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"content": "\u003cp>Nenna Joiner owns Feelmore, a queer-friendly sex toy shop with locations in Berkeley and Oakland. Noticing the lack of Black queer spaces beyond the monthly “RnB nights” at many local clubs, they decided to open the Feelmore Social Club in Downtown Oakland, a bar slated to open in 2022. “This energy that they feel in Feelmore is akin to the energy that they’re going to feel here,” Joiner assures, “We want to be open a long time.”\u003c/p>\n\u003cp>In the final episode of “Searching for a Kiki”, Joiner speaks about re-imagining the Black queer space, and the role of the Black queer dollar in the community.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC1281318740\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of the episode with Nenna Joiner. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio Rose:\u003c/strong> So you came [to the Bay Area in 1994], what were you looking for when you came here?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna Joiner:\u003c/strong> I was looking for people and culture. Las Vegas didn’t have it at the time, but Oakland definitely had it. The stories that came out of here with rap music, with the Black Panthers, just with everything was going on, even HIV and AIDS actually… to hear their officials responding to this national crisis.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> And so once you moved here and you started to discover the Bay Area nightlife… what did you find? What did you experience?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> Well, I started riding the AC transit and I went into places they told you not to go. Because in Vegas, I lived in those places that they told us not to go. And so I was like, ‘Oh, that’s nothing!’… Finding the queer spaces, which were at the time Bellas and Cables Reef… You could go to San Francisco and get the the white queer crowds, or you can go to Oakland and you can get all the Black that you wanted to. It was just beautiful.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> I’m hurting. I moved to the Bay in August, and I have not gotten yet to experience a Black queer-owned bar, but there is a difference.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> Mm-Hmm.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> And you feel that difference. What does it feel like once you’re in a space and you know that you are centered in the experience?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> I didn’t have to watch my back. You know, my feelings were protected. Everyone was there to have fun, to live the next day to celebrate life. And a lot of those people in those clubs, because they were much older than me, lost a lot of people because of AIDS… so really celebrating life was key, like it was like night and day. You can go in the club, come out the club, and feel a different way.\u003c/p>\n\u003cp>It started to change when downtown Oakland started to change. When they started to rename the neighborhoods, when they started to bring different businesses in and you were able to call the police and say, ‘Hey, there’s a commotion, end their liquor license’. Or they would have a stain against them with the city, which would ultimately lead them to fight to keep their business open, versus the stories of other businesses that didn’t have to go through that same experience.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio (narration):\u003c/strong> Bars and lounges that held the community down for years — Club 21, Diva’s, Club BnB, Este Noche and so many others were forced to close their doors for good. Gentrification wasn’t the only thing stacked against these bars. As tech forced Black queer people away from the city, they turned to apps to find each other. This meant the bars were no longer the oases they’d once been — you don’t need to go to a bar if you can order a man online — which brings us to today. Where you’re hard pressed to find a queer bar owned by a Black person. No tea no shade, there are a few gay bars in Oakland. I can count them on one hand, but that’s not a lot of options.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> Oakland. Oakland ain’t got no gay clubs, you know what I mean? You know that queer people ain’t gonna go spend all the money. You know lesbians, as soon as we get in a relationship, we ain’t going nowhere. We staying home, and that’s just in the first week after we met at the club. And so you don’t want to pigeonhole yourself and to say that this is a gay club because the dollars that come along with that are very few, then saying we’re very accepting of everyone. But being a queer business owner, I do key in ways to encourage those that look like me: being brown and being queer.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> You already had the Feelmore in Berkeley and Oakland? What made you want to open a bar during the pandemic?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> Honey, let me tell you — it was lonely selling sex toys in downtown Oakland. Not many things were open. Not anything was open. Maybe the bodega across the street, but nothing else. I can remember a couple of times that I cried outside. I wasn’t crying because I didn’t have customers, that wasn’t the problem, I was crying because there is a culture that comes with protection when you have more than one business that’s open on the street. You want to make sure that you have this shared reason to keep your door open, that you’re open at the same hours. And that wasn’t happening. Bars were closing and not just closing their doors for the meantime, they were closing for the long term.\u003c/p>\n\u003cp>And I said, I think it’s time that we take this opportunity to turn it into something because someone else is going to come into that space. Why not us? And I think in a bar space, just as we’ve done with the sex shop, we’ve been very intentional and respectful in supporting people. [Because] we want to be open for a long time.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> I wanted to explore the role of sobriety within the queer community. How do you see your responsibility as a bar owner?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> That’s what it’s about: Making sure that people don’t have to go to another room to experience life. That they can experience life with everyone. It’s also about people who want to be at a bar experience without having to be forced upon, ‘Oh, why aren’t you drinking?’ Like, no, I get to have the same kind of fun. You’re having just less alcohol or no alcohol.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio: \u003c/strong>How does the experience of opening the Feelmore Social club compare to when you started your first business?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> I started at the Ashby Bart station, selling out the trunk of my car on the street corners. I wanted to start this business. And I was going to use the rap music I listened to when I first started learning about Oakland to infuse in me that you can start this out in the trunk of your car. Like, look at all these rappers like E-40. I’ve never met him. But he started out the trunk of his car in Vallejo. Now look at him. We can do this with the little bit of what we have.\u003c/p>\n\u003cp>When I first started Feelmore, I started with my own money. I would call all these places and look for someone to rent to me. I got about 50 no’s, and a woman picked up the phone one day, she was like, ‘Don’t you know who I am?’ ‘I don’t know who you are. Like you a white lady.’ And she says, ‘Well, I’m Joani Blank. I actually started good vibrations.’ And so she and I became friends. That was somebody who said, “I’ll invest in you.” She invested in Feelmore.\u003c/p>\n\u003cp>Getting money is not easy. Not on your first business. Especially if you’re brown and queer. What does that mean? Do you get met with that every day? No, you don’t get met with that challenge. But the historical nature of it is that people will look at you as “not bankable.” [You’re fighting the stereotypes of] what kind of business can brown people do? They can do hair. They can clean up somebody’s home. You have to be very adamant about what you want to do — you’re going to have to show that you’ve done it in your own life with little bit of money. I won’t say my bank’s name, but I’ve had to like, lay in and be like, ‘Look, I feel that you’re not respecting me. You’re not taking me seriously’ like having to go to history lessons with banks like? I’ve had to do that because I’m fighting. I’m fighting against knowing that you just gave a million dollars to someone else, knowing that you just showed up at the planning commission to support another client. But you can’t even show up for me, and I’ve been with you for over 13 years. And reminding them.\u003c/p>\n\u003cp>But also what has been in my favor is the same people who were at the bank when I started, are the same people who are at the bank now. Those relationships really matter. So I tell any entrepreneur out there, do not go big, don’t go to Wells Fargo. Don’t go to Chase — unless you don’t SBA loan — go to small businesses, small banks who have been there and also find out how long their people have been there. It’s people who actually push that pen and push that paper and get you to the finish line.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> Where do you draw your inspiration from and how do you make sure that history is not lost as you move forward?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna: \u003c/strong>What I’m giving is making sure that my nieces and nephews who couldn’t come in the store for 13 years, get an opportunity to be a part of my business. But also, when I die, because we all die, when I die, they can go to the internet and click a button and they’re going to see my name everywhere on there. And when I have talks like this, they’re documented. That’s a way for those in the future to know that I did my work. I did. I understood the assignment. You know what I’m saying?\u003c/p>\n\u003cp>\u003cstrong>Corey Antonio:\u003c/strong> You understood the assignment.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nenna Joiner owns Feelmore, a queer-friendly sex toy shop with locations in Berkeley and Oakland. Noticing the lack of Black queer spaces beyond the monthly “RnB nights” at many local clubs, they decided to open the Feelmore Social Club in Downtown Oakland, a bar slated to open in 2022. “This energy that they feel in Feelmore is akin to the energy that they’re going to feel here,” Joiner assures, “We want to be open a long time.”\u003c/p>\n\u003cp>In the final episode of “Searching for a Kiki”, Joiner speaks about re-imagining the Black queer space, and the role of the Black queer dollar in the community.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC1281318740\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of the episode with Nenna Joiner. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio Rose:\u003c/strong> So you came [to the Bay Area in 1994], what were you looking for when you came here?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna Joiner:\u003c/strong> I was looking for people and culture. Las Vegas didn’t have it at the time, but Oakland definitely had it. The stories that came out of here with rap music, with the Black Panthers, just with everything was going on, even HIV and AIDS actually… to hear their officials responding to this national crisis.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> And so once you moved here and you started to discover the Bay Area nightlife… what did you find? What did you experience?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> Well, I started riding the AC transit and I went into places they told you not to go. Because in Vegas, I lived in those places that they told us not to go. And so I was like, ‘Oh, that’s nothing!’… Finding the queer spaces, which were at the time Bellas and Cables Reef… You could go to San Francisco and get the the white queer crowds, or you can go to Oakland and you can get all the Black that you wanted to. It was just beautiful.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> I’m hurting. I moved to the Bay in August, and I have not gotten yet to experience a Black queer-owned bar, but there is a difference.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> Mm-Hmm.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> And you feel that difference. What does it feel like once you’re in a space and you know that you are centered in the experience?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> I didn’t have to watch my back. You know, my feelings were protected. Everyone was there to have fun, to live the next day to celebrate life. And a lot of those people in those clubs, because they were much older than me, lost a lot of people because of AIDS… so really celebrating life was key, like it was like night and day. You can go in the club, come out the club, and feel a different way.\u003c/p>\n\u003cp>It started to change when downtown Oakland started to change. When they started to rename the neighborhoods, when they started to bring different businesses in and you were able to call the police and say, ‘Hey, there’s a commotion, end their liquor license’. Or they would have a stain against them with the city, which would ultimately lead them to fight to keep their business open, versus the stories of other businesses that didn’t have to go through that same experience.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio (narration):\u003c/strong> Bars and lounges that held the community down for years — Club 21, Diva’s, Club BnB, Este Noche and so many others were forced to close their doors for good. Gentrification wasn’t the only thing stacked against these bars. As tech forced Black queer people away from the city, they turned to apps to find each other. This meant the bars were no longer the oases they’d once been — you don’t need to go to a bar if you can order a man online — which brings us to today. Where you’re hard pressed to find a queer bar owned by a Black person. No tea no shade, there are a few gay bars in Oakland. I can count them on one hand, but that’s not a lot of options.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> Oakland. Oakland ain’t got no gay clubs, you know what I mean? You know that queer people ain’t gonna go spend all the money. You know lesbians, as soon as we get in a relationship, we ain’t going nowhere. We staying home, and that’s just in the first week after we met at the club. And so you don’t want to pigeonhole yourself and to say that this is a gay club because the dollars that come along with that are very few, then saying we’re very accepting of everyone. But being a queer business owner, I do key in ways to encourage those that look like me: being brown and being queer.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> You already had the Feelmore in Berkeley and Oakland? What made you want to open a bar during the pandemic?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> Honey, let me tell you — it was lonely selling sex toys in downtown Oakland. Not many things were open. Not anything was open. Maybe the bodega across the street, but nothing else. I can remember a couple of times that I cried outside. I wasn’t crying because I didn’t have customers, that wasn’t the problem, I was crying because there is a culture that comes with protection when you have more than one business that’s open on the street. You want to make sure that you have this shared reason to keep your door open, that you’re open at the same hours. And that wasn’t happening. Bars were closing and not just closing their doors for the meantime, they were closing for the long term.\u003c/p>\n\u003cp>And I said, I think it’s time that we take this opportunity to turn it into something because someone else is going to come into that space. Why not us? And I think in a bar space, just as we’ve done with the sex shop, we’ve been very intentional and respectful in supporting people. [Because] we want to be open for a long time.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> I wanted to explore the role of sobriety within the queer community. How do you see your responsibility as a bar owner?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> That’s what it’s about: Making sure that people don’t have to go to another room to experience life. That they can experience life with everyone. It’s also about people who want to be at a bar experience without having to be forced upon, ‘Oh, why aren’t you drinking?’ Like, no, I get to have the same kind of fun. You’re having just less alcohol or no alcohol.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio: \u003c/strong>How does the experience of opening the Feelmore Social club compare to when you started your first business?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> I started at the Ashby Bart station, selling out the trunk of my car on the street corners. I wanted to start this business. And I was going to use the rap music I listened to when I first started learning about Oakland to infuse in me that you can start this out in the trunk of your car. Like, look at all these rappers like E-40. I’ve never met him. But he started out the trunk of his car in Vallejo. Now look at him. We can do this with the little bit of what we have.\u003c/p>\n\u003cp>When I first started Feelmore, I started with my own money. I would call all these places and look for someone to rent to me. I got about 50 no’s, and a woman picked up the phone one day, she was like, ‘Don’t you know who I am?’ ‘I don’t know who you are. Like you a white lady.’ And she says, ‘Well, I’m Joani Blank. I actually started good vibrations.’ And so she and I became friends. That was somebody who said, “I’ll invest in you.” She invested in Feelmore.\u003c/p>\n\u003cp>Getting money is not easy. Not on your first business. Especially if you’re brown and queer. What does that mean? Do you get met with that every day? No, you don’t get met with that challenge. But the historical nature of it is that people will look at you as “not bankable.” [You’re fighting the stereotypes of] what kind of business can brown people do? They can do hair. They can clean up somebody’s home. You have to be very adamant about what you want to do — you’re going to have to show that you’ve done it in your own life with little bit of money. I won’t say my bank’s name, but I’ve had to like, lay in and be like, ‘Look, I feel that you’re not respecting me. You’re not taking me seriously’ like having to go to history lessons with banks like? I’ve had to do that because I’m fighting. I’m fighting against knowing that you just gave a million dollars to someone else, knowing that you just showed up at the planning commission to support another client. But you can’t even show up for me, and I’ve been with you for over 13 years. And reminding them.\u003c/p>\n\u003cp>But also what has been in my favor is the same people who were at the bank when I started, are the same people who are at the bank now. Those relationships really matter. So I tell any entrepreneur out there, do not go big, don’t go to Wells Fargo. Don’t go to Chase — unless you don’t SBA loan — go to small businesses, small banks who have been there and also find out how long their people have been there. It’s people who actually push that pen and push that paper and get you to the finish line.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> Where do you draw your inspiration from and how do you make sure that history is not lost as you move forward?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna: \u003c/strong>What I’m giving is making sure that my nieces and nephews who couldn’t come in the store for 13 years, get an opportunity to be a part of my business. But also, when I die, because we all die, when I die, they can go to the internet and click a button and they’re going to see my name everywhere on there. And when I have talks like this, they’re documented. That’s a way for those in the future to know that I did my work. I did. I understood the assignment. You know what I’m saying?\u003c/p>\n\u003cp>\u003cstrong>Corey Antonio:\u003c/strong> You understood the assignment.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "chloe-sherman-renegade-san-francisco-1990s-schlomer-haus",
"title": "Chloe Sherman’s ‘Renegade’ Photography Captures ’90s Queer Culture in SF",
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"content": "\u003cp>Thirty years ago, San Francisco was a place where people who were misfits everywhere else—queers, punks and artists alike—could come and find their chosen families regardless of how much money they had. \u003ca href=\"https://www.chloeshermanphotography.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Sherman\u003c/a>’s new exhibit at Schlomer Haus Gallery, \u003cem>Renegade San Francisco: The 1990s\u003c/em>, is a vibrant snapshot of what happened after they got here.\u003c/p>\n\u003cp>With her camera’s lens focused primarily on the lesbian community, Sherman captured the sticky dive bars, messy bedrooms and freewheeling couples of the era who lived unapologetically on their own terms.\u003c/p>\n\u003cfigure id=\"attachment_13915086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-800x532.png\" alt=\"Five butch women with short hair and leather accessories stand at a lunch counter, casually waiting to be served.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM.png 1590w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘Folsom St Fair,’ 1994. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The freedom \u003cem>Renegade\u003c/em>’s photos capture is still a joy to behold. It’s a journey through the Mission District, Castro and SoMa; through parties, street corner hangouts and car rides. The locations—the Lexington, Hole in the Wall and Folsom Street Fair included—remain secondary, however, to the characters on show and the tight-knit community they represented.\u003c/p>\n\u003cp>Whether they were lounging at home in silk gowns or donning duct tape bustiers to hit the town, these butch and femme rebels were clearly having the time of their lives. Their closeness and casual elation in that feeling of community is palpable throughout. And the things that were incidental to them at the time—talking on landlines, smoking cigarettes indoors and embodying a relentlessly thrifty fashion sensibility—are a delight to look back on.\u003c/p>\n\u003cfigure id=\"attachment_13915096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-800x532.png\" alt=\"A woman in a red halter neck maxi dress sweeps her long hair behind her neck, while standing next to an old red car in San Francisco. In front of the woman stands a butch person in a black and red cowboy shirt. A friend crouches next to them on the sidewalk, almost out of shot. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM.png 1594w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘The Heist,’ 1996. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chloe Sherman first moved to the city in 1991, before studying fine art photography at the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute\u003c/a>. That she had the foresight to document her community at the time is fortunate. That she’s sharing those images with the world now is a gift.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Chloe Sherman’s ‘Renegade San Francisco: The 1990s’ is on view at Schlomer Haus Gallery (2128 Market St., San Francisco) through July 30, 2022. \u003ca href=\"https://schlomerhaus.com/chloe-sherman\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirty years ago, San Francisco was a place where people who were misfits everywhere else—queers, punks and artists alike—could come and find their chosen families regardless of how much money they had. \u003ca href=\"https://www.chloeshermanphotography.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Sherman\u003c/a>’s new exhibit at Schlomer Haus Gallery, \u003cem>Renegade San Francisco: The 1990s\u003c/em>, is a vibrant snapshot of what happened after they got here.\u003c/p>\n\u003cp>With her camera’s lens focused primarily on the lesbian community, Sherman captured the sticky dive bars, messy bedrooms and freewheeling couples of the era who lived unapologetically on their own terms.\u003c/p>\n\u003cfigure id=\"attachment_13915086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-800x532.png\" alt=\"Five butch women with short hair and leather accessories stand at a lunch counter, casually waiting to be served.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM.png 1590w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘Folsom St Fair,’ 1994. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The freedom \u003cem>Renegade\u003c/em>’s photos capture is still a joy to behold. It’s a journey through the Mission District, Castro and SoMa; through parties, street corner hangouts and car rides. The locations—the Lexington, Hole in the Wall and Folsom Street Fair included—remain secondary, however, to the characters on show and the tight-knit community they represented.\u003c/p>\n\u003cp>Whether they were lounging at home in silk gowns or donning duct tape bustiers to hit the town, these butch and femme rebels were clearly having the time of their lives. Their closeness and casual elation in that feeling of community is palpable throughout. And the things that were incidental to them at the time—talking on landlines, smoking cigarettes indoors and embodying a relentlessly thrifty fashion sensibility—are a delight to look back on.\u003c/p>\n\u003cfigure id=\"attachment_13915096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-800x532.png\" alt=\"A woman in a red halter neck maxi dress sweeps her long hair behind her neck, while standing next to an old red car in San Francisco. In front of the woman stands a butch person in a black and red cowboy shirt. A friend crouches next to them on the sidewalk, almost out of shot. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM.png 1594w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘The Heist,’ 1996. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chloe Sherman first moved to the city in 1991, before studying fine art photography at the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute\u003c/a>. That she had the foresight to document her community at the time is fortunate. That she’s sharing those images with the world now is a gift.\u003c/p>\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=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Chloe Sherman’s ‘Renegade San Francisco: The 1990s’ is on view at Schlomer Haus Gallery (2128 Market St., San Francisco) through July 30, 2022. \u003ca href=\"https://schlomerhaus.com/chloe-sherman\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Paul Madonna's Latest 'All Over Coffee' Collection Hits Close to Home—Literally",
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"content": "\u003cp>A weird thing happened when I sat down to review Paul Madonna’s latest book. \u003cem>You Know Exactly\u003c/em> is Madonna’s third and final collection of art and musings gathered from the \u003cem>All Over Coffee\u003c/em> series he made for the \u003cem>San Francisco Chronicle \u003c/em>between 2004 and 2015. And as I flicked through the beautifully rendered, hyper-detailed depictions of quiet corners of San Francisco, a house appeared that was immediately familiar. It took my brain a second to process.\u003c/p>\n\u003cp>There, staring back at me, were the front gates of a building I moved into in 2005 and didn’t leave until 2013. It was a two-bedroom that, at any given time, had five to ten people staying there. The apartment had so many roommates, so many couch surfers and so many impromptu parties, it seemed entirely feasible to me that Madonna might have passed through at some point.\u003c/p>\n\u003cfigure id=\"attachment_13914821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914821\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-4.38.43-PM-800x561.png\" alt=\"A painting and line drawing of the front gates, garage door, and first floor windows of a classic Mission District San Francisco home. On the sidewalk sits a coin-operated ride for children, in the shape of a pink elephant.\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-4.38.43-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-4.38.43-PM-1020x716.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-4.38.43-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-4.38.43-PM-768x539.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-4.38.43-PM-1536x1078.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-4.38.43-PM-1920x1347.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-4.38.43-PM.png 1964w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 18th Street home, as depicted in Paul Madonna’s ‘You Know Exactly, the Third Collection of All Over Coffee.’ \u003ccite>(West Margin Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-3.34.35-PM-800x557.png\" alt=\"The front gates, garage door, and first floor windows of a classic Mission District San Francisco home.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-3.34.35-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-3.34.35-PM-1020x711.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-3.34.35-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-3.34.35-PM-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-3.34.35-PM-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-3.34.35-PM-2048x1427.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-3.34.35-PM-1920x1338.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 18th Street home, as it looks in June 2022. The brown paint arrived after Paul Madonna’s original rendering. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pink elephant pictured on the sidewalk out front was a bit of creative license. It must have been a reference, I deduced, not only to the copious amounts of alcohol consumed in the apartment, but also to the fact that a few of its occupants had worked at the Mission dive bar \u003ca href=\"https://www.kqed.org/bayareabites/137547/how-zeitgeist-helped-me-understand-the-new-normal\" target=\"_blank\" rel=\"noopener noreferrer\">Zeitgeist\u003c/a>. (A pink elephant mural is featured prominently the bar’s backyard.) I started spiraling—Paul Madonna had almost certainly been in my apartment, and I needed to track him down to talk about it immediately.\u003c/p>\n\u003cp>The next day, we connected via Facetime.\u003c/p>\n\u003cp>“That’s definitely your old building,” Madonna told me. “I used to live at 15th and Guerrero so that was my ‘hood.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I asked if the elephant was a reference to Zeitgeist.\u003c/p>\n\u003cp>“No,” Paul responded, sounding a little confused. “No correlation. The ride was part of a series of pieces I was doing, drawing amusement park rides and the like. I saw that one in Pennsylvania.”\u003c/p>\n\u003cp>Madonna hadn’t been in my building. He didn’t know anyone from my apartment. This was not the great story I’d been hoping for. But surely he had another reason to choose this particular location?\u003c/p>\n\u003cp>“The building is almost secondary,” Madonna shrugged. “For me, it’s really about light and shadow and composition. With your building, if it had been the morning and the sun was behind it, it wouldn’t have caught my eye. I’ll be walking down the street and the light will be hitting the corner of a building in a certain way… I see the geometry.”\u003c/p>\n\u003cfigure id=\"attachment_13914885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914885\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-15-at-4.00.31-PM-800x531.png\" alt='A painting of a classic San Francisco home next to the wall of another home. On the wall is written in block capitals: \"You know exactly what you need to do.\"' width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-15-at-4.00.31-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-15-at-4.00.31-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-15-at-4.00.31-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-15-at-4.00.31-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-15-at-4.00.31-PM-1536x1019.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-15-at-4.00.31-PM.png 1700w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover art for ‘You Know Exactly, the Third Collection of All Over Coffee’ by Paul Madonna. \u003ccite>(West Margin Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here, then, is a central reason why Madonna’s San Francisco depictions are so timeless and popular. The artist makes renditions that capture the city in its (literal) best light, and then it’s left to the viewer to insert meaning. And that meaning, Madonna told me, almost never has anything to do with his original reasons for picking a particular view or structure to immortalize.\u003c/p>\n\u003cp>“They’re all random,” Madonna said. “When I used to talk about that years ago, when I first started \u003cem>All Over Coffee\u003c/em>, it annoyed people! Especially if it was their block. They want me to say, ‘Oh my God, that building is important because that’s where I kissed…’ You know? The truth is, I was probably just looking at a shadow!”\u003c/p>\n\u003cp>[aside postid='arts_13905423']I felt a little foolish to have inserted my personal history all over Madonna’s randomly chosen location, but the artist assured me that it happened all the time—occasionally with bizarre results.\u003c/p>\n\u003cp>When \u003cem>All Over Coffee\u003c/em> was still running, Madonna had painted a wide view of San Francisco from somebody’s back porch. After one man saw it in \u003cem>The Chronicle\u003c/em>, he recognized the view as being similar to the one from his girlfriend’s apartment, and immediately accused her of having an affair with the artist. The woman emailed Madonna to tell him about the bizarre situation she found herself in.\u003c/p>\n\u003cp>Two years later, Madonna and the woman happened to attend the same party. The artwork and the accusation that followed, she told him, had ended her former relationship. Now she was dating one of Madonna’s friends—and it’s a partnership that has endured to this day. “She’s part of my family-friend set now,” he says disbelievingly. “But how many stories like that are there that I don’t even know?”\u003c/p>\n\u003cfigure id=\"attachment_13914924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220616_122942-800x568.jpg\" alt=\"A painting, rendered in sepia tones, of a grand old building with four columns at its entrance and a triangular roof. On the side of the building in large block capitals is the phrase: 'TAKE YOUR OWN ADVICE.'\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220616_122942-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220616_122942-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220616_122942-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220616_122942-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220616_122942-1536x1091.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220616_122942-2048x1455.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220616_122942-1920x1364.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘You Know Exactly, the Third Collection of All Over Coffee’ by Paul Madonna. \u003ccite>(West Margin Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other fans of \u003cem>All Over Coffee\u003c/em> have found great meaning in the short phrases Madonna often incorporates into his work.\u003c/p>\n\u003cp>As captured in \u003cem>You Know Exactly\u003c/em>, they are by turns confrontational (“You think it’s a secret but everybody knows”), reassuring (“There’s really only so much you can do”), inspiring (“Use what you have”) and silly (“Let’s get drunk and go on vacation”). The name of the book came from Madonna’s favorite: “You know exactly what you have to do.” When it was first published, the artwork prompted a public outpouring. One reader told Madonna the piece finally gave her the courage to file for a divorce.\u003c/p>\n\u003cp>[aside postid='arts_13912500']The longer short stories featured in the book send readers on a different, often delightfully droll journey. “After waking from what he’d believed would be only a short nap,” one reads, “a confused Chet Bradley finds himself seemingly the last man alive. A fervent activist, he releases all the animals from a nearby zoo, and is promptly eaten by a tiger.”\u003c/p>\n\u003cp>\u003cem>All Over Coffee\u003c/em> was in many ways a gift to the city. It immortalized the San Francisco that locals see every day; not the one most commonly depicted in movies and on TV. Because of its grounding in familiar corners, sidewalks and liquor stores, Madonna’s art can also ask viewers to explore their own psyche, or to suspend their disbelief, or to go on a journey with him they weren’t expecting. And sometimes, just sometimes, it’ll be so close to home, you’ll think he’s made a personal visit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘You Know Exactly, the Third Collection of All Over Coffee’ by Paul Madonna comes out on Tues. June 21, via West Margin Press. \u003ca href=\"https://www.westmarginpress.com/book-details/9781513134819/you-know-exactly-the-third-collection-of-all-over-coffee/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A weird thing happened when I sat down to review Paul Madonna’s latest book. \u003cem>You Know Exactly\u003c/em> is Madonna’s third and final collection of art and musings gathered from the \u003cem>All Over Coffee\u003c/em> series he made for the \u003cem>San Francisco Chronicle \u003c/em>between 2004 and 2015. And as I flicked through the beautifully rendered, hyper-detailed depictions of quiet corners of San Francisco, a house appeared that was immediately familiar. It took my brain a second to process.\u003c/p>\n\u003cp>There, staring back at me, were the front gates of a building I moved into in 2005 and didn’t leave until 2013. It was a two-bedroom that, at any given time, had five to ten people staying there. The apartment had so many roommates, so many couch surfers and so many impromptu parties, it seemed entirely feasible to me that Madonna might have passed through at some point.\u003c/p>\n\u003cfigure id=\"attachment_13914821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914821\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-4.38.43-PM-800x561.png\" alt=\"A painting and line drawing of the front gates, garage door, and first floor windows of a classic Mission District San Francisco home. On the sidewalk sits a coin-operated ride for children, in the shape of a pink elephant.\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-4.38.43-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-4.38.43-PM-1020x716.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-4.38.43-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-4.38.43-PM-768x539.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-4.38.43-PM-1536x1078.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-4.38.43-PM-1920x1347.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-4.38.43-PM.png 1964w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 18th Street home, as depicted in Paul Madonna’s ‘You Know Exactly, the Third Collection of All Over Coffee.’ \u003ccite>(West Margin Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13914820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-3.34.35-PM-800x557.png\" alt=\"The front gates, garage door, and first floor windows of a classic Mission District San Francisco home.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-3.34.35-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-3.34.35-PM-1020x711.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-3.34.35-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-3.34.35-PM-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-3.34.35-PM-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-3.34.35-PM-2048x1427.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-14-at-3.34.35-PM-1920x1338.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 18th Street home, as it looks in June 2022. The brown paint arrived after Paul Madonna’s original rendering. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pink elephant pictured on the sidewalk out front was a bit of creative license. It must have been a reference, I deduced, not only to the copious amounts of alcohol consumed in the apartment, but also to the fact that a few of its occupants had worked at the Mission dive bar \u003ca href=\"https://www.kqed.org/bayareabites/137547/how-zeitgeist-helped-me-understand-the-new-normal\" target=\"_blank\" rel=\"noopener noreferrer\">Zeitgeist\u003c/a>. (A pink elephant mural is featured prominently the bar’s backyard.) I started spiraling—Paul Madonna had almost certainly been in my apartment, and I needed to track him down to talk about it immediately.\u003c/p>\n\u003cp>The next day, we connected via Facetime.\u003c/p>\n\u003cp>“That’s definitely your old building,” Madonna told me. “I used to live at 15th and Guerrero so that was my ‘hood.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I asked if the elephant was a reference to Zeitgeist.\u003c/p>\n\u003cp>“No,” Paul responded, sounding a little confused. “No correlation. The ride was part of a series of pieces I was doing, drawing amusement park rides and the like. I saw that one in Pennsylvania.”\u003c/p>\n\u003cp>Madonna hadn’t been in my building. He didn’t know anyone from my apartment. This was not the great story I’d been hoping for. But surely he had another reason to choose this particular location?\u003c/p>\n\u003cp>“The building is almost secondary,” Madonna shrugged. “For me, it’s really about light and shadow and composition. With your building, if it had been the morning and the sun was behind it, it wouldn’t have caught my eye. I’ll be walking down the street and the light will be hitting the corner of a building in a certain way… I see the geometry.”\u003c/p>\n\u003cfigure id=\"attachment_13914885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914885\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-15-at-4.00.31-PM-800x531.png\" alt='A painting of a classic San Francisco home next to the wall of another home. On the wall is written in block capitals: \"You know exactly what you need to do.\"' width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-15-at-4.00.31-PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-15-at-4.00.31-PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-15-at-4.00.31-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-15-at-4.00.31-PM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-15-at-4.00.31-PM-1536x1019.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-15-at-4.00.31-PM.png 1700w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover art for ‘You Know Exactly, the Third Collection of All Over Coffee’ by Paul Madonna. \u003ccite>(West Margin Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here, then, is a central reason why Madonna’s San Francisco depictions are so timeless and popular. The artist makes renditions that capture the city in its (literal) best light, and then it’s left to the viewer to insert meaning. And that meaning, Madonna told me, almost never has anything to do with his original reasons for picking a particular view or structure to immortalize.\u003c/p>\n\u003cp>“They’re all random,” Madonna said. “When I used to talk about that years ago, when I first started \u003cem>All Over Coffee\u003c/em>, it annoyed people! Especially if it was their block. They want me to say, ‘Oh my God, that building is important because that’s where I kissed…’ You know? The truth is, I was probably just looking at a shadow!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I felt a little foolish to have inserted my personal history all over Madonna’s randomly chosen location, but the artist assured me that it happened all the time—occasionally with bizarre results.\u003c/p>\n\u003cp>When \u003cem>All Over Coffee\u003c/em> was still running, Madonna had painted a wide view of San Francisco from somebody’s back porch. After one man saw it in \u003cem>The Chronicle\u003c/em>, he recognized the view as being similar to the one from his girlfriend’s apartment, and immediately accused her of having an affair with the artist. The woman emailed Madonna to tell him about the bizarre situation she found herself in.\u003c/p>\n\u003cp>Two years later, Madonna and the woman happened to attend the same party. The artwork and the accusation that followed, she told him, had ended her former relationship. Now she was dating one of Madonna’s friends—and it’s a partnership that has endured to this day. “She’s part of my family-friend set now,” he says disbelievingly. “But how many stories like that are there that I don’t even know?”\u003c/p>\n\u003cfigure id=\"attachment_13914924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/20220616_122942-800x568.jpg\" alt=\"A painting, rendered in sepia tones, of a grand old building with four columns at its entrance and a triangular roof. On the side of the building in large block capitals is the phrase: 'TAKE YOUR OWN ADVICE.'\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220616_122942-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220616_122942-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220616_122942-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220616_122942-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220616_122942-1536x1091.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220616_122942-2048x1455.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/20220616_122942-1920x1364.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘You Know Exactly, the Third Collection of All Over Coffee’ by Paul Madonna. \u003ccite>(West Margin Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other fans of \u003cem>All Over Coffee\u003c/em> have found great meaning in the short phrases Madonna often incorporates into his work.\u003c/p>\n\u003cp>As captured in \u003cem>You Know Exactly\u003c/em>, they are by turns confrontational (“You think it’s a secret but everybody knows”), reassuring (“There’s really only so much you can do”), inspiring (“Use what you have”) and silly (“Let’s get drunk and go on vacation”). The name of the book came from Madonna’s favorite: “You know exactly what you have to do.” When it was first published, the artwork prompted a public outpouring. One reader told Madonna the piece finally gave her the courage to file for a divorce.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The longer short stories featured in the book send readers on a different, often delightfully droll journey. “After waking from what he’d believed would be only a short nap,” one reads, “a confused Chet Bradley finds himself seemingly the last man alive. A fervent activist, he releases all the animals from a nearby zoo, and is promptly eaten by a tiger.”\u003c/p>\n\u003cp>\u003cem>All Over Coffee\u003c/em> was in many ways a gift to the city. It immortalized the San Francisco that locals see every day; not the one most commonly depicted in movies and on TV. Because of its grounding in familiar corners, sidewalks and liquor stores, Madonna’s art can also ask viewers to explore their own psyche, or to suspend their disbelief, or to go on a journey with him they weren’t expecting. And sometimes, just sometimes, it’ll be so close to home, you’ll think he’s made a personal visit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘You Know Exactly, the Third Collection of All Over Coffee’ by Paul Madonna comes out on Tues. June 21, via West Margin Press. \u003ca href=\"https://www.westmarginpress.com/book-details/9781513134819/you-know-exactly-the-third-collection-of-all-over-coffee/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "rightnowish-searching-for-a-kiki-sfs-first-black-owned-gay-bar",
"title": "Searching for a Kiki: SF's First Black-Owned Gay Bar",
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"content": "\u003cp>When Rodney Barnette first moved to San Francisco in 1969, he noticed that “it wasn’t all rah rah gay capital of the world.” His experiences with racism in San Francisco’s historic gay community led him to open the New Eagle Creek Saloon, the city’s first Black-owned gay bar, in 1990. Over 30 years later, Barnette speaks about why Black-affirming queer spaces are still needed, and what he took away from his experience operating one.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5125278989\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of the episode with Rodney Barnette and his daughter Sadie Barnette.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: Tell me about your first time getting adjusted to the gay community here in San Francisco.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: When I first moved here, it wasn’t known as the gay capital of the United States. Most of the activity was on Polk Street, but eventually things shifted to the Castro district. They started opening more restaurants … and the more white gay men that came, the more racist it got. That’s when we started getting carded, three pieces of I.D. to go in these bars. The bartender, they were always white and they would bypass you. Some of them had goons as security guards. There were fights that broke out at places that I went to that got so humiliating that I swore I would not go back because it can be dangerous for me or somebody else to be there.\u003c/p>\n\u003cp>You know, things were so bad that they even created racist language to depict if a white gay guy had Black gay friends or was attracted to Black people. They came up with the term Dinge queen—Dinge means dirty. That’s how thorough the racism was.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: (narration) We brunch now, but back in the day, the bars were the cornerstone of the queer social scene … How are you supposed to feel welcome in a community if you have to defend your humanity every time you go out? \u003c/em>\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: Eventually you got the impetus to start to own a bar, to start a bar. But where did it come from?\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: There was a bar back in the 70s that Black people felt comfortable going to. It was not in the Castro, It was called Bojangles. But … when we left the bar, the San Francisco Police Department was waiting outside with paddy wagons and arresting Black gay people who were standing around talking, trying to exchange numbers. So you always felt like you had to almost run to get away from being arrested.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: You told me a story earlier about Deniece Williams at a bar.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: She had a new album out, and it was so beautiful. It turned out that she was going to be performing at one of these bars up in North Beach. And we had already had bad experiences trying to get in there, carding us with three pieces of I.D. and dress codes, so we never really went there. But we said, OK, we’re going to go see Deniece Williams. Deniece Williams came out and she started performing and singing beautiful songs, and we started clapping and cheering and then between songs, she said, ‘Wow, you guys really liked the music. I can see that you’re responding. How come there aren’t more people here?’ And almost in unison we all said, ‘Because it’s a racist gay bar.’ It’s not that she wasn’t popular, there were things restricting access to her performance.\u003c/p>\n\u003cp>Rodney Barnette: I felt like we had an opportunity to make a difference in the community. I always knew that there weren’t any Black-owned gay bars in San Francisco. This was in the late 80s, like 1989. There was a bar. It was actually called the Eagle Creek Saloon. And the owner was selling the bar. The white man’s name was John, and I knew him, and he approached me and he said, ‘Rodney, do you want to buy my bar?’ I said, ‘Wow, I’d love to, but I don’t have money.’ So he said, ‘I want to sell this bar to a Black man.’ I said, ‘Wow, OK, I’mma figure on how to get money together and buy this bar.’ We got enough money to buy the bar and my family was active in every way to get it going. And finally, when it got transferred into my name, my brothers came up, I had one brother who was a contractor, another brother who was an electrician.\u003c/p>\n\u003cp>My brothers always knew that I was gay and I never tried to hide it, but they got a lot closer and understood every aspect of being gay. They became friends with other gay customers and so forth, and they weren’t gay. But you know, it was a good experience, a good family venture that we went into.\u003c/p>\n\u003cp>And I never expected the bar would be just for Black people. I wanted everybody to be welcome there. And when it finally got turned over into my name, it was a big relief because something could have happened along the way. The neighbors could have contested a liquor license being transferred in that building and so forth, so it was a big relief.\u003c/p>\n\u003cp>I changed the name to the New Eagle Creek Saloon instead of just the Eagle Creek. The idea is that you keep the old name because people from different countries come looking for it and so forth. So it was great cause for a great celebration. We wound up having eight bartenders. We had women DJs, which they didn’t have at that time in any of these gay bars. They didn’t have any Black DJs. So we were able to provide the entertainment that people wanted and provide employment for talented Black people that weren’t able to express themselves in other establishments in San Francisco.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: And in that way, I guess it was sort of like, yes, it’s a bar, but then it sort of functions as a community center.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: Exactly. And that’s what we would call it, a community center that served alcohol … We celebrated people’s birthdays when they had a birthday, we had food and cakes and champagne … Our customers were able to get involved and somebody came up and said, ‘Well, here’s a slogan Rodney: A friendly place with a funky bass for every race.’ And that was perfect because we wanted to let people know everybody was invited and welcomed there.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): The New Eagle Creek Saloon had the formula for success: a dedicated clientele, a passionate owner, and a catchy slogan. It was also everything they needed to attract haters. Soon after the bar opened, the Bay Area Reporter ran a story that tried to scare other people from going.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: [The article was] pretty much implying that somebody got killed one time for hanging around with Black people or rough trade or whatever. So, you know, they were advising people to be leery of going to places like the New Eagle Creek Saloon. So our customers once again were outraged at that, and we sat down with a couple of our customers and wrote up a reply, demanding that they retract that article. And they actually did.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): This was 1991 in San Francisco. The same year Magic Johnson publicly announced that he was HIV-positive, a year before AIDS would become a leading cause of death for young American men and several years after Rodney lost a brother to AIDS. \u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: I saw how badly he suffered with the illness, but that was one of the things that drove me to want to do something about the AIDS epidemic… So we did fundraisers, and eventually there were marches and candlelight vigils that took place right on Market Street. So we would shut the bar down when people were marching by and participate in the march to City Hall demanding that they fund AIDS research. We had a group of people that put in an interactive video game that showed people what safe sex was. And that might sound crazy, or anybody should know it, but it showed people a safe way to have safe sex. It was interactive and it was the first of its kind and we were honored to have it in our bar. It wasn’t put anywhere else before it was put in the Eagle Creek.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): It was an arcade-style machine, where the goal was to pick the safest sexual option, a sort of choose your own adventure. And while a video game that teaches safe sex may sound obsolete now, most of the government-sponsored campaigns advertising safe sex as a way to prevent AIDS weren’t really aimed at Black people. So Rodney giving his patrons a lil’ education with the libation is community activism at its core. \u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: One of the things that people wanted, they said, ‘Rodney, we never had representation in the gay pride parade.’ So we figured out, well, maybe we can raise money – because it’s expensive. We sold 50 cent plastic cups of beer on Sunday. And a lot of people would come out. So we raised money that way and we got an actual committee together to get the float in the parade. We had one guy whose name was Mario. He designed all these costumes for people that were going to be on the float. We had a Black lesbian woman as the DJ. She played music in the bar a lot. And my daughter was six years old and she had a special costume made for her. And we dressed reflecting different generations of Black people.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: And we’re actually also joined by Rodney’s daughter, Sadie Barnette, who is an amazing artist in her own right… What do you remember about this parade?\u003c/em>\u003c/p>\n\u003cp>Sadie Barnette: I would have been, yes, six or seven years old, and I definitely remember it almost as a fairy tale. I remember going to the bar to try on my costume and just feeling so special and like a princess. I can’t remember the name on the float … I call it like Black people through the ages because it was like Egyptian costumes, Victorian costumes … throughout the arc of human history…\u003c/p>\n\u003cp>Rodney Barnette: When we turned the corner, there was a roar that went out the entire length of the parade. People were cheering us because it’s clearly a different float from everybody else’s float. We’re not just observers, people standing on the sideline watching gay pride. We’re part of it.\u003c/p>\n\u003cp>Rodney Barnette: … Something happened to the economy and all the bars were kind of suffering. I didn’t own the property, or the building that the bar was in. And rent skyrocketed. It was on Market Street, one of the most expensive rental places in the city, and I couldn’t keep paying the rent; the bar closed at the end of 1993.\u003c/p>\n\u003cp>What’s so ironic is some of these bars came out with Black Night, right? You could come on a Wednesday night and that’s when we play Black music and we won’t ask you for three pieces of I.D. So that’s what they had to resort to to stay in business.\u003c/p>\n\u003cp>Any time I would run into somebody that went to the [New Eagle Creek Saloon], they had this feeling of, ‘Wow, I wish it was still here.’\u003c/p>\n\u003cp>To tell you the truth, last night I ran into somebody I hadn’t seen in many years, and he realized it was me that I had owned the bar. He came there and we had a birthday party for him. And he came up and hugged me and just started crying and talked about the need for us to get together because there’s never been a place like that since then. So it touched people in a real meaningful way.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): And Sadie commemorates that place—the beauty, history, and resistance—in dope art installations. Since making exhibits featuring the FBI files on her father and photos from his time with the Black Panthers, she was also commissioned [by \u003ca href=\"https://www.thelab.org/commissions\">The Lab]\u003c/a> to build a re-imagined version of the New Eagle Creek Saloon’s bar, a recreation that you can actually step inside.\u003c/em>\u003c/p>\n\u003cp>Sadie Barnette: The name of the Eagle Creek Saloon, while it was in people’s hearts and meant so much to people who were there, it wasn’t something that was referenced in Netflix’s documentaries. It wasn’t something that grad students were studying. There was not a big paper trail of the Eagle Creek Saloon. And so for me, it was important to make sure that the name wasn’t lost and to do that through having really fun parties seemed like a great way to do it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Rodney Barnette first moved to San Francisco in 1969, he noticed that “it wasn’t all rah rah gay capital of the world.” His experiences with racism in San Francisco’s historic gay community led him to open the New Eagle Creek Saloon, the city’s first Black-owned gay bar, in 1990. Over 30 years later, Barnette speaks about why Black-affirming queer spaces are still needed, and what he took away from his experience operating one.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5125278989\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of the episode with Rodney Barnette and his daughter Sadie Barnette.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: Tell me about your first time getting adjusted to the gay community here in San Francisco.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: When I first moved here, it wasn’t known as the gay capital of the United States. Most of the activity was on Polk Street, but eventually things shifted to the Castro district. They started opening more restaurants … and the more white gay men that came, the more racist it got. That’s when we started getting carded, three pieces of I.D. to go in these bars. The bartender, they were always white and they would bypass you. Some of them had goons as security guards. There were fights that broke out at places that I went to that got so humiliating that I swore I would not go back because it can be dangerous for me or somebody else to be there.\u003c/p>\n\u003cp>You know, things were so bad that they even created racist language to depict if a white gay guy had Black gay friends or was attracted to Black people. They came up with the term Dinge queen—Dinge means dirty. That’s how thorough the racism was.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: (narration) We brunch now, but back in the day, the bars were the cornerstone of the queer social scene … How are you supposed to feel welcome in a community if you have to defend your humanity every time you go out? \u003c/em>\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: Eventually you got the impetus to start to own a bar, to start a bar. But where did it come from?\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: There was a bar back in the 70s that Black people felt comfortable going to. It was not in the Castro, It was called Bojangles. But … when we left the bar, the San Francisco Police Department was waiting outside with paddy wagons and arresting Black gay people who were standing around talking, trying to exchange numbers. So you always felt like you had to almost run to get away from being arrested.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: You told me a story earlier about Deniece Williams at a bar.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: She had a new album out, and it was so beautiful. It turned out that she was going to be performing at one of these bars up in North Beach. And we had already had bad experiences trying to get in there, carding us with three pieces of I.D. and dress codes, so we never really went there. But we said, OK, we’re going to go see Deniece Williams. Deniece Williams came out and she started performing and singing beautiful songs, and we started clapping and cheering and then between songs, she said, ‘Wow, you guys really liked the music. I can see that you’re responding. How come there aren’t more people here?’ And almost in unison we all said, ‘Because it’s a racist gay bar.’ It’s not that she wasn’t popular, there were things restricting access to her performance.\u003c/p>\n\u003cp>Rodney Barnette: I felt like we had an opportunity to make a difference in the community. I always knew that there weren’t any Black-owned gay bars in San Francisco. This was in the late 80s, like 1989. There was a bar. It was actually called the Eagle Creek Saloon. And the owner was selling the bar. The white man’s name was John, and I knew him, and he approached me and he said, ‘Rodney, do you want to buy my bar?’ I said, ‘Wow, I’d love to, but I don’t have money.’ So he said, ‘I want to sell this bar to a Black man.’ I said, ‘Wow, OK, I’mma figure on how to get money together and buy this bar.’ We got enough money to buy the bar and my family was active in every way to get it going. And finally, when it got transferred into my name, my brothers came up, I had one brother who was a contractor, another brother who was an electrician.\u003c/p>\n\u003cp>My brothers always knew that I was gay and I never tried to hide it, but they got a lot closer and understood every aspect of being gay. They became friends with other gay customers and so forth, and they weren’t gay. But you know, it was a good experience, a good family venture that we went into.\u003c/p>\n\u003cp>And I never expected the bar would be just for Black people. I wanted everybody to be welcome there. And when it finally got turned over into my name, it was a big relief because something could have happened along the way. The neighbors could have contested a liquor license being transferred in that building and so forth, so it was a big relief.\u003c/p>\n\u003cp>I changed the name to the New Eagle Creek Saloon instead of just the Eagle Creek. The idea is that you keep the old name because people from different countries come looking for it and so forth. So it was great cause for a great celebration. We wound up having eight bartenders. We had women DJs, which they didn’t have at that time in any of these gay bars. They didn’t have any Black DJs. So we were able to provide the entertainment that people wanted and provide employment for talented Black people that weren’t able to express themselves in other establishments in San Francisco.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: And in that way, I guess it was sort of like, yes, it’s a bar, but then it sort of functions as a community center.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: Exactly. And that’s what we would call it, a community center that served alcohol … We celebrated people’s birthdays when they had a birthday, we had food and cakes and champagne … Our customers were able to get involved and somebody came up and said, ‘Well, here’s a slogan Rodney: A friendly place with a funky bass for every race.’ And that was perfect because we wanted to let people know everybody was invited and welcomed there.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): The New Eagle Creek Saloon had the formula for success: a dedicated clientele, a passionate owner, and a catchy slogan. It was also everything they needed to attract haters. Soon after the bar opened, the Bay Area Reporter ran a story that tried to scare other people from going.\u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: [The article was] pretty much implying that somebody got killed one time for hanging around with Black people or rough trade or whatever. So, you know, they were advising people to be leery of going to places like the New Eagle Creek Saloon. So our customers once again were outraged at that, and we sat down with a couple of our customers and wrote up a reply, demanding that they retract that article. And they actually did.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): This was 1991 in San Francisco. The same year Magic Johnson publicly announced that he was HIV-positive, a year before AIDS would become a leading cause of death for young American men and several years after Rodney lost a brother to AIDS. \u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: I saw how badly he suffered with the illness, but that was one of the things that drove me to want to do something about the AIDS epidemic… So we did fundraisers, and eventually there were marches and candlelight vigils that took place right on Market Street. So we would shut the bar down when people were marching by and participate in the march to City Hall demanding that they fund AIDS research. We had a group of people that put in an interactive video game that showed people what safe sex was. And that might sound crazy, or anybody should know it, but it showed people a safe way to have safe sex. It was interactive and it was the first of its kind and we were honored to have it in our bar. It wasn’t put anywhere else before it was put in the Eagle Creek.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): It was an arcade-style machine, where the goal was to pick the safest sexual option, a sort of choose your own adventure. And while a video game that teaches safe sex may sound obsolete now, most of the government-sponsored campaigns advertising safe sex as a way to prevent AIDS weren’t really aimed at Black people. So Rodney giving his patrons a lil’ education with the libation is community activism at its core. \u003c/em>\u003c/p>\n\u003cp>Rodney Barnette: One of the things that people wanted, they said, ‘Rodney, we never had representation in the gay pride parade.’ So we figured out, well, maybe we can raise money – because it’s expensive. We sold 50 cent plastic cups of beer on Sunday. And a lot of people would come out. So we raised money that way and we got an actual committee together to get the float in the parade. We had one guy whose name was Mario. He designed all these costumes for people that were going to be on the float. We had a Black lesbian woman as the DJ. She played music in the bar a lot. And my daughter was six years old and she had a special costume made for her. And we dressed reflecting different generations of Black people.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose: And we’re actually also joined by Rodney’s daughter, Sadie Barnette, who is an amazing artist in her own right… What do you remember about this parade?\u003c/em>\u003c/p>\n\u003cp>Sadie Barnette: I would have been, yes, six or seven years old, and I definitely remember it almost as a fairy tale. I remember going to the bar to try on my costume and just feeling so special and like a princess. I can’t remember the name on the float … I call it like Black people through the ages because it was like Egyptian costumes, Victorian costumes … throughout the arc of human history…\u003c/p>\n\u003cp>Rodney Barnette: When we turned the corner, there was a roar that went out the entire length of the parade. People were cheering us because it’s clearly a different float from everybody else’s float. We’re not just observers, people standing on the sideline watching gay pride. We’re part of it.\u003c/p>\n\u003cp>Rodney Barnette: … Something happened to the economy and all the bars were kind of suffering. I didn’t own the property, or the building that the bar was in. And rent skyrocketed. It was on Market Street, one of the most expensive rental places in the city, and I couldn’t keep paying the rent; the bar closed at the end of 1993.\u003c/p>\n\u003cp>What’s so ironic is some of these bars came out with Black Night, right? You could come on a Wednesday night and that’s when we play Black music and we won’t ask you for three pieces of I.D. So that’s what they had to resort to to stay in business.\u003c/p>\n\u003cp>Any time I would run into somebody that went to the [New Eagle Creek Saloon], they had this feeling of, ‘Wow, I wish it was still here.’\u003c/p>\n\u003cp>To tell you the truth, last night I ran into somebody I hadn’t seen in many years, and he realized it was me that I had owned the bar. He came there and we had a birthday party for him. And he came up and hugged me and just started crying and talked about the need for us to get together because there’s never been a place like that since then. So it touched people in a real meaningful way.\u003c/p>\n\u003cp>\u003cem>Corey Antonio Rose (narration): And Sadie commemorates that place—the beauty, history, and resistance—in dope art installations. Since making exhibits featuring the FBI files on her father and photos from his time with the Black Panthers, she was also commissioned [by \u003ca href=\"https://www.thelab.org/commissions\">The Lab]\u003c/a> to build a re-imagined version of the New Eagle Creek Saloon’s bar, a recreation that you can actually step inside.\u003c/em>\u003c/p>\n\u003cp>Sadie Barnette: The name of the Eagle Creek Saloon, while it was in people’s hearts and meant so much to people who were there, it wasn’t something that was referenced in Netflix’s documentaries. It wasn’t something that grad students were studying. There was not a big paper trail of the Eagle Creek Saloon. And so for me, it was important to make sure that the name wasn’t lost and to do that through having really fun parties seemed like a great way to do it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "At Roving Pop-Up SMAX, the Okonomiyaki Comes Animal Style—and Yes, It Smacks",
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"content": "\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a weekly conversation with Bay Area foodmakers, exploring the region’s culinary culture through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When it comes to local food and culture, there are certain rules and codes that Baydestrians abide by.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The DO’s: Share the love. In the words of rising Vallejo rapper, LaRussell, the Bay is a place where we \u003c/span>\u003ca href=\"https://eastbayexpress.com/cook-together-eat-together-larussels-latest-album-harkens-back-to-bay-area-tradition-while-shining-a-light-on-the-future-with-a-passed-torch/\">\u003ci>\u003cspan style=\"font-weight: 400\">Cook Together, Eat Together\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. Around here, it’s all about breaking bread with your folks and feeding your kin.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The DON’T’s: Do not say “food slaps.” As the Yay Area’s leading chef, E-40, made clear on his Verzuz appearance with Too $hort, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13908052/food-doesnt-slap\">\u003cspan style=\"font-weight: 400\">“food don’t slap”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—a mantra which \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13908052/food-doesnt-slap\">\u003cspan style=\"font-weight: 400\">fellow KQED writer Pendarvis Harshaw\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> emphatically supports.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead, Bay Area food “smacks,” “shhhhmacks” or “SMAX.” And when done right, it’s something we can all appreciate.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Such is the art of delivering delicious cuisine—and teaching proper Bay Area slanguage—at \u003c/span>\u003ca href=\"https://www.instagram.com/that_smax/?hl=en\">\u003cspan style=\"font-weight: 400\">SMAX, a pop-up and test kitchen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that focuses on creatively assembled sandwiches and treats served by Paris and Joog, two friends from San Francisco and Vallejo, respectively. Usually posted up at events like \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13911888/415-day-san-francisco-rap-rbl-posse-stunnaman02-fillmore-hunters-point\">\u003cspan style=\"font-weight: 400\">District Six’s 415 Day\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, you’ll find P running the kitchen and Joog overseeing operations and management.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Together, the duo draws from their Asian American upbringing and nostalgia to provide a rotating menu of wildly reimagined flavors. Their foods are artfully expressive creations in which identity, dreams, culture, friendship and flavor mingle in each bite.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A beefy, bodega-certified chopped cheese? Got that. Guava BBQ chicken banh mi made with freshly whipped fruits? You already know. And perhaps the most inventive of their ideas, honey walnut shrimp like you can only find at your neighborhood Chinese joint, now reincarnated as a katsu sandwich? Smackin’.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13914044\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914044\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/smax_islandboi2-800x533.jpg\" alt=\"A sandwich with spam, American cheese, egg, and mac salad, being served on a food tray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_islandboi2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_islandboi2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_islandboi2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_islandboi2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_islandboi2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_islandboi2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Island Boi features house-made spam, American cheese and mac salad on a sweet pineapple bun. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’re looking for more than a flavorful sando, they don’t just stack bread at this roving pop-up; they also dish up savory plates and sugary desserts while providing \u003c/span>\u003ca href=\"https://thatsmax.bigcartel.com/product/smax-chili-oil-og-not-spicy\">\u003cspan style=\"font-weight: 400\">take-home sauces\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://thatsmax.bigcartel.com/product/fooddontslap\">\u003cspan style=\"font-weight: 400\">merch\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They’ve experimented with an “Oko scallion pancake”—a Chinese-style green onion pancake topped with Japanese okonomiyaki ingredients such as cabbage, thick-cut bacon, mayonnaise and a fried egg.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They’ve also messed around with pastrami fried rice—a New York City twist on the Chinese food staple, fueled by their summer trips to the East Coast after late-night DJ runs at the club. (In true Bay fashion, \u003c/span>\u003ca href=\"https://soundcloud.com/djjoog\">\u003cspan style=\"font-weight: 400\">DJ Joog has a music side hustle\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.) Oh, and you can’t forget their orange creamsicle cookies to cap off your culinary nostalgia, like a late-night liquor store run.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Personally, I came for the “Animal Style” okonomiyaki—a version of the traditional Japanese hotcakes made with In-N-Out style dressing and bacon—and “The Island Boi”—a Hawaiian-inspired sandwich with house-made Spam, melted American cheese, egg and mac salad between chewy Hong Kong-style pineapple buns. I paired that with a sweet, sesame-filled ube mochi.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I slid by \u003c/span>\u003ca href=\"https://www.instagram.com/thisisbabas.house/?hl=en\">\u003cspan style=\"font-weight: 400\">Baba’s House\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—a restaurant and specialty Asian snack store that doubles as one of SMAX’s temporary locations in the East Bay—where I had the privilege to taste these delicacies that the friends have been offering for the past five years.\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>\u003cspan style=\"font-weight: 400\">********\u003c/span>\u003c/p>\n\u003cp>\u003cb>KQED: How would you describe the food at SMAX?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">PARIS: We make specialty sandwiches that are rooted in the nostalgic dishes we really enjoy eating or that we grew up on. We talk about what we used to eat around the neighborhood, and that inspires us for our new dishes. We want to bring folks back to better times, when we were all younger, and we just package that all in our food with new ideas.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13914045\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914045\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/smax_chefs-800x533.jpg\" alt=\"Two young men, Paris and Joog, stand in front of Baba's House Kitchen. Joog is wearing a shirt that says "food don't slap" while P is beside him, pointing at the shirt.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_chefs-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_chefs-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_chefs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_chefs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_chefs-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_chefs.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joog (left) and P (right) stand in front of Baba’s House, rocking a “Food Don’t Slap” tee available on their site. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>With such a vast rotating menu, what’s been your most popular item?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">JOOG: We’re constantly shifting and experimenting. One [item] that got the best reviews is the “chopped cheese.” We plan to do that more regularly with rotating specials. It was a new way to present a New York burger that people in the Bay haven’t seen before. We love that sandwich.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">P: Chopped cheese, for sure. But all around, people have been fucking with all our crazy creations. People get excited for the new things we create. We like to get feedback and see how people interact with a new sandwich, but then we might only do it once and keep inventing new things.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How does your food reflect the Bay Area you grew up in?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">J: I’m from Vallejo. We always want it to be accessible to our folks, to serve the communities that we care about. That shows up in our food because we’re always looking to serve other creative independent people, anyone trying to just do something on their own. It’s hard to be financially independent in the Bay. But we want to provide that community and good feeling for folks without ever seeming exclusive. Whoever is doing their own hustle and doing their thing, that’s inspiring. Whether it’s art, music or organizing the community. Those are all valid and influence how we cook because those are the people we serve.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">P: I’m from San Francisco. It’s just about looking out for others here. We might not be available for a pop up, but we’ll hook someone up with another person who is. Artists, vendors, DJs, it’s all a big community of putting each other on so we can all eat. Meeting new creatives and finding new products that local people sell is dope, and we strive to make those connections with others, especially since we’re all from the same soil here.\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CbDSCMll08O/\u003c/p>\n\u003cp>\u003cb>What’s been the biggest challenge in being a pop-up over the past half decade?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">J: It’s hard to keep up with overhead and set our roots down as an independent business in the Bay. It’s almost impossible to buy a house or have property. We’ve always wanted a place to permanently be in, but it’s really hard to make that transition from mobile to having our own spot. We’ve been in this for so long and have hella experience, but [running a business like this] is a lot harder because we’re in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">P: Our food menus are a form of creative expression. That’s why we switch it up. If you miss an item, you might not see it again. It’s our artistic expression in the moment. But we also realize we need to have some idea or main menu item that folks can hold on to as well. We need to provide consistent service but express ourselves as chefs. It’s a slower route for us to convince folks because we might switch it up. It’s a challenge, but people seem to enjoy trying our new stuff.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What are your thoughts on the whole “slaps” versus “smacks” food war?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13913592,arts_13908052']P: Food definitely smacks. We wanted a name that was fun and encapsulated our energy and the vibe we were going for. What’s a word that people out here really connect with, especially with food? Smacks. The funny thing is that at first we were actually called “Slaps and Smacks” because we did events with DJs at first, too.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">J: We broke away from the “Slaps” part and stopped having DJs, and we just became “Smacks.” After a few years, we wanted our own personality to stand out so we changed the spelling to “SMAX.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">P: Now, we see more and more pop-ups with smacks in the name, so I’m kinda glad we pivoted and changed up the spelling early on.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">J: At the end of the day, we want our food to be rooted in the Bay. We can do that because we’re from out here, and we will always push that culture. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13914046\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914046\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/smax-yee-800x533.jpg\" alt=\"A cartoon mural of an Asian cat wearing a beanie, sunglasses, and holding chopsticks. The mural is located inside Baba's House Kitchen restuarant.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax-yee-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax-yee-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax-yee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax-yee-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax-yee-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax-yee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An Illuminaries mural provides authentic Bay vibes inside Baba’s House. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Upcoming events: June 5 at \u003ca href=\"https://www.instagram.com/birdhausbeergarden/?hl=en\">Birdhaus Beer Garden\u003c/a>, 3821 Smith St., Union City from 11 am to 4 pm. June 12th at \u003ca href=\"https://www.instagram.com/p/CdJT4stFZOB/\">Grow Off Market\u003c/a>, 400 Contra Costa St., Vallejo from 10 am to 4 pm. For future updates, follow \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/that_smax/?hl=en\">\u003ci>\u003cspan style=\"font-weight: 400\">SMAX on Instagram\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/i>\u003c/p>\n\n",
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"title": "At Roving Pop-Up SMAX, the Okonomiyaki Comes Animal Style—and Yes, It Smacks | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a weekly conversation with Bay Area foodmakers, exploring the region’s culinary culture through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When it comes to local food and culture, there are certain rules and codes that Baydestrians abide by.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The DO’s: Share the love. In the words of rising Vallejo rapper, LaRussell, the Bay is a place where we \u003c/span>\u003ca href=\"https://eastbayexpress.com/cook-together-eat-together-larussels-latest-album-harkens-back-to-bay-area-tradition-while-shining-a-light-on-the-future-with-a-passed-torch/\">\u003ci>\u003cspan style=\"font-weight: 400\">Cook Together, Eat Together\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. Around here, it’s all about breaking bread with your folks and feeding your kin.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The DON’T’s: Do not say “food slaps.” As the Yay Area’s leading chef, E-40, made clear on his Verzuz appearance with Too $hort, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13908052/food-doesnt-slap\">\u003cspan style=\"font-weight: 400\">“food don’t slap”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—a mantra which \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13908052/food-doesnt-slap\">\u003cspan style=\"font-weight: 400\">fellow KQED writer Pendarvis Harshaw\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> emphatically supports.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead, Bay Area food “smacks,” “shhhhmacks” or “SMAX.” And when done right, it’s something we can all appreciate.\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\">Such is the art of delivering delicious cuisine—and teaching proper Bay Area slanguage—at \u003c/span>\u003ca href=\"https://www.instagram.com/that_smax/?hl=en\">\u003cspan style=\"font-weight: 400\">SMAX, a pop-up and test kitchen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that focuses on creatively assembled sandwiches and treats served by Paris and Joog, two friends from San Francisco and Vallejo, respectively. Usually posted up at events like \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13911888/415-day-san-francisco-rap-rbl-posse-stunnaman02-fillmore-hunters-point\">\u003cspan style=\"font-weight: 400\">District Six’s 415 Day\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, you’ll find P running the kitchen and Joog overseeing operations and management.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Together, the duo draws from their Asian American upbringing and nostalgia to provide a rotating menu of wildly reimagined flavors. Their foods are artfully expressive creations in which identity, dreams, culture, friendship and flavor mingle in each bite.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A beefy, bodega-certified chopped cheese? Got that. Guava BBQ chicken banh mi made with freshly whipped fruits? You already know. And perhaps the most inventive of their ideas, honey walnut shrimp like you can only find at your neighborhood Chinese joint, now reincarnated as a katsu sandwich? Smackin’.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13914044\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914044\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/smax_islandboi2-800x533.jpg\" alt=\"A sandwich with spam, American cheese, egg, and mac salad, being served on a food tray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_islandboi2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_islandboi2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_islandboi2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_islandboi2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_islandboi2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_islandboi2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Island Boi features house-made spam, American cheese and mac salad on a sweet pineapple bun. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’re looking for more than a flavorful sando, they don’t just stack bread at this roving pop-up; they also dish up savory plates and sugary desserts while providing \u003c/span>\u003ca href=\"https://thatsmax.bigcartel.com/product/smax-chili-oil-og-not-spicy\">\u003cspan style=\"font-weight: 400\">take-home sauces\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://thatsmax.bigcartel.com/product/fooddontslap\">\u003cspan style=\"font-weight: 400\">merch\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They’ve experimented with an “Oko scallion pancake”—a Chinese-style green onion pancake topped with Japanese okonomiyaki ingredients such as cabbage, thick-cut bacon, mayonnaise and a fried egg.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They’ve also messed around with pastrami fried rice—a New York City twist on the Chinese food staple, fueled by their summer trips to the East Coast after late-night DJ runs at the club. (In true Bay fashion, \u003c/span>\u003ca href=\"https://soundcloud.com/djjoog\">\u003cspan style=\"font-weight: 400\">DJ Joog has a music side hustle\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.) Oh, and you can’t forget their orange creamsicle cookies to cap off your culinary nostalgia, like a late-night liquor store run.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Personally, I came for the “Animal Style” okonomiyaki—a version of the traditional Japanese hotcakes made with In-N-Out style dressing and bacon—and “The Island Boi”—a Hawaiian-inspired sandwich with house-made Spam, melted American cheese, egg and mac salad between chewy Hong Kong-style pineapple buns. I paired that with a sweet, sesame-filled ube mochi.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I slid by \u003c/span>\u003ca href=\"https://www.instagram.com/thisisbabas.house/?hl=en\">\u003cspan style=\"font-weight: 400\">Baba’s House\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—a restaurant and specialty Asian snack store that doubles as one of SMAX’s temporary locations in the East Bay—where I had the privilege to taste these delicacies that the friends have been offering for the past five years.\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>\u003cspan style=\"font-weight: 400\">********\u003c/span>\u003c/p>\n\u003cp>\u003cb>KQED: How would you describe the food at SMAX?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">PARIS: We make specialty sandwiches that are rooted in the nostalgic dishes we really enjoy eating or that we grew up on. We talk about what we used to eat around the neighborhood, and that inspires us for our new dishes. We want to bring folks back to better times, when we were all younger, and we just package that all in our food with new ideas.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13914045\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914045\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/smax_chefs-800x533.jpg\" alt=\"Two young men, Paris and Joog, stand in front of Baba's House Kitchen. Joog is wearing a shirt that says "food don't slap" while P is beside him, pointing at the shirt.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_chefs-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_chefs-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_chefs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_chefs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_chefs-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax_chefs.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joog (left) and P (right) stand in front of Baba’s House, rocking a “Food Don’t Slap” tee available on their site. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>With such a vast rotating menu, what’s been your most popular item?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">JOOG: We’re constantly shifting and experimenting. One [item] that got the best reviews is the “chopped cheese.” We plan to do that more regularly with rotating specials. It was a new way to present a New York burger that people in the Bay haven’t seen before. We love that sandwich.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">P: Chopped cheese, for sure. But all around, people have been fucking with all our crazy creations. People get excited for the new things we create. We like to get feedback and see how people interact with a new sandwich, but then we might only do it once and keep inventing new things.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How does your food reflect the Bay Area you grew up in?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">J: I’m from Vallejo. We always want it to be accessible to our folks, to serve the communities that we care about. That shows up in our food because we’re always looking to serve other creative independent people, anyone trying to just do something on their own. It’s hard to be financially independent in the Bay. But we want to provide that community and good feeling for folks without ever seeming exclusive. Whoever is doing their own hustle and doing their thing, that’s inspiring. Whether it’s art, music or organizing the community. Those are all valid and influence how we cook because those are the people we serve.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">P: I’m from San Francisco. It’s just about looking out for others here. We might not be available for a pop up, but we’ll hook someone up with another person who is. Artists, vendors, DJs, it’s all a big community of putting each other on so we can all eat. Meeting new creatives and finding new products that local people sell is dope, and we strive to make those connections with others, especially since we’re all from the same soil here.\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>What’s been the biggest challenge in being a pop-up over the past half decade?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">J: It’s hard to keep up with overhead and set our roots down as an independent business in the Bay. It’s almost impossible to buy a house or have property. We’ve always wanted a place to permanently be in, but it’s really hard to make that transition from mobile to having our own spot. We’ve been in this for so long and have hella experience, but [running a business like this] is a lot harder because we’re in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">P: Our food menus are a form of creative expression. That’s why we switch it up. If you miss an item, you might not see it again. It’s our artistic expression in the moment. But we also realize we need to have some idea or main menu item that folks can hold on to as well. We need to provide consistent service but express ourselves as chefs. It’s a slower route for us to convince folks because we might switch it up. It’s a challenge, but people seem to enjoy trying our new stuff.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What are your thoughts on the whole “slaps” versus “smacks” food war?\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>P: Food definitely smacks. We wanted a name that was fun and encapsulated our energy and the vibe we were going for. What’s a word that people out here really connect with, especially with food? Smacks. The funny thing is that at first we were actually called “Slaps and Smacks” because we did events with DJs at first, too.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">J: We broke away from the “Slaps” part and stopped having DJs, and we just became “Smacks.” After a few years, we wanted our own personality to stand out so we changed the spelling to “SMAX.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">P: Now, we see more and more pop-ups with smacks in the name, so I’m kinda glad we pivoted and changed up the spelling early on.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">J: At the end of the day, we want our food to be rooted in the Bay. We can do that because we’re from out here, and we will always push that culture. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13914046\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914046\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/smax-yee-800x533.jpg\" alt=\"A cartoon mural of an Asian cat wearing a beanie, sunglasses, and holding chopsticks. The mural is located inside Baba's House Kitchen restuarant.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax-yee-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax-yee-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax-yee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax-yee-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax-yee-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/smax-yee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An Illuminaries mural provides authentic Bay vibes inside Baba’s House. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Upcoming events: June 5 at \u003ca href=\"https://www.instagram.com/birdhausbeergarden/?hl=en\">Birdhaus Beer Garden\u003c/a>, 3821 Smith St., Union City from 11 am to 4 pm. June 12th at \u003ca href=\"https://www.instagram.com/p/CdJT4stFZOB/\">Grow Off Market\u003c/a>, 400 Contra Costa St., Vallejo from 10 am to 4 pm. For future updates, follow \u003c/span>\u003c/i>\u003ca href=\"https://www.instagram.com/that_smax/?hl=en\">\u003ci>\u003cspan style=\"font-weight: 400\">SMAX on Instagram\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Punk/Performance in the ’Loin’ is as Chaotic as the Scene it Seeks to Document",
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"content": "\u003cp>The \u003cem>Punk/Performance in the ’Loin\u003c/em> exhibit carries the unusual trait of being simultaneously far too much and not nearly enough.\u003c/p>\n\u003cp>Not nearly enough, because, aside from a small collection of flyers and three (wonderful as usual) \u003ca href=\"https://www.jeannemhansen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeanne Hansen\u003c/a> photos, there’s not much to look at. (Four screens playing experimental clips on a loop are alluring for only a matter of minutes.)\u003c/p>\n\u003cp>[aside postid='arts_13902953']Far too much because the core of the show is 13 hours of uncut video interviews, which would be a challenge to watch even from the comfort of one’s own living room. In the Tenderloin Museum, that task is even more herculean due to the format: small wall-mounted screens attached to very basic headphones with fairly short cords. The couple of chairs made available to viewers are as uninviting as the headwear.\u003c/p>\n\u003cp>That’s not to say that these interviews—all conducted by videographer Dale Hoyt—aren’t worth your time. Subjects include 15 musicians and rabble-rousers from San Francisco’s often overlooked ’80s underground punk scene. Each one is a character. All have anecdotes of the grime and danger and joy and rebellion they witnessed in the city during the period.\u003c/p>\n\u003cp>Interested parties might be tempted to expedite their visit by focusing on only one or two subjects—Ted Falcone from Flipper, say, or Connie Champagne from The Mutants. Winston Tong from Tuxedomoon perhaps. But honestly, some of the most compelling content comes from the lesser-known interviewees.\u003c/p>\n\u003cfigure id=\"attachment_13913219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913219\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-800x1067.jpg\" alt=\"Three small flat screens mounted on a wall covered haphazardly with old punk flyers. Wires dangle from the screens.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top) Ted Falcone of Flipper, (Middle) Connie Champagne of the Mutants, (Bottom) Dave ‘Dog’ Swan of Longshoremen all appear on separate small screens at ‘Punk/Performance in the ‘Loin’ at the Tenderloin Museum. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Record producer John Coon shares tales of filth from the DNA Lounge. Frightwig’s Mia d’Bruzzi talks poignantly about addiction in the punk scene, and how she grappled with her own. Dominique Leslie from Animal Things shares her great love of the Tenderloin—back in the day and now. (Leslie’s anecdotes about lovable oddballs in the neighborhood are a reminder of what still makes the TL special.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the end, the best approach to \u003cem>Punk/Performance in the ’Loin\u003c/em> is to treat the video interviews as you would eavesdropping at a party. You’re never going to understand every element of the conversation you’re dipping into, and not everyone is going to hold your interest. But now and again, you’ll strike gold and pick up a conversational thread at just the right time. Luck out, and you’ll find yourself enthralled.\u003c/p>\n\u003cp>[aside postid='arts_13894169']Does the formatting of these videos sound unfinished? It is. Dale Hoyt—who himself is the subject of one of the videos in the exhibit—fell terminally ill very soon after completing all the interviews for \u003cem>Punk/Performance in the ’Loin\u003c/em>. Not well enough to give them the editing treatment himself, he asked that the interviews be presented in their raw, unedited form. The Tenderloin Museum is honoring that last wish. Hoyt died just three weeks before the exhibit went up, and its opening reception more closely resembled a celebration of life than an art show.\u003c/p>\n\u003cp>If hearing each interview in its entirety feels like a necessity—or the best way to remember Hoyt—sit tight. Each of them will be available after the exhibit, on the Tenderloin Museum’s \u003ca href=\"https://www.youtube.com/channel/UCAXQnYBYED9UxY8A_VMZGmA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube page\u003c/a>. In the meantime, try and enjoy \u003cem>Punk/Performance in the ’Loin\u003c/em> as a reflection of San Francisco’s ’80s punk scene as it was—chaotic, messy, and a labor of love for everyone involved.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Punk/Performance in the ’Loin’ is on display at the Tenderloin Museum through July 2. \u003ca href=\"http://www.tenderloinmuseum.org/tlm-art-gallery-on-view\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>In collaboration with the exhibit, Flipper, The Mutants and Longshoremen are performing at Great American Music Hall on Thursday, May 26 at 8pm. \u003ca href=\"https://wl.seetickets.us/event/Flipper-withFletcherofTheGarden/471968?afflky=GreatAmericanMusicHall\" target=\"_blank\" rel=\"noopener noreferrer\">Concert details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Tenderloin Museum is also holding a screening of Dale Hoyt’s work, titled ‘Once Upon a Time in the TL: Punk/Performance on Screen’ on Thursday, June 23, starting at 6:30pm. \u003ca href=\"http://www.tenderloinmuseum.org/public-programs-2022-1/2022/6/23/once-upon-a-time-sfcinematheque\" target=\"_blank\" rel=\"noopener noreferrer\">Screening details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Far too much because the core of the show is 13 hours of uncut video interviews, which would be a challenge to watch even from the comfort of one’s own living room. In the Tenderloin Museum, that task is even more herculean due to the format: small wall-mounted screens attached to very basic headphones with fairly short cords. The couple of chairs made available to viewers are as uninviting as the headwear.\u003c/p>\n\u003cp>That’s not to say that these interviews—all conducted by videographer Dale Hoyt—aren’t worth your time. Subjects include 15 musicians and rabble-rousers from San Francisco’s often overlooked ’80s underground punk scene. Each one is a character. All have anecdotes of the grime and danger and joy and rebellion they witnessed in the city during the period.\u003c/p>\n\u003cp>Interested parties might be tempted to expedite their visit by focusing on only one or two subjects—Ted Falcone from Flipper, say, or Connie Champagne from The Mutants. Winston Tong from Tuxedomoon perhaps. But honestly, some of the most compelling content comes from the lesser-known interviewees.\u003c/p>\n\u003cfigure id=\"attachment_13913219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913219\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-800x1067.jpg\" alt=\"Three small flat screens mounted on a wall covered haphazardly with old punk flyers. Wires dangle from the screens.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top) Ted Falcone of Flipper, (Middle) Connie Champagne of the Mutants, (Bottom) Dave ‘Dog’ Swan of Longshoremen all appear on separate small screens at ‘Punk/Performance in the ‘Loin’ at the Tenderloin Museum. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Record producer John Coon shares tales of filth from the DNA Lounge. Frightwig’s Mia d’Bruzzi talks poignantly about addiction in the punk scene, and how she grappled with her own. Dominique Leslie from Animal Things shares her great love of the Tenderloin—back in the day and now. (Leslie’s anecdotes about lovable oddballs in the neighborhood are a reminder of what still makes the TL special.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, the best approach to \u003cem>Punk/Performance in the ’Loin\u003c/em> is to treat the video interviews as you would eavesdropping at a party. You’re never going to understand every element of the conversation you’re dipping into, and not everyone is going to hold your interest. But now and again, you’ll strike gold and pick up a conversational thread at just the right time. Luck out, and you’ll find yourself enthralled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Does the formatting of these videos sound unfinished? It is. Dale Hoyt—who himself is the subject of one of the videos in the exhibit—fell terminally ill very soon after completing all the interviews for \u003cem>Punk/Performance in the ’Loin\u003c/em>. Not well enough to give them the editing treatment himself, he asked that the interviews be presented in their raw, unedited form. The Tenderloin Museum is honoring that last wish. Hoyt died just three weeks before the exhibit went up, and its opening reception more closely resembled a celebration of life than an art show.\u003c/p>\n\u003cp>If hearing each interview in its entirety feels like a necessity—or the best way to remember Hoyt—sit tight. Each of them will be available after the exhibit, on the Tenderloin Museum’s \u003ca href=\"https://www.youtube.com/channel/UCAXQnYBYED9UxY8A_VMZGmA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube page\u003c/a>. In the meantime, try and enjoy \u003cem>Punk/Performance in the ’Loin\u003c/em> as a reflection of San Francisco’s ’80s punk scene as it was—chaotic, messy, and a labor of love for everyone involved.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Punk/Performance in the ’Loin’ is on display at the Tenderloin Museum through July 2. \u003ca href=\"http://www.tenderloinmuseum.org/tlm-art-gallery-on-view\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>In collaboration with the exhibit, Flipper, The Mutants and Longshoremen are performing at Great American Music Hall on Thursday, May 26 at 8pm. \u003ca href=\"https://wl.seetickets.us/event/Flipper-withFletcherofTheGarden/471968?afflky=GreatAmericanMusicHall\" target=\"_blank\" rel=\"noopener noreferrer\">Concert details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Tenderloin Museum is also holding a screening of Dale Hoyt’s work, titled ‘Once Upon a Time in the TL: Punk/Performance on Screen’ on Thursday, June 23, starting at 6:30pm. \u003ca href=\"http://www.tenderloinmuseum.org/public-programs-2022-1/2022/6/23/once-upon-a-time-sfcinematheque\" target=\"_blank\" rel=\"noopener noreferrer\">Screening details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This Year's SF Eid Celebration Puts the Spotlight on Moms",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Eid al-Fitr marks the end of Ramadan, when Muslims around the world break a month-long dawn-to-sunset fast with prayer, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13912784/for-many-arab-muslims-celebrating-the-end-of-ramadan-its-not-eid-without-maamoul\">\u003cspan style=\"font-weight: 400\">sumptuous foods\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and illustrious decor. Following the lunar calendar, the holy month floats in a different season each year, beginning and ending with the appearance of the crescent moon. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">This year, the end of Ramadan just so happens to coincide with Mother’s Day. So, San Francisco-based organization \u003c/span>\u003ca href=\"https://araborganizing.org/\">\u003cspan style=\"font-weight: 400\">AROC\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (Arab Resource and Organizing Center) is celebrating both holidays with a free public festival on Saturday, May 7.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">The San Francisco Eid Celebration will include a feast catered by \u003c/span>\u003ca href=\"https://oasisgrill.com/\">\u003cspan style=\"font-weight: 400\">Oasis Grill\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It will also bring to the Tenderloin an afternoon of family-friendly activities, live music and community offerings with a Mother’s Day focus—such as the distribution of gift cards to neighborhood mothers. “Moms are the cornerstone of our communities, the cornerstone of our families and the cornerstone of Ramadan,” says Wassim Hage, AROC case manager and outreach manager. “We thought it would be nice to honor them.”\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">AROC provides free legal services for Arab and Muslim populations across the Bay Area while advocating for Arab liberation from surveillance, Zionism and militarism locally and worldwide. Currently, the organization is advocating for Eid to be recognized as an official holiday by the San Francisco Unified School District. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">At Saturday’s festival, guests can learn more about AROC’s community work while celebrating mothers and wishing Eid Mubarak\u003c/span> \u003cspan style=\"font-weight: 400\">to their Muslim friends and family.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\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/span>\u003ci>\u003cspan style=\"font-weight: 400\">The San Francisco Eid Celebration is on Sat. May 7, from 12–5 pm at 570 Ellis St. in San Francisco. Learn more at the \u003c/span>\u003c/i>\u003ca href=\"https://araborganizing.org/\">\u003ci>\u003cspan style=\"font-weight: 400\">AROC website\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Eid al-Fitr marks the end of Ramadan, when Muslims around the world break a month-long dawn-to-sunset fast with prayer, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13912784/for-many-arab-muslims-celebrating-the-end-of-ramadan-its-not-eid-without-maamoul\">\u003cspan style=\"font-weight: 400\">sumptuous foods\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and illustrious decor. Following the lunar calendar, the holy month floats in a different season each year, beginning and ending with the appearance of the crescent moon. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">This year, the end of Ramadan just so happens to coincide with Mother’s Day. So, San Francisco-based organization \u003c/span>\u003ca href=\"https://araborganizing.org/\">\u003cspan style=\"font-weight: 400\">AROC\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (Arab Resource and Organizing Center) is celebrating both holidays with a free public festival on Saturday, May 7.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">The San Francisco Eid Celebration will include a feast catered by \u003c/span>\u003ca href=\"https://oasisgrill.com/\">\u003cspan style=\"font-weight: 400\">Oasis Grill\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It will also bring to the Tenderloin an afternoon of family-friendly activities, live music and community offerings with a Mother’s Day focus—such as the distribution of gift cards to neighborhood mothers. “Moms are the cornerstone of our communities, the cornerstone of our families and the cornerstone of Ramadan,” says Wassim Hage, AROC case manager and outreach manager. “We thought it would be nice to honor them.”\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">AROC provides free legal services for Arab and Muslim populations across the Bay Area while advocating for Arab liberation from surveillance, Zionism and militarism locally and worldwide. Currently, the organization is advocating for Eid to be recognized as an official holiday by the San Francisco Unified School District. \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">At Saturday’s festival, guests can learn more about AROC’s community work while celebrating mothers and wishing Eid Mubarak\u003c/span> \u003cspan style=\"font-weight: 400\">to their Muslim friends and family.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\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/span>\u003ci>\u003cspan style=\"font-weight: 400\">The San Francisco Eid Celebration is on Sat. May 7, from 12–5 pm at 570 Ellis St. in San Francisco. Learn more at the \u003c/span>\u003c/i>\u003ca href=\"https://araborganizing.org/\">\u003ci>\u003cspan style=\"font-weight: 400\">AROC website\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Mission’s Mother and Son Painting Duo",
"headTitle": "The Mission’s Mother and Son Painting Duo | KQED",
"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9975911487\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Mission District-based muralist Josué Rojas and his mother, Esther García are a dynamic duo.\u003c/p>\n\u003cp>Josué has painted murals across San Francisco and beyond, often using images that celebrate culture and community. Esther picked up painting during the pandemic, but she’s been leaving her mark on the neighborhood for decades.\u003c/p>\n\u003cp>As she sold small goods on the street, Esther built a reputation for her sage-like presence around the way. Josué remembers times when she’d be asked to pray over people, and she’d kindly oblige.\u003c/p>\n\u003cp>Her presence is so strong that she got in good with local artists collectives, like the \u003ca href=\"https://www.instagram.com/chulitavinylclub/\" target=\"_blank\" rel=\"noopener noreferrer\">Chulita Vinyl Club\u003c/a>. And the artist JR incorporated Esther’s image into \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/jr/\" target=\"_blank\" rel=\"noopener noreferrer\">The Chronicles of San Francisco\u003c/a>, \u003c/i>a gigantic mural that was in the main entrance to the San Francisco Musuem of Modern Art.\u003c/p>\n\u003cfigure id=\"attachment_13912896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13912896 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-15-copy-800x600.jpg\" alt='Esther gave Josué the \"G-Pass,\" you can see why. ' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esther gave Josué the “G-Pass,” you can see why. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Esther didn’t understand Josué’s art career at first, she watched Josue’s journey as he earned a Masters of Fine Arts from Boston University, served as the executive director of \u003cspan style=\"font-weight: 400\">Acción Latina and became a well-respected muralists on the streets and in the galleries of his hometown. You can see \u003ca href=\"https://www.instagram.com/p/CcqHm3pLjap/\" target=\"_blank\" rel=\"noopener noreferrer\">Josué’s latest piece\u003c/a> at the Chinese Historical Society of America Museum.\u003c/span>\u003c/p>\n\u003cp>Now, at 75, Esther has been learning how to paint under the tutelage of one very demanding teacher: her son. And she tells me that she doesn’t like what they paint– she loves it.\u003c/p>\n\u003cfigure id=\"attachment_13912895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13912895 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-15-800x600.jpg\" alt=\"The image of a multicolored tropical bird, one of Josué Rojas' staple images, looks on as Esther and Josué finish a mural in Balmy Alley. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josué Rojas and Esther finish a mural in Balmy Alley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of the podcast.\u003c/strong>\u003c/p>\n\u003cp>Josué: My mom is really kind of one of the biggest of influences. She’s a real tough cookie. She just turned 75…\u003c/p>\n\u003cp>Josué: [My brothers and I] were all born in El Salvador. I’m the youngest of four boys. She brought us all here to San Francisco to avoid the war. The war really kicked off around 1980 in El Salvador. I was born in December of 79. So there were little skirmishes and battles, and she was dodging bullets while pregnant with me. And she was like, “This is not how I want to raise my kids, and I don’t want them to grow up and be forcefully recruited to either side of this war… I don’t want my kids to participate in this.”\u003c/p>\n\u003cp>Josué: So she sold everything she had. She had a small business and she brought us here. Thus begins my upbringing in the mission.\u003c/p>\n\u003cp>Josué: My mom worked really hard her whole life and so it was really hard for her to reconcile that at around 15, I’m coming home with paint all over my jeans, paint all over my nice clothes, whatever it would be. And she’d be like, “What is wrong with you?”\u003c/p>\n\u003cp>Esther: He was in high school, the teachers asked him what he wanna be when he got adult. And he’d say, “Paint!” I say, “What!?” “Mom, I like it.” I’d say “No! This is for the rich people!” … But now I understand very well. And the teacher tell me, “Let him be what he want to be.” I’d say, “okay, okay, I can.” And now I am painting too!\u003c/p>\n\u003cp>Josué: It took a little bit of convincing, and once she saw how much joy it gave me, she realized that it could give her a little bit of joy, too… It went from like, “No, don’t do that, don’t do that!” to being like, “Hey, what are you doing?” And then it became like, “Hey, how do you do that?” And then it became, “Hey, teach me how to do that.”\u003c/p>\n\u003cp>Josué: Everything that I would learn, I’d bring home and I would school her with. And so she’s been a practicing artist, too.\u003c/p>\n\u003cp>\u003cem>Pen narration: Josue’s mother is a multi-talented creator, skilled at making small crafts and a budding visual artist as well. And in Josue’s work, you can spot her signature, M-E-G, which are her initials.\u003c/em>\u003c/p>\n\u003cp>Josué: During the pandemic, she was like locked up at home. So I was making sure she had everything she needs. I would make sure she had groceries, make sure she had all her medications and all that kind of stuff, and also make sure she had blank canvases and paints so that she could paint at home and stay fresh and stay hot with her practice. It was just a way of making sure that we were feeding the body, but also feeding the soul.\u003c/p>\n\u003cp>Josué: She spent some time out in the street doing street vending, many years back, just to kind of survive. And she always blended her own take into that, for her, she’s a deeply spiritual person, and I don’t think you live the life that she has lived without a powerful spirituality.\u003c/p>\n\u003cp>Esther: Oh, yeah. Yeah. A lot of people they know I am Christian. The people go over there and say, “Can you pray for me?” I say, “Why not?” And I pray for the people… God made the miracle. And I do it. I do it because we loved the people. I love the people. I want the people to be safe.\u003c/p>\n\u003cp>Josué: And so I’ve seen people come to her in some real need. People that are hooked on substances or who have been abused and are in some serious distress, people living on the streets. And they see her as this elder.\u003c/p>\n\u003cp>Pen: And you’ve told me that she’s been depicted in murals as well. So how does it feel to share your mom with the community?\u003c/p>\n\u003cp>Josué: I learned early on that she isn’t only my mom like she is an elder, an OG for many other people.\u003c/p>\n\u003cp>Esther: Oh, my God! I know! I no understand why! I say, “I am very old and ugly!” And he painting a very, very big picture in the city hall. And another day, ¿Cómo se llamalo?\u003c/p>\n\u003cp>Josué: J.R. The artist, J.R.\u003c/p>\n\u003cp>Esther: Well, the point is, they put me in a big mural ¿Cómo se llama?\u003c/p>\n\u003cp>Josué: In the San Francisco MoMA. That big black and white piece that J.R. did. Yeah.\u003c/p>\n\u003cp>Josué: … She also was hanging out with like the Chulita Vinyl Club before she introduced me to them. I was like, “Oh my God, I’ve been trying to get hold of them to come and spinning at my openings!” and they’re like, “Oh, well, only because she’s your mom. We’ll think about doing that kind of thing.” And I was like, “Oh man, she’s cooler than me.”\u003c/p>\n\u003cp>Pen: The moms gave you the G-pass! I love it!\u003c/p>\n\u003cp>Josué: Yeah! Moms gave me the G-pass, thats right!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "She gave him motherly love and \"the G-Pass\" while he gave her painting lessons. ",
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"subhead": "Josué Rojas and his mother Esther García are neighborhood legends!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9975911487\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Mission District-based muralist Josué Rojas and his mother, Esther García are a dynamic duo.\u003c/p>\n\u003cp>Josué has painted murals across San Francisco and beyond, often using images that celebrate culture and community. Esther picked up painting during the pandemic, but she’s been leaving her mark on the neighborhood for decades.\u003c/p>\n\u003cp>As she sold small goods on the street, Esther built a reputation for her sage-like presence around the way. Josué remembers times when she’d be asked to pray over people, and she’d kindly oblige.\u003c/p>\n\u003cp>Her presence is so strong that she got in good with local artists collectives, like the \u003ca href=\"https://www.instagram.com/chulitavinylclub/\" target=\"_blank\" rel=\"noopener noreferrer\">Chulita Vinyl Club\u003c/a>. And the artist JR incorporated Esther’s image into \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/jr/\" target=\"_blank\" rel=\"noopener noreferrer\">The Chronicles of San Francisco\u003c/a>, \u003c/i>a gigantic mural that was in the main entrance to the San Francisco Musuem of Modern Art.\u003c/p>\n\u003cfigure id=\"attachment_13912896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13912896 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-15-copy-800x600.jpg\" alt='Esther gave Josué the \"G-Pass,\" you can see why. ' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-copy-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esther gave Josué the “G-Pass,” you can see why. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Esther didn’t understand Josué’s art career at first, she watched Josue’s journey as he earned a Masters of Fine Arts from Boston University, served as the executive director of \u003cspan style=\"font-weight: 400\">Acción Latina and became a well-respected muralists on the streets and in the galleries of his hometown. You can see \u003ca href=\"https://www.instagram.com/p/CcqHm3pLjap/\" target=\"_blank\" rel=\"noopener noreferrer\">Josué’s latest piece\u003c/a> at the Chinese Historical Society of America Museum.\u003c/span>\u003c/p>\n\u003cp>Now, at 75, Esther has been learning how to paint under the tutelage of one very demanding teacher: her son. And she tells me that she doesn’t like what they paint– she loves it.\u003c/p>\n\u003cfigure id=\"attachment_13912895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13912895 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-15-800x600.jpg\" alt=\"The image of a multicolored tropical bird, one of Josué Rojas' staple images, looks on as Esther and Josué finish a mural in Balmy Alley. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josué Rojas and Esther finish a mural in Balmy Alley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of the podcast.\u003c/strong>\u003c/p>\n\u003cp>Josué: My mom is really kind of one of the biggest of influences. She’s a real tough cookie. She just turned 75…\u003c/p>\n\u003cp>Josué: [My brothers and I] were all born in El Salvador. I’m the youngest of four boys. She brought us all here to San Francisco to avoid the war. The war really kicked off around 1980 in El Salvador. I was born in December of 79. So there were little skirmishes and battles, and she was dodging bullets while pregnant with me. And she was like, “This is not how I want to raise my kids, and I don’t want them to grow up and be forcefully recruited to either side of this war… I don’t want my kids to participate in this.”\u003c/p>\n\u003cp>Josué: So she sold everything she had. She had a small business and she brought us here. Thus begins my upbringing in the mission.\u003c/p>\n\u003cp>Josué: My mom worked really hard her whole life and so it was really hard for her to reconcile that at around 15, I’m coming home with paint all over my jeans, paint all over my nice clothes, whatever it would be. And she’d be like, “What is wrong with you?”\u003c/p>\n\u003cp>Esther: He was in high school, the teachers asked him what he wanna be when he got adult. And he’d say, “Paint!” I say, “What!?” “Mom, I like it.” I’d say “No! This is for the rich people!” … But now I understand very well. And the teacher tell me, “Let him be what he want to be.” I’d say, “okay, okay, I can.” And now I am painting too!\u003c/p>\n\u003cp>Josué: It took a little bit of convincing, and once she saw how much joy it gave me, she realized that it could give her a little bit of joy, too… It went from like, “No, don’t do that, don’t do that!” to being like, “Hey, what are you doing?” And then it became like, “Hey, how do you do that?” And then it became, “Hey, teach me how to do that.”\u003c/p>\n\u003cp>Josué: Everything that I would learn, I’d bring home and I would school her with. And so she’s been a practicing artist, too.\u003c/p>\n\u003cp>\u003cem>Pen narration: Josue’s mother is a multi-talented creator, skilled at making small crafts and a budding visual artist as well. And in Josue’s work, you can spot her signature, M-E-G, which are her initials.\u003c/em>\u003c/p>\n\u003cp>Josué: During the pandemic, she was like locked up at home. So I was making sure she had everything she needs. I would make sure she had groceries, make sure she had all her medications and all that kind of stuff, and also make sure she had blank canvases and paints so that she could paint at home and stay fresh and stay hot with her practice. It was just a way of making sure that we were feeding the body, but also feeding the soul.\u003c/p>\n\u003cp>Josué: She spent some time out in the street doing street vending, many years back, just to kind of survive. And she always blended her own take into that, for her, she’s a deeply spiritual person, and I don’t think you live the life that she has lived without a powerful spirituality.\u003c/p>\n\u003cp>Esther: Oh, yeah. Yeah. A lot of people they know I am Christian. The people go over there and say, “Can you pray for me?” I say, “Why not?” And I pray for the people… God made the miracle. And I do it. I do it because we loved the people. I love the people. I want the people to be safe.\u003c/p>\n\u003cp>Josué: And so I’ve seen people come to her in some real need. People that are hooked on substances or who have been abused and are in some serious distress, people living on the streets. And they see her as this elder.\u003c/p>\n\u003cp>Pen: And you’ve told me that she’s been depicted in murals as well. So how does it feel to share your mom with the community?\u003c/p>\n\u003cp>Josué: I learned early on that she isn’t only my mom like she is an elder, an OG for many other people.\u003c/p>\n\u003cp>Esther: Oh, my God! I know! I no understand why! I say, “I am very old and ugly!” And he painting a very, very big picture in the city hall. And another day, ¿Cómo se llamalo?\u003c/p>\n\u003cp>Josué: J.R. The artist, J.R.\u003c/p>\n\u003cp>Esther: Well, the point is, they put me in a big mural ¿Cómo se llama?\u003c/p>\n\u003cp>Josué: In the San Francisco MoMA. That big black and white piece that J.R. did. Yeah.\u003c/p>\n\u003cp>Josué: … She also was hanging out with like the Chulita Vinyl Club before she introduced me to them. I was like, “Oh my God, I’ve been trying to get hold of them to come and spinning at my openings!” and they’re like, “Oh, well, only because she’s your mom. We’ll think about doing that kind of thing.” And I was like, “Oh man, she’s cooler than me.”\u003c/p>\n\u003cp>Pen: The moms gave you the G-pass! I love it!\u003c/p>\n\u003cp>Josué: Yeah! Moms gave me the G-pass, thats right!\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>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The last two years have been colored by loss and grief for so many—whether the literal loss of loved ones, or the profound reckoning the pandemic has forced on so many people’s careers, health, living spaces or social communities.\u003c/p>\n\u003cp>Bean Tupou, guitarist and vocalist of the Bay Area indie punk outfit \u003ca href=\"https://trythepie.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Try the Pie\u003c/a>, is no different. “I lost some family members and friends in 2020, so connecting with my family was a big part of my life during the pandemic,” says Tupou, who grew up in San Jose and moved to San Francisco in 2016. “Those losses took me a while to work through.”\u003c/p>\n\u003cp>“New Dust,” Try the Pie’s first new release since their excellent 2015 full-length \u003cem>Domestication\u003c/em>, approaches the topic with a deceptive sweetness. An uptempo, melodic grunge track with heavy guitars, harmonies and an earworm of a hook, it culminates in a cacophony of reverb before Tupou delivers the final refrain: “And it scares me to know that I’m like dust / and it scares me to know that I’m exactly what you want.” It all calls to mind the sweet-salty pull of ’90s indie titans like Juliana Hatfield or the Breeders.\u003c/p>\n\u003cp>“It’s based on fleeting thoughts someone might have specifically after a loved one dies,” says Tupou. “I think it’s more of a reflection of how beautiful it can be to be close to someone and how finite that is.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=2970449998/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Recorded with \u003ca href=\"https://www.kqed.org/arts/13900577/interns-turned-engineers-take-the-reins-at-sfs-historic-different-fur-studios\" target=\"_blank\" rel=\"noopener noreferrer\">Different Fur’s Grace Coleman\u003c/a> at El Studio in San Francisco, the track shows off the new full-band sound after a few years as mostly a solo act: Bailey Lupo joined the band on bass in 2015, and second guitarist Laine Barriga joined in 2018; drummer Nick Lopez and Tupou are original members.\u003c/p>\n\u003cp>“New Dust” is also Try the Pie’s first release since signing to the Philadelphia-based, queer-run label \u003ca href=\"https://getbetterrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Better Records\u003c/a>, a move that Tupou says has opened up new possibilities for the group, adding that they have plans to release more music within the year. So no, fans won’t have to wait until 2029 for the next record. [aside postid='arts_11884077']\u003c/p>\n\u003cp>“The last seven years, personally, were a huge period of both growth and change for me, and I was definitely focused on other aspects of my life (aside from music), and I honestly felt out of practice and out of touch in some ways,” says Tupou. “Signing with them has helped me get back on the horse.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\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. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The last two years have been colored by loss and grief for so many—whether the literal loss of loved ones, or the profound reckoning the pandemic has forced on so many people’s careers, health, living spaces or social communities.\u003c/p>\n\u003cp>Bean Tupou, guitarist and vocalist of the Bay Area indie punk outfit \u003ca href=\"https://trythepie.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Try the Pie\u003c/a>, is no different. “I lost some family members and friends in 2020, so connecting with my family was a big part of my life during the pandemic,” says Tupou, who grew up in San Jose and moved to San Francisco in 2016. “Those losses took me a while to work through.”\u003c/p>\n\u003cp>“New Dust,” Try the Pie’s first new release since their excellent 2015 full-length \u003cem>Domestication\u003c/em>, approaches the topic with a deceptive sweetness. An uptempo, melodic grunge track with heavy guitars, harmonies and an earworm of a hook, it culminates in a cacophony of reverb before Tupou delivers the final refrain: “And it scares me to know that I’m like dust / and it scares me to know that I’m exactly what you want.” It all calls to mind the sweet-salty pull of ’90s indie titans like Juliana Hatfield or the Breeders.\u003c/p>\n\u003cp>“It’s based on fleeting thoughts someone might have specifically after a loved one dies,” says Tupou. “I think it’s more of a reflection of how beautiful it can be to be close to someone and how finite that is.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=2970449998/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Recorded with \u003ca href=\"https://www.kqed.org/arts/13900577/interns-turned-engineers-take-the-reins-at-sfs-historic-different-fur-studios\" target=\"_blank\" rel=\"noopener noreferrer\">Different Fur’s Grace Coleman\u003c/a> at El Studio in San Francisco, the track shows off the new full-band sound after a few years as mostly a solo act: Bailey Lupo joined the band on bass in 2015, and second guitarist Laine Barriga joined in 2018; drummer Nick Lopez and Tupou are original members.\u003c/p>\n\u003cp>“New Dust” is also Try the Pie’s first release since signing to the Philadelphia-based, queer-run label \u003ca href=\"https://getbetterrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Better Records\u003c/a>, a move that Tupou says has opened up new possibilities for the group, adding that they have plans to release more music within the year. So no, fans won’t have to wait until 2029 for the next record. \u003c/p>\u003c/div>",
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"content": "\u003cp>[dropcap]G[/dropcap]old Rush San Francisco had a stray dog problem. Teams of snarling, scrapping mutts roamed the city untethered and reproducing faster than humans could handle. The dogs were as determined to survive as the locals who fed them scraps when there was meat to share. But they were an often-troublesome addition to city streets that were already wild by anyone’s standards. In April 1860, the \u003cem>Daily Alta California\u003c/em> reported: “We never knew a city in America so used with the canine nuisance as San Francisco. Sometimes at night, their howling is enough to drive one distracted.”\u003c/p>\n\u003cp>Two years after that report, the city took brutal measures to prevent the dog population from getting any larger. An ordinance was passed by the Board of Supervisors (est. 1856) that banned canines anywhere north of Ninth Street and east of Larkin. Dogs that had neither leash nor muzzle could be shot on sight by police officers, or else locked up in the pound by the local dogcatcher. The impounded pups were released only when a human companion forked over $5 (roughly $142 in 2022 money). Most were killed. The dogs that outsmarted the catcher weren’t much better off—their human neighbors were not averse to leaving poisoned meat scraps on the street to fell their numbers.\u003c/p>\n\u003cp>It was a dark time for the dogs of San Francisco—well, most of them anyway. By some miracle, out of the anti-canine maelstrom emerged a puppy pair that the city actually wanted to root for: Bummer and Lazarus.\u003c/p>\n\u003cp>[aside postid='arts_13906656']Bummer was a black and white Newfoundland mix with ears that had been cropped unevenly. He earned his name by patrolling businesses up and down Montgomery Street and begging for scraps on a set schedule. He was understood to be uncommonly intelligent and was particularly popular at Martin & Horton’s. The saloon at 534 Montgomery, at the corner of Clay, was owned by Frederick Martin and renowned for the cheapness of its liquor. It was also frequented by the many reporters who worked in nearby newspaper offices. These journalists would go on to make Bummer famous across the city—but only after he took up with his less streetwise pal, Lazarus.\u003c/p>\n\u003cp>Lazarus was described in one paper as “part hound, part terrier and a good many parts of several other varieties.” In another, he was merely “a sleek, half-starved mongrel.” After Bummer rescued Lazarus from an attack by a bigger dog, the pair became fast and inseparable associates. Witnessing the friendship form, the reporters at Martin & Horton’s were rapt. Soon, so was the whole city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Jan. 18, 1861, Bummer and Lazarus made their first appearance in the \u003cem>Daily Alta\u003c/em> together:\u003c/p>\n\u003cblockquote>\u003cp>Three or four days ago, a poor, lean, mangy cur [mongrel] was attacked in the street by a larger dog, and was getting unmercifully walloped when Bummer’s ire being aroused at the unequal contest, he rushed in and gave the attacking canine such a rough handling that he was glad to quit the field yelping … Every night since that, the two dogs have slept coiled up together, close to some doorway—Bummer always giving the lame cur the inside berth, and trying to keep him as warm as possible.\u003c/p>\u003c/blockquote>\n\u003cp>[dropcap]I[/dropcap]n the four years that followed, any time a slow news day presented itself, readers of San Francisco’s newspapers could expect an update about Bummer and Lazarus. (The latter named after the biblical figure who was revived after four days of death.) The stories about the duo were frequent and dramatic.\u003c/p>\n\u003cp>The dogs were hailed as heroes after they apparently stopped a runaway horse and cart. There were reports about them taking scraps to each other when they were too sick to go out and beg themselves. There were tales about their run-ins with local merchants—in particular after the pair got into a jewelry store and smashed some display cases. (On another occasion, Lazarus accidentally got locked in a stationery store overnight.) If it was a particularly slow day, readers could expect a story about the pair stealing bones from other dogs.\u003c/p>\n\u003cfigure id=\"attachment_13912567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/1200x0-800x569.jpg\" alt=\"\" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/1200x0-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/1200x0-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/1200x0-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/1200x0-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/1200x0.jpg 1200w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cartoonist Edward Jump often drew Bummer and Lazarus in the company of Emperor Norton. Norton was reportedly so angered by this image of him dining with the dogs, he broke his own cane. \u003ccite>(Public domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, San Francisco loved the dogs because of their friendship and their adventures together. But, more than that, San Francisco loved Bummer and Lazarus because of one activity they both excelled at: killing rats. And there were enough rats in the city at the time to outnumber dogs and humans combined. The businesses Bummer and Lazarus frequented for food were paid back tenfold in rat population control. Legend has it, the pair once killed 85 rats in 20 minutes. At one rat-catching contest held between Clay and Merchant Streets, the duo beat out all other competition, including pedigree dogs.\u003c/p>\n\u003cp>[aside postid='arts_13910308']One of the only people in the city not to know of the dogs’ ratting prowess—or their enormous popularity—was the dogcatcher who made the mistake of picking up Lazarus in June 1862. “If that dog-catcher had not made good haste out of the neighborhood,” the \u003cem>San Francisco Call\u003c/em> reported on July 3, 1892, “he would have been roughly handled for his zeal.”\u003c/p>\n\u003cp>Within hours of the news spreading down Montgomery, Clay, Sansome and Merchant, enough donations had been collected from saloons, butcher shops and eateries to free Bummer’s BFF from the pound. But people’s relief at the dogs’ reunion was short-lived. Concern quickly spread that one of downtown’s most beloved dogs would soon be caught again. It was then that a plan was hatched to acquire permanent protections for Bummer and Lazarus.\u003c/p>\n\u003cp>A petition was quickly written up, asking for: “The consecration of the two dogs as city property, whereby they may be exempted from taxation or destruction.” Hundreds of Bummer and Lazarus fans signed the document and then presented it to the Board of Supervisors on June 16, 1862.\u003c/p>\n\u003cp>The following day, the \u003cem>Daily Alta\u003c/em> reported:\u003c/p>\n\u003cblockquote>\u003cp>A mammoth petition was presented to the Board of Supervisors last evening, praying that the public dogs, Bummer and Lazarus be exempt from the provisions of the present stringent Ordinance for the destruction of the race … At the hour of convening the board of supervisors they lay crouched at the threshold of the chamber, apparently eager to hear what was to be said and done for their benefit. If any man carried them there, it was a cute dodge to get favorable action on their petition; if they went there voluntarily, they ought to have free run of the town during the rest of their lives.\u003c/p>\u003c/blockquote>\n\u003cp>And guess what? After the hearing, Bummer and Lazarus \u003cem>were\u003c/em> granted free run of the town for the rest of their lives, safe and unimpeded by the dogcatcher.\u003c/p>\n\u003cp>[aside postid='arts_13909983'][dropcap]S[/dropcap]adly, the freedom to roam the city could not save them from the cruelty within it. In October 1863, Lazarus died after eating poisoned meat. The city mourned his loss, but mourned Bummer’s bereavement even more so. The \u003cem>Daily Evening Bulletin\u003c/em> printed an obituary titled “Lament for Lazarus,” which referred to Bummer and his fallen companion as “two dogs with but a single bark, two tails that wagged as one.”\u003c/p>\n\u003cp>Bummer survived two more years without his pal. And though he occasionally took a new friend under his wing, he never bonded with another dog the way he had bonded with Lazarus. Like his old friend, Bummer died a cruel death, kicked down some stairs by a drunk named Henry Rippey. Rippey was apprehended, punched in the nose by his cell-mate and forced to pay a hefty fine.\u003c/p>\n\u003cp>Bummer was warmly eulogized just as Lazarus had been. On Nov. 3, 1865, the \u003cem>Daily Evening Bulletin\u003c/em> wrote:\u003c/p>\n\u003cblockquote>\u003cp>[Bummer’s] independence and the novelty of his genius took with the people, and from that day he has been the pet of everybody without distinction of party … His remarkable friendship for … Lazarus will now deathless meet its reward, and thee twain can once more walk side by side.\u003c/p>\u003c/blockquote>\n\u003cp>After shuffling off this mortal coil, Bummer and Lazarus were both stuffed and put on display in their former haunts. Lazarus ended up in a Sansome Street business owned by one Gus Van Bergen. Bummer’s taxidermied body was purchased by a Mr. Erlenwein, who had assumed ownership of Martin & Horton’s. The dogs were displayed together at 1894’s Midwinter Fair, and donated to the Golden Gate Park Museum in 1906, but ultimately destroyed sometime in the early 20th century. Which is appropriate given that, by that point, what was left of the dogs had definitely seen better days.\u003c/p>\n\u003cfigure id=\"attachment_13912564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912564\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/stuffed-800x365.png\" alt=\"\" width=\"800\" height=\"365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/stuffed-800x365.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/stuffed-1020x465.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/stuffed-160x73.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/stuffed-768x350.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/stuffed.png 1062w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The poor, old, taxidermied bodies of Bummer (L) and Lazarus (R). \u003ccite>(Public domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, the memory of Bummer and Lazarus lives on in San Francisco. Bayview’s Raff Distillerie makes a \u003ca href=\"https://raffdistillerie.com/gin.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bummer and Lazarus gin\u003c/a>, featuring an ornate label adorned with the dogs. Even more fitting is the tribute that \u003ca href=\"https://en.wikipedia.org/wiki/E_Clampus_Vitus\" target=\"_blank\" rel=\"noopener noreferrer\">E Clampus Vitus\u003c/a> (aka The Clampers) installed in Redwood Park, in the shadow of the Transamerica building.\u003c/p>\n\u003cp>Sitting right in the heart of Bummer and Lazarus’ old stomping grounds since March 1992, a plaque dedicated to their memory declares:\u003c/p>\n\u003cblockquote>\u003cp>Their devotion to each other endeared them to the citizenry, and the newspapers reported their joint adventures … They were welcomed, regular customers at popular eating and drinking establishments on Montgomery Street. Contrary to common belief, they were not Emperor Norton’s dogs. They belonged to no one person. They belonged to San Francisco.\u003c/p>\u003c/blockquote>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Correction: A previous version of this story stated the year that Bummer and Lazarus’ taxidermied skins were destroyed. The exact year is unknown. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bummer was a black and white Newfoundland mix with ears that had been cropped unevenly. He earned his name by patrolling businesses up and down Montgomery Street and begging for scraps on a set schedule. He was understood to be uncommonly intelligent and was particularly popular at Martin & Horton’s. The saloon at 534 Montgomery, at the corner of Clay, was owned by Frederick Martin and renowned for the cheapness of its liquor. It was also frequented by the many reporters who worked in nearby newspaper offices. These journalists would go on to make Bummer famous across the city—but only after he took up with his less streetwise pal, Lazarus.\u003c/p>\n\u003cp>Lazarus was described in one paper as “part hound, part terrier and a good many parts of several other varieties.” In another, he was merely “a sleek, half-starved mongrel.” After Bummer rescued Lazarus from an attack by a bigger dog, the pair became fast and inseparable associates. Witnessing the friendship form, the reporters at Martin & Horton’s were rapt. Soon, so was the whole city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Jan. 18, 1861, Bummer and Lazarus made their first appearance in the \u003cem>Daily Alta\u003c/em> together:\u003c/p>\n\u003cblockquote>\u003cp>Three or four days ago, a poor, lean, mangy cur [mongrel] was attacked in the street by a larger dog, and was getting unmercifully walloped when Bummer’s ire being aroused at the unequal contest, he rushed in and gave the attacking canine such a rough handling that he was glad to quit the field yelping … Every night since that, the two dogs have slept coiled up together, close to some doorway—Bummer always giving the lame cur the inside berth, and trying to keep him as warm as possible.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n the four years that followed, any time a slow news day presented itself, readers of San Francisco’s newspapers could expect an update about Bummer and Lazarus. (The latter named after the biblical figure who was revived after four days of death.) The stories about the duo were frequent and dramatic.\u003c/p>\n\u003cp>The dogs were hailed as heroes after they apparently stopped a runaway horse and cart. There were reports about them taking scraps to each other when they were too sick to go out and beg themselves. There were tales about their run-ins with local merchants—in particular after the pair got into a jewelry store and smashed some display cases. (On another occasion, Lazarus accidentally got locked in a stationery store overnight.) If it was a particularly slow day, readers could expect a story about the pair stealing bones from other dogs.\u003c/p>\n\u003cfigure id=\"attachment_13912567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/1200x0-800x569.jpg\" alt=\"\" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/1200x0-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/1200x0-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/1200x0-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/1200x0-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/1200x0.jpg 1200w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cartoonist Edward Jump often drew Bummer and Lazarus in the company of Emperor Norton. Norton was reportedly so angered by this image of him dining with the dogs, he broke his own cane. \u003ccite>(Public domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, San Francisco loved the dogs because of their friendship and their adventures together. But, more than that, San Francisco loved Bummer and Lazarus because of one activity they both excelled at: killing rats. And there were enough rats in the city at the time to outnumber dogs and humans combined. The businesses Bummer and Lazarus frequented for food were paid back tenfold in rat population control. Legend has it, the pair once killed 85 rats in 20 minutes. At one rat-catching contest held between Clay and Merchant Streets, the duo beat out all other competition, including pedigree dogs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One of the only people in the city not to know of the dogs’ ratting prowess—or their enormous popularity—was the dogcatcher who made the mistake of picking up Lazarus in June 1862. “If that dog-catcher had not made good haste out of the neighborhood,” the \u003cem>San Francisco Call\u003c/em> reported on July 3, 1892, “he would have been roughly handled for his zeal.”\u003c/p>\n\u003cp>Within hours of the news spreading down Montgomery, Clay, Sansome and Merchant, enough donations had been collected from saloons, butcher shops and eateries to free Bummer’s BFF from the pound. But people’s relief at the dogs’ reunion was short-lived. Concern quickly spread that one of downtown’s most beloved dogs would soon be caught again. It was then that a plan was hatched to acquire permanent protections for Bummer and Lazarus.\u003c/p>\n\u003cp>A petition was quickly written up, asking for: “The consecration of the two dogs as city property, whereby they may be exempted from taxation or destruction.” Hundreds of Bummer and Lazarus fans signed the document and then presented it to the Board of Supervisors on June 16, 1862.\u003c/p>\n\u003cp>The following day, the \u003cem>Daily Alta\u003c/em> reported:\u003c/p>\n\u003cblockquote>\u003cp>A mammoth petition was presented to the Board of Supervisors last evening, praying that the public dogs, Bummer and Lazarus be exempt from the provisions of the present stringent Ordinance for the destruction of the race … At the hour of convening the board of supervisors they lay crouched at the threshold of the chamber, apparently eager to hear what was to be said and done for their benefit. If any man carried them there, it was a cute dodge to get favorable action on their petition; if they went there voluntarily, they ought to have free run of the town during the rest of their lives.\u003c/p>\u003c/blockquote>\n\u003cp>And guess what? After the hearing, Bummer and Lazarus \u003cem>were\u003c/em> granted free run of the town for the rest of their lives, safe and unimpeded by the dogcatcher.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>adly, the freedom to roam the city could not save them from the cruelty within it. In October 1863, Lazarus died after eating poisoned meat. The city mourned his loss, but mourned Bummer’s bereavement even more so. The \u003cem>Daily Evening Bulletin\u003c/em> printed an obituary titled “Lament for Lazarus,” which referred to Bummer and his fallen companion as “two dogs with but a single bark, two tails that wagged as one.”\u003c/p>\n\u003cp>Bummer survived two more years without his pal. And though he occasionally took a new friend under his wing, he never bonded with another dog the way he had bonded with Lazarus. Like his old friend, Bummer died a cruel death, kicked down some stairs by a drunk named Henry Rippey. Rippey was apprehended, punched in the nose by his cell-mate and forced to pay a hefty fine.\u003c/p>\n\u003cp>Bummer was warmly eulogized just as Lazarus had been. On Nov. 3, 1865, the \u003cem>Daily Evening Bulletin\u003c/em> wrote:\u003c/p>\n\u003cblockquote>\u003cp>[Bummer’s] independence and the novelty of his genius took with the people, and from that day he has been the pet of everybody without distinction of party … His remarkable friendship for … Lazarus will now deathless meet its reward, and thee twain can once more walk side by side.\u003c/p>\u003c/blockquote>\n\u003cp>After shuffling off this mortal coil, Bummer and Lazarus were both stuffed and put on display in their former haunts. Lazarus ended up in a Sansome Street business owned by one Gus Van Bergen. Bummer’s taxidermied body was purchased by a Mr. Erlenwein, who had assumed ownership of Martin & Horton’s. The dogs were displayed together at 1894’s Midwinter Fair, and donated to the Golden Gate Park Museum in 1906, but ultimately destroyed sometime in the early 20th century. Which is appropriate given that, by that point, what was left of the dogs had definitely seen better days.\u003c/p>\n\u003cfigure id=\"attachment_13912564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912564\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/stuffed-800x365.png\" alt=\"\" width=\"800\" height=\"365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/stuffed-800x365.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/stuffed-1020x465.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/stuffed-160x73.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/stuffed-768x350.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/stuffed.png 1062w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The poor, old, taxidermied bodies of Bummer (L) and Lazarus (R). \u003ccite>(Public domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, the memory of Bummer and Lazarus lives on in San Francisco. Bayview’s Raff Distillerie makes a \u003ca href=\"https://raffdistillerie.com/gin.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bummer and Lazarus gin\u003c/a>, featuring an ornate label adorned with the dogs. Even more fitting is the tribute that \u003ca href=\"https://en.wikipedia.org/wiki/E_Clampus_Vitus\" target=\"_blank\" rel=\"noopener noreferrer\">E Clampus Vitus\u003c/a> (aka The Clampers) installed in Redwood Park, in the shadow of the Transamerica building.\u003c/p>\n\u003cp>Sitting right in the heart of Bummer and Lazarus’ old stomping grounds since March 1992, a plaque dedicated to their memory declares:\u003c/p>\n\u003cblockquote>\u003cp>Their devotion to each other endeared them to the citizenry, and the newspapers reported their joint adventures … They were welcomed, regular customers at popular eating and drinking establishments on Montgomery Street. Contrary to common belief, they were not Emperor Norton’s dogs. They belonged to no one person. They belonged to San Francisco.\u003c/p>\u003c/blockquote>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Correction: A previous version of this story stated the year that Bummer and Lazarus’ taxidermied skins were destroyed. The exact year is unknown. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Best 1-Minute Song About Keeping JFK Drive Car-Free You'll Ever Hear",
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"content": "\u003cp>During today’s Board of Supervisors meeting on whether or not to allow cars on John F. Kennedy Drive in Golden Gate Park, one of those wonderful, dammit-I-love-the-internet things happened: a San Francisco musician sang a song at the speaker’s podium. \u003c/p>\n\u003cp>https://twitter.com/CommunitySpace_/status/1519042375565279232\u003c/p>\n\u003cp>John Elliott premiered his brief, catchy song “on behalf of the dwindling community of musicians in San Francisco, and the 50% of San Franciscans who rent their homes and do not own a car,” finishing his triumphant coda just as the speaker’s allotted one-minute chime sounded. \u003c/p>\n\u003cp>(KQED readers may remember Elliott from his \u003ca href=\"https://www.kqed.org/arts/13906513/all-too-well-parody-jake-gyllenhaal-taylor-swift-john-elliott-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Taylor Swift/Jake Gyllenhaal parody, “All Too Well (Jake’s Version).”\u003c/a>)\u003c/p>\n\u003cp>JFK Drive, which became car-free during the pandemic, has been at the center of strong debate over its planned return to vehicular traffic. As least now we know how one District 1 resident feels—and his \u003ca href=\"https://twitter.com/CommunitySpace_/status/1519042375565279232\" rel=\"noopener noreferrer\" target=\"_blank\">short, simple anthem\u003c/a> for all who want to keep JFK Drive car-free.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>John Elliott premiered his brief, catchy song “on behalf of the dwindling community of musicians in San Francisco, and the 50% of San Franciscans who rent their homes and do not own a car,” finishing his triumphant coda just as the speaker’s allotted one-minute chime sounded. \u003c/p>\n\u003cp>(KQED readers may remember Elliott from his \u003ca href=\"https://www.kqed.org/arts/13906513/all-too-well-parody-jake-gyllenhaal-taylor-swift-john-elliott-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">Taylor Swift/Jake Gyllenhaal parody, “All Too Well (Jake’s Version).”\u003c/a>)\u003c/p>\n\u003cp>JFK Drive, which became car-free during the pandemic, has been at the center of strong debate over its planned return to vehicular traffic. As least now we know how one District 1 resident feels—and his \u003ca href=\"https://twitter.com/CommunitySpace_/status/1519042375565279232\" rel=\"noopener noreferrer\" target=\"_blank\">short, simple anthem\u003c/a> for all who want to keep JFK Drive car-free.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "We All Come From Water: Poetry from the Edge",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4962440556\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>So many of us come from water but\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>when you come from water\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>no one believes you.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Colonization keeps laughing.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Global warming is grinning\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>at all your grief.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>How you mourn the loss of a home\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>that isn’t even gone yet.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>That no one believes you’re from.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>These are the words of \u003ca href=\"https://www.instagram.com/terisasiagatonu/\" target=\"_blank\" rel=\"noopener noreferrer\">Terisa Siagatonu\u003c/a> in her poem ‘\u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/146222/atlas-5aa944cf31dad\">Atlas\u003c/a>‘.\u003c/p>\n\u003cp>Terisa’s poetry emerges from climate change and its impact on marginalized communities. She also writes poems from the perspective of her hyphenated identity: raised in San Francisco with deep Samoan roots.\u003c/p>\n\u003cp>In our conversation, Terisa looks back at January’s \u003ca href=\"https://www.kqed.org/news/11901877/bay-area-tongans-wait-in-hope-and-fear-for-news-of-family-after-tsunami\" target=\"_blank\" rel=\"noopener noreferrer\">underwater eruption\u003c/a> that caused massive tsunamis in Samoa, Tonga, Fiji and other nations in Oceania. Initially, the disaster made headlines and relief efforts filled social media feeds, but Terisa questions what sustained care looks like for those impacted by a changing global climate.\u003c/p>\n\u003cp>After speaking on this topic at venues across the country and around the world, even addressing members of the United Nations, Terisa Siagatonu discusses climate justice and how she “languages” her experience on this episode of Rightnowish.\u003c/p>\n\u003cfigure id=\"attachment_13912228\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/download-4-800x1203.jpg\" alt=\"Poet Terisa Siagatonu looks off to the side as she sits on a set of stairs.\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4.jpg 851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet Terisa Siagatonu looks off to the side as she sits on a set of stairs. \u003ccite>(Courtesy of Terisa Siagatonu )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of the episode with Terisa Siagatonu.\u003c/strong>\u003c/p>\n\u003cp>Terisa: For those who don’t know, [in January 2022,] there was an underwater volcanic eruption right on the coast of the island and Kingdom of Tonga… I saw a lot of Tongan friends of mine really nervous about not getting a hold of family members. I also saw the power of the Pacific Ocean herself, in terms of how the waves of eruption could reach our coast here in the US. And it speaks to this notion that I hold with me all the time that Hawaiian scholar, activist poet, Haunani-Kay Trask talks about in her work, “upon the survival of the Pacific depends the survival of the world.”\u003c/p>\n\u003cp>Terisa: Because so many times the world kind of relegates [Pacific Islanders] to the margins of their consciousness and of world maps and forgets that there are people from water – like my people – that are only heard about when it comes to natural disasters or when it comes to tragedy. What happens in the Pacific should matter to all of us.\u003c/p>\n\u003cp>\u003cem>Pen: When I thought about speaking to you it was about how can we keep this story alive? Make sure that [devastation from the volcanic eruption] is not just something tragic that happens and we move on, because we know that this will impact people for some time to come. So how do you keep that in people’s foresight?\u003c/em>\u003c/p>\n\u003cp>Terisa: I think social media helps… I think it’s also a great time to talk about what do people know about Pacific Islanders outside of devastation and climate change outside of your honeymoon vacations? … If we’re talking about what happened in Tonga, let’s talk about Tongans. Let’s talk about how the Pacific migration even came to the U.S. Let’s have more nuanced conversations about it. A lot of times my lane is to help language, and stand in the gap between what people know and what people don’t know using art.\u003c/p>\n\u003cp>\u003cem>Pen: …Your poem titled “Atlas” you wrote that over 5 years ago still has huge implications today….for example, where you \u003cspan style=\"font-weight: 400\">talk about identifying with bodies of water…\u003c/span>\u003c/em>\u003cem> Growing up in the Bay Area, I’m so accustomed to identifying with land. Like I know somebody from the neighborhood. It’s Chris from 73rd, he’s from a piece of land. But I don’t talk about the creek that runs through his neighborhood or the body of water that the community was built around. And so this Atlas poem, you do a wonderful job of identifying water with people. Do people receive it that way?\u003c/em>\u003c/p>\n\u003cp>Terisa: You’re really hitting it on the head with the reasons I wrote it… expanding our notions of where we come from, that not all of us just come from land, but it is the water that surrounds us too, and it runs through us and our communities. Because I come from an island and my community comes from an island, water is of importance to us, but water is important to all of us! Being from the Bay, we are water people, we’re here on California’s coast and how much do we know about the quality of the water right here in our backyards?\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>How everyone is beginning\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>to hear more about your island\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>but only in the context of\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>vacations and honeymoons,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>football and military life,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>exotic women exotic fruit exotic beaches\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>but never asks about the rest of its body.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Terisa: I don’t even think people realize that Samoa is actually two separate islands because of colonization in that the eastern island, called American Samoa, it’s a U.S. territory. I don’t think a lot of people even know that. I don’t even think people know what a U.S. territory is, which isn’t to shame them because I once didn’t know it either… And so my hope is for people to at least get curious. I don’t expect people to be experts and be supremely knowledgeable about who Samoans are… So much about being Samoan can also be linked directly to what it means to be American. I say that because of Samoan’s high rates in the U.S. military. I say that because so many of people’s insight into who Samoans are come from the NFL… I want people to care enough about helping to connect those dots for themselves because there’s a deep colonial history to why that is, why Samoans are who we are\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>When people ask me where I’m from,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>they don’t believe me when I say water.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>So instead, I tell them that home is a machete\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>and that I belong to places\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>that don’t belong to themselves anymore,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>broken and butchered places that have made me\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>a hyphen of a woman:\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>a Samoan-American that carries the weight of both\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>colonizer and colonized,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>both blade and blood.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Terisa: It sometimes feels like the hyphen itself is like this bridge with no railings. So you just don’t know if you’re safe. You don’t know how to traverse it all the time. And I think part of being a bicultural kid in diaspora is that I am always yearning for a sense of belonging in being samoan enough to claim my Samoan identity, but sometimes not feeling adequate and living up to what that means, because of things like language loss and how I don’t fully know my language anymore, or I never learned it because my family was in survival mode when they immigrated here and thought teaching me English was going to be more helpful for for me and my upbringing.\u003c/p>\n\u003cp>Terisa: It’s also rejecting my Americanness sometimes because of U.S. imperialism and how much it has desecrated not just the Pacific, but so many of our countries. And so sometimes that identity is so hard for me to really reckon with… So I got deeper into exploring my indigeneity as a Samoan. And also making peace with: maybe I live on this hyphen. Maybe it’s not a matter of like equalizing my Samoaness and my Americanness, and I just stand on this hyphen and write my poems over here, over the water [laughs]\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>California, nestled on the western coast of the most powerful\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>country on this planet.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Samoa, an island so microscopic on a map, it’s no wonder\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>people doubt its existence.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>California, a state of emergency away from having the drought\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>rid it of all its water.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Samoa, a state of emergency away from becoming a saltwater cemetery\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>if the sea level doesn’t stop rising.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Since writing this piece five years ago where has it taken you?\u003c/em>\u003c/p>\n\u003cp>Terisa: It was one of the poems that I took with me to the U.N. Conference on Climate Change in Paris, where the Paris Agreement was created back in 2015. It has been the door that has remained open to many opportunities that I’ve gotten to expand the conversation of who Pacific Islanders are, what is at stake, and what is the cost of not knowing what’s what’s happening in the Pacific in terms of the climate and why people should care. And so that little poem means a lot to me. [laughs]\u003c/p>\n\u003cp>\u003cem>Pen: What did it feel like [presenting the poem to the United Nations]?\u003c/em>\u003c/p>\n\u003cp>Terisa: It felt exhilarating because it’s a global stage, people came from around the world to spend a few weeks together to talk about how are we going to get ourselves out of this climate devastation and what are our best solutions.. I am grateful for the times in which I can share work about the Pacific, about being Samoan. Something that maybe they didn’t have any knowledge of before. And I’m always thankful for those opportunities to share work in those ways… But there is this element of tokenization that happens often people want to hear your story… They for sure want to hear the tragic, traumatic parts of it so that they can feel something so that they can be stirred up with emotions in order to care and change and act. But then there’s this gross feeling to it sometimes too, where there’s this extraction… extracting people for their trauma, for their most devastating parts and not like seeing them as these whole human communities that deserve more.\u003c/p>\n\u003cp>Terisa: And so these climate convenings are interesting in those ways. I try to manage how much energy I give, to who and why… It’s like trying to heal the system within the system. I mean, we don’t even have to be at a global convening to feel that. I think that’s a daily thing for me, to ask what are people’s intentions? Am I clear on my own values? Am I aligned with them?\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned value. How do you show your value as an artist in this line of work?\u003c/em>\u003c/p>\n\u003cp>Terisa: There was a moment where I was in a Bay Area organizing space in which the facilitator was asking us, “like what our values were? And in asking us more importantly, like, do we know what our values are? and how do we know what they are? And she was asking us, like, Do you write them down? Do you review them? Do you adjust them? And I had to get real of myself around like, No, I don’t do a lot of those things. I think we in our head theoretically is like, Yeah, I have values. Of course I have them. Who do you think I am? But it’s like, how do I measure if I’m aligned with my values?… I think it’s a daily practice and I’m not an expert at it at all. Every day I’m trying to figure out how to do it better.\u003c/p>\n\u003cp>\u003cem>Pen: Mannnn. I never write down my values, as much as a write. It’s like duh! I write everything else down: to do list, shopping list. Anything else is like targeted intention.\u003c/em>\u003c/p>\n\u003cp>Terisa: now that we’re talking about it, I actually should revisit it because I haven’t looked at them in a while\u003c/p>\n\u003cp>\u003cem>Pen: I mean, it makes sense to revisit it now. Right? as you take on new journeys, right?\u003c/em>\u003c/p>\n\u003cp>Terisa: right!\u003c/p>\n\u003cp>\u003cem>Pen: Do you ever think of yourself as a climate changer?\u003c/em>\u003c/p>\n\u003cp>Terisa: Yeah, I do now! It took me a while to really own that I’m an environmentalist or I’m a climate change organizer because I had a perception of like, you had to care about this work in a particular way to deem yourself as a real and true climate changer… But then I realized, not only do I think that’s not true, we’re literally running out of time, so I don’t actually care. I’m just going to put my head down and do my work in this narrow lane that I know and trust that enough of us are in our own lanes with our own gifts trying our best to try everything!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "For National Poetry month, we talk to Terisa Siagatonu about writing poetry from atop her hyphen as a Tongan-American and how she languages the climate crisis. ",
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"title": "We All Come From Water: Poetry from the Edge | KQED",
"description": "For National Poetry month, we talk to Terisa Siagatonu about writing poetry from atop her hyphen as a Tongan-American and how she languages the climate crisis. ",
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"headline": "We All Come From Water: Poetry from the Edge",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4962440556\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>So many of us come from water but\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>when you come from water\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>no one believes you.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Colonization keeps laughing.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Global warming is grinning\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>at all your grief.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>How you mourn the loss of a home\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>that isn’t even gone yet.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>That no one believes you’re from.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>These are the words of \u003ca href=\"https://www.instagram.com/terisasiagatonu/\" target=\"_blank\" rel=\"noopener noreferrer\">Terisa Siagatonu\u003c/a> in her poem ‘\u003ca href=\"https://www.poetryfoundation.org/poetrymagazine/poems/146222/atlas-5aa944cf31dad\">Atlas\u003c/a>‘.\u003c/p>\n\u003cp>Terisa’s poetry emerges from climate change and its impact on marginalized communities. She also writes poems from the perspective of her hyphenated identity: raised in San Francisco with deep Samoan roots.\u003c/p>\n\u003cp>In our conversation, Terisa looks back at January’s \u003ca href=\"https://www.kqed.org/news/11901877/bay-area-tongans-wait-in-hope-and-fear-for-news-of-family-after-tsunami\" target=\"_blank\" rel=\"noopener noreferrer\">underwater eruption\u003c/a> that caused massive tsunamis in Samoa, Tonga, Fiji and other nations in Oceania. Initially, the disaster made headlines and relief efforts filled social media feeds, but Terisa questions what sustained care looks like for those impacted by a changing global climate.\u003c/p>\n\u003cp>After speaking on this topic at venues across the country and around the world, even addressing members of the United Nations, Terisa Siagatonu discusses climate justice and how she “languages” her experience on this episode of Rightnowish.\u003c/p>\n\u003cfigure id=\"attachment_13912228\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912228\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/download-4-800x1203.jpg\" alt=\"Poet Terisa Siagatonu looks off to the side as she sits on a set of stairs.\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-4.jpg 851w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet Terisa Siagatonu looks off to the side as she sits on a set of stairs. \u003ccite>(Courtesy of Terisa Siagatonu )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of the episode with Terisa Siagatonu.\u003c/strong>\u003c/p>\n\u003cp>Terisa: For those who don’t know, [in January 2022,] there was an underwater volcanic eruption right on the coast of the island and Kingdom of Tonga… I saw a lot of Tongan friends of mine really nervous about not getting a hold of family members. I also saw the power of the Pacific Ocean herself, in terms of how the waves of eruption could reach our coast here in the US. And it speaks to this notion that I hold with me all the time that Hawaiian scholar, activist poet, Haunani-Kay Trask talks about in her work, “upon the survival of the Pacific depends the survival of the world.”\u003c/p>\n\u003cp>Terisa: Because so many times the world kind of relegates [Pacific Islanders] to the margins of their consciousness and of world maps and forgets that there are people from water – like my people – that are only heard about when it comes to natural disasters or when it comes to tragedy. What happens in the Pacific should matter to all of us.\u003c/p>\n\u003cp>\u003cem>Pen: When I thought about speaking to you it was about how can we keep this story alive? Make sure that [devastation from the volcanic eruption] is not just something tragic that happens and we move on, because we know that this will impact people for some time to come. So how do you keep that in people’s foresight?\u003c/em>\u003c/p>\n\u003cp>Terisa: I think social media helps… I think it’s also a great time to talk about what do people know about Pacific Islanders outside of devastation and climate change outside of your honeymoon vacations? … If we’re talking about what happened in Tonga, let’s talk about Tongans. Let’s talk about how the Pacific migration even came to the U.S. Let’s have more nuanced conversations about it. A lot of times my lane is to help language, and stand in the gap between what people know and what people don’t know using art.\u003c/p>\n\u003cp>\u003cem>Pen: …Your poem titled “Atlas” you wrote that over 5 years ago still has huge implications today….for example, where you \u003cspan style=\"font-weight: 400\">talk about identifying with bodies of water…\u003c/span>\u003c/em>\u003cem> Growing up in the Bay Area, I’m so accustomed to identifying with land. Like I know somebody from the neighborhood. It’s Chris from 73rd, he’s from a piece of land. But I don’t talk about the creek that runs through his neighborhood or the body of water that the community was built around. And so this Atlas poem, you do a wonderful job of identifying water with people. Do people receive it that way?\u003c/em>\u003c/p>\n\u003cp>Terisa: You’re really hitting it on the head with the reasons I wrote it… expanding our notions of where we come from, that not all of us just come from land, but it is the water that surrounds us too, and it runs through us and our communities. Because I come from an island and my community comes from an island, water is of importance to us, but water is important to all of us! Being from the Bay, we are water people, we’re here on California’s coast and how much do we know about the quality of the water right here in our backyards?\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>How everyone is beginning\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>to hear more about your island\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>but only in the context of\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>vacations and honeymoons,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>football and military life,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>exotic women exotic fruit exotic beaches\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>but never asks about the rest of its body.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Terisa: I don’t even think people realize that Samoa is actually two separate islands because of colonization in that the eastern island, called American Samoa, it’s a U.S. territory. I don’t think a lot of people even know that. I don’t even think people know what a U.S. territory is, which isn’t to shame them because I once didn’t know it either… And so my hope is for people to at least get curious. I don’t expect people to be experts and be supremely knowledgeable about who Samoans are… So much about being Samoan can also be linked directly to what it means to be American. I say that because of Samoan’s high rates in the U.S. military. I say that because so many of people’s insight into who Samoans are come from the NFL… I want people to care enough about helping to connect those dots for themselves because there’s a deep colonial history to why that is, why Samoans are who we are\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>When people ask me where I’m from,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>they don’t believe me when I say water.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>So instead, I tell them that home is a machete\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>and that I belong to places\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>that don’t belong to themselves anymore,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>broken and butchered places that have made me\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>a hyphen of a woman:\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>a Samoan-American that carries the weight of both\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>colonizer and colonized,\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>both blade and blood.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Terisa: It sometimes feels like the hyphen itself is like this bridge with no railings. So you just don’t know if you’re safe. You don’t know how to traverse it all the time. And I think part of being a bicultural kid in diaspora is that I am always yearning for a sense of belonging in being samoan enough to claim my Samoan identity, but sometimes not feeling adequate and living up to what that means, because of things like language loss and how I don’t fully know my language anymore, or I never learned it because my family was in survival mode when they immigrated here and thought teaching me English was going to be more helpful for for me and my upbringing.\u003c/p>\n\u003cp>Terisa: It’s also rejecting my Americanness sometimes because of U.S. imperialism and how much it has desecrated not just the Pacific, but so many of our countries. And so sometimes that identity is so hard for me to really reckon with… So I got deeper into exploring my indigeneity as a Samoan. And also making peace with: maybe I live on this hyphen. Maybe it’s not a matter of like equalizing my Samoaness and my Americanness, and I just stand on this hyphen and write my poems over here, over the water [laughs]\u003c/p>\n\u003cp>Teresa (reading excerpt of Atlas):\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>California, nestled on the western coast of the most powerful\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>country on this planet.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Samoa, an island so microscopic on a map, it’s no wonder\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>people doubt its existence.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>California, a state of emergency away from having the drought\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>rid it of all its water.\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Samoa, a state of emergency away from becoming a saltwater cemetery\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>if the sea level doesn’t stop rising.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Since writing this piece five years ago where has it taken you?\u003c/em>\u003c/p>\n\u003cp>Terisa: It was one of the poems that I took with me to the U.N. Conference on Climate Change in Paris, where the Paris Agreement was created back in 2015. It has been the door that has remained open to many opportunities that I’ve gotten to expand the conversation of who Pacific Islanders are, what is at stake, and what is the cost of not knowing what’s what’s happening in the Pacific in terms of the climate and why people should care. And so that little poem means a lot to me. [laughs]\u003c/p>\n\u003cp>\u003cem>Pen: What did it feel like [presenting the poem to the United Nations]?\u003c/em>\u003c/p>\n\u003cp>Terisa: It felt exhilarating because it’s a global stage, people came from around the world to spend a few weeks together to talk about how are we going to get ourselves out of this climate devastation and what are our best solutions.. I am grateful for the times in which I can share work about the Pacific, about being Samoan. Something that maybe they didn’t have any knowledge of before. And I’m always thankful for those opportunities to share work in those ways… But there is this element of tokenization that happens often people want to hear your story… They for sure want to hear the tragic, traumatic parts of it so that they can feel something so that they can be stirred up with emotions in order to care and change and act. But then there’s this gross feeling to it sometimes too, where there’s this extraction… extracting people for their trauma, for their most devastating parts and not like seeing them as these whole human communities that deserve more.\u003c/p>\n\u003cp>Terisa: And so these climate convenings are interesting in those ways. I try to manage how much energy I give, to who and why… It’s like trying to heal the system within the system. I mean, we don’t even have to be at a global convening to feel that. I think that’s a daily thing for me, to ask what are people’s intentions? Am I clear on my own values? Am I aligned with them?\u003c/p>\n\u003cp>\u003cem>Pen: You mentioned value. How do you show your value as an artist in this line of work?\u003c/em>\u003c/p>\n\u003cp>Terisa: There was a moment where I was in a Bay Area organizing space in which the facilitator was asking us, “like what our values were? And in asking us more importantly, like, do we know what our values are? and how do we know what they are? And she was asking us, like, Do you write them down? Do you review them? Do you adjust them? And I had to get real of myself around like, No, I don’t do a lot of those things. I think we in our head theoretically is like, Yeah, I have values. Of course I have them. Who do you think I am? But it’s like, how do I measure if I’m aligned with my values?… I think it’s a daily practice and I’m not an expert at it at all. Every day I’m trying to figure out how to do it better.\u003c/p>\n\u003cp>\u003cem>Pen: Mannnn. I never write down my values, as much as a write. It’s like duh! I write everything else down: to do list, shopping list. Anything else is like targeted intention.\u003c/em>\u003c/p>\n\u003cp>Terisa: now that we’re talking about it, I actually should revisit it because I haven’t looked at them in a while\u003c/p>\n\u003cp>\u003cem>Pen: I mean, it makes sense to revisit it now. Right? as you take on new journeys, right?\u003c/em>\u003c/p>\n\u003cp>Terisa: right!\u003c/p>\n\u003cp>\u003cem>Pen: Do you ever think of yourself as a climate changer?\u003c/em>\u003c/p>\n\u003cp>Terisa: Yeah, I do now! It took me a while to really own that I’m an environmentalist or I’m a climate change organizer because I had a perception of like, you had to care about this work in a particular way to deem yourself as a real and true climate changer… But then I realized, not only do I think that’s not true, we’re literally running out of time, so I don’t actually care. I’m just going to put my head down and do my work in this narrow lane that I know and trust that enough of us are in our own lanes with our own gifts trying our best to try everything!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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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"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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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