstones in Buena Vista Park’s rain gutters, (C) How the gutters look from the path. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many of the Ocean Beach tombstones stayed intact, the marble ones that made it to Buena Vista Park were smashed up into small fragments and used to line rain gutters. Tantalizing small portions of names and dates are still visible in places, though the vast majority of the stones were positioned with their epitaphs facing down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While Buena Vista is the oldest park in San Francisco (it was established in 1867), the gravestone gutters were a direct result of Franklin D. Roosevelt’s solution to the Great Depression in 1935. Roosevelt introduced the \u003ca href=\"https://www.history.com/topics/great-depression/works-progress-administration\" target=\"_blank\" rel=\"noopener noreferrer\">Works Progress Administration\u003c/a> to improve and beautify public spaces while also providing millions of people with jobs—8.3 million people over eight years, in fact. It was some of those WPA workers who constructed the gutters.\u003c/p>\n\u003cp>To visit the former headstones, enter near the playground at Waller. The gutters run directly opposite and can be followed from there.\u003c/p>\n\u003ch2>Aquatic Park’s Sea Wall\u003c/h2>\n\u003cfigure id=\"attachment_13917437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917437\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/aquatic-park-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/aquatic-park-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/aquatic-park-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/aquatic-park-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/aquatic-park-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/aquatic-park-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/aquatic-park-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/aquatic-park-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Remnants of gravestones and pieces of tombs seen next to Aquatic Park’s seawall during low tide. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The WPA was responsible for more than just city maintenance in the 1930s. Workers also constructed schools, hospitals and recreation areas. Aquatic Park’s sea wall—to the left of the beach and on the walk towards the long, curved pier that helps keeps the waters calm—was one of these projects. And it utilized unclaimed gravestones from Odd Fellows Cemetery in order to save money on construction.\u003c/p>\n\u003cp>At low tide, the tombstones at Aquatic Park are remarkably visible once you start actively looking for them. What’s left of the rectangular gravestones stands out starkly against the Bay’s natural detritus.\u003c/p>\n\u003ch2>The Wave Organ\u003c/h2>\n\u003cfigure id=\"attachment_13917454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/wave-organ-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Details of the Wave Organ clearly show large segments of old mausoleums and tombs. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Behind St. Francis Yacht Club, at the end of a jetty, a strange sculpture stands, amplifying the sounds of the waves below. \u003cem>The Wave Organ\u003c/em> was designed by artist Peter Richards in 1986, constructed by sculptor and stone mason George Gonzales, and sponsored by the Exploratorium. (Both men had previously been artists-in-residence at the museum.)\u003c/p>\n\u003cp>The organ is made from cement tubes, 25 PVC organ pipes, found bricks and, yes, large chunks of abandoned turn-of-the-century crypts and mausoleums. Roman numerals are still visible in several parts of \u003cem>The Wave Organ\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13917455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/wave-organ-numerals-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-numerals-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-numerals-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-numerals-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-numerals-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-numerals-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-numerals-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-numerals-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inscriptions of old roman numerals on the Wave Organ. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The walk along the jetty up to the sculpture is also littered with old graveyard remnants. Parts of gravestones and unusual corners of crypts and tombs are clearly visible on either side of the path.\u003c/p>\n\u003cfigure id=\"attachment_13917457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/wave-organ-approach-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-approach-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-approach-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-approach-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-approach-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-approach-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-approach-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/wave-organ-approach-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Large pieces of old grave monuments are dotted along either side of the jetty approaching the Wave Organ. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fact that there were still so many of these cemetery relics available in the 1980s to construct \u003cem>The Wave Organ\u003c/em> demonstrates just how much was left behind in the 1930s.\u003c/p>\n\u003ch2>Marina District’s Yacht Harbor\u003c/h2>\n\u003cfigure id=\"attachment_13917444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917444\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-10.30.24-AM-800x591.png\" alt=\"\" width=\"800\" height=\"591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-10.30.24-AM-800x591.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-10.30.24-AM-1020x753.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-10.30.24-AM-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-10.30.24-AM-768x567.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-10.30.24-AM-1536x1134.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-10.30.24-AM.png 1734w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The white portions of the wall at the Marina’s yacht club are likely made up of old gravestones. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In November 1934, piles of discarded gravestones arrived in the Marina District and construction crews began turning them into a sea wall for the yacht harbor. Photos from the time show workers organizing small uniform rectangles of white slabs. The white stones in the harbor wall still stand out next to the bricks and darker stones.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not all of the abandoned gravestones in San Francisco found themselves utilized in such a fashion. Over the years, random tombstones have been uncovered in a variety of unexpected places. In July 1977, a group of Miraloma Park children called the police after they found a collection of turn-of-the-century headstones while playing on Mount Davidson. In 1998, a rototiller working at Turk and Arguello hit the gravestone of a saloon owner named Pierre Giraud who had died in 1878, aged 39. And in 2017, electricians working on an Iris Avenue home in Laurel Heights found a 155-year-old headstone etched with the names of an entire family, including an infant son.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though few graves remain in the city—the Columbarium and cemeteries at the Presidio and Mission Dolores are all that’s left—the memories of the evicted dead are harder to scrub from the city. Their memorials, after all, make up the very fabric of it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dispatch-from-parker-elementary-with-tongo-eisen-martin",
"title": "Dispatch From Parker Elementary with Tongo Eisen-Martin",
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"headTitle": "Dispatch From Parker Elementary with Tongo Eisen-Martin | KQED",
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"content": "\u003cp id=\"embed-code\" class=\"inconsolata\">\u003cem>\u003cstrong>Hey Rightnowish listeners, you can help shape the future of the podcast! \u003cb data-stringify-type=\"bold\">\u003ci data-stringify-type=\"italic\">Just \u003c/i>\u003c/b>\u003cb data-stringify-type=\"bold\">\u003ci data-stringify-type=\"italic\">\u003ca class=\"c-link\" href=\"https://survey.alchemer.com/s3/6838454/2e522245cbb6\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://survey.alchemer.com/s3/6838454/2e522245cbb6\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">fill out a short survey\u003c/a>\u003c/i>\u003c/b>\u003cb data-stringify-type=\"bold\">\u003ci data-stringify-type=\"italic\">.\u003c/i>\u003c/b>\u003c/strong>\u003c/em>\u003c/p>\n\u003cp class=\"inconsolata\">\n\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=KQINC6941179634&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp class=\"inconsolata\">Last year, renowned writer and San Francisco Poet Laureate, \u003ca href=\"https://www.instagram.com/_tongogara_/\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a>, told us that it’s not enough to simply be a poet. “The poet needs to just come on down to the trenches,” he said, explaining that quality writing comes from the lived experience of participating in community activism.\u003c/p>\n\u003cp>In direct application of his own philosophy, Tongo has been involved with the occupation of Parker Elementary School, where organizers are fighting against the latest round of school closures in Oakland Unified School District — schools that are located in communities that are largely populated by Black and brown students.\u003c/p>\n\u003cp>Tongo has been a part of the group’s Freedom Friday events, where artists of all sorts are invited to show up and perform.\u003c/p>\n\u003cp>\u003cb>“We have poets and (an) open mic,” Tongo says during a recent phone call. “We also intersperse political dialogue in between the poets, making sure that everyone knows what we doing here.”\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13916674/tongo-eisen-martin-poet-laureate-parker-occupied-school-city-lights\" target=\"_blank\" rel=\"noopener noreferrer\">The ongoing fight against school closures\u003c/a> has resulted in physical altercations, as well as legal actions. KQED will continue to share updates as the \u003ca href=\"https://www.kqed.org/news/11921807/parker-elementary-activists-demand-investigation-after-clash-with-ousd-security\">story progresses\u003c/a>.\u003c/p>\n\u003cp>In the meantime, we’re going into the archives this week to share Tongo’s poem, “A Sketch of Genocide.” The piece was included in his book, \u003cspan id=\"productTitle\" class=\"a-size-extra-large\">\u003cem>Heaven Is All Goodbyes\u003c/em>, which won a 2018 American Book Award. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"title": "Dispatch From Parker Elementary with Tongo Eisen-Martin | KQED",
"description": "Hey Rightnowish listeners, you can help shape the future of the podcast! Just fill out a short survey. Last year, renowned writer and San Francisco Poet Laureate, Tongo Eisen-Martin, told us that it's not enough to simply be a poet. "The poet needs to just come on down to the trenches," he said, explaining that quality writing comes from the lived experience of participating in community activism. In direct application of his own philosophy, Tongo has been involved with the occupation of Parker Elementary School, where organizers are fighting against the latest round of school closures in Oakland Unified School District",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp id=\"embed-code\" class=\"inconsolata\">\u003cem>\u003cstrong>Hey Rightnowish listeners, you can help shape the future of the podcast! \u003cb data-stringify-type=\"bold\">\u003ci data-stringify-type=\"italic\">Just \u003c/i>\u003c/b>\u003cb data-stringify-type=\"bold\">\u003ci data-stringify-type=\"italic\">\u003ca class=\"c-link\" href=\"https://survey.alchemer.com/s3/6838454/2e522245cbb6\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://survey.alchemer.com/s3/6838454/2e522245cbb6\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">fill out a short survey\u003c/a>\u003c/i>\u003c/b>\u003cb data-stringify-type=\"bold\">\u003ci data-stringify-type=\"italic\">.\u003c/i>\u003c/b>\u003c/strong>\u003c/em>\u003c/p>\n\u003cp class=\"inconsolata\">\n\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=KQINC6941179634&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp class=\"inconsolata\">Last year, renowned writer and San Francisco Poet Laureate, \u003ca href=\"https://www.instagram.com/_tongogara_/\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a>, told us that it’s not enough to simply be a poet. “The poet needs to just come on down to the trenches,” he said, explaining that quality writing comes from the lived experience of participating in community activism.\u003c/p>\n\u003cp>In direct application of his own philosophy, Tongo has been involved with the occupation of Parker Elementary School, where organizers are fighting against the latest round of school closures in Oakland Unified School District — schools that are located in communities that are largely populated by Black and brown students.\u003c/p>\n\u003cp>Tongo has been a part of the group’s Freedom Friday events, where artists of all sorts are invited to show up and perform.\u003c/p>\n\u003cp>\u003cb>“We have poets and (an) open mic,” Tongo says during a recent phone call. “We also intersperse political dialogue in between the poets, making sure that everyone knows what we doing here.”\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13916674/tongo-eisen-martin-poet-laureate-parker-occupied-school-city-lights\" target=\"_blank\" rel=\"noopener noreferrer\">The ongoing fight against school closures\u003c/a> has resulted in physical altercations, as well as legal actions. KQED will continue to share updates as the \u003ca href=\"https://www.kqed.org/news/11921807/parker-elementary-activists-demand-investigation-after-clash-with-ousd-security\">story progresses\u003c/a>.\u003c/p>\n\u003cp>In the meantime, we’re going into the archives this week to share Tongo’s poem, “A Sketch of Genocide.” The piece was included in his book, \u003cspan id=\"productTitle\" class=\"a-size-extra-large\">\u003cem>Heaven Is All Goodbyes\u003c/em>, which won a 2018 American Book Award. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>\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/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Korean corn dogs are not for the faint of stomach. With eye-popping size and a multitude of customizable ingredients, the show-stopping dogs on a stick have earned their keep among Instagrammers and TikTokers from Seoul to San Francisco with their fun geometric shapes and extra-stretchy cheese fillings. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Bon Appétit \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">even officially named 2021 “\u003c/span>\u003ca href=\"https://www.bonappetit.com/story/korean-corn-dogs\">\u003cspan style=\"font-weight: 400\">the Year of the Korean Corn Dog.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Popularized on social media through videos of the \u003ca href=\"https://www.instagram.com/p/B0BXjLZBq2j/\">slow-motion pull of cheese\u003c/a> with each bite, these corn dogs are a hyperized version of the American corn dog, with bigger, bolder and chewier options. You might get a ramen dog coated in panko with mozzarella cheese and wasabi mayo. Or, you can try a sugar-dusted fried-potato version with a beef wiener that’s drizzled with mustard. You can also mix up your options, like adding a half-beef, half-cheese filling, with Hot Cheetos crumbs and spicy mayo as dressing. There are no limits to the culinary imagination you can fit into your stomach. \u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CUVm_upPL9Q/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These stylized takes on the corn dog have been a staple in South Korea since 2016, but until recently they’ve been relatively elusive in the Bay. \u003ca href=\"https://www.instagram.com/myungranghotdogcupertino/?hl=en\">The Korean originator of these corn dogs, the Myungrang Hot Dog\u003c/a> chain, opened its first Bay Area location in Cupertino last summer, but \u003ca href=\"https://www.stixcorndogs.com/\">STIX\u003c/a>—a locally-owned take on the doggies—was the first to bring the craze to San Francisco proper in 2019. Between massive bites of a cornflake-and-sugar crusted corn dog, I caught up with STIX co-founder Emily Hui at her new shop in Burlingame to chat about how she brought one of social media’s biggest food trends to our region.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for length and clarity.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">********\u003c/span>\u003c/p>\n\u003cp>\u003cb>KQED: How would you describe a Korean corn dog to someone who doesn’t know what it is?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We get a lot of customers who don’t know what it is, actually—but afterwards they love it. American corn dogs use cornmeal for batter, but Korean uses regular flour and primarily rice flour. With rice flour, it gives the dough a really light, crispy and slightly chewy texture that is similar to mochi. For the interior we use all-beef hot dogs or mozzarella cheese. We serve a combo dog as well, which is half and half. But what makes Korean corn dogs special is that after skewering the hot dogs and cheese, the corn dogs are rolled in different toppings. Depending on what the customer wants, we have panko, french fries, Hot Cheetos, cornflakes, sugar and various other toppings to add to the texture and flavor. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"981\" height=\"557\" src=\"https://www.youtube.com/embed/7hzzap33Bhs\" title=\"Best Sandwich in San Francisco\" frameborder=\"0\" allow=\"accelerometer; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/center>\n\u003cp>\u003cb>When did the original STIX in the Sunset District open, and when did you add the Burlingame location? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My husband [Michael] and I opened the Sunset location in 2019. My husband grew up in San Francisco and went to high school right up the street, at Lincoln. There are a lot of mom-and-pop shops around here. When we first visualized starting a business, we wanted to do something together, just for us. We wanted to create something that was all our own. The Sunset was the perfect location. It’s very family oriented and neighborhood friendly—it feels personal. We only do to-go orders from there, since it’s a smaller storefront. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We opened the Burlingame location in February [2022]. Downtown Burlingame is more high-end, and there’s big chains there. You can dine in at that location and the interior is remodeled. It seems like less people know what Korean corn dogs are, but they come in surprised and leave loving our food. It makes me feel really happy when we can introduce people to them.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13916486\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916486 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_0946-800x1299.jpg\" alt=\"menu displaying the many food and drink options available at STIX in Burlingame\" width=\"800\" height=\"1299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0946-800x1299.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0946-1020x1656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0946-160x260.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0946-768x1247.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0946-946x1536.jpg 946w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0946-1262x2048.jpg 1262w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0946-1920x3117.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0946-scaled.jpg 1577w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">STIX menu is a choose-your-own-adventure experience for adventurous foodies. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What inspired you to bring Korean corn dogs to the Bay Area?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I always wanted to open a restaurant but wasn’t sure what food to serve. I’m a foodie, so I’m on Instagram checking out the food trends and what new restaurants are out there. In 2018, the Korean corn dog was already starting to trend in the U.S. There were a few spots in LA but there wasn’t much in the Bay Area—and it was only in the South Bay. It’s funny because you think of San Francisco having a diverse foodie scene, but I was surprised that no one had opened a Korean corn dog restaurant. That’s when we decided to just do it ourselves. We had to bring it to San Francisco, and we did. It took trial and error to get the recipe right—the batter and the amount of it. But we eventually figured it out. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Do you know the origin of the Korean corn dog?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s originally from South Korea’s night market scene. Street food [in Asia] is just big—lots of fun, creative foods. The first time we tried the corn dog was actually on a trip to Asia in 2019. It was all over in Taiwan, Japan, Hong Kong. We ate one in Japan. It was wow, just really delicious and I wanted more.\u003c/span>\u003c/p>\n\u003cp>\u003cb>You also serve boba and french fries, in addition to corn dogs. What are some of your most popular side items?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13916044,arts_13914585,arts_13913985']We serve curly fries. The deluxe version has nacho cheese and Hot Cheetos crumbs. That’s on the menu because I just like curly fries a lot (laughs). I also love nacho cheese and Hot Cheetos. People really love it as well. For our drinks, we have varieties of lemonades like mango, strawberry, and the pink guava cooler, which is popular. It’s just a sweet and refreshing juice. We also have typical milk teas that are flavored. The house special is the banana milk. It’s blended with a fresh banana and milk; it’s very creamy and fresh. We added it to the menu because corn dogs are heavy, fried foods. So it’s nice to have a refreshing drink with it.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s your personal favorite combo to order?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Potato is our best seller. It’s just a fun crust option and goes with anything. But I surprisingly like the regular. It’s panko covered. It’s crispy and not too heavy when you eat it. My husband likes the Flamin’ Hot Dog. It’s a Flamin’ Hot Cheetos corn dog. You can’t go wrong with that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Whenever you’re not eating Korean corn dogs, what are some of your favorite places for other Asian-inspired foods in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>We really love ramen\u003cspan style=\"font-weight: 400\">—we go to HiroNori in San Mateo for that. There’s also a really good \u003ca href=\"https://www.kqed.org/checkplease/21299/check-please-you-gotta-try-this-reviews-swedish-pancakes-kalbijjim-lamb-beef-shawarma\">Korean braised beef dish at Daeho Kalbijjim & Beef Soup\u003c/a>. And for Japanese curry, we go to Volcano Kitchen. We try to support small, independent businesses in the area as much as we can.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13916487\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916487 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_0983-800x533.jpg\" alt=\"neon signage displayed on the restaurant's wall that reads: "That's what cheese said!"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0983-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0983-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0983-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0983-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0983-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0983-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0983-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Decorations inside the shop. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003carticle class=\"routes-Site-routes-Post-components-Post-components-PostMinisite-___PostMinisite__mpost\">\n\u003cdiv class=\"post-body\">\n\u003cp style=\"text-align: left\">\u003cem>\u003ca href=\"https://www.instagram.com/stixsf/?hl=en\">STIX\u003c/a> San Francisco (\u003cspan class=\"LrzXr\">1353 Taraval St.) \u003c/span>is open every day except Wednesday; STIX Burlingame (\u003cspan class=\"LrzXr\">355 Broadway)\u003c/span> is open every day except Tuesday. Check their page for specific hours, which vary from noon to 6:30 or 7 pm closing.\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/article>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\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/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Korean corn dogs are not for the faint of stomach. With eye-popping size and a multitude of customizable ingredients, the show-stopping dogs on a stick have earned their keep among Instagrammers and TikTokers from Seoul to San Francisco with their fun geometric shapes and extra-stretchy cheese fillings. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Bon Appétit \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">even officially named 2021 “\u003c/span>\u003ca href=\"https://www.bonappetit.com/story/korean-corn-dogs\">\u003cspan style=\"font-weight: 400\">the Year of the Korean Corn Dog.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Popularized on social media through videos of the \u003ca href=\"https://www.instagram.com/p/B0BXjLZBq2j/\">slow-motion pull of cheese\u003c/a> with each bite, these corn dogs are a hyperized version of the American corn dog, with bigger, bolder and chewier options. You might get a ramen dog coated in panko with mozzarella cheese and wasabi mayo. Or, you can try a sugar-dusted fried-potato version with a beef wiener that’s drizzled with mustard. You can also mix up your options, like adding a half-beef, half-cheese filling, with Hot Cheetos crumbs and spicy mayo as dressing. There are no limits to the culinary imagination you can fit into your stomach. \u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">These stylized takes on the corn dog have been a staple in South Korea since 2016, but until recently they’ve been relatively elusive in the Bay. \u003ca href=\"https://www.instagram.com/myungranghotdogcupertino/?hl=en\">The Korean originator of these corn dogs, the Myungrang Hot Dog\u003c/a> chain, opened its first Bay Area location in Cupertino last summer, but \u003ca href=\"https://www.stixcorndogs.com/\">STIX\u003c/a>—a locally-owned take on the doggies—was the first to bring the craze to San Francisco proper in 2019. Between massive bites of a cornflake-and-sugar crusted corn dog, I caught up with STIX co-founder Emily Hui at her new shop in Burlingame to chat about how she brought one of social media’s biggest food trends to our region.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for length and clarity.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">********\u003c/span>\u003c/p>\n\u003cp>\u003cb>KQED: How would you describe a Korean corn dog to someone who doesn’t know what it is?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We get a lot of customers who don’t know what it is, actually—but afterwards they love it. American corn dogs use cornmeal for batter, but Korean uses regular flour and primarily rice flour. With rice flour, it gives the dough a really light, crispy and slightly chewy texture that is similar to mochi. For the interior we use all-beef hot dogs or mozzarella cheese. We serve a combo dog as well, which is half and half. But what makes Korean corn dogs special is that after skewering the hot dogs and cheese, the corn dogs are rolled in different toppings. Depending on what the customer wants, we have panko, french fries, Hot Cheetos, cornflakes, sugar and various other toppings to add to the texture and flavor. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"981\" height=\"557\" src=\"https://www.youtube.com/embed/7hzzap33Bhs\" title=\"Best Sandwich in San Francisco\" frameborder=\"0\" allow=\"accelerometer; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/center>\n\u003cp>\u003cb>When did the original STIX in the Sunset District open, and when did you add the Burlingame location? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My husband [Michael] and I opened the Sunset location in 2019. My husband grew up in San Francisco and went to high school right up the street, at Lincoln. There are a lot of mom-and-pop shops around here. When we first visualized starting a business, we wanted to do something together, just for us. We wanted to create something that was all our own. The Sunset was the perfect location. It’s very family oriented and neighborhood friendly—it feels personal. We only do to-go orders from there, since it’s a smaller storefront. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We opened the Burlingame location in February [2022]. Downtown Burlingame is more high-end, and there’s big chains there. You can dine in at that location and the interior is remodeled. It seems like less people know what Korean corn dogs are, but they come in surprised and leave loving our food. It makes me feel really happy when we can introduce people to them.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13916486\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916486 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_0946-800x1299.jpg\" alt=\"menu displaying the many food and drink options available at STIX in Burlingame\" width=\"800\" height=\"1299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0946-800x1299.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0946-1020x1656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0946-160x260.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0946-768x1247.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0946-946x1536.jpg 946w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0946-1262x2048.jpg 1262w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0946-1920x3117.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0946-scaled.jpg 1577w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">STIX menu is a choose-your-own-adventure experience for adventurous foodies. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What inspired you to bring Korean corn dogs to the Bay Area?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I always wanted to open a restaurant but wasn’t sure what food to serve. I’m a foodie, so I’m on Instagram checking out the food trends and what new restaurants are out there. In 2018, the Korean corn dog was already starting to trend in the U.S. There were a few spots in LA but there wasn’t much in the Bay Area—and it was only in the South Bay. It’s funny because you think of San Francisco having a diverse foodie scene, but I was surprised that no one had opened a Korean corn dog restaurant. That’s when we decided to just do it ourselves. We had to bring it to San Francisco, and we did. It took trial and error to get the recipe right—the batter and the amount of it. But we eventually figured it out. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Do you know the origin of the Korean corn dog?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s originally from South Korea’s night market scene. Street food [in Asia] is just big—lots of fun, creative foods. The first time we tried the corn dog was actually on a trip to Asia in 2019. It was all over in Taiwan, Japan, Hong Kong. We ate one in Japan. It was wow, just really delicious and I wanted more.\u003c/span>\u003c/p>\n\u003cp>\u003cb>You also serve boba and french fries, in addition to corn dogs. What are some of your most popular side items?\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>We serve curly fries. The deluxe version has nacho cheese and Hot Cheetos crumbs. That’s on the menu because I just like curly fries a lot (laughs). I also love nacho cheese and Hot Cheetos. People really love it as well. For our drinks, we have varieties of lemonades like mango, strawberry, and the pink guava cooler, which is popular. It’s just a sweet and refreshing juice. We also have typical milk teas that are flavored. The house special is the banana milk. It’s blended with a fresh banana and milk; it’s very creamy and fresh. We added it to the menu because corn dogs are heavy, fried foods. So it’s nice to have a refreshing drink with it.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s your personal favorite combo to order?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Potato is our best seller. It’s just a fun crust option and goes with anything. But I surprisingly like the regular. It’s panko covered. It’s crispy and not too heavy when you eat it. My husband likes the Flamin’ Hot Dog. It’s a Flamin’ Hot Cheetos corn dog. You can’t go wrong with that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Whenever you’re not eating Korean corn dogs, what are some of your favorite places for other Asian-inspired foods in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>We really love ramen\u003cspan style=\"font-weight: 400\">—we go to HiroNori in San Mateo for that. There’s also a really good \u003ca href=\"https://www.kqed.org/checkplease/21299/check-please-you-gotta-try-this-reviews-swedish-pancakes-kalbijjim-lamb-beef-shawarma\">Korean braised beef dish at Daeho Kalbijjim & Beef Soup\u003c/a>. And for Japanese curry, we go to Volcano Kitchen. We try to support small, independent businesses in the area as much as we can.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13916487\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916487 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_0983-800x533.jpg\" alt=\"neon signage displayed on the restaurant's wall that reads: "That's what cheese said!"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0983-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0983-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0983-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0983-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0983-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0983-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_0983-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Decorations inside the shop. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003carticle class=\"routes-Site-routes-Post-components-Post-components-PostMinisite-___PostMinisite__mpost\">\n\u003cdiv class=\"post-body\">\n\u003cp style=\"text-align: left\">\u003cem>\u003ca href=\"https://www.instagram.com/stixsf/?hl=en\">STIX\u003c/a> San Francisco (\u003cspan class=\"LrzXr\">1353 Taraval St.) \u003c/span>is open every day except Wednesday; STIX Burlingame (\u003cspan class=\"LrzXr\">355 Broadway)\u003c/span> is open every day except Tuesday. Check their page for specific hours, which vary from noon to 6:30 or 7 pm closing.\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/article>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are a handful of San Francisco locations that every visiting skateboarder should check off their list. Embarcadero (or \u003ca href=\"https://www.kqed.org/news/11871628/teen-rediscovers-san-franciscos-enduring-skate-spot-emb\" target=\"_blank\" rel=\"noopener noreferrer\">“EMB” if you wanna be a real skater about it\u003c/a>). \u003ca href=\"https://findskatespots.com/spots/sf-ca/tulare-street-3rd-and-army\" target=\"_blank\" rel=\"noopener noreferrer\">Third and Army\u003c/a>. \u003ca href=\"https://www.jenkemmag.com/home/2021/10/06/resurrection-san-franciscos-pier-7/\" target=\"_blank\" rel=\"noopener noreferrer\">Pier 7\u003c/a>. \u003ca href=\"https://findskatespots.com/spots/sf-ca/point-lobos-avenue-fort-miley\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Miley\u003c/a>. And—best and most frustrating of all—\u003ca href=\"https://findskatespots.com/spots/sf-ca/kearny-street-chinatown-banks\" target=\"_blank\" rel=\"noopener noreferrer\">China Banks\u003c/a>.\u003c/p>\n\u003cp>Just off Portsmouth Square, about 35 feet above Kearny Street, this pedestrian overpass is the stuff of legend. There’s an ornate red gate at one end, the Chinese Culture Center and Hilton Hotel at the other, and in between is nothing but brick, concrete slab benches, and steep banks. The spot is notoriously difficult to skate—because of short transitions, tight security and, oh yeah, the risk of falling over the edge—which is exactly why it has been so alluring to skaters for decades.\u003c/p>\n\u003cp>[aside postid='arts_13891248'] A new short film from San Francisco skateboard magazine \u003cem>Thrasher\u003c/em> breaks down the history of skating at the legendary location. It’s an interesting local history and urban geography lesson—even if skate videos aren’t normally your thing. \u003ca href=\"https://www.thrashermagazine.com/articles/videos/the-story-of-china-banks/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Story of China Banks\u003c/em>\u003c/a> starts with Mike “Arco” Archimedes discovering the spot’s potential in 1979, then charts the progression of tricks there via the skills of skate heroes including Ken Takeda, Coco Santiago, Tommy Guerrero, Steve Caballero, Mark “Gonz” Gonzales, Natas Kaupas, John Cardiel and Phil Shao.\u003c/p>\n\u003cp>Interviews with the skaters who figured out how to push this little corner of Chinatown to its fullest potential explain the whys, hows and who-got-hurts. One of the best is with Joe Valdez, the first skater to transfer ledge to ledge, successfully ollieing over the long drop to Kearny. Valdez talks about his time at China Banks with an almost spiritual regard. “I had a dream of San Francisco. I came with just a skateboard, $700, two friends beside me, and we lived in Golden Gate Park,” he says. “I time traveled here.”\u003c/p>\n\u003cp>The film finishes with contemporary skaters putting their own mark on the Banks. (Rowan Zorilla and Evan Smith note that some of the tricks they’re talking about happened at China Banks before they were even born.) Most triumphantly, Tristan Funkhouser pulls off a move that even Cardiel says he had “no idea was even possible.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With \u003ca href=\"https://sfrecpark.org/1166/Portsmouth-Square-Improvement-Project\" target=\"_blank\" rel=\"noopener noreferrer\">redevelopment plans currently threatening China Banks\u003c/a>, \u003cem>Thrashe\u003c/em>r’s video couldn’t be better timed. As Tommy Guerrero wisely advises here, “Get your licks quick.”\u003c/p>\n\u003cp>You can watch \u003cem>Thrasher\u003c/em>‘s \u003cem>The Story of China Banks\u003c/em> in full below:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2LBv3XFwHG4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are a handful of San Francisco locations that every visiting skateboarder should check off their list. Embarcadero (or \u003ca href=\"https://www.kqed.org/news/11871628/teen-rediscovers-san-franciscos-enduring-skate-spot-emb\" target=\"_blank\" rel=\"noopener noreferrer\">“EMB” if you wanna be a real skater about it\u003c/a>). \u003ca href=\"https://findskatespots.com/spots/sf-ca/tulare-street-3rd-and-army\" target=\"_blank\" rel=\"noopener noreferrer\">Third and Army\u003c/a>. \u003ca href=\"https://www.jenkemmag.com/home/2021/10/06/resurrection-san-franciscos-pier-7/\" target=\"_blank\" rel=\"noopener noreferrer\">Pier 7\u003c/a>. \u003ca href=\"https://findskatespots.com/spots/sf-ca/point-lobos-avenue-fort-miley\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Miley\u003c/a>. And—best and most frustrating of all—\u003ca href=\"https://findskatespots.com/spots/sf-ca/kearny-street-chinatown-banks\" target=\"_blank\" rel=\"noopener noreferrer\">China Banks\u003c/a>.\u003c/p>\n\u003cp>Just off Portsmouth Square, about 35 feet above Kearny Street, this pedestrian overpass is the stuff of legend. There’s an ornate red gate at one end, the Chinese Culture Center and Hilton Hotel at the other, and in between is nothing but brick, concrete slab benches, and steep banks. The spot is notoriously difficult to skate—because of short transitions, tight security and, oh yeah, the risk of falling over the edge—which is exactly why it has been so alluring to skaters for decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> A new short film from San Francisco skateboard magazine \u003cem>Thrasher\u003c/em> breaks down the history of skating at the legendary location. It’s an interesting local history and urban geography lesson—even if skate videos aren’t normally your thing. \u003ca href=\"https://www.thrashermagazine.com/articles/videos/the-story-of-china-banks/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Story of China Banks\u003c/em>\u003c/a> starts with Mike “Arco” Archimedes discovering the spot’s potential in 1979, then charts the progression of tricks there via the skills of skate heroes including Ken Takeda, Coco Santiago, Tommy Guerrero, Steve Caballero, Mark “Gonz” Gonzales, Natas Kaupas, John Cardiel and Phil Shao.\u003c/p>\n\u003cp>Interviews with the skaters who figured out how to push this little corner of Chinatown to its fullest potential explain the whys, hows and who-got-hurts. One of the best is with Joe Valdez, the first skater to transfer ledge to ledge, successfully ollieing over the long drop to Kearny. Valdez talks about his time at China Banks with an almost spiritual regard. “I had a dream of San Francisco. I came with just a skateboard, $700, two friends beside me, and we lived in Golden Gate Park,” he says. “I time traveled here.”\u003c/p>\n\u003cp>The film finishes with contemporary skaters putting their own mark on the Banks. (Rowan Zorilla and Evan Smith note that some of the tricks they’re talking about happened at China Banks before they were even born.) Most triumphantly, Tristan Funkhouser pulls off a move that even Cardiel says he had “no idea was even possible.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>\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/b>\u003c/p>\n\u003cp>I’ve been on a vegan kick lately. Maybe after visiting my family in Mexico—a trip that began with tacos al pastor, continued with tacos al pastor and ended with tacos al pastor—I subconsciously reverted to a cleaner, lighter diet upon my return to California. Luckily, the Bay Area is one of the country’s leading regions for vegan options, as evidenced by events like \u003ca href=\"https://www.kqed.org/arts/13915889/berkeley-vegan-food-festival-bizerkeley-vegan\">The Bizerkeley Food Festival\u003c/a> later this summer.\u003c/p>\n\u003cp>This week I linked up with \u003ca href=\"https://www.instagram.com/theveganhoodchefs/?hl=en\">The Vegan Hood Chefs\u003c/a>, a popular duo from San Francisco who serve bomb, Southern-inspired comfort foods while “revolutionizing hood nutrition.” They are part of a larger wave of Black vegan entrepreneurs in the Bay Area, including \u003ca href=\"https://souleyvegan.com/\">Souley Vegan\u003c/a> and \u003ca href=\"https://veganmob.biz/\">Vegan Mob\u003c/a>, who are redefining what vegan food can be for diverse communities.\u003c/p>\n\u003cp>Plant-based po’ boys with oyster mushrooms? Giant plates of jambalaya using vegan sausage, bell peppers, onions, garlic, rice and celery? Marinated chunks of breaded jackfruit fried in Cajun spices? The Vegan Hood Chefs have got it all. And like any true Bay Area hustlers, they’re everywhere with it, posting up in the Mission, Stockton, Oakland and beyond—anywhere they can serve their flavorful heritage to hungry folks who might not yet know the pleasures of veganism.\u003c/p>\n\u003cfigure id=\"attachment_13916056\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916056 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_1388-800x533.jpg\" alt='two plates of vegan french fries on a table outside in front of the Vegan Hood Chefs food truck. A printed slogan on the side of the truck says \"revolutionizing hood nutrition\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1388-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1388-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1388-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1388-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1388-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1388-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1388-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jambalaya fries, left, and birria fries, right, served by the Vegan Hood Chefs \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I met them in a parking lot on 18th and Valencia, \u003cspan style=\"font-weight: 400\">Ronnishia Johnson-Hasan \u003c/span>(a licensed clinical social worker, mother and family caretaker from Hunters Point) and her business partner, Rheema Calloway (chef, caretaker and community organizer from Lakeview), were blasting Bay Area anthems from a sound system and dishing up mounds of vegan goodies, including four varieties of “loaded” french fries: Jackfruit Birria (spiced jackfruit, cilantro, diced onions, and vegan cheese sauce), Surf and Turf (Konjac Root Skrimp and Lions Maine “steak” with creamy Alfredo sauce), Jambalaya (vegan parmesan garlic butter and vegan jambalaya) and Poke (coconut-marinated papaya, seaweed, wasabi mayo and hearts of palm “Krab”).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was more than enough to excite any vegan eater—whether full-time, part-time, or first-time. I took a seat with them to hear about how it all started.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">*****\u003c/p>\n\u003cp>\u003cb>KQED: When did you each begin your individual journeys as vegans?\u003c/b>\u003c/p>\n\u003cp>Ronnishia: I started my transition into veganism in 2010, 2011. I was an undergrad at Texas Southern University, and we were roommates. I had hypertension blood pressure, so my boyfriend at the time educated me on a plant-based diet, my weight and overall health. I did more research and I started the process. I cut out red meat, and eventually over 10 to 12 years I became full vegan.\u003c/p>\n\u003cp>Rheema: We were best friends. When she started her transition in college I thought she was crazy—she was eating differently and cut all her hair off. But when we graduated and came home [to San Francisco], we started to learn more about food justice. She challenged me to do a fast with her, so we did it for 30 days. I realized how much energy I had and how good I felt afterward. I was a struggling pescatarian at first, and then around 2012 I transitioned to being vegan.\u003c/p>\n\u003cp>\u003cb>How did The Vegan Hood Chefs start?\u003c/b>\u003c/p>\n\u003cp>Ronnishia: It started in 2017. We started this journey by wanting to eat healthy. We lived in a food desert as Black folks. Most of our work is in our own communities, which are food deserts, where people aren’t having conversations around veganism in a culturally connected way. We wanted our families and folks we love to join the conversation about food justice. And we didn’t see people like us leading those conversations.\u003c/p>\n\u003cp>At first, we started a food page on Instagram to raise awareness on what we were eating and cooking. We didn’t plan to start a business at all. Then, one of our friends at the time was hosting an event and their caterer backed out at the last minute, so she asked us to do it instead. At the time, we had a partner in culinary school—my cousin—and we figured we could try to do it together. My day job used a kitchen whenever we needed to cook for kids, so we used that. [That first event] we cooked for 200 people and it sold out. That spread through word of mouth and online and it took off from there. It just filled a need in the community around veganism and eating healthy as a healing practice in Black and Brown communities.\u003c/p>\n\u003cp>\u003cb>What’s an example of a dish on your menu that is popular?\u003c/b>\u003c/p>\n\u003cp>Rheema: The Sucka Free Poboy is special. We’re intentional about naming our items. It’s based on San Francisco [“Sucka Free City”] and how we speak here, but inspired by our grandmothers, who are both from Louisiana. We grew up eating this. Our Po’boy uses oyster mushrooms battered in the way our grandmothers would do it. It’s fried, with lettuce, tomatoes, purple cabbage, green onions and topped with our house sauce.\u003c/p>\n\u003cp>Ronnishia: Also, the bread we use is super awesome. It’s from Acme, a local bakery. \u003cspan style=\"font-weight: 400\">Our mushrooms are sourced by Far West Fungi!\u003c/span>\u003c/p>\n\u003cp>\u003cb>How does your food reflect your connection to the Bay Area?\u003c/b>\u003c/p>\n\u003cp>Ronnishia: I’m from Hunters Point and Rheema is from Lakeview. It’s printed on our truck. We have a deep connection to our heritage and culture, but also to The City. A lot of families migrated here from the South to work in the shipyards, so there’s a deep relationship to places like Louisiana and Texas. We bring that out in our food with the names and ingredients we choose. We want you to get our experience as Black folks living in San Francisco.\u003c/p>\n\u003cp>Rheema: We’re all over the Bay, too. The beauty of the truck is that we get to honor who we are, but also meet people where they’re at. We’ve been from S.F. to Richmond to Oakland to Stockton to Sacramento to Santa Cruz to San Ramon to Sonoma County and back. It’s dope. We’re popping up everywhere. We also did that when we didn’t have the truck, but now it’s about giving more accessibility in our communities. We’ve also been partnering with Bay Area businesses like \u003cspan style=\"font-weight: 400\">Natrully Herbs\u003c/span> in Richmond, a Black-owned collaborative space with smoothies and alkaline foods, which is a step above vegan.\u003c/p>\n\u003cp>\u003cb>What challenges have you overcome with running an independent business?\u003c/b>\u003c/p>\n\u003cp>Ronnishia: Lack of representation. We started off in this industry without any real knowledge around how to run a food business. Fortunately, we picked that up along the way. But it’s often difficult for communities of color to have the capital to start a business, even when we’re being innovative. It makes you doubt yourself. Lacking access to mentorship and support, we had to figure out how we do it all as we go.\u003c/p>\n\u003cp>Also, it’s difficult to be a Black woman in a male-dominated industry. It feels like we have to work 10 times as hard to be taken seriously and have the same opportunities. The food industry is fast-paced and changing, so there’s always a need to pivot and keep your business sustainable. During the pandemic we were affected—before we had a food truck—and we had to completely revamp our model from pop-ups and home events to using social media more and engaging our audience. It’s hard to find good, reliable staff too. That’s happening all over the food industry right now.\u003c/p>\n\u003cfigure id=\"attachment_13916057\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916057 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_1412-800x533.jpg\" alt=\"one side of the Vegan Hood Chefs' truck shares their mission, which is to honor the heritage, sacredness and practices of cultural foods\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1412-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1412-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1412-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1412-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1412-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1412-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1412-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Vegan Hood Chefs are on a mission to “honor the heritage, sacredness, and practices of cultural foods.” \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>When you’re not eating your own food, where do you go to grub on vegan dishes?\u003c/b>\u003c/p>\n\u003cp>Rheema: Our top favorite is Om Sabor, on Grove Street [in San Francisco]. It’s Latinx inspired and influenced. They make the best muthafuckin’ \u003cspan style=\"font-weight: 400\">krab sushi and food fusions\u003c/span>. The enchiladas there are hella good. They do vegan plates that you can share in groups. Golden Lotus, in Oakland. Comidadejen, Casa Borinqueña and \u003cspan style=\"font-weight: 400\">Koquito\u003c/span>, Puerto Rican-infused places.\u003c/p>\n\u003cp>Ronnishia: Malibu Burgers in Piedmont is good. We go to Wildseed a lot; they have a delicious mushroom pizza we love. There’s great Ethiopian food like Oasis Cafe in Fillmore. \u003ca href=\"https://www.caferomanat.com/\">\u003cspan style=\"font-weight: 400\">Café Romanat\u003c/span>\u003c/a> in Oakland. Vegan Solstice in Stockton, which hosts pop-ups. Vegan Heat, Black-owned, that’s a pop-up.\u003c/p>\n\u003cp>Rheema: Oh, what’s our favorite ice cream place called? \u003cspan style=\"font-weight: 400\">Kubè Nice Cream in Oakland\u003c/span>. They have this coconut and key lime ice cream. Oh my gosh. It’s hella good. Makes you wanna slap your momma.\u003c/p>\n\u003cp>\u003cb>What are you cooking up next?\u003c/b>\u003c/p>\n\u003cp>Ronnishia: We’re working on a cookbook that should be coming out towards the end of this year. We’re working on more online content as well—we want to tap into creating more video content, to provide resources around how to shop and where to start being vegan. This work is something we really enjoy, and these are the conversations we have with people from our communities who visit our truck. We have a blog we utilize somewhat—which the Bizerkeley Vegan used to write for—but we haven’t been able to do that as much lately. Our main mission is to just keep connecting and educating our community, and to cook in as many ways as possible.\u003c/p>\n\u003cp>Rheema: We’re in the Mission a lot. You can’t miss us.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/theveganhoodchefs/\">\u003cspan style=\"font-weight: 400\">The Vegan Hood Chefs\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> regularly rotate menus and locations. Check their social media pages for updates on where they’ll be next.\u003c/span>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\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/b>\u003c/p>\n\u003cp>I’ve been on a vegan kick lately. Maybe after visiting my family in Mexico—a trip that began with tacos al pastor, continued with tacos al pastor and ended with tacos al pastor—I subconsciously reverted to a cleaner, lighter diet upon my return to California. Luckily, the Bay Area is one of the country’s leading regions for vegan options, as evidenced by events like \u003ca href=\"https://www.kqed.org/arts/13915889/berkeley-vegan-food-festival-bizerkeley-vegan\">The Bizerkeley Food Festival\u003c/a> later this summer.\u003c/p>\n\u003cp>This week I linked up with \u003ca href=\"https://www.instagram.com/theveganhoodchefs/?hl=en\">The Vegan Hood Chefs\u003c/a>, a popular duo from San Francisco who serve bomb, Southern-inspired comfort foods while “revolutionizing hood nutrition.” They are part of a larger wave of Black vegan entrepreneurs in the Bay Area, including \u003ca href=\"https://souleyvegan.com/\">Souley Vegan\u003c/a> and \u003ca href=\"https://veganmob.biz/\">Vegan Mob\u003c/a>, who are redefining what vegan food can be for diverse communities.\u003c/p>\n\u003cp>Plant-based po’ boys with oyster mushrooms? Giant plates of jambalaya using vegan sausage, bell peppers, onions, garlic, rice and celery? Marinated chunks of breaded jackfruit fried in Cajun spices? The Vegan Hood Chefs have got it all. And like any true Bay Area hustlers, they’re everywhere with it, posting up in the Mission, Stockton, Oakland and beyond—anywhere they can serve their flavorful heritage to hungry folks who might not yet know the pleasures of veganism.\u003c/p>\n\u003cfigure id=\"attachment_13916056\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916056 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_1388-800x533.jpg\" alt='two plates of vegan french fries on a table outside in front of the Vegan Hood Chefs food truck. A printed slogan on the side of the truck says \"revolutionizing hood nutrition\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1388-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1388-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1388-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1388-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1388-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1388-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1388-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jambalaya fries, left, and birria fries, right, served by the Vegan Hood Chefs \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I met them in a parking lot on 18th and Valencia, \u003cspan style=\"font-weight: 400\">Ronnishia Johnson-Hasan \u003c/span>(a licensed clinical social worker, mother and family caretaker from Hunters Point) and her business partner, Rheema Calloway (chef, caretaker and community organizer from Lakeview), were blasting Bay Area anthems from a sound system and dishing up mounds of vegan goodies, including four varieties of “loaded” french fries: Jackfruit Birria (spiced jackfruit, cilantro, diced onions, and vegan cheese sauce), Surf and Turf (Konjac Root Skrimp and Lions Maine “steak” with creamy Alfredo sauce), Jambalaya (vegan parmesan garlic butter and vegan jambalaya) and Poke (coconut-marinated papaya, seaweed, wasabi mayo and hearts of palm “Krab”).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was more than enough to excite any vegan eater—whether full-time, part-time, or first-time. I took a seat with them to hear about how it all started.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">*****\u003c/p>\n\u003cp>\u003cb>KQED: When did you each begin your individual journeys as vegans?\u003c/b>\u003c/p>\n\u003cp>Ronnishia: I started my transition into veganism in 2010, 2011. I was an undergrad at Texas Southern University, and we were roommates. I had hypertension blood pressure, so my boyfriend at the time educated me on a plant-based diet, my weight and overall health. I did more research and I started the process. I cut out red meat, and eventually over 10 to 12 years I became full vegan.\u003c/p>\n\u003cp>Rheema: We were best friends. When she started her transition in college I thought she was crazy—she was eating differently and cut all her hair off. But when we graduated and came home [to San Francisco], we started to learn more about food justice. She challenged me to do a fast with her, so we did it for 30 days. I realized how much energy I had and how good I felt afterward. I was a struggling pescatarian at first, and then around 2012 I transitioned to being vegan.\u003c/p>\n\u003cp>\u003cb>How did The Vegan Hood Chefs start?\u003c/b>\u003c/p>\n\u003cp>Ronnishia: It started in 2017. We started this journey by wanting to eat healthy. We lived in a food desert as Black folks. Most of our work is in our own communities, which are food deserts, where people aren’t having conversations around veganism in a culturally connected way. We wanted our families and folks we love to join the conversation about food justice. And we didn’t see people like us leading those conversations.\u003c/p>\n\u003cp>At first, we started a food page on Instagram to raise awareness on what we were eating and cooking. We didn’t plan to start a business at all. Then, one of our friends at the time was hosting an event and their caterer backed out at the last minute, so she asked us to do it instead. At the time, we had a partner in culinary school—my cousin—and we figured we could try to do it together. My day job used a kitchen whenever we needed to cook for kids, so we used that. [That first event] we cooked for 200 people and it sold out. That spread through word of mouth and online and it took off from there. It just filled a need in the community around veganism and eating healthy as a healing practice in Black and Brown communities.\u003c/p>\n\u003cp>\u003cb>What’s an example of a dish on your menu that is popular?\u003c/b>\u003c/p>\n\u003cp>Rheema: The Sucka Free Poboy is special. We’re intentional about naming our items. It’s based on San Francisco [“Sucka Free City”] and how we speak here, but inspired by our grandmothers, who are both from Louisiana. We grew up eating this. Our Po’boy uses oyster mushrooms battered in the way our grandmothers would do it. It’s fried, with lettuce, tomatoes, purple cabbage, green onions and topped with our house sauce.\u003c/p>\n\u003cp>Ronnishia: Also, the bread we use is super awesome. It’s from Acme, a local bakery. \u003cspan style=\"font-weight: 400\">Our mushrooms are sourced by Far West Fungi!\u003c/span>\u003c/p>\n\u003cp>\u003cb>How does your food reflect your connection to the Bay Area?\u003c/b>\u003c/p>\n\u003cp>Ronnishia: I’m from Hunters Point and Rheema is from Lakeview. It’s printed on our truck. We have a deep connection to our heritage and culture, but also to The City. A lot of families migrated here from the South to work in the shipyards, so there’s a deep relationship to places like Louisiana and Texas. We bring that out in our food with the names and ingredients we choose. We want you to get our experience as Black folks living in San Francisco.\u003c/p>\n\u003cp>Rheema: We’re all over the Bay, too. The beauty of the truck is that we get to honor who we are, but also meet people where they’re at. We’ve been from S.F. to Richmond to Oakland to Stockton to Sacramento to Santa Cruz to San Ramon to Sonoma County and back. It’s dope. We’re popping up everywhere. We also did that when we didn’t have the truck, but now it’s about giving more accessibility in our communities. We’ve also been partnering with Bay Area businesses like \u003cspan style=\"font-weight: 400\">Natrully Herbs\u003c/span> in Richmond, a Black-owned collaborative space with smoothies and alkaline foods, which is a step above vegan.\u003c/p>\n\u003cp>\u003cb>What challenges have you overcome with running an independent business?\u003c/b>\u003c/p>\n\u003cp>Ronnishia: Lack of representation. We started off in this industry without any real knowledge around how to run a food business. Fortunately, we picked that up along the way. But it’s often difficult for communities of color to have the capital to start a business, even when we’re being innovative. It makes you doubt yourself. Lacking access to mentorship and support, we had to figure out how we do it all as we go.\u003c/p>\n\u003cp>Also, it’s difficult to be a Black woman in a male-dominated industry. It feels like we have to work 10 times as hard to be taken seriously and have the same opportunities. The food industry is fast-paced and changing, so there’s always a need to pivot and keep your business sustainable. During the pandemic we were affected—before we had a food truck—and we had to completely revamp our model from pop-ups and home events to using social media more and engaging our audience. It’s hard to find good, reliable staff too. That’s happening all over the food industry right now.\u003c/p>\n\u003cfigure id=\"attachment_13916057\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916057 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_1412-800x533.jpg\" alt=\"one side of the Vegan Hood Chefs' truck shares their mission, which is to honor the heritage, sacredness and practices of cultural foods\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1412-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1412-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1412-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1412-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1412-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1412-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1412-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Vegan Hood Chefs are on a mission to “honor the heritage, sacredness, and practices of cultural foods.” \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>When you’re not eating your own food, where do you go to grub on vegan dishes?\u003c/b>\u003c/p>\n\u003cp>Rheema: Our top favorite is Om Sabor, on Grove Street [in San Francisco]. It’s Latinx inspired and influenced. They make the best muthafuckin’ \u003cspan style=\"font-weight: 400\">krab sushi and food fusions\u003c/span>. The enchiladas there are hella good. They do vegan plates that you can share in groups. Golden Lotus, in Oakland. Comidadejen, Casa Borinqueña and \u003cspan style=\"font-weight: 400\">Koquito\u003c/span>, Puerto Rican-infused places.\u003c/p>\n\u003cp>Ronnishia: Malibu Burgers in Piedmont is good. We go to Wildseed a lot; they have a delicious mushroom pizza we love. There’s great Ethiopian food like Oasis Cafe in Fillmore. \u003ca href=\"https://www.caferomanat.com/\">\u003cspan style=\"font-weight: 400\">Café Romanat\u003c/span>\u003c/a> in Oakland. Vegan Solstice in Stockton, which hosts pop-ups. Vegan Heat, Black-owned, that’s a pop-up.\u003c/p>\n\u003cp>Rheema: Oh, what’s our favorite ice cream place called? \u003cspan style=\"font-weight: 400\">Kubè Nice Cream in Oakland\u003c/span>. They have this coconut and key lime ice cream. Oh my gosh. It’s hella good. Makes you wanna slap your momma.\u003c/p>\n\u003cp>\u003cb>What are you cooking up next?\u003c/b>\u003c/p>\n\u003cp>Ronnishia: We’re working on a cookbook that should be coming out towards the end of this year. We’re working on more online content as well—we want to tap into creating more video content, to provide resources around how to shop and where to start being vegan. This work is something we really enjoy, and these are the conversations we have with people from our communities who visit our truck. We have a blog we utilize somewhat—which the Bizerkeley Vegan used to write for—but we haven’t been able to do that as much lately. Our main mission is to just keep connecting and educating our community, and to cook in as many ways as possible.\u003c/p>\n\u003cp>Rheema: We’re in the Mission a lot. You can’t miss us.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[dropcap]I[/dropcap]n the 1930s, young Asian American women living in San Francisco didn’t have a lot of job prospects. At home, these women often faced limiting cultural expectations. And in the wider non-Asian community, discrimination against them was rife. Secretarial and administration positions were off limits, and even the most beautiful and talented girls couldn’t find regular work as models or actors. For those unwilling to rush into marriage or work manual labor jobs, employment options were few and far between.\u003c/p>\n\u003cp>After prohibition ended in 1933, however, new opportunities arose. For those brave enough to embrace the thrills and spills of city nightlife, the new bars and nightclubs that began opening all over Chinatown offered jobs. Bold young Asian American women became singers, dancers and showgirls, and entertained packed rooms of diverse audiences. In the process, they helped buck racist stereotypes about Asian Americans common in the Bay Area at the time.\u003c/p>\n\u003cp>One of these women was Mary Mammon.\u003c/p>\n\u003cp>[aside postid='arts_13895374']For the first 16 years of her life, Mammon lived in Clifton, Arizona—a small town that was overwhelmingly white, but still welcoming to her family. When Mammon’s grandmother got sick, her mom—originally from San Francisco—moved Mammon and her five older siblings to the city by the bay. Mammon was immediately struck by how segregated it was.\u003c/p>\n\u003cp>“At one time,” she told Arthur Dong for his \u003ca href=\"https://www.goodreads.com/book/show/28958446-forbidden-city-usa?from_search=true&from_srp=true&qid=y4gDuKbP6M&rank=1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Forbidden City USA\u003c/em>\u003c/a> book, “the boundary line was Broadway. The Italians didn’t cross over to the Chinese side and the Chinese didn’t cross over to that side without causing some sort of fracas … [At] one time, the parks had signs that said ‘No Chinese or dogs allowed.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Faced with few other options, in 1936 Mammon tried her hand as a cocktail waitress at the Chinese Pagoda, situated at 830 Grant Ave. (The bar makes a very brief appearance in the 1960 film \u003ca href=\"https://www.imdb.com/title/tt0054197/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Portrait in Black\u003c/em>\u003c/a>.) A popular trend at the time was to have singing wait staff, so Mammon quickly became accustomed to performing. Though never formally trained, she had gravitated towards singing and dancing since she was a little girl. In high school, she was a member of the Glee Club, and a huge fan of Fred Astaire, Ginger Rogers, Dick Powell and Ruby Keeler. Mammon jumped at the opportunity to perform for an audience.\u003c/p>\n\u003cp>One of Mammon’s most popular numbers at the Pagoda was “\u003ca href=\"https://www.youtube.com/watch?v=fJcdNr-WIvA\" target=\"_blank\" rel=\"noopener noreferrer\">A-Tisket-A-Tasket\u003c/a>,” the jazz standard popularized by Ella Fitzgerald. Legend has it that, after seeing Mammon perform it one night, Herb Caen expressed confusion in his \u003cem>Chronicle\u003c/em> column over why an Asian girl would perform such a song. At the time, most Americans had simply never seen people of Asian descent singing anything other than traditional Chinese opera.\u003c/p>\n\u003cp>Mammon actively looked for performing gigs that wouldn’t require her to also wait tables. She reached out to chorus lines across San Francisco and was turned down by all of them. “They didn’t think a Chinese could do it,” she told the \u003cem>Sydney Morning Herald\u003c/em> in 1992. “Most people thought that Blacks had a lot of rhythm and Orientals had none.”\u003c/p>\n\u003cfigure id=\"attachment_13915033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915033\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Mary-Mammon-C-800x479.png\" alt=\"\" width=\"800\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Mary-Mammon-C-800x479.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Mary-Mammon-C-1020x610.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Mary-Mammon-C-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Mary-Mammon-C-768x459.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Mary-Mammon-C-1536x919.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Mary-Mammon-C-2048x1225.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Mary-Mammon-C-1920x1149.png 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A fashion-forward Mary Mammon is seen at the center of a Forbidden City table in the 1940s. To her right is her friend and dance partner Dottie Sun. On either side of them sit two servicemen and another friend. \u003ccite>('Forbidden City USA' documentary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December of 1938, Mammon was finally given the chance to expand her skills when the first Chinese nightclub in America opened at 363 Sutter Street. Its name was Forbidden City, and it was the brainchild of Charlie Low, a bar owner originally from Nevada. Low was encouraged to open the club by his second wife Li Tei Ming—a singer who was looking for stages to perform on. When Mammon auditioned for the second-floor club, she was welcomed with open arms—she was one of the few chorus girls there with any experience at all.\u003c/p>\n\u003cp>“I shared the tastes of middle America,” Mary said in 1992. “The nightclubs were not a cultural shock to me. They were quite nice. The days of the speakeasy were gone. I mainly remember that we had a lot of fun at Charlie Low’s club, doing what we wanted to do. People were curious about us.”\u003c/p>\n\u003cp>The club limped through its first year, struggling to find its tone and audience. But once it did, it inspired a rash of copycats in Chinatown. The Chinese Skyroom, Club Shanghai, Kubla Khan and Lion’s Den all swiftly followed in Forbidden City’s footsteps, offering the same joyful blend of Asian and American cultures. The change in the neighborhood was not welcomed by everyone—and the female performers were judged most harshly of all.\u003c/p>\n\u003cp>[aside postid='arts_13902628']“The Chinese families in San Francisco looked down on such things,” Mammon explained in \u003cem>Forbidden City USA\u003c/em>. “Show your legs out there for people to see? It was unheard of! Girls were taught to grow up and keep house, and we were supposed to get married at a certain time, and we were supposed to know how to take care of a house, and take of the children, and take care of your husband. This was just not part of the Chinese culture.”\u003c/p>\n\u003cp>In Arthur Dong’s \u003ca href=\"https://www.imdb.com/title/tt0121292/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">1989 documentary, \u003cem>Forbidden City USA\u003c/em>\u003c/a>, Jadin Wong, one of Mammon’s fellow dancers, recalled: “We used to get letters from Chinese people telling us that we should be ashamed of ourselves doing what we do for a living, dancing in a nightclub.” Singer Frances Chun added: “[It] was shocking for the Chinese community, and confusing for the Caucasian people.” One former patron named Gladys Hu explained that “it was quite a scandalous place to be going, because you had showgirls in skimpy costumes.”\u003c/p>\n\u003cp>In the midst of it all, Mammon and her friends remained impervious to the criticism and, for the most part, had a ball—despite being underpaid for their labor.\u003c/p>\n\u003cp>[dropcap]B[/dropcap]y the 1940s, Mammon and her Forbidden City cohorts were nationwide sensations. \u003cem>Life\u003c/em> magazine had garnered the club national attention in 1938 with an article outlining the ways it filled “a local cultural need” in San Francisco. But it was during World War II when word really began to spread, thanks to the servicemen who visited Forbidden City whenever granted leave in the Bay. Once word spread throughout the military, the press was quick to follow.\u003c/p>\n\u003cp>One newsreel of the time introduced Forbidden City’s chorus girls in a beach setting. Wearing traditional Chinese dresses, the women begin the segment with what the newscaster describes as an “age-old dance” in order to “welcome Springtime.” After a few moments, the seemingly demure women run behind a screen, fling off their clothes and emerge gleefully in modern swimsuits for a dance routine on the sand. Each of the Forbidden City dancers looks thrilled to play into, and then flip, the common Asian American stereotypes of the day.\u003c/p>\n\u003cfigure id=\"attachment_13915135\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915135\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-22-at-3.30.17-PM-800x922.png\" alt=\"\" width=\"800\" height=\"922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-22-at-3.30.17-PM-800x922.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-22-at-3.30.17-PM-160x184.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-22-at-3.30.17-PM-768x886.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-22-at-3.30.17-PM.png 836w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Associated Press picture story about Mary Mammon, titled “Chinatown Girl,” as seen in the Bangor Daily News, July 4, 1941. \u003ccite>(Bangor Daily News)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In June of 1941, a syndicated Associated Press article presented a day in the life of Mammon. Chinatown, the report said, “once was reputed to hold all the sins and exotic charms of Old China, but a new generation, modern and American, has sprung up.” After a series of fluffy and frivolous photos of Mammon performing, shopping, eating, studying, sunbathing, and walking through Chinatown in fashionable garb, the story concluded with a salient point.\u003c/p>\n\u003cp>“Tourists may mourn the passing of the old Chinatown customs and fixtures,” it said, “but for Mary and girls like her it has meant emancipation.”\u003c/p>\n\u003cp>[aside postid='arts_13897608']The coverage gave Forbidden City yet another boost, and it began attracting celebrities. Bing Crosby, Bob Hope, Alfred Hitchcock, John Wayne and Ronald Reagan all paid the club a visit. Now and again, Mammon and other dancers, including Hazel Jay and Dottie Sun, hit the road to show audiences across America what they could do. The \u003cem>Chinese Follies\u003c/em> tour was one such jaunt.\u003c/p>\n\u003cp>With the 1950s came a new wave of pop culture icons and a cultural shift that left Forbidden City and other nightclubs like it looking increasingly dated. Low finally sold the club in 1962. By that time, Mammon was a single mom of two sons, having married in 1947 and divorced in 1955. When the club closed, she hung up her dancing shoes and took a grocery clerk job at Safeway. Mammon never lost her love of music, though. In retirement, she sang in choirs and danced at the Berkeley Chinese Senior Center, where she was an active volunteer.\u003c/p>\n\u003cp>Mary Mammon died in 2002 at the age of 84, a beloved great-grandmother who never forgot her nightclub days. The determination she showed in her younger years to live life on her own terms was not only an inspiration to other women at the time—it also transformed how white America saw a new generation of Asian Americans. That everyone had such a good time in the process is just the cherry on top.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For the first 16 years of her life, Mammon lived in Clifton, Arizona—a small town that was overwhelmingly white, but still welcoming to her family. When Mammon’s grandmother got sick, her mom—originally from San Francisco—moved Mammon and her five older siblings to the city by the bay. Mammon was immediately struck by how segregated it was.\u003c/p>\n\u003cp>“At one time,” she told Arthur Dong for his \u003ca href=\"https://www.goodreads.com/book/show/28958446-forbidden-city-usa?from_search=true&from_srp=true&qid=y4gDuKbP6M&rank=1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Forbidden City USA\u003c/em>\u003c/a> book, “the boundary line was Broadway. The Italians didn’t cross over to the Chinese side and the Chinese didn’t cross over to that side without causing some sort of fracas … [At] one time, the parks had signs that said ‘No Chinese or dogs allowed.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Faced with few other options, in 1936 Mammon tried her hand as a cocktail waitress at the Chinese Pagoda, situated at 830 Grant Ave. (The bar makes a very brief appearance in the 1960 film \u003ca href=\"https://www.imdb.com/title/tt0054197/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Portrait in Black\u003c/em>\u003c/a>.) A popular trend at the time was to have singing wait staff, so Mammon quickly became accustomed to performing. Though never formally trained, she had gravitated towards singing and dancing since she was a little girl. In high school, she was a member of the Glee Club, and a huge fan of Fred Astaire, Ginger Rogers, Dick Powell and Ruby Keeler. Mammon jumped at the opportunity to perform for an audience.\u003c/p>\n\u003cp>One of Mammon’s most popular numbers at the Pagoda was “\u003ca href=\"https://www.youtube.com/watch?v=fJcdNr-WIvA\" target=\"_blank\" rel=\"noopener noreferrer\">A-Tisket-A-Tasket\u003c/a>,” the jazz standard popularized by Ella Fitzgerald. Legend has it that, after seeing Mammon perform it one night, Herb Caen expressed confusion in his \u003cem>Chronicle\u003c/em> column over why an Asian girl would perform such a song. At the time, most Americans had simply never seen people of Asian descent singing anything other than traditional Chinese opera.\u003c/p>\n\u003cp>Mammon actively looked for performing gigs that wouldn’t require her to also wait tables. She reached out to chorus lines across San Francisco and was turned down by all of them. “They didn’t think a Chinese could do it,” she told the \u003cem>Sydney Morning Herald\u003c/em> in 1992. “Most people thought that Blacks had a lot of rhythm and Orientals had none.”\u003c/p>\n\u003cfigure id=\"attachment_13915033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915033\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Mary-Mammon-C-800x479.png\" alt=\"\" width=\"800\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Mary-Mammon-C-800x479.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Mary-Mammon-C-1020x610.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Mary-Mammon-C-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Mary-Mammon-C-768x459.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Mary-Mammon-C-1536x919.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Mary-Mammon-C-2048x1225.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Mary-Mammon-C-1920x1149.png 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A fashion-forward Mary Mammon is seen at the center of a Forbidden City table in the 1940s. To her right is her friend and dance partner Dottie Sun. On either side of them sit two servicemen and another friend. \u003ccite>('Forbidden City USA' documentary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December of 1938, Mammon was finally given the chance to expand her skills when the first Chinese nightclub in America opened at 363 Sutter Street. Its name was Forbidden City, and it was the brainchild of Charlie Low, a bar owner originally from Nevada. Low was encouraged to open the club by his second wife Li Tei Ming—a singer who was looking for stages to perform on. When Mammon auditioned for the second-floor club, she was welcomed with open arms—she was one of the few chorus girls there with any experience at all.\u003c/p>\n\u003cp>“I shared the tastes of middle America,” Mary said in 1992. “The nightclubs were not a cultural shock to me. They were quite nice. The days of the speakeasy were gone. I mainly remember that we had a lot of fun at Charlie Low’s club, doing what we wanted to do. People were curious about us.”\u003c/p>\n\u003cp>The club limped through its first year, struggling to find its tone and audience. But once it did, it inspired a rash of copycats in Chinatown. The Chinese Skyroom, Club Shanghai, Kubla Khan and Lion’s Den all swiftly followed in Forbidden City’s footsteps, offering the same joyful blend of Asian and American cultures. The change in the neighborhood was not welcomed by everyone—and the female performers were judged most harshly of all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The Chinese families in San Francisco looked down on such things,” Mammon explained in \u003cem>Forbidden City USA\u003c/em>. “Show your legs out there for people to see? It was unheard of! Girls were taught to grow up and keep house, and we were supposed to get married at a certain time, and we were supposed to know how to take care of a house, and take of the children, and take care of your husband. This was just not part of the Chinese culture.”\u003c/p>\n\u003cp>In Arthur Dong’s \u003ca href=\"https://www.imdb.com/title/tt0121292/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">1989 documentary, \u003cem>Forbidden City USA\u003c/em>\u003c/a>, Jadin Wong, one of Mammon’s fellow dancers, recalled: “We used to get letters from Chinese people telling us that we should be ashamed of ourselves doing what we do for a living, dancing in a nightclub.” Singer Frances Chun added: “[It] was shocking for the Chinese community, and confusing for the Caucasian people.” One former patron named Gladys Hu explained that “it was quite a scandalous place to be going, because you had showgirls in skimpy costumes.”\u003c/p>\n\u003cp>In the midst of it all, Mammon and her friends remained impervious to the criticism and, for the most part, had a ball—despite being underpaid for their labor.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>y the 1940s, Mammon and her Forbidden City cohorts were nationwide sensations. \u003cem>Life\u003c/em> magazine had garnered the club national attention in 1938 with an article outlining the ways it filled “a local cultural need” in San Francisco. But it was during World War II when word really began to spread, thanks to the servicemen who visited Forbidden City whenever granted leave in the Bay. Once word spread throughout the military, the press was quick to follow.\u003c/p>\n\u003cp>One newsreel of the time introduced Forbidden City’s chorus girls in a beach setting. Wearing traditional Chinese dresses, the women begin the segment with what the newscaster describes as an “age-old dance” in order to “welcome Springtime.” After a few moments, the seemingly demure women run behind a screen, fling off their clothes and emerge gleefully in modern swimsuits for a dance routine on the sand. Each of the Forbidden City dancers looks thrilled to play into, and then flip, the common Asian American stereotypes of the day.\u003c/p>\n\u003cfigure id=\"attachment_13915135\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915135\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-22-at-3.30.17-PM-800x922.png\" alt=\"\" width=\"800\" height=\"922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-22-at-3.30.17-PM-800x922.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-22-at-3.30.17-PM-160x184.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-22-at-3.30.17-PM-768x886.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-22-at-3.30.17-PM.png 836w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Associated Press picture story about Mary Mammon, titled “Chinatown Girl,” as seen in the Bangor Daily News, July 4, 1941. \u003ccite>(Bangor Daily News)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In June of 1941, a syndicated Associated Press article presented a day in the life of Mammon. Chinatown, the report said, “once was reputed to hold all the sins and exotic charms of Old China, but a new generation, modern and American, has sprung up.” After a series of fluffy and frivolous photos of Mammon performing, shopping, eating, studying, sunbathing, and walking through Chinatown in fashionable garb, the story concluded with a salient point.\u003c/p>\n\u003cp>“Tourists may mourn the passing of the old Chinatown customs and fixtures,” it said, “but for Mary and girls like her it has meant emancipation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The coverage gave Forbidden City yet another boost, and it began attracting celebrities. Bing Crosby, Bob Hope, Alfred Hitchcock, John Wayne and Ronald Reagan all paid the club a visit. Now and again, Mammon and other dancers, including Hazel Jay and Dottie Sun, hit the road to show audiences across America what they could do. The \u003cem>Chinese Follies\u003c/em> tour was one such jaunt.\u003c/p>\n\u003cp>With the 1950s came a new wave of pop culture icons and a cultural shift that left Forbidden City and other nightclubs like it looking increasingly dated. Low finally sold the club in 1962. By that time, Mammon was a single mom of two sons, having married in 1947 and divorced in 1955. When the club closed, she hung up her dancing shoes and took a grocery clerk job at Safeway. Mammon never lost her love of music, though. In retirement, she sang in choirs and danced at the Berkeley Chinese Senior Center, where she was an active volunteer.\u003c/p>\n\u003cp>Mary Mammon died in 2002 at the age of 84, a beloved great-grandmother who never forgot her nightclub days. The determination she showed in her younger years to live life on her own terms was not only an inspiration to other women at the time—it also transformed how white America saw a new generation of Asian Americans. That everyone had such a good time in the process is just the cherry on top.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Transgender Dancer Sean Dorsey Dreams of a Limitless Future for Trans and Queer Communities",
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"headTitle": "Transgender Dancer Sean Dorsey Dreams of a Limitless Future for Trans and Queer Communities | KQED",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>As a choreographer and as a trans person, Sean Dorsey felt irresistibly drawn to San Francisco. “It was this deep gut calling,” he says. “For so many trans and queer folks, San Francisco is the only place that we can live.” And yet, the city he moved to in the early 2000s was not the city he had envisioned.\u003c/p>\n\u003cp>“I thought, ‘This is it, I’m finally going to live in this city and meet the hundreds of other \u003cspan style=\"font-weight: 400\">transgender modern dance choreographers \u003c/span>\u003cspan style=\"font-weight: 400\">who must be living here,’” he recalls. “And there were none. There were trans hip-hop artists, visual artists, musicians, playwrights and writers. But when it came to trans modern dance choreographers or dancers, it was like crickets. And nobody was putting trans artists onstage.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg\" alt=\"Four dancers in magenta gowns perform modern dance choreography against pillars at a cliff overlooking the Pacific ocean in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol Simonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorsey spent the next two decades championing trans and queer performing arts in the city, hand in hand with his life partner, the musician, filmmaker and transgender activist Shawna Virago. Their \u003ca href=\"https://www.freshmeatfest.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Festival\u003c/a> is in its 21st season of showcasing trans and queer performance; Sean Dorsey Dance has toured innovative modern dance to more than 30 cities in the U.S. and abroad; and accolades have arrived in the form of prestigious national awards, commissions and grants.\u003c/p>\n\u003cp>And while San Francisco has offered Dorsey fertile ground for artmaking, and a community hungry to see itself represented onstage, he has returned the favor by enriching the city’s awareness of itself. “San Francisco is this incredible epicenter of trans and queer history of resistance,” he says. New York City’s Stonewall gets all the glory, but it was in the Tenderloin at \u003ca href=\"https://www.youtube.com/watch?v=G-WASW9dRBU\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria \u003c/a>where drag queens and trans women of color first resisted police harassment and rioted for their rights, in August 1966—nearly three years before Stonewall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dorsey unearthed the city’s deep, rich, influential legacy of trans and queer lives in an epic dance-theater trilogy of \u003ci>\u003cspan style=\"font-weight: 400\">Uncovered: The Diary Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Secret History of Love\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Missing Generation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Theatrical, humorous, deeply compassionate and beautifully danced, those works made space for people of all identities to gather and truly see each other. “My goal is to make dances that people can relate to deeply and are transformed by in some way,” he says. “I want all of us to be breathing together, dreaming together, sharing compassion and story and embodiment.”\u003c/span>\u003c/p>\n\u003cp>That sense of hope is at the heart of Dorsey’s new work, \u003ca href=\"https://seandorseydance.com/works/the-lost-art-of-dreaming/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s also the impetus for a new, forward-looking phase of Dorsey’s artistic life, focused on encouraging trans and nonbinary people to claim their right to a life they love. “So many trans people are told that we won’t have a future,” Dorsey says. “So many of us are discouraged from dreaming, are discouraged from imagining, finding love, finding community. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> invites us all to imagine expansive futures that are joyful and liberated, and in which we lift each other up with love.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg\" alt=\"Four dancers in blue and white gowns pose on a concrete sculpture resembling a bed on a grassy lawn situated near the San Francisco Bay\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol SImonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003cem>The Lost Art of\u003c/em> Dreaming\u003c/i>\u003cspan style=\"font-weight: 400\"> proposes a new paradigm through the embodied, kinesthetic art of dance. Dorsey’s modern choreography melds with the expressive dancers, spectacular couture costumes and an uninhibited, enthusiastic embrace of joy. Watching, you can sense the connection among the artists and between them and the city itself. “San Francisco is like a magical sanctuary,” Dorsey says. “It whispers to us from all across the country and around the world. Sean Dorsey Dance is by, of and for San Francisco. In this city, I stand on the shoulders of my Transcestors.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg\" alt=\"Four members of Sean Dorsey Dance are smiling and posing with filmmaker Lindsay Gauthier at the top of Twin Peaks with San Francisco's skyline behind them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey and his dance company pose with filmmaker Lindsay Gauthier at Twin Peaks in San Francisco on May 12, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Experience Dorsey and members of Sean Dorsey Dance perform excerpts from \u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in some of San Francisco’s most inspiring settings—\u003c/span>\u003cspan style=\"font-weight: 400\">Twin Peaks, Hillpoint Park, and the Cliff House above Ocean Beach– \u003c/span>\u003cspan style=\"font-weight: 400\">then go see them in person! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i> \u003ca href=\"https://seandorseydance.com/calendar/upcoming-events/\">\u003cspan style=\"font-weight: 400\">premieres\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> November 17–20 at Z Space. \u003cem>– Written by Claudia Bauer\u003c/em>\u003cbr>\n\u003c/span>\u003c/p>\n\n",
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"excerpt": "As anti-trans attacks escalate, an audacious dance work encourages LGBTQ+ people to claim their right to a life they love.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a> is KQED Arts and Culture’s award-winning video series featuring dancers across the country who represent their city’s signature moves. \u003ca href=\"https://www.youtube.com/user/KQEDart\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe to our YouTube Channel\u003c/a> to never miss a new episode.\u003c/em>\u003c/p>\n\u003cp>As a choreographer and as a trans person, Sean Dorsey felt irresistibly drawn to San Francisco. “It was this deep gut calling,” he says. “For so many trans and queer folks, San Francisco is the only place that we can live.” And yet, the city he moved to in the early 2000s was not the city he had envisioned.\u003c/p>\n\u003cp>“I thought, ‘This is it, I’m finally going to live in this city and meet the hundreds of other \u003cspan style=\"font-weight: 400\">transgender modern dance choreographers \u003c/span>\u003cspan style=\"font-weight: 400\">who must be living here,’” he recalls. “And there were none. There were trans hip-hop artists, visual artists, musicians, playwrights and writers. But when it came to trans modern dance choreographers or dancers, it was like crickets. And nobody was putting trans artists onstage.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg\" alt=\"Four dancers in magenta gowns perform modern dance choreography against pillars at a cliff overlooking the Pacific ocean in San Francisco, CA\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-766-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol Simonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dorsey spent the next two decades championing trans and queer performing arts in the city, hand in hand with his life partner, the musician, filmmaker and transgender activist Shawna Virago. Their \u003ca href=\"https://www.freshmeatfest.com\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Festival\u003c/a> is in its 21st season of showcasing trans and queer performance; Sean Dorsey Dance has toured innovative modern dance to more than 30 cities in the U.S. and abroad; and accolades have arrived in the form of prestigious national awards, commissions and grants.\u003c/p>\n\u003cp>And while San Francisco has offered Dorsey fertile ground for artmaking, and a community hungry to see itself represented onstage, he has returned the favor by enriching the city’s awareness of itself. “San Francisco is this incredible epicenter of trans and queer history of resistance,” he says. New York City’s Stonewall gets all the glory, but it was in the Tenderloin at \u003ca href=\"https://www.youtube.com/watch?v=G-WASW9dRBU\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria \u003c/a>where drag queens and trans women of color first resisted police harassment and rioted for their rights, in August 1966—nearly three years before Stonewall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dorsey unearthed the city’s deep, rich, influential legacy of trans and queer lives in an epic dance-theater trilogy of \u003ci>\u003cspan style=\"font-weight: 400\">Uncovered: The Diary Project\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Secret History of Love\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Missing Generation\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Theatrical, humorous, deeply compassionate and beautifully danced, those works made space for people of all identities to gather and truly see each other. “My goal is to make dances that people can relate to deeply and are transformed by in some way,” he says. “I want all of us to be breathing together, dreaming together, sharing compassion and story and embodiment.”\u003c/span>\u003c/p>\n\u003cp>That sense of hope is at the heart of Dorsey’s new work, \u003ca href=\"https://seandorseydance.com/works/the-lost-art-of-dreaming/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. It’s also the impetus for a new, forward-looking phase of Dorsey’s artistic life, focused on encouraging trans and nonbinary people to claim their right to a life they love. “So many trans people are told that we won’t have a future,” Dorsey says. “So many of us are discouraged from dreaming, are discouraged from imagining, finding love, finding community. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> invites us all to imagine expansive futures that are joyful and liberated, and in which we lift each other up with love.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg\" alt=\"Four dancers in blue and white gowns pose on a concrete sculpture resembling a bed on a grassy lawn situated near the San Francisco Bay\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/KQED_SDD_2022-169-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey Dance (from left to right): Sean Dorsey, Héctor Jaime, Will Woodward, Nol SImonse \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003cem>The Lost Art of\u003c/em> Dreaming\u003c/i>\u003cspan style=\"font-weight: 400\"> proposes a new paradigm through the embodied, kinesthetic art of dance. Dorsey’s modern choreography melds with the expressive dancers, spectacular couture costumes and an uninhibited, enthusiastic embrace of joy. Watching, you can sense the connection among the artists and between them and the city itself. “San Francisco is like a magical sanctuary,” Dorsey says. “It whispers to us from all across the country and around the world. Sean Dorsey Dance is by, of and for San Francisco. In this city, I stand on the shoulders of my Transcestors.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13915541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915541\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg\" alt=\"Four members of Sean Dorsey Dance are smiling and posing with filmmaker Lindsay Gauthier at the top of Twin Peaks with San Francisco's skyline behind them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/083_KQEDArts_IfCitiesCouldDance_05122022-Beth-LaBerge-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean Dorsey and his dance company pose with filmmaker Lindsay Gauthier at Twin Peaks in San Francisco on May 12, 2022. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Experience Dorsey and members of Sean Dorsey Dance perform excerpts from \u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in some of San Francisco’s most inspiring settings—\u003c/span>\u003cspan style=\"font-weight: 400\">Twin Peaks, Hillpoint Park, and the Cliff House above Ocean Beach– \u003c/span>\u003cspan style=\"font-weight: 400\">then go see them in person! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Lost Art of Dreaming\u003c/span>\u003c/i> \u003ca href=\"https://seandorseydance.com/calendar/upcoming-events/\">\u003cspan style=\"font-weight: 400\">premieres\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> November 17–20 at Z Space. \u003cem>– Written by Claudia Bauer\u003c/em>\u003cbr>\n\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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": {
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"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?",
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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",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"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.",
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"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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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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