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"title": "Castro Theatre to Become Live Music and Events Venue After Renovation",
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"content": "\u003cp>The Castro Theatre, a 100-year-old jewel of the film community in San Francisco, is set to become a live music and events venue after a year-long makeover. The renovated theater will broaden its programming to include “comedy, music, film, community and private events and more,” according to \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">a statement\u003c/a> by the new operators.\u003c/p>\n\u003cp>The theater will be managed by Another Planet Entertainment, the Bay Area-based live music promoter which co-produces the Outside Lands music festival and operates the Bill Graham Civic Auditorium, the Greek Theatre, the Fox Theatre, the Independent and other music venues. Another Planet does not operate any movie theaters, or venues with regular film programming.\u003c/p>\n\u003cp>Currently it is unclear exactly how much film will be shown at the renovated Castro Theatre. Speaking with KQED on Wednesday, Another Planet CEO Gregg Perloff repeatedly said it was too soon to tell.\u003c/p>\n\u003cp>“I know this isn’t a great answer for you, but we’ve just started,” Perloff said, in response to questions about film programming. “This is really our first week talking to people. And we plan on talking to a lot of people in the community. And of course all the people who have rented the theater—find out what it is they’re all about and what they plan on doing. So I can’t give you definitive answers right now.”\u003c/p>\n\u003cp>As of Wednesday, Another Planet had not been been in touch with any independent film bookers who would book a regular daily schedule of films, Perloff said. \u003c/p>\n\u003cfigure id=\"attachment_13908354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Castro.Street-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13908354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre has been a central fixture of San Francisco’s Castro District since 1922. \u003ccite>(Tobias Kleinlercher / Wikipedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You don’t want to change the historic nature of the theatre,” said Perloff. “We absolutely want to do film. We absolutely want to honor the LGBTQ community. And so, what they’ve historically done, we want to do a lot of that. We also want to add to it by doing other things. What those other things are? Could be a lecture. Could be comedy. Could be music. We plan to try anything.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the past decade, the Castro Theatre had been booked by Keith Arnold, whose experience working with Berkeley’s Fine Arts Cinema and the Sundance Film Festival informed the Castro’s repertory programming, which included movies both new and old on a daily basis. The Castro Theatre has also long been home to several film festivals like Frameline, the San Francisco Silent Film Festival, and the San Francisco Jewish Film Festival, among others.\u003c/p>\n\u003cp>Existing contracts with the Castro are being honored before renovation begins, Perloff said. Frameline’s executive director James Woolley said, in an email to KQED: “We are pleased to confirm that the Frameline46 San Francisco International LGBTQ+ Film Festival will proceed at the Castro Theatre, June 16-26, 2022.”\u003c/p>\n\u003cp>SFFILM, the San Francisco International Film Festival, is still scheduled to run April 21–May 1 this year, as well. (The Noir City film festival had planned to move to the Grand Lake Theatre in Oakland this month before postponing due to the spread of the omicron variant.) \u003c/p>\n\u003cp>Construction on the theater will begin later this year.\u003c/p>\n\u003cfigure id=\"attachment_13827376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/SFIFFLogo_COVER-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A packed house at the Castro Theatre. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Castro Theatre is a wonderful building that we will upgrade for more use in the future,” said Perloff in a \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">statement\u003c/a> Wednesday morning. “We want to activate and re-energize the building, making improvements to the customer and artist experience, including dressing room upgrades, restoring the marquee and blade and expanding food and beverage service.” \u003c/p>\n\u003cp>Additional upgrades would include a new sound system, sound, lighting, production, and heating and air conditioning system. An expanded backstage and lobby and a renovated marquee are planned, along with a restoration of the theater’s iconic neon sign. \u003c/p>\n\u003cp>Chris Nasser Padian, the vice president of Bay Properties Inc., which owns the Castro Theatre, called Another Planet “an ideal partner” for the Castro, “as they have a rich history with the City and in rehabilitating historic venues.”\u003c/p>\n\u003cp>Perloff said that Another Planet approached the Nasser family to make a deal for the building, and that, to his knowledge, no other promoters were in contention for management of the theater. \u003c/p>\n\u003cp>https://www.instagram.com/p/CY69fTPrI4G/\u003c/p>\n\u003cp>Today’s news answers a long-standing question on the lips of moviegoers over the past year and a half.\u003c/p>\n\u003cp>During the pandemic, while other independent movie theaters like the Roxie Theatre, the Balboa Theatre and the New Parkway Theatre cautiously re-opened, the Castro Theatre sat conspicuously dark, hosting occasional one-off concerts and events.\u003c/p>\n\u003cp>Most recently, the theatre hosted the world premiere for \u003cem>The Matrix Resurrections\u003c/em> and a special screening of \u003cem>West Side Story\u003c/em> with Rita Moreno in attendance.\u003c/p>\n\u003cp>A fundraising campaign for a new organ at the Castro Theatre, to be played by beloved fixture David Hegarty, had \u003ca href=\"https://hoodline.com/2021/01/castro-theatre-s-massive-new-hybrid-organ-may-get-installed-in-time-for-cinemas-to-reopen/\" rel=\"noopener noreferrer\" target=\"_blank\">recently raised\u003c/a> over $800,000 in donations. Perloff said that while there are no renovation plans for the stage that would make it impossible to install the organ, Another Planet has yet to get specifications for it.\u003c/p>\n\u003cp>“We got kind of thrown a curveball by this idea of a new organ,” Perloff said, adding that Another Planet has been in touch with Hegarty and the nonprofit CODA. “This is the kind of thing we’re dealing with in working out our construction plans: what does the organ need? So we’re certainly working or planning on working with CODA.”\u003c/p>\n\u003cp>Asked about moviegoers who think of the Castro Theatre as a family member, and are worried that they’re losing it forever, Perloff emphasized the upcoming restoration.\u003c/p>\n\u003cp>“They’re not losing it,” Perloff said of the Castro. “This is a labor of love for us. We make our money doing big shows like Outside Lands. What we’re doing is: this is a diamond, and we’re polishing the diamond. That’s how you should look at it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A grand reopening for the theater is scheduled for 2023. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Castro Theatre, a 100-year-old jewel of the film community in San Francisco, is set to become a live music and events venue after a year-long makeover. The renovated theater will broaden its programming to include “comedy, music, film, community and private events and more,” according to \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">a statement\u003c/a> by the new operators.\u003c/p>\n\u003cp>The theater will be managed by Another Planet Entertainment, the Bay Area-based live music promoter which co-produces the Outside Lands music festival and operates the Bill Graham Civic Auditorium, the Greek Theatre, the Fox Theatre, the Independent and other music venues. Another Planet does not operate any movie theaters, or venues with regular film programming.\u003c/p>\n\u003cp>Currently it is unclear exactly how much film will be shown at the renovated Castro Theatre. Speaking with KQED on Wednesday, Another Planet CEO Gregg Perloff repeatedly said it was too soon to tell.\u003c/p>\n\u003cp>“I know this isn’t a great answer for you, but we’ve just started,” Perloff said, in response to questions about film programming. “This is really our first week talking to people. And we plan on talking to a lot of people in the community. And of course all the people who have rented the theater—find out what it is they’re all about and what they plan on doing. So I can’t give you definitive answers right now.”\u003c/p>\n\u003cp>As of Wednesday, Another Planet had not been been in touch with any independent film bookers who would book a regular daily schedule of films, Perloff said. \u003c/p>\n\u003cfigure id=\"attachment_13908354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Castro.Street-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13908354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre has been a central fixture of San Francisco’s Castro District since 1922. \u003ccite>(Tobias Kleinlercher / Wikipedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You don’t want to change the historic nature of the theatre,” said Perloff. “We absolutely want to do film. We absolutely want to honor the LGBTQ community. And so, what they’ve historically done, we want to do a lot of that. We also want to add to it by doing other things. What those other things are? Could be a lecture. Could be comedy. Could be music. We plan to try anything.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the past decade, the Castro Theatre had been booked by Keith Arnold, whose experience working with Berkeley’s Fine Arts Cinema and the Sundance Film Festival informed the Castro’s repertory programming, which included movies both new and old on a daily basis. The Castro Theatre has also long been home to several film festivals like Frameline, the San Francisco Silent Film Festival, and the San Francisco Jewish Film Festival, among others.\u003c/p>\n\u003cp>Existing contracts with the Castro are being honored before renovation begins, Perloff said. Frameline’s executive director James Woolley said, in an email to KQED: “We are pleased to confirm that the Frameline46 San Francisco International LGBTQ+ Film Festival will proceed at the Castro Theatre, June 16-26, 2022.”\u003c/p>\n\u003cp>SFFILM, the San Francisco International Film Festival, is still scheduled to run April 21–May 1 this year, as well. (The Noir City film festival had planned to move to the Grand Lake Theatre in Oakland this month before postponing due to the spread of the omicron variant.) \u003c/p>\n\u003cp>Construction on the theater will begin later this year.\u003c/p>\n\u003cfigure id=\"attachment_13827376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/SFIFFLogo_COVER-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A packed house at the Castro Theatre. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Castro Theatre is a wonderful building that we will upgrade for more use in the future,” said Perloff in a \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">statement\u003c/a> Wednesday morning. “We want to activate and re-energize the building, making improvements to the customer and artist experience, including dressing room upgrades, restoring the marquee and blade and expanding food and beverage service.” \u003c/p>\n\u003cp>Additional upgrades would include a new sound system, sound, lighting, production, and heating and air conditioning system. An expanded backstage and lobby and a renovated marquee are planned, along with a restoration of the theater’s iconic neon sign. \u003c/p>\n\u003cp>Chris Nasser Padian, the vice president of Bay Properties Inc., which owns the Castro Theatre, called Another Planet “an ideal partner” for the Castro, “as they have a rich history with the City and in rehabilitating historic venues.”\u003c/p>\n\u003cp>Perloff said that Another Planet approached the Nasser family to make a deal for the building, and that, to his knowledge, no other promoters were in contention for management of the theater. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today’s news answers a long-standing question on the lips of moviegoers over the past year and a half.\u003c/p>\n\u003cp>During the pandemic, while other independent movie theaters like the Roxie Theatre, the Balboa Theatre and the New Parkway Theatre cautiously re-opened, the Castro Theatre sat conspicuously dark, hosting occasional one-off concerts and events.\u003c/p>\n\u003cp>Most recently, the theatre hosted the world premiere for \u003cem>The Matrix Resurrections\u003c/em> and a special screening of \u003cem>West Side Story\u003c/em> with Rita Moreno in attendance.\u003c/p>\n\u003cp>A fundraising campaign for a new organ at the Castro Theatre, to be played by beloved fixture David Hegarty, had \u003ca href=\"https://hoodline.com/2021/01/castro-theatre-s-massive-new-hybrid-organ-may-get-installed-in-time-for-cinemas-to-reopen/\" rel=\"noopener noreferrer\" target=\"_blank\">recently raised\u003c/a> over $800,000 in donations. Perloff said that while there are no renovation plans for the stage that would make it impossible to install the organ, Another Planet has yet to get specifications for it.\u003c/p>\n\u003cp>“We got kind of thrown a curveball by this idea of a new organ,” Perloff said, adding that Another Planet has been in touch with Hegarty and the nonprofit CODA. “This is the kind of thing we’re dealing with in working out our construction plans: what does the organ need? So we’re certainly working or planning on working with CODA.”\u003c/p>\n\u003cp>Asked about moviegoers who think of the Castro Theatre as a family member, and are worried that they’re losing it forever, Perloff emphasized the upcoming restoration.\u003c/p>\n\u003cp>“They’re not losing it,” Perloff said of the Castro. “This is a labor of love for us. We make our money doing big shows like Outside Lands. What we’re doing is: this is a diamond, and we’re polishing the diamond. That’s how you should look at it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A grand reopening for the theater is scheduled for 2023. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meet the Man Behind the Crocheted Animals of Diamond Heights",
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"headTitle": "Meet the Man Behind the Crocheted Animals of Diamond Heights | KQED",
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"content": "\u003cp>In October, Huib Petersen stepped out of his home in Diamond Heights and found a rock with a face painted on it. Under the rock was a note that read, “Dear Neighvor, My name is Siena. I am 7 years old. I am in 2nd grade. I was wondering if you can help me with a school project. Could you make a crochet koala. How much will it cust? Thank you.”\u003c/p>\n\u003cp>It wasn’t the first time neighborhood children called on Petersen in this way. Prompted by the joyful array of crocheted creatures he leaves nestled in trees around the neighborhood, local kids have made a point to find out who Petersen is and where exactly he lives. Petersen has spent the last six years seeking out good tree branches, creating animals he thinks would fit in them, then hanging them up during the day when most of his neighbors are in work or at school. In the course of doing so, Petersen has slowly—single-handedly—turned a two-block stretch of Diamond Street into a toy zoo of sorts.\u003c/p>\n\u003cp>“I got a lot of reactions from people,” Petersen told KQED during an afternoon stroll to see the tree dwellers, “so I kept doing it. Because of the animals, I know most of my neighbors now. And my neighbors know each other. It is just so lovely seeing them outside, looking at the trees. ‘Oh, there’s a new one!’”\u003c/p>\n\u003cfigure id=\"attachment_13907017\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/goat-bat-800x470.jpg\" alt=\"Left: A crocheted brown goat with a round pink nose peaks over a tree branch. Right: A purple and black bat with fangs hangs upside down from a tree branch.\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/goat-bat-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/goat-bat-1020x599.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/goat-bat-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/goat-bat-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/goat-bat-1536x902.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/goat-bat-2048x1202.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/goat-bat-1920x1127.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petersen made the bat as a Halloween decoration but was quickly commissioned to make more for Castro and Diamond Heights residents. \u003ccite>(Huib Petersen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Petersen and his husband Jeffrey Tumlin moved to Diamond Heights seven years ago. Initially, his community contributions manifested as crocheted gifts he would hand out to local children. But after the shock and drama of the 2016 election, Petersen made a concerted effort to seek out more joy, and figure out better ways to spread it.\u003c/p>\n\u003cp>[aside postid='news_11688020']“We got Mr. Trump elected and that just hurt my heart,” Petersen says now. “And I saw at City Hall, someone was making these \u003ca href=\"https://www.kqed.org/news/11688020/whos-behind-the-knitted-animals-in-san-franciscos-civic-center\" target=\"_blank\" rel=\"noopener noreferrer\">enormous giraffes wrapped around the trees\u003c/a>. I saw that and I thought, ‘Oh, I can do that too. But smaller and everywhere in my neighborhood.’ Just for the fun of it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wasn’t really doing it for the neighborhood,” he laughs impishly, “I was really doing it for myself.”\u003c/p>\n\u003cfigure id=\"attachment_13907019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.33.03-AM-800x795.png\" alt=\"A white man with a bald head, short white goatee beard and septum piercing smiles warmly in front of a red brick wall.\" width=\"800\" height=\"795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.33.03-AM-800x795.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.33.03-AM-1020x1014.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.33.03-AM-160x159.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.33.03-AM-768x763.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.33.03-AM-1536x1527.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.33.03-AM.png 1698w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Huib Petersen. \u003ccite>(Courtesy of Huib Petersen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By day, Petersen is a \u003ca href=\"https://www.petersenarts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">jewelry designer\u003c/a> with an extraordinary gift for bead work. His passion for needle crafts started as a young child growing up in Holland. When he was six, his grandmother showed him how to crochet on his fingers. Around that time, he also taught himself how to knit by watching his mother making garments. “She wouldn’t teach me because I was a boy,” Petersen explains. “But because I was looking at my mother from this side, I did everything the other way around. I started everything mirrored-wise. And I’ve been doing it ever since.”\u003c/p>\n\u003cp>A single animal can take Petersen up to a week to make, but he revels in the time-consuming work. He creates the animals in the evening, while his husband catches up on movies and TV shows. “My husband’s relaxation is sitting in front of the TV,” Petersen says. “My hands have to do something or else I get very bored. I cannot sit still.”\u003c/p>\n\u003cp>Though Petersen doesn’t design the animals from scratch—instead using patterns from Revelry and Etsy as jumping off points—one of the things that makes his zoo so appealing is the child-like joy he injects into each of his creatures. On our walk, when the mild-mannered maker notices a wolf he made has slumped to one side on its branch, he laughs. “Well, that’s okay,” he says. “Wolves are a little bit crooked anyway. You cannot trust them.”\u003c/p>\n\u003cfigure id=\"attachment_13907020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/weathered-800x470.jpg\" alt=\"Left: A crocheted sloth with googly eyes hangs upside down from its tail on a tree branch. Right: Blue, red, pink and purple crocheted crabs sit on the side of a tree branch.\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/weathered-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/weathered-1020x599.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/weathered-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/weathered-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/weathered-1536x902.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/weathered-2048x1202.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/weathered-1920x1127.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of Petersen’s tree creatures caught just after a rain shower.\u003c/figcaption>\u003c/figure>\n\u003cp>At this stage, some of the animals are more weathered than others, and some have disappeared entirely. (“They’re presents to the city, and the city takes them every now and again,” Petersen shrugs.) He is careful to maintain his menagerie as best as he can though. He re-positions and re-attaches older, slipping animals. He relocates ones attached to trees that have died. And he temporarily moves any that happen to be outside homes that are being painted or renovated. He, like the rest of the neighborhood, see the animals as “a little treasure hunt.”\u003c/p>\n\u003cp>For years, the Diamond Heights animals were simply a quirk of the neighborhood, mostly enjoyed by those that lived there. But during 2020’s prolonged shelter-in-place order, people from other parts of the city started visiting the animals on hikes. They were a fun addition to the teddy bear hunts already happening in many families. And they were a much-needed distraction from the day-to-day stresses of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13907022\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/octopus-1-800x470.jpg\" alt=\"Left: A luminous green, yellow and purple octopus sits on top of a tangled succulent plant. Right: An orange and yellow octopus sits in a tree, its long tentacles extending down the trunk.\" width=\"800\" height=\"470\">\u003cfigcaption class=\"wp-caption-text\">Two of Petersen’s octopuses, hanging out in Diamond Heights. \u003ccite>(Huib Petersen/ Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is clear from spending even a small amount of time in the vicinity that the grown-ups of Diamond Heights seem to like the animals almost as much as the kids do. The first time I stopped to take a photo of one—a goofy sloth hanging upside down by its ankles—a passing man stopped and, entirely unprompted, directed me to a tree further up the street. “You’ve gotta go see the monkeys!” he grinned.\u003c/p>\n\u003cp>[aside postid='arts_13890578']The monkeys in question were the result of another personal request from nearby children. Two siblings wanted monkeys on the street to represent the four people in their household. Petersen dutifully obliged. “Those kids stole my heart from the first moment I saw them,” he says. So when the children returned with a friend and asked for some crocheted witch’s hats for Halloween, he made those too. Despite offers from parents to pay for his creations, Petersen always politely declines. Instead, he asks people to pay the kindness forward and donate money to charity.\u003c/p>\n\u003cp>Which brings us back to that request for a koala from the 7-year-old Siena. The note she left outside Petersen’s house had her mother’s phone number on the back. When he reached out to her for more details, he found out that the koala would be for a school project—a secret garden. Siena wanted there to be an animal hidden in the trees there too, just like the ones on her street. Petersen ultimately made two—one for the garden and one for Siena to keep at home. In return, her family \u003ca href=\"https://gifts.worldwildlife.org/gift-center/gifts/Species-Adoptions/Koala.aspx?sc=AWY2104OQ19298A03752RX&gclid=Cj0KCQiAzMGNBhCyARIsANpUkzOujh8LYIheNNthF6BDlXU5ANwtcFUtGE9LNuYy3BXJrt_77ArwGfEaAi7iEALw_wcB\" target=\"_blank\" rel=\"noopener noreferrer\">adopted a koala\u003c/a> through the World Wildlife Fund.\u003c/p>\n\u003cfigure id=\"attachment_13907025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.53.26-AM-800x597.png\" alt=\"\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.53.26-AM-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.53.26-AM-1020x761.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.53.26-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.53.26-AM-768x573.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.53.26-AM-1536x1147.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.53.26-AM-1920x1433.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.53.26-AM.png 2020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crocheted koalas, one wearing a coral and yellow backpack “for eucalyptus treats,” the other wearing a transparent tutu, “because everyone is happier in a tutu.” \u003ccite>(Courtesy of Jeffrey Tumlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked if he has any new animals planned for the neighborhood, Petersen pauses, unsure if he wants to spoil the surprise. “I still have a lot of them that I want to make,” he says. “There are grasshoppers at my house. And a praying mantis that I am really interested in making. And a couple of gnomes that I think are very funny. So there are still things coming up.”\u003c/p>\n\u003cp>Petersen is also planning to make some little monsters for a tree outside a nearby school. He recently made some for the windows of \u003ca href=\"https://imagiknit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ImagiKnit\u003c/a> as Halloween decorations. So many people tried to buy them that the Castro Street craft store had to start selling them.\u003c/p>\n\u003cfigure id=\"attachment_13906855\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906855\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Imagine-Knit-Monsters-800x267.jpg\" alt=\"Pink, green and purple crocheted monsters with big eyes and underbites from the window of Imagine Knit in San Francisco's Castro District.\" width=\"800\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Imagine-Knit-Monsters-800x267.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Imagine-Knit-Monsters-1020x340.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Imagine-Knit-Monsters-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Imagine-Knit-Monsters-768x256.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Imagine-Knit-Monsters-1536x512.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Imagine-Knit-Monsters-2048x683.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Imagine-Knit-Monsters-1920x640.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petersen’s crochet monsters as seen in ImagiKnit. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Petersen himself is modest about his creations and tells me he’s not sure what all the fuss is about. Still, he keeps creating, motivated by his own positivity and community spirit that he sees reflected back in his neighbors.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I hope this might inspire kindness and creativity,” he says. “It’s just a nice thing. And I do it for the fun of it.”\u003c/p>\n\n",
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"excerpt": "Huib Petersen has become a local celebrity by placing crocheted animals in trees—to the delight of children and adults.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In October, Huib Petersen stepped out of his home in Diamond Heights and found a rock with a face painted on it. Under the rock was a note that read, “Dear Neighvor, My name is Siena. I am 7 years old. I am in 2nd grade. I was wondering if you can help me with a school project. Could you make a crochet koala. How much will it cust? Thank you.”\u003c/p>\n\u003cp>It wasn’t the first time neighborhood children called on Petersen in this way. Prompted by the joyful array of crocheted creatures he leaves nestled in trees around the neighborhood, local kids have made a point to find out who Petersen is and where exactly he lives. Petersen has spent the last six years seeking out good tree branches, creating animals he thinks would fit in them, then hanging them up during the day when most of his neighbors are in work or at school. In the course of doing so, Petersen has slowly—single-handedly—turned a two-block stretch of Diamond Street into a toy zoo of sorts.\u003c/p>\n\u003cp>“I got a lot of reactions from people,” Petersen told KQED during an afternoon stroll to see the tree dwellers, “so I kept doing it. Because of the animals, I know most of my neighbors now. And my neighbors know each other. It is just so lovely seeing them outside, looking at the trees. ‘Oh, there’s a new one!’”\u003c/p>\n\u003cfigure id=\"attachment_13907017\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/goat-bat-800x470.jpg\" alt=\"Left: A crocheted brown goat with a round pink nose peaks over a tree branch. Right: A purple and black bat with fangs hangs upside down from a tree branch.\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/goat-bat-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/goat-bat-1020x599.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/goat-bat-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/goat-bat-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/goat-bat-1536x902.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/goat-bat-2048x1202.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/goat-bat-1920x1127.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petersen made the bat as a Halloween decoration but was quickly commissioned to make more for Castro and Diamond Heights residents. \u003ccite>(Huib Petersen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Petersen and his husband Jeffrey Tumlin moved to Diamond Heights seven years ago. Initially, his community contributions manifested as crocheted gifts he would hand out to local children. But after the shock and drama of the 2016 election, Petersen made a concerted effort to seek out more joy, and figure out better ways to spread it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We got Mr. Trump elected and that just hurt my heart,” Petersen says now. “And I saw at City Hall, someone was making these \u003ca href=\"https://www.kqed.org/news/11688020/whos-behind-the-knitted-animals-in-san-franciscos-civic-center\" target=\"_blank\" rel=\"noopener noreferrer\">enormous giraffes wrapped around the trees\u003c/a>. I saw that and I thought, ‘Oh, I can do that too. But smaller and everywhere in my neighborhood.’ Just for the fun of it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wasn’t really doing it for the neighborhood,” he laughs impishly, “I was really doing it for myself.”\u003c/p>\n\u003cfigure id=\"attachment_13907019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.33.03-AM-800x795.png\" alt=\"A white man with a bald head, short white goatee beard and septum piercing smiles warmly in front of a red brick wall.\" width=\"800\" height=\"795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.33.03-AM-800x795.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.33.03-AM-1020x1014.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.33.03-AM-160x159.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.33.03-AM-768x763.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.33.03-AM-1536x1527.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.33.03-AM.png 1698w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Huib Petersen. \u003ccite>(Courtesy of Huib Petersen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By day, Petersen is a \u003ca href=\"https://www.petersenarts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">jewelry designer\u003c/a> with an extraordinary gift for bead work. His passion for needle crafts started as a young child growing up in Holland. When he was six, his grandmother showed him how to crochet on his fingers. Around that time, he also taught himself how to knit by watching his mother making garments. “She wouldn’t teach me because I was a boy,” Petersen explains. “But because I was looking at my mother from this side, I did everything the other way around. I started everything mirrored-wise. And I’ve been doing it ever since.”\u003c/p>\n\u003cp>A single animal can take Petersen up to a week to make, but he revels in the time-consuming work. He creates the animals in the evening, while his husband catches up on movies and TV shows. “My husband’s relaxation is sitting in front of the TV,” Petersen says. “My hands have to do something or else I get very bored. I cannot sit still.”\u003c/p>\n\u003cp>Though Petersen doesn’t design the animals from scratch—instead using patterns from Revelry and Etsy as jumping off points—one of the things that makes his zoo so appealing is the child-like joy he injects into each of his creatures. On our walk, when the mild-mannered maker notices a wolf he made has slumped to one side on its branch, he laughs. “Well, that’s okay,” he says. “Wolves are a little bit crooked anyway. You cannot trust them.”\u003c/p>\n\u003cfigure id=\"attachment_13907020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/weathered-800x470.jpg\" alt=\"Left: A crocheted sloth with googly eyes hangs upside down from its tail on a tree branch. Right: Blue, red, pink and purple crocheted crabs sit on the side of a tree branch.\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/weathered-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/weathered-1020x599.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/weathered-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/weathered-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/weathered-1536x902.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/weathered-2048x1202.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/weathered-1920x1127.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of Petersen’s tree creatures caught just after a rain shower.\u003c/figcaption>\u003c/figure>\n\u003cp>At this stage, some of the animals are more weathered than others, and some have disappeared entirely. (“They’re presents to the city, and the city takes them every now and again,” Petersen shrugs.) He is careful to maintain his menagerie as best as he can though. He re-positions and re-attaches older, slipping animals. He relocates ones attached to trees that have died. And he temporarily moves any that happen to be outside homes that are being painted or renovated. He, like the rest of the neighborhood, see the animals as “a little treasure hunt.”\u003c/p>\n\u003cp>For years, the Diamond Heights animals were simply a quirk of the neighborhood, mostly enjoyed by those that lived there. But during 2020’s prolonged shelter-in-place order, people from other parts of the city started visiting the animals on hikes. They were a fun addition to the teddy bear hunts already happening in many families. And they were a much-needed distraction from the day-to-day stresses of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13907022\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/octopus-1-800x470.jpg\" alt=\"Left: A luminous green, yellow and purple octopus sits on top of a tangled succulent plant. Right: An orange and yellow octopus sits in a tree, its long tentacles extending down the trunk.\" width=\"800\" height=\"470\">\u003cfigcaption class=\"wp-caption-text\">Two of Petersen’s octopuses, hanging out in Diamond Heights. \u003ccite>(Huib Petersen/ Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is clear from spending even a small amount of time in the vicinity that the grown-ups of Diamond Heights seem to like the animals almost as much as the kids do. The first time I stopped to take a photo of one—a goofy sloth hanging upside down by its ankles—a passing man stopped and, entirely unprompted, directed me to a tree further up the street. “You’ve gotta go see the monkeys!” he grinned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The monkeys in question were the result of another personal request from nearby children. Two siblings wanted monkeys on the street to represent the four people in their household. Petersen dutifully obliged. “Those kids stole my heart from the first moment I saw them,” he says. So when the children returned with a friend and asked for some crocheted witch’s hats for Halloween, he made those too. Despite offers from parents to pay for his creations, Petersen always politely declines. Instead, he asks people to pay the kindness forward and donate money to charity.\u003c/p>\n\u003cp>Which brings us back to that request for a koala from the 7-year-old Siena. The note she left outside Petersen’s house had her mother’s phone number on the back. When he reached out to her for more details, he found out that the koala would be for a school project—a secret garden. Siena wanted there to be an animal hidden in the trees there too, just like the ones on her street. Petersen ultimately made two—one for the garden and one for Siena to keep at home. In return, her family \u003ca href=\"https://gifts.worldwildlife.org/gift-center/gifts/Species-Adoptions/Koala.aspx?sc=AWY2104OQ19298A03752RX&gclid=Cj0KCQiAzMGNBhCyARIsANpUkzOujh8LYIheNNthF6BDlXU5ANwtcFUtGE9LNuYy3BXJrt_77ArwGfEaAi7iEALw_wcB\" target=\"_blank\" rel=\"noopener noreferrer\">adopted a koala\u003c/a> through the World Wildlife Fund.\u003c/p>\n\u003cfigure id=\"attachment_13907025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.53.26-AM-800x597.png\" alt=\"\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.53.26-AM-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.53.26-AM-1020x761.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.53.26-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.53.26-AM-768x573.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.53.26-AM-1536x1147.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.53.26-AM-1920x1433.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-08-at-10.53.26-AM.png 2020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crocheted koalas, one wearing a coral and yellow backpack “for eucalyptus treats,” the other wearing a transparent tutu, “because everyone is happier in a tutu.” \u003ccite>(Courtesy of Jeffrey Tumlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked if he has any new animals planned for the neighborhood, Petersen pauses, unsure if he wants to spoil the surprise. “I still have a lot of them that I want to make,” he says. “There are grasshoppers at my house. And a praying mantis that I am really interested in making. And a couple of gnomes that I think are very funny. So there are still things coming up.”\u003c/p>\n\u003cp>Petersen is also planning to make some little monsters for a tree outside a nearby school. He recently made some for the windows of \u003ca href=\"https://imagiknit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ImagiKnit\u003c/a> as Halloween decorations. So many people tried to buy them that the Castro Street craft store had to start selling them.\u003c/p>\n\u003cfigure id=\"attachment_13906855\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906855\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Imagine-Knit-Monsters-800x267.jpg\" alt=\"Pink, green and purple crocheted monsters with big eyes and underbites from the window of Imagine Knit in San Francisco's Castro District.\" width=\"800\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Imagine-Knit-Monsters-800x267.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Imagine-Knit-Monsters-1020x340.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Imagine-Knit-Monsters-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Imagine-Knit-Monsters-768x256.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Imagine-Knit-Monsters-1536x512.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Imagine-Knit-Monsters-2048x683.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Imagine-Knit-Monsters-1920x640.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petersen’s crochet monsters as seen in ImagiKnit. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Petersen himself is modest about his creations and tells me he’s not sure what all the fuss is about. Still, he keeps creating, motivated by his own positivity and community spirit that he sees reflected back in his neighbors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I hope this might inspire kindness and creativity,” he says. “It’s just a nice thing. And I do it for the fun of it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This episode of \u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a>\u003c/em> is presented in several accessible versions. Each is the same work, hosted on Youtube, and provides a different encounter:\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/r0ty_1A5WfE\" target=\"_blank\" rel=\"noopener noreferrer\">Video with American Sign Language, Open Captions, Audio Description, and Closed Captions.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/t5eaaI54zz8\" target=\"_blank\" rel=\"noopener noreferrer\">Video with Open Captions, Audio Description, and Closed Captions.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/Pltu4IbNvxA\" target=\"_blank\" rel=\"noopener noreferrer\">Video with Closed Captions only.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Kinetic-Light-Audio.mp3\">Audio only.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/ICCD407-Kinetic-Light-Captions-w-Timestamps.pdf\">Enhanced Transcript with Timecodes.\u003c/a> (PDF)\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/KineticLightTranscriptNoTimecodes.pdf\">Enhanced Transcript without Timecodes.\u003c/a> (PDF)\u003c/p>\n\u003cp>\u003cem>The episode features American Sign Language by interpreter Angela Vilavong, who collaborated with interpreter Pilar Marsh. The voice-over appears in the integrated open captions (OC,) which are visible at the bottom of the screen. Audio Description (AD) includes a verbal description of the episode, with narration by Rebecca Singh. The Audio Description can optionally be downloaded as a separate audio file, and a transcript of the Audio Description and voice-over are also available for download to experience alongside the episode.\u003c/em>\u003c/p>\n\u003cp>For the disability arts ensemble Kinetic Light, whose members are spread across the country, working on their forthcoming piece \u003cem>Wired\u003c/em> in the San Francisco Bay Area has been a kind of coming home. Not only because dancer Jerron Herman grew up in Alameda, or because artistic director Alice Sheppard performed with AXIS Dance Company, but because of the region’s role in the history of the disability rights movement, which started in Berkeley in the 1960s.\u003c/p>\n\u003cp>Today, Berkeley’s Ed Roberts Campus stands as a physical reminder of those demonstrations, struggles and achievements — and a testament to the ways access can create welcoming, equitable and just spaces. “\u003cspan style=\"font-weight: 400\">We’re at home physically in a way we are in so few other places,” Kinetic Light artist and engineer Laurel Lawson says of the campus, which has what she describes as one of the “great ramps of the world.” \u003c/span>\u003c/p>\n\u003cp>“Places where I can say somebody thought about me when they were designing this — that sparks joy,” Lawson says. “That sparks a desire to explore and to find out what the designer might have had in mind. It’s like an artistic collaboration.”\u003c/p>\n\u003cfigure id=\"attachment_13905736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/aliceLaureldancing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13905736 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/aliceLaureldancing-800x450.jpg\" alt=\"Disabled dancers Alice Sheppard and Laurel Lawson dance, holding hands as they face each other in their chairs. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Members of Kinetic Light took time off from their technical residency for “Wired,” to visit the universally accessible Ed Roberts Campus in Berkeley. \u003ccite>(Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://kineticlight.org\" target=\"_blank\" rel=\"noopener noreferrer\">Kinetic Light\u003c/a>, founded in 2016, seeks out a similar quality of engagement with audiences when creating their own productions. Lighting and projection designer Michael Maag describes the group as much more than a dance company. The ensemble is led by disabled artists, collaborates regularly with disabled artists across disciplines, and includes a uniquely talented and experienced group of professionals who work together on production, technical, artistic, and administrative aspects of the company.\u003c/p>\n\u003cp>Each decision Maag makes with regards to lighting is rooted in the company’s ongoing conversations about an artistic and aesthetic disability lens, about wheelchairs as extensions of a dancer’s embodiment. “I want to create lighting for the people that experience the world the way that I do,” Maag explains.\u003c/p>\n\u003cp>“Once you commit to imagining a disabled audience as primary and not as incidental,” Sheppard says. “It changes the understanding of the work.”\u003c/p>\n\u003cp>Perhaps most importantly, to Kinetic Light, access is not a static checklist, but a promise and continual learning process. The company engages with the disability community constantly, conducting extensive audience research in the making of their work. As Maag says, “It’s a two-way conversation when we present our work and audience members experience it.”\u003c/p>\n\u003cfigure id=\"attachment_13905737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13905737 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-800x450.jpg\" alt=\"Alice, Michael, and Laurel sit in their chairs, while Jerron stands leaning against the back of Laurel’s chair, in front of the ramp to the brick warehouse performance space.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace.jpg 1819w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left to right, Laurel, Jerron, Alice and Michael, in front of Z Space in San Francisco, CA. \u003ccite>(Peter Ruocco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many performing arts companies increasingly integrate audio description to provide non-visual audience members with verbal descriptions of the on-stage action, and caption their videos or include an ASL interpreter in documentation, Kinetic Light is interested in offering audiences choice as they experience a performance. In conjunction with their 2018 production \u003cem>DESCENT\u003c/em>, Lawson developed the app \u003ca href=\"https://kineticlight.org/audimance\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Audimance\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Users can select and shift from a variety of different styles of description (screenplay, sounds of the dancers’ bodies, a poetic rendition), choosing a focus that works for them.\u003c/span>\u003c/p>\n\u003cp>Sheppard references an idea from \u003ca href=\"https://vcresearch.berkeley.edu/faculty/georgina-kleege\" target=\"_blank\" rel=\"noopener noreferrer\">Georgina Kleege\u003c/a>, noted UC Berkeley professor who writes about access, disability and the arts (and advised on the creation of Audimance). “If someone in the audience gasps,” Sheppard explains, “the thing that produced that gasp should be available to everyone. Otherwise, why are you here?”\u003c/p>\n\u003cp>The company’s artists describe this approach as aesthetic equity.\u003c/p>\n\u003cfigure id=\"attachment_13905739\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/jerronwrappedinwire2-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13905739 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/jerronwrappedinwire2-2-800x450.jpg\" alt=\"Kinetic Light dancer Jerron Herman dances wrapped in barb wire for technical rehearsals of “Wired.”\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jerron Herman, in rehearsals at Z Space, says he felt a strong sense of independence growing up in the Bay Area, home of the disability rights movement. \u003ccite>(Peter Ruocco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Wired\u003c/em>, Kinetic Light’s first aerial production, will premiere in 2022 after pandemic-related delays and shifts in production. The show uses sound, light and movement to reflect on the stories and history of barbed wire, and how it has been used to separate people, groups, and movements on the basis of gender, race, sexuality and disability. As with previous work, the form and presentation of \u003cem>Wired\u003c/em> are both deeply rooted in access. Considering the ways people will encounter the work is inextricable from the process of fine-tuning the technical aspects of complex aerial choreography.\u003c/p>\n\u003cp>Thirty years after the passing of the American with Disabilities Act, the conversation around access has renewed energy, due in large part to the effects of COVID-19 on remote work, learning and entertainment. But access is too often approached as an accommodation or service, says Sheppard, which treats disabled people as different and lesser. Kinetic Light models a different relationship for those seeking to push the conversation about disability ever further.\u003c/p>\n\u003cp>“For us, access is a creative force,” Sheppard says, “It is a culture … how we want to be together and how we want our audiences to be with us.” — \u003ci>Article written by Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>Image Descriptions (in order of article):\u003c/p>\n\u003cp>A wide shot of three dancers on a dimly lit stage; the floor is awash in patterned green and blue light. Two dancers in wheelchairs hover above the ground, each with one arm extended up, holding on to a thick cable; Alice Sheppard is a multiracial Black woman with coffee-colored skin and short curly hair, and Laurel Lawson is a white woman with very short cropped hair. They each gaze at and tilt down toward Jerron Herman, a dark-skinned Black man with blonde hair who is crouched between them, wrapped in barbed wire. All dancers are wearing shimmery green and gold costumes. White Text: “BAY AREA: Disability Arts / IF CITIES COULD DANCE”\u003c/p>\n\u003cp>Kinetic Light dancers Laurel Lawson, a white woman with very short cropped brown hair\u003cb>,\u003c/b>\u003cspan style=\"font-weight: 400\"> and Alice Sheppard, a multiracial Black woman with coffee-colored skin and short curly brown hair, are holding both hands as they face each other in their chairs. Laurel is wearing a gray tank top and black leggings; Alice is wearing a pink and purple long-sleeved top with black leggings. They’re dancing in the lobby of the Ed Roberts Campus, with a historical black-and-white photo mural in the background, polished floors and curved red ramp behind them.\u003c/span>\u003c/p>\n\u003cp>A wide shot of the four members of the Kinetic Light disability arts ensemble pose in front of the Z Space building in San Francisco, CA. Alice is a multiracial Black woman with coffee-colored skin and short curly hair. She wears a pink hoodie, tan puffy vest, shimmery leggings and sheepskin boots; she leans back in her chair, balancing. Michael Maag, a white man with long white hair and beard, is wearing a black, short-sleeved cotton shirt, jeans and black sneakers; he poses in his chair, hand on his lap. Laurel is a white woman with very short cropped hair wearing a white, long-sleeved top, shimmery blue leggings and tan leather boots; she sits in her chair and holds her hands together. Jerron Herman, a dark-skinned Black man with blonde hair wears a black long-sleeved top with a yellow tank over it with black jeans and sneakers as he stands behind Laurel and rests his arm on her chair.\u003c/p>\n\u003cp>Kinetic Light dancer Jerron Herman, a dark-skinned Black man with blonde hair and dark moustache, \u003cspan style=\"font-weight: 400\">is kneeling on his left leg on a stage illuminated by a white spotlight and smoke. He wears a loose black tunic-like hooded top with shimmery leggings and is barefoot; barbed wire is coiled around his upper torso. His right arm is stretched over his head in a curved arc, while his left arm is tucked close to his chest. He looks upward with his mouth slightly open in an expression of deep concentration.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This episode of \u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a>\u003c/em> is presented in several accessible versions. Each is the same work, hosted on Youtube, and provides a different encounter:\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/r0ty_1A5WfE\" target=\"_blank\" rel=\"noopener noreferrer\">Video with American Sign Language, Open Captions, Audio Description, and Closed Captions.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/t5eaaI54zz8\" target=\"_blank\" rel=\"noopener noreferrer\">Video with Open Captions, Audio Description, and Closed Captions.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/Pltu4IbNvxA\" target=\"_blank\" rel=\"noopener noreferrer\">Video with Closed Captions only.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Kinetic-Light-Audio.mp3\">Audio only.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/ICCD407-Kinetic-Light-Captions-w-Timestamps.pdf\">Enhanced Transcript with Timecodes.\u003c/a> (PDF)\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/KineticLightTranscriptNoTimecodes.pdf\">Enhanced Transcript without Timecodes.\u003c/a> (PDF)\u003c/p>\n\u003cp>\u003cem>The episode features American Sign Language by interpreter Angela Vilavong, who collaborated with interpreter Pilar Marsh. The voice-over appears in the integrated open captions (OC,) which are visible at the bottom of the screen. Audio Description (AD) includes a verbal description of the episode, with narration by Rebecca Singh. The Audio Description can optionally be downloaded as a separate audio file, and a transcript of the Audio Description and voice-over are also available for download to experience alongside the episode.\u003c/em>\u003c/p>\n\u003cp>For the disability arts ensemble Kinetic Light, whose members are spread across the country, working on their forthcoming piece \u003cem>Wired\u003c/em> in the San Francisco Bay Area has been a kind of coming home. Not only because dancer Jerron Herman grew up in Alameda, or because artistic director Alice Sheppard performed with AXIS Dance Company, but because of the region’s role in the history of the disability rights movement, which started in Berkeley in the 1960s.\u003c/p>\n\u003cp>Today, Berkeley’s Ed Roberts Campus stands as a physical reminder of those demonstrations, struggles and achievements — and a testament to the ways access can create welcoming, equitable and just spaces. “\u003cspan style=\"font-weight: 400\">We’re at home physically in a way we are in so few other places,” Kinetic Light artist and engineer Laurel Lawson says of the campus, which has what she describes as one of the “great ramps of the world.” \u003c/span>\u003c/p>\n\u003cp>“Places where I can say somebody thought about me when they were designing this — that sparks joy,” Lawson says. “That sparks a desire to explore and to find out what the designer might have had in mind. It’s like an artistic collaboration.”\u003c/p>\n\u003cfigure id=\"attachment_13905736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/aliceLaureldancing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13905736 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/aliceLaureldancing-800x450.jpg\" alt=\"Disabled dancers Alice Sheppard and Laurel Lawson dance, holding hands as they face each other in their chairs. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Members of Kinetic Light took time off from their technical residency for “Wired,” to visit the universally accessible Ed Roberts Campus in Berkeley. \u003ccite>(Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://kineticlight.org\" target=\"_blank\" rel=\"noopener noreferrer\">Kinetic Light\u003c/a>, founded in 2016, seeks out a similar quality of engagement with audiences when creating their own productions. Lighting and projection designer Michael Maag describes the group as much more than a dance company. The ensemble is led by disabled artists, collaborates regularly with disabled artists across disciplines, and includes a uniquely talented and experienced group of professionals who work together on production, technical, artistic, and administrative aspects of the company.\u003c/p>\n\u003cp>Each decision Maag makes with regards to lighting is rooted in the company’s ongoing conversations about an artistic and aesthetic disability lens, about wheelchairs as extensions of a dancer’s embodiment. “I want to create lighting for the people that experience the world the way that I do,” Maag explains.\u003c/p>\n\u003cp>“Once you commit to imagining a disabled audience as primary and not as incidental,” Sheppard says. “It changes the understanding of the work.”\u003c/p>\n\u003cp>Perhaps most importantly, to Kinetic Light, access is not a static checklist, but a promise and continual learning process. The company engages with the disability community constantly, conducting extensive audience research in the making of their work. As Maag says, “It’s a two-way conversation when we present our work and audience members experience it.”\u003c/p>\n\u003cfigure id=\"attachment_13905737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13905737 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-800x450.jpg\" alt=\"Alice, Michael, and Laurel sit in their chairs, while Jerron stands leaning against the back of Laurel’s chair, in front of the ramp to the brick warehouse performance space.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace.jpg 1819w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left to right, Laurel, Jerron, Alice and Michael, in front of Z Space in San Francisco, CA. \u003ccite>(Peter Ruocco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many performing arts companies increasingly integrate audio description to provide non-visual audience members with verbal descriptions of the on-stage action, and caption their videos or include an ASL interpreter in documentation, Kinetic Light is interested in offering audiences choice as they experience a performance. In conjunction with their 2018 production \u003cem>DESCENT\u003c/em>, Lawson developed the app \u003ca href=\"https://kineticlight.org/audimance\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Audimance\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Users can select and shift from a variety of different styles of description (screenplay, sounds of the dancers’ bodies, a poetic rendition), choosing a focus that works for them.\u003c/span>\u003c/p>\n\u003cp>Sheppard references an idea from \u003ca href=\"https://vcresearch.berkeley.edu/faculty/georgina-kleege\" target=\"_blank\" rel=\"noopener noreferrer\">Georgina Kleege\u003c/a>, noted UC Berkeley professor who writes about access, disability and the arts (and advised on the creation of Audimance). “If someone in the audience gasps,” Sheppard explains, “the thing that produced that gasp should be available to everyone. Otherwise, why are you here?”\u003c/p>\n\u003cp>The company’s artists describe this approach as aesthetic equity.\u003c/p>\n\u003cfigure id=\"attachment_13905739\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/jerronwrappedinwire2-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13905739 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/jerronwrappedinwire2-2-800x450.jpg\" alt=\"Kinetic Light dancer Jerron Herman dances wrapped in barb wire for technical rehearsals of “Wired.”\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jerron Herman, in rehearsals at Z Space, says he felt a strong sense of independence growing up in the Bay Area, home of the disability rights movement. \u003ccite>(Peter Ruocco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Wired\u003c/em>, Kinetic Light’s first aerial production, will premiere in 2022 after pandemic-related delays and shifts in production. The show uses sound, light and movement to reflect on the stories and history of barbed wire, and how it has been used to separate people, groups, and movements on the basis of gender, race, sexuality and disability. As with previous work, the form and presentation of \u003cem>Wired\u003c/em> are both deeply rooted in access. Considering the ways people will encounter the work is inextricable from the process of fine-tuning the technical aspects of complex aerial choreography.\u003c/p>\n\u003cp>Thirty years after the passing of the American with Disabilities Act, the conversation around access has renewed energy, due in large part to the effects of COVID-19 on remote work, learning and entertainment. But access is too often approached as an accommodation or service, says Sheppard, which treats disabled people as different and lesser. Kinetic Light models a different relationship for those seeking to push the conversation about disability ever further.\u003c/p>\n\u003cp>“For us, access is a creative force,” Sheppard says, “It is a culture … how we want to be together and how we want our audiences to be with us.” — \u003ci>Article written by Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>Image Descriptions (in order of article):\u003c/p>\n\u003cp>A wide shot of three dancers on a dimly lit stage; the floor is awash in patterned green and blue light. Two dancers in wheelchairs hover above the ground, each with one arm extended up, holding on to a thick cable; Alice Sheppard is a multiracial Black woman with coffee-colored skin and short curly hair, and Laurel Lawson is a white woman with very short cropped hair. They each gaze at and tilt down toward Jerron Herman, a dark-skinned Black man with blonde hair who is crouched between them, wrapped in barbed wire. All dancers are wearing shimmery green and gold costumes. White Text: “BAY AREA: Disability Arts / IF CITIES COULD DANCE”\u003c/p>\n\u003cp>Kinetic Light dancers Laurel Lawson, a white woman with very short cropped brown hair\u003cb>,\u003c/b>\u003cspan style=\"font-weight: 400\"> and Alice Sheppard, a multiracial Black woman with coffee-colored skin and short curly brown hair, are holding both hands as they face each other in their chairs. Laurel is wearing a gray tank top and black leggings; Alice is wearing a pink and purple long-sleeved top with black leggings. They’re dancing in the lobby of the Ed Roberts Campus, with a historical black-and-white photo mural in the background, polished floors and curved red ramp behind them.\u003c/span>\u003c/p>\n\u003cp>A wide shot of the four members of the Kinetic Light disability arts ensemble pose in front of the Z Space building in San Francisco, CA. Alice is a multiracial Black woman with coffee-colored skin and short curly hair. She wears a pink hoodie, tan puffy vest, shimmery leggings and sheepskin boots; she leans back in her chair, balancing. Michael Maag, a white man with long white hair and beard, is wearing a black, short-sleeved cotton shirt, jeans and black sneakers; he poses in his chair, hand on his lap. Laurel is a white woman with very short cropped hair wearing a white, long-sleeved top, shimmery blue leggings and tan leather boots; she sits in her chair and holds her hands together. Jerron Herman, a dark-skinned Black man with blonde hair wears a black long-sleeved top with a yellow tank over it with black jeans and sneakers as he stands behind Laurel and rests his arm on her chair.\u003c/p>\n\u003cp>Kinetic Light dancer Jerron Herman, a dark-skinned Black man with blonde hair and dark moustache, \u003cspan style=\"font-weight: 400\">is kneeling on his left leg on a stage illuminated by a white spotlight and smoke. He wears a loose black tunic-like hooded top with shimmery leggings and is barefoot; barbed wire is coiled around his upper torso. His right arm is stretched over his head in a curved arc, while his left arm is tucked close to his chest. He looks upward with his mouth slightly open in an expression of deep concentration.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Man Falls to Death at Phish Concert at Chase Center, 2 Others Injured",
"headTitle": "Man Falls to Death at Phish Concert at Chase Center, 2 Others Injured | KQED",
"content": "\u003cp>\u003cstrong>Update, Oct. 20, 4:58pm: \u003c/strong>The San Francisco Police Department identified the man who died Oct. 17 at Chase Center as 47-year-old Ryan Prosser. An SFPD spokesperson says there was evidence that he jumped from an upper level of the venue. The second fall at the venue appeared to have been an accident, police and witnesses say. \u003ca href=\"https://www.kqed.org/arts/13904860/chase-center-under-inspection-after-deadly-fall-at-phish-show\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Department of Building Inspection plans to inspect the venue\u003c/a>. [aside postid='arts_13904860']\u003c/p>\n\u003cp>\u003cstrong>Original post: \u003c/strong>\u003c/p>\n\u003cp>A man fell to his death at the Phish concert at Chase Center on Sunday, and two other people were injured in a separate fall less than an hour later.\u003c/p>\n\u003cp>A San Francisco Police Department spokesperson tells KQED that at 8:55pm on Oct. 17, numerous people alerted officers about a person in need of medical attention. When police arrived, they found a man injured from a possible fall and called medics.\u003c/p>\n\u003cp>“Medics arrived and immediately provided medical treatment, but despite the efforts of the emergency responders the victim succumbed to his injuries and was declared deceased,” Officer Robert Rueca wrote in an email.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rueca added that the Office of the Chief Medical Examiner is investigating the cause of death, and that police found no evidence of foul play. Police have not released the name of the deceased.\u003c/p>\n\u003cp>Almost an hour later, at 9:45pm, officers and medics responded to another report of a man falling at the concert. That man, and a second man he landed on, were taken to the hospital with non-life threatening injuries.\u003c/p>\n\u003cp>On social media, concert attendees who witnessed the tragedies reflected on the traumatic experience. “The sound and scene were incredible and horrifying,” \u003ca href=\"https://www.reddit.com/r/phish/comments/qao0eo/jumper_landed_5_feet_behind_me_im_really_not_ok/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote a Reddit user\u003c/a> going by @delete_if_u_r_sure, referring to the first incident. He wrote that he and his son were two rows away from where the deceased man landed.\u003c/p>\n\u003cp>“Today, I feel for the community and especially for the family/friends of the jumper and all the people in 115-117 who got some undeserved wartime-like images – many while tripping,” he added.\u003c/p>\n\u003cp>A concertgoer named Juliet Biton \u003ca href=\"https://www.sfchronicle.com/sf/article/One-dead-one-seriously-injured-after-Phish-16543193.php\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>San Francisco Chronicle\u003c/em>\u003c/a> that within two minutes of one of the incidents, Chase Center personnel cleared out the area and put black tarp over the seats so that medics could attend to the injured.\u003c/p>\n\u003cp>Phish’s representative declined to comment, and the band has not posted about the incident on social media as of Monday afternoon.\u003c/p>\n\u003cp>Chase Center deferred questions to the police department. “We extend our heartfelt condolences to the guest’s loved ones,” the venue’s spokesperson wrote. “We are working with the local authorities to determine exactly what happened.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story and may be updated. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Oct. 20, 4:58pm: \u003c/strong>The San Francisco Police Department identified the man who died Oct. 17 at Chase Center as 47-year-old Ryan Prosser. An SFPD spokesperson says there was evidence that he jumped from an upper level of the venue. The second fall at the venue appeared to have been an accident, police and witnesses say. \u003ca href=\"https://www.kqed.org/arts/13904860/chase-center-under-inspection-after-deadly-fall-at-phish-show\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Department of Building Inspection plans to inspect the venue\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Original post: \u003c/strong>\u003c/p>\n\u003cp>A man fell to his death at the Phish concert at Chase Center on Sunday, and two other people were injured in a separate fall less than an hour later.\u003c/p>\n\u003cp>A San Francisco Police Department spokesperson tells KQED that at 8:55pm on Oct. 17, numerous people alerted officers about a person in need of medical attention. When police arrived, they found a man injured from a possible fall and called medics.\u003c/p>\n\u003cp>“Medics arrived and immediately provided medical treatment, but despite the efforts of the emergency responders the victim succumbed to his injuries and was declared deceased,” Officer Robert Rueca wrote in an email.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rueca added that the Office of the Chief Medical Examiner is investigating the cause of death, and that police found no evidence of foul play. Police have not released the name of the deceased.\u003c/p>\n\u003cp>Almost an hour later, at 9:45pm, officers and medics responded to another report of a man falling at the concert. That man, and a second man he landed on, were taken to the hospital with non-life threatening injuries.\u003c/p>\n\u003cp>On social media, concert attendees who witnessed the tragedies reflected on the traumatic experience. “The sound and scene were incredible and horrifying,” \u003ca href=\"https://www.reddit.com/r/phish/comments/qao0eo/jumper_landed_5_feet_behind_me_im_really_not_ok/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote a Reddit user\u003c/a> going by @delete_if_u_r_sure, referring to the first incident. He wrote that he and his son were two rows away from where the deceased man landed.\u003c/p>\n\u003cp>“Today, I feel for the community and especially for the family/friends of the jumper and all the people in 115-117 who got some undeserved wartime-like images – many while tripping,” he added.\u003c/p>\n\u003cp>A concertgoer named Juliet Biton \u003ca href=\"https://www.sfchronicle.com/sf/article/One-dead-one-seriously-injured-after-Phish-16543193.php\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>San Francisco Chronicle\u003c/em>\u003c/a> that within two minutes of one of the incidents, Chase Center personnel cleared out the area and put black tarp over the seats so that medics could attend to the injured.\u003c/p>\n\u003cp>Phish’s representative declined to comment, and the band has not posted about the incident on social media as of Monday afternoon.\u003c/p>\n\u003cp>Chase Center deferred questions to the police department. “We extend our heartfelt condolences to the guest’s loved ones,” the venue’s spokesperson wrote. “We are working with the local authorities to determine exactly what happened.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story and may be updated. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin",
"title": "A Portal to San Francisco’s Punk Rock Past",
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"headTitle": "A Portal to San Francisco’s Punk Rock Past | KQED",
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"content": "\u003cp>A topless bride entering a nightclub, bouquet in one hand, cigarette in the other. Performance art presented in a literal pit on Valencia Street. A band meeting held in the sliver of space between two houses. All are moments from \u003cem>Alternative Voices—\u003c/em>an exhibit featuring black-and-white photos by \u003ca href=\"https://www.jeannemhansen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeanne Hansen\u003c/a>, taken in and around San Francisco’s underground 1980s punk scene.\u003c/p>\n\u003cp>Displayed on the lower level of the San Francisco Public Library and accompanied by interviews by \u003ca href=\"http://jonahraskinwriter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonah Raskin\u003c/a> with 16 scene regulars from the era, \u003cem>Alternative Voices\u003c/em> offers snippets from \u003ca href=\"https://www.jeannemhansen.com/books/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Hansen and Raskin’s new book\u003c/a> of the same name, alongside zines, flyers and other ephemera. The exhibit works as a time machine back to a San Francisco long since vanished, and a window into the shows, protests, punk houses and venues of the period.\u003c/p>\n\u003cfigure id=\"attachment_13904502\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-800x532.png\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A protest incorporating street theater by The Urban Rats, Valencia and 16th, 1983. \u003ccite>(Jeanne Hansen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13871151']The venues, in particular, offer vivid context for where all the action used to be. Before The Stud became a beloved landmark, it was Club Nine, punk rock venue. Where Amado’s now stands at 998 Valencia, there was The Offensive—a venue perfectly in line with its next-door neighbor, the (still standing) \u003ca href=\"http://www.atasite.org/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Artists’ Television Access\u003c/a> performance space. There was Club Foot in the Bayview, which spawned a house band called the \u003ca href=\"https://en.wikipedia.org/wiki/Club_Foot_Orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Club Foot Orchestra\u003c/a> that still performs today. What was once The Sound of Music at 162 Turk Street is now just another \u003ca href=\"https://www.loopnet.com/property/162-Turk-St-San-Francisco-CA-94102/06075-0339%20009/\" target=\"_blank\" rel=\"noopener noreferrer\">nondescript building\u003c/a> in the Tenderloin. And one has to wonder which apartment block on 15th and Ramona once housed a club named Attitude.\u003c/p>\n\u003cp>Most fascinating of all was The Deaf Club, upstairs at 530 Valencia (now \u003ca href=\"https://www.yelp.com/biz/los-amigos-s-f-cuisine-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Los Amigos\u003c/a> restaurant). By day, the venue was a community center for the deaf. By night, Daphne Hanrahan, then-manager of The Offs, would rent the club to put on punk shows. Deaf patrons quickly discovered that they loved the genre, and became regular attendees. \u003ca href=\"https://dangerousminds.net/comments/the_roots_of_san_francisco_punk_the_deaf_club_1978-1980\" target=\"_blank\" rel=\"noopener noreferrer\">Penelope Houston of The Avengers\u003c/a> (not featured in \u003cem>Alternative Voices\u003c/em>) once said of the club: “It was kind of amazing. I think they were dancing to the vibrations. The deaf people were amused that all these punks wanted to come in and rent their room and have these shows.” \u003cem>Alternative Voices\u003c/em> features footage of a 1979 show at the club, borrowed from BAMPFA.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cuteRr0eq5s&t=65s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where this exhibit gets stymied, however, is in its presentation of the interviews from the book. The photos lose some of their immediacy and impact because of the sheer length—and number—of interview texts also on the walls. \u003cem>Alternative Voices\u003c/em> would have greatly benefited by using select quotes from these conversations under each of the photos to contextualize them. Instead, attendees are met with scores of paragraphs from people they’ve likely never heard of.\u003c/p>\n\u003cp>The issue is exacerbated by the narrow demographics of the interview pool. Eleven of the subjects are men, five are women (two of whom come from the same band, Frightwig), and all of them appear to be white, undercutting many of their mid-interview assertions about diversity within the scene.\u003c/p>\n\u003cfigure id=\"attachment_13902959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-800x526.png\" alt=\"A woman with very short, cropped hair sits behind a radio mic and audio equipment, including an old fashioned switchboard telephone. Two men stand in front of her, also with radio microphones.\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-800x526.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-1020x671.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-768x505.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-1536x1010.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM.png 1894w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maximumrocknroll on KPFA. (L–R) Ruth Schwartz, Jeff Bale and Tim Yohannan in Berkeley, 1983. Yohannan founded the now legendary punk fanzine in 1982. MRR Radio still puts out weekly episodes. \u003ccite>(Courtesy of San Francisco Public Library/ Jeanne M. Hansen )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When the punk scene first started, it meant everything from three-chord hardcore bands to the most experimental performance art and everything in between,” says Robin Balliger from The Appliances in her displayed interview. “There was a lot of crossover with Black music and hip-hop. That’s missing from the history.”\u003c/p>\n\u003cp>It’s also missing from this exhibition.\u003c/p>\n\u003cp>In his interview, Matt Callahan from \u003ca href=\"https://www.youtube.com/watch?v=Uv1MGqznwjA\" target=\"_blank\" rel=\"noopener noreferrer\">The Looters\u003c/a> says, “We did our best to break the music industry’s rules and undermine white supremacy, which Reagan helped to boost.” It would have been significantly more meaningful to hear more about this—and about operating in a white-dominated scene—from one of Callahan’s Black bandmates. Drummer Ahaguna Sun, for example, who currently resides in Sacramento.\u003c/p>\n\u003cfigure id=\"attachment_13904478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-800x546.png\" alt=\"\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-800x546.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-1020x696.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-1536x1049.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM.png 1778w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stannous Flouride attracts attention on a BART escalator, sometime in the early 1980s. \u003ccite>(Jeanne Hansen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re patient enough to wade through information about people’s hometowns and schools—details best left in the book—some of the stories in \u003cem>Alternative Voices\u003c/em>‘ interviews are very entertaining.\u003c/p>\n\u003cp>Tony Labat, a local artist, shares a tale about one of the most terrifying nights of his life. “When Club Nine was about to open, I decided to do a kind of stunt, and bring attention to the event,” he says. “I climbed a flagpole about twelve feet high with the help of a ladder, and sat on a little platform for about six hours. I’m super afraid of heights and was shaking the whole time.”\u003c/p>\n\u003cp>One of Hansen’s photos captures Labat perched precariously on the top of the flagpole.\u003c/p>\n\u003cp>[aside postid='arts_13894169']\u003cem>Damage\u003c/em> writer and Deaf Club door guy Stannous Flouride offers some colorful notes about squatting. “I was part of the Suicide Club,” Flouride explains, “an early expression of urban spelunkers, who went on outings at the abandoned National Guard Armory at 15th and Mission and at the Hamm’s Brewery on 16th and Potrero. Someone got a hold of a jackhammer, which we used to take out the doors and open holes in the giant tanks, and make living spaces. Punks moved in and squatted. It became known as The Vats.” \u003cem>[Editor’s note: Punk rock memories are famously fallible. The Hamm’s brewery, and The Vats squat, was not at 16th and Potrero; it was at 1550 Bryant. The Armory was not 15th and Mission, but was and still stands at 14th and Mission.] \u003c/em>\u003c/p>\n\u003cp>Ultimately, \u003cem>Alternative Voices\u003c/em> does do a very good job at encapsulating a very specific underground moment in San Francisco history—and it benefits from staying focused on the periphery. Though Dead Kennedys and Flipper get passing mentions, the better-known San Francisco punk artists of the era are decidedly not the focus here. Hansen’s lens was, instead, trained on the scrappers and rabble-rousers at the back of the room. Because of that, the scene she presents here still feels fresh, even after 40 years.\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>‘Alternative Voices’ is on display at the Central Library’s Jewett Gallery through Jan. 23, 2022. \u003ca href=\"https://sfpl.org/exhibits/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. The \u003ca href=\"https://www.jeannemhansen.com/books/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">‘Alternative Voices’ book\u003c/a> is out now.\u003c/em>\u003c/p>\n\n",
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"title": "Punk Rock Photos from 1980s San Francisco on View | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A topless bride entering a nightclub, bouquet in one hand, cigarette in the other. Performance art presented in a literal pit on Valencia Street. A band meeting held in the sliver of space between two houses. All are moments from \u003cem>Alternative Voices—\u003c/em>an exhibit featuring black-and-white photos by \u003ca href=\"https://www.jeannemhansen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeanne Hansen\u003c/a>, taken in and around San Francisco’s underground 1980s punk scene.\u003c/p>\n\u003cp>Displayed on the lower level of the San Francisco Public Library and accompanied by interviews by \u003ca href=\"http://jonahraskinwriter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonah Raskin\u003c/a> with 16 scene regulars from the era, \u003cem>Alternative Voices\u003c/em> offers snippets from \u003ca href=\"https://www.jeannemhansen.com/books/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Hansen and Raskin’s new book\u003c/a> of the same name, alongside zines, flyers and other ephemera. The exhibit works as a time machine back to a San Francisco long since vanished, and a window into the shows, protests, punk houses and venues of the period.\u003c/p>\n\u003cfigure id=\"attachment_13904502\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-800x532.png\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A protest incorporating street theater by The Urban Rats, Valencia and 16th, 1983. \u003ccite>(Jeanne Hansen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The venues, in particular, offer vivid context for where all the action used to be. Before The Stud became a beloved landmark, it was Club Nine, punk rock venue. Where Amado’s now stands at 998 Valencia, there was The Offensive—a venue perfectly in line with its next-door neighbor, the (still standing) \u003ca href=\"http://www.atasite.org/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Artists’ Television Access\u003c/a> performance space. There was Club Foot in the Bayview, which spawned a house band called the \u003ca href=\"https://en.wikipedia.org/wiki/Club_Foot_Orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Club Foot Orchestra\u003c/a> that still performs today. What was once The Sound of Music at 162 Turk Street is now just another \u003ca href=\"https://www.loopnet.com/property/162-Turk-St-San-Francisco-CA-94102/06075-0339%20009/\" target=\"_blank\" rel=\"noopener noreferrer\">nondescript building\u003c/a> in the Tenderloin. And one has to wonder which apartment block on 15th and Ramona once housed a club named Attitude.\u003c/p>\n\u003cp>Most fascinating of all was The Deaf Club, upstairs at 530 Valencia (now \u003ca href=\"https://www.yelp.com/biz/los-amigos-s-f-cuisine-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Los Amigos\u003c/a> restaurant). By day, the venue was a community center for the deaf. By night, Daphne Hanrahan, then-manager of The Offs, would rent the club to put on punk shows. Deaf patrons quickly discovered that they loved the genre, and became regular attendees. \u003ca href=\"https://dangerousminds.net/comments/the_roots_of_san_francisco_punk_the_deaf_club_1978-1980\" target=\"_blank\" rel=\"noopener noreferrer\">Penelope Houston of The Avengers\u003c/a> (not featured in \u003cem>Alternative Voices\u003c/em>) once said of the club: “It was kind of amazing. I think they were dancing to the vibrations. The deaf people were amused that all these punks wanted to come in and rent their room and have these shows.” \u003cem>Alternative Voices\u003c/em> features footage of a 1979 show at the club, borrowed from BAMPFA.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cuteRr0eq5s'\n title='//www.youtube.com/embed/cuteRr0eq5s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where this exhibit gets stymied, however, is in its presentation of the interviews from the book. The photos lose some of their immediacy and impact because of the sheer length—and number—of interview texts also on the walls. \u003cem>Alternative Voices\u003c/em> would have greatly benefited by using select quotes from these conversations under each of the photos to contextualize them. Instead, attendees are met with scores of paragraphs from people they’ve likely never heard of.\u003c/p>\n\u003cp>The issue is exacerbated by the narrow demographics of the interview pool. Eleven of the subjects are men, five are women (two of whom come from the same band, Frightwig), and all of them appear to be white, undercutting many of their mid-interview assertions about diversity within the scene.\u003c/p>\n\u003cfigure id=\"attachment_13902959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-800x526.png\" alt=\"A woman with very short, cropped hair sits behind a radio mic and audio equipment, including an old fashioned switchboard telephone. Two men stand in front of her, also with radio microphones.\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-800x526.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-1020x671.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-768x505.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-1536x1010.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM.png 1894w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maximumrocknroll on KPFA. (L–R) Ruth Schwartz, Jeff Bale and Tim Yohannan in Berkeley, 1983. Yohannan founded the now legendary punk fanzine in 1982. MRR Radio still puts out weekly episodes. \u003ccite>(Courtesy of San Francisco Public Library/ Jeanne M. Hansen )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When the punk scene first started, it meant everything from three-chord hardcore bands to the most experimental performance art and everything in between,” says Robin Balliger from The Appliances in her displayed interview. “There was a lot of crossover with Black music and hip-hop. That’s missing from the history.”\u003c/p>\n\u003cp>It’s also missing from this exhibition.\u003c/p>\n\u003cp>In his interview, Matt Callahan from \u003ca href=\"https://www.youtube.com/watch?v=Uv1MGqznwjA\" target=\"_blank\" rel=\"noopener noreferrer\">The Looters\u003c/a> says, “We did our best to break the music industry’s rules and undermine white supremacy, which Reagan helped to boost.” It would have been significantly more meaningful to hear more about this—and about operating in a white-dominated scene—from one of Callahan’s Black bandmates. Drummer Ahaguna Sun, for example, who currently resides in Sacramento.\u003c/p>\n\u003cfigure id=\"attachment_13904478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-800x546.png\" alt=\"\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-800x546.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-1020x696.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-1536x1049.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM.png 1778w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stannous Flouride attracts attention on a BART escalator, sometime in the early 1980s. \u003ccite>(Jeanne Hansen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re patient enough to wade through information about people’s hometowns and schools—details best left in the book—some of the stories in \u003cem>Alternative Voices\u003c/em>‘ interviews are very entertaining.\u003c/p>\n\u003cp>Tony Labat, a local artist, shares a tale about one of the most terrifying nights of his life. “When Club Nine was about to open, I decided to do a kind of stunt, and bring attention to the event,” he says. “I climbed a flagpole about twelve feet high with the help of a ladder, and sat on a little platform for about six hours. I’m super afraid of heights and was shaking the whole time.”\u003c/p>\n\u003cp>One of Hansen’s photos captures Labat perched precariously on the top of the flagpole.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Damage\u003c/em> writer and Deaf Club door guy Stannous Flouride offers some colorful notes about squatting. “I was part of the Suicide Club,” Flouride explains, “an early expression of urban spelunkers, who went on outings at the abandoned National Guard Armory at 15th and Mission and at the Hamm’s Brewery on 16th and Potrero. Someone got a hold of a jackhammer, which we used to take out the doors and open holes in the giant tanks, and make living spaces. Punks moved in and squatted. It became known as The Vats.” \u003cem>[Editor’s note: Punk rock memories are famously fallible. The Hamm’s brewery, and The Vats squat, was not at 16th and Potrero; it was at 1550 Bryant. The Armory was not 15th and Mission, but was and still stands at 14th and Mission.] \u003c/em>\u003c/p>\n\u003cp>Ultimately, \u003cem>Alternative Voices\u003c/em> does do a very good job at encapsulating a very specific underground moment in San Francisco history—and it benefits from staying focused on the periphery. Though Dead Kennedys and Flipper get passing mentions, the better-known San Francisco punk artists of the era are decidedly not the focus here. Hansen’s lens was, instead, trained on the scrappers and rabble-rousers at the back of the room. Because of that, the scene she presents here still feels fresh, even after 40 years.\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>‘Alternative Voices’ is on display at the Central Library’s Jewett Gallery through Jan. 23, 2022. \u003ca href=\"https://sfpl.org/exhibits/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. The \u003ca href=\"https://www.jeannemhansen.com/books/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">‘Alternative Voices’ book\u003c/a> is out now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "2,000 Degrees: Glassblowing in the Bayview",
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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=KQINC8427110033\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The art of glassblowing dates back to the first century AD. But these days you can see it practiced as artist sculpt molten glass with steel tools to create everything from high-priced chandeliers to inexpensive Christmas ornaments. It’s nothing short of alchemy. And though many of the techniques have been around for centuries, I’m not sure old school glassblowers were making \u003ca href=\"https://www.instagram.com/p/CNsiCHCnfpw/\">glass carnivorous plants\u003c/a> to decorate their walls.\u003c/p>\n\u003cp>At San Francisco’s \u003ca href=\"https://www.publicglass.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Public Glass\u003c/a>, locals have the opportunity to get hands on experience in this ancient and evolving craft.\u003c/p>\n\u003cp>The organization’s executive director, Nathan Watson, says his mission is to ensure that Public Glass isn’t just located in the Bayview neighborhood, but actually involves community members in their work.\u003c/p>\n\u003cfigure id=\"attachment_13903235\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903235\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Image-from-iOS-12-800x535.jpg\" alt=\"Nathan Watson, Executive Director of Public Glass, poses for a photo as he wears a white t-shirt and a bandana around his neck.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Watson, Executive Director of Public Glass. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just last month, Public Glass completed their \u003ca href=\"https://www.instagram.com/p/CSpvJ4spjmk/\" target=\"_blank\" rel=\"noopener noreferrer\">Bayview Gateway Project,\u003c/a> a set of eight-foot tall concrete letters adorned with mosaic tiles made from old glass objects that community members donated; the letters read “BAYVIEW” and are located at \u003cspan style=\"font-weight: 400\">Third Street and Meade Avenue. \u003c/span>\u003c/p>\n\u003cp>Although some glassblowing artists have recently returned to the studio, traditional classes aren’t currently open to the public due to COVID-19 safety precautions. But the organization will be hosting an \u003ca href=\"https://www.instagram.com/p/CTk1jyeP7i6/\" target=\"_blank\" rel=\"noopener noreferrer\">open house on October 16 and 17.\u003c/a>\u003c/p>\n\u003cp>Ahead of that event, the Rightnowish team caught up with Nate inside the glassblowing studio, and discussed what it means to lead an organization that’s keeping this ancient art form going by bringing community members into the fold.\u003c/p>\n\u003cfigure id=\"attachment_13903237\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Image-from-iOS-12-copy-800x535.jpg\" alt=\"Taking some molten glass out of a fiery glory hole in preparation to mold it into a a beautiful object.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taking some molten glass out of a fiery glory hole in preparation to mold it into a a beautiful object. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"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=KQINC8427110033\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The art of glassblowing dates back to the first century AD. But these days you can see it practiced as artist sculpt molten glass with steel tools to create everything from high-priced chandeliers to inexpensive Christmas ornaments. It’s nothing short of alchemy. And though many of the techniques have been around for centuries, I’m not sure old school glassblowers were making \u003ca href=\"https://www.instagram.com/p/CNsiCHCnfpw/\">glass carnivorous plants\u003c/a> to decorate their walls.\u003c/p>\n\u003cp>At San Francisco’s \u003ca href=\"https://www.publicglass.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Public Glass\u003c/a>, locals have the opportunity to get hands on experience in this ancient and evolving craft.\u003c/p>\n\u003cp>The organization’s executive director, Nathan Watson, says his mission is to ensure that Public Glass isn’t just located in the Bayview neighborhood, but actually involves community members in their work.\u003c/p>\n\u003cfigure id=\"attachment_13903235\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903235\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Image-from-iOS-12-800x535.jpg\" alt=\"Nathan Watson, Executive Director of Public Glass, poses for a photo as he wears a white t-shirt and a bandana around his neck.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Watson, Executive Director of Public Glass. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just last month, Public Glass completed their \u003ca href=\"https://www.instagram.com/p/CSpvJ4spjmk/\" target=\"_blank\" rel=\"noopener noreferrer\">Bayview Gateway Project,\u003c/a> a set of eight-foot tall concrete letters adorned with mosaic tiles made from old glass objects that community members donated; the letters read “BAYVIEW” and are located at \u003cspan style=\"font-weight: 400\">Third Street and Meade Avenue. \u003c/span>\u003c/p>\n\u003cp>Although some glassblowing artists have recently returned to the studio, traditional classes aren’t currently open to the public due to COVID-19 safety precautions. But the organization will be hosting an \u003ca href=\"https://www.instagram.com/p/CTk1jyeP7i6/\" target=\"_blank\" rel=\"noopener noreferrer\">open house on October 16 and 17.\u003c/a>\u003c/p>\n\u003cp>Ahead of that event, the Rightnowish team caught up with Nate inside the glassblowing studio, and discussed what it means to lead an organization that’s keeping this ancient art form going by bringing community members into the fold.\u003c/p>\n\u003cfigure id=\"attachment_13903237\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Image-from-iOS-12-copy-800x535.jpg\" alt=\"Taking some molten glass out of a fiery glory hole in preparation to mold it into a a beautiful object.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Image-from-iOS-12-copy.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taking some molten glass out of a fiery glory hole in preparation to mold it into a a beautiful object. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\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": "shang-chi-bus-fight-chase-muni-chinatown-san-francisco",
"title": "In ‘Shang-Chi,’ a Muni Line Made Possible by Chinatown Community Advocacy",
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"content": "\u003cp>Sure, Marvel’s newest superhero flick, \u003cem>Shang-Chi and the Legend of the Ten Rings\u003c/em>, impresses with its high-flying martial arts fight scenes, the usual show-stopping, Disney-caliber visual effects, and a groundbreaking Asian superhero taking center stage.\u003c/p>\n\u003cp>But for advocates in San Francisco’s Chinese community, the movie’s trailer perked up eyebrows for a totally different reason.\u003c/p>\n\u003cp>That San Francisco Muni bus—now \u003cem>that\u003c/em> was a show-stopper.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No, I’m not kidding. The 1-California line, in fact, plays the leading role in a key scene that early reviews have called the \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/review-shang-chi-and-its-s-f-bus-chase-make-good-transfer-to-marvel-universe\" target=\"_blank\" rel=\"noopener noreferrer\">second-best San Francisco car chase of all time\u003c/a>. As Shang-Chi (Simu Liu) lands artfully thrown fists against his attackers on Muni, the bus careens through San Francisco, moving faster than any Muni bus has before, from the Stockton Street Tunnel, through Chinatown, to Ghirardelli Square.\u003c/p>\n\u003cp>The 1-California carries more than just passengers gawking at superheroes in Marvel blockbusters, though. It carries the history and legacy of San Francisco’s Chinese community, its advocacy, and its perseverance.\u003c/p>\n\u003cp>That is, if you know the history.\u003c/p>\n\u003ch3>A Chinatown Connector\u003c/h3>\n\u003cp>Community advocacy wasn’t quite the first thing that Queena Chen noticed when she first saw the \u003cem>Shang-Chi\u003c/em> trailer—even with her role as co-chair of the Chinatown Transportation Research and Improvement Project (TRIP).\u003c/p>\n\u003cfigure id=\"attachment_13902483\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/M1383_1-1-1020x1479.jpg\" alt=\"\" width=\"640\" height=\"928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1020x1479.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-800x1160.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1412x2048.jpg 1412w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-scaled.jpg 1766w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">55-Sacramento bus line on Sacramento Street at Grant Avenue looking east | September 18, 1972 \u003ccite>(SFMTA Photo | SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chen, 32, was watching her year-old daughter playing in her room when she first took a peek, excited to see a movie with more Asian representation. She remembers thinking that the Muni bus traveled far too quickly from the Stockton Street Tunnel to Ghirardelli Square, “and I’m pretty sure the 1-California is off route.”\u003c/p>\n\u003cp>You know, regular Muni stuff.\u003c/p>\n\u003cp>But at the next meeting of Chinatown TRIP, her colleagues were all aflutter: the \u003cem>Shang-Chi\u003c/em> bus routes were ones their organizations’ founders had fought for in the 1970s and 1990s. The trailer even showed tunnel safety improvements they’d fought for, as well.\u003c/p>\n\u003cp>These Muni connections trace back to the flourishing of the Chinese community in San Francisco, following the repeal of exclusionary racist laws. With new communities came new transportation routes, fought for through advocacy, and established to keep Chinese Americans in touch with their heritage in Chinatown, just a short bus ride away.\u003c/p>\n\u003cfigure id=\"attachment_13902473\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902473\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0012-muni-800x589.jpg\" alt=\"\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-1536x1130.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Muni bus ride in the 1990s. \u003ccite>(Photo courtesy Chinatown TRIP.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was significant because the superheroes of TRIP had fought for all those things,” Chen tells KQED. While Chen says she’d always heard bits and pieces of the old stories about lobbying for different bus lines, “I didn’t know the fights and struggles they went through to get Chinatown connected to other neighborhoods.”\u003c/p>\n\u003ch3>Citywide Community\u003c/h3>\n\u003cp>While drumming up fear over Chinese labor competition, local politicians passed the Chinese Exclusion Act in 1882, which banned new Chinese immigrants from entering the country. The act’s repeal in 1943 still came with restrictions, as the number of new immigrants was severely limited by an annual cap.\u003c/p>\n\u003cp>That all changed in 1965 with the passage of the 1965 Immigration and Nationality Act, which abolished the national-origins quota law. As Chinese immigration began to rise again in San Francisco, housing restrictions across San Francisco were lifted, says Pam Wong, deputy director of the Chinese Historical Society of America.\u003c/p>\n\u003cp>“Because of this, the Chinese population in San Francisco grew out of Chinatown,” Wong says.[pullquote size=\"medium\" align=\"right\" citation=\"Phil Chin, Chinatown TRIP co-founder\"]‘What we need is for the (San Francisco Municipal Transportation Agency) to provide full-service levels and to ensure true safety on every single one of their trains and buses.’[/pullquote]\u003c/p>\n\u003cp>In the ’60s and ’70s, Visitacion Valley, the Richmond District, the Sunset District, the Excelsior and the Bayview all blossomed with their own Chinese communities. But Chinatown remained the social, political and shopping hub for Chinese Americans in San Francisco, including those living in other neighborhoods across the city.\u003c/p>\n\u003cp>“The cultural traditions of food, Chinese traditional medicine—those were still very important to these families,” Wong says. “So going back to Chinatown, where these resources were centered, was a way to stay connected to their cultural heritage.”\u003c/p>\n\u003cp>And to get there, many would take Muni.\u003c/p>\n\u003cp>Bus service wasn’t perfect in Chinatown, but Muni was a bit forward-thinking, at least. In 1976, an engineering findings team made their first proposals to improve Chinatown service. But their concepts of how to do so clashed with the residents’ views of what buses they needed.\u003c/p>\n\u003cp>(“It still stands true today,” says Chen. “We have planners telling residents of Chinatown what they need but they don’t go out and actually see what’s happening.”)\u003c/p>\n\u003cp>Cue the Chinatown Transportation Research and Improvement Project.\u003c/p>\n\u003cfigure id=\"attachment_13902478\" class=\"wp-caption alignnone\" style=\"max-width: 1460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0031.jpg\" alt=\"\" width=\"1460\" height=\"1032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031.jpg 1460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-1020x721.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-768x543.jpg 768w\" sizes=\"(max-width: 1460px) 100vw, 1460px\">\u003cfigcaption class=\"wp-caption-text\">A transit-focused community meeting at Cameron House in the late 1980s or early 1990s. Left, Michael Louie, right, Phil Chin. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chinatown TRIP became one of a bevy of San Francisco advocacy groups—like the Asian Law Caucus, Chinese for Affirmative Action, and the Chinese Progressive Association—that sprung from the civil rights era, when the fight for Black equality stirred the hearts and charted the careers of Asian American advocates.\u003c/p>\n\u003cp>Chinatown TRIP lobbied Muni for a new bus line catered directly to Chinatown and the people who frequented it. Some involved had a direct tie to both the community and Muni, like Phil Chin, one of the group’s founders. Now in his 70s, Chin was once a bus driver himself, and his experience behind the wheel in his own community helped inform the organization’s advocacy at its inception.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13903050,arts_13902814,arts_13902724,arts_13906142']\u003c/span>\u003c/p>\n\u003cp>(Even today, Chin wants bus service to improve. “It’s great that we have superheroes to inspire us as we strive to improve, but superheroes are all make-believe,” Chin says. “What we need is for the [San Francisco Municipal Transportation Agency] to provide full-service levels and to ensure true safety on every single one of their trains and buses.”)\u003c/p>\n\u003cp>Finally, in 1978, two years after TRIP’s effort began, Muni christened the 82-Chinatown, a wholly new bus line meant to ease crushing crowds on the 30-Stockton for Chinatown commuters. It launched with a small ceremony at Washington Square Park, replete with acrobatic lion dancers and “good luck” fireworks.\u003c/p>\n\u003cp>Then-San Francisco Mayor George Moscone attended the inauguration. Chin did, too.\u003c/p>\n\u003cfigure id=\"attachment_13902475\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902475\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/1978-82-Line.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Muni bus advertisement talks up the ‘new’ 82-Chinatown line. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Martial-Arts Muni\u003c/h3>\n\u003cp>So what does this all have to do with \u003cem>Shang-Chi\u003c/em>?\u003c/p>\n\u003cp>Fast-forward 40-plus years, and the 1-California bus in \u003cem>Shang-Chi\u003c/em> travels the same route the 82-Chinatown traveled, right through the Stockton Street Tunnel. The 82-Chinatown traveled this route, advocated for by the community, for years, before being folded into the expanded service of the 30-Stockton and 45-Union lines. (It should be clarified that the 1-California’s \u003cem>actual \u003c/em>route is far different than the one shown in the movie, taking it up Sacramento street, much like the famous \u003cem>Bullitt\u003c/em> car-chase scene \u003ca href=\"https://projects.sfchronicle.com/2020/movie-car-chases/\">doesn’t follow real San Francisco geography\u003c/a>.)\u003c/p>\n\u003cp>Transportation gets taken for granted, Chen says. But “it brings you to places for stability or to a job. It could bring you economic opportunities that you probably won’t have for folks who live in lower-income areas, for the kids going to school.”\u003c/p>\n\u003cp>Chen adds: “I think when people think of transit, they think it’s only going to point A to point B, but for me, it’s really about opportunity, right?”\u003c/p>\n\u003cp>It’s that ethos that emboldens TRIP’s advocacy, and helps embolden other groups like the Chinatown Community Development Center and Self-Help for the Elderly. It also brings us even more ties to \u003cem>Shang-Chi\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13902477\" class=\"wp-caption alignnone\" style=\"max-width: 2463px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0008-55-line.jpg\" alt=\"\" width=\"2463\" height=\"1449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line.jpg 2463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1536x904.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-2048x1205.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1920x1130.jpg 1920w\" sizes=\"(max-width: 2463px) 100vw, 2463px\">\u003cfigcaption class=\"wp-caption-text\">A 55-Sacramento bus tackles a San Francisco hill, with passengers waiting beside it. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going back to the years when it was known as the 55-Sacramento line, the 1-California bus line that Shang-Chi rides in the movie has long been a way for Chinese residents of the Richmond District to shuttle into Chinatown—part of that spread of the community to other neighborhoods, jump-started in the 1960s.\u003c/p>\n\u003cp>But in the 1980s, the motor coaches on the 1-California line were so sluggish that when they got too crowded, they’d slow down on the steep slopes of Nob Hill. Passengers would have to hop off the bus, let the bus finish the hill, and walk up to catch up with it.\u003c/p>\n\u003cp>Chinatown TRIP successfully fought for the route to become an electric one, replete with “bunny ear” poles, to ensure those buses got where they were going.\u003c/p>\n\u003cp>Also in the 1980s, the Stockton Street Tunnel that Shang-Chi rides through on the 1-California bus was—if you can believe it—an even more dark and dangerous place than it is today, and the site of a pedestrian death that shook local residents.\u003c/p>\n\u003cp>“An auto had lost control and ended up on the sidewalk pinning the pedestrian against the wall,” recalls Landy Dong, another Chinatown TRIP founder (and former Muni driver).\u003c/p>\n\u003cp>While many locals and tourists know the historic, ornate Dragon’s Gate to Chinatown on Grant Avenue, the most-used portal to Chinatown by locals is the Stockton Street Tunnel. Even to this day, it’s frequently used by Chinatown shoppers to walk south, toward downtown, to catch a connecting bus to take them elsewhere in the city. That death spurred advocates to ensure safety for their community.\u003c/p>\n\u003cfigure id=\"attachment_13902484\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/X2434_1-1-1020x817.jpg\" alt=\"\" width=\"640\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-1020x817.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-1536x1230.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Street lighting in Stockton Street Tunnel, looking north at tunnel entrance below Bush Street | August 3, 1950 \u003ccite>(SFMTA Photo | SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902479\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902479\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg\" alt=\"\" width=\"640\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1536x768.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shang-Chi (Simu Liu) gets ready to fight on a Muni bus going through the Stockton Street Tunnel. \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So in 1982, Chinatown TRIP pushed the city to apply for a $200,000 federal grant for safety rails, new lighting, and waterproofing, which was completed in 1984.\u003c/p>\n\u003cp>This all may seem like dry infrastructure history. But between the tunnel improvements, new routes, electric enhancements and openings attended by the mayor, these transportation advocates helped connect San Francisco’s outlying Chinese communities with Chinatown. They helped weave together their community.\u003c/p>\n\u003cp>And, watching \u003cem>Shang-Chi\u003c/em> on the big screen, all these changes and more flash through their minds when they see an Asian superhero fighting through San Francisco—much the same way they fought for transportation justice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘Shang-Chi and the Legend of the Ten Rings’ is in theaters now. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "With Marvel’s famous bus chase in theaters, we revisit the community fight behind the 1-California and other Chinatown bus lines.",
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"title": "In ‘Shang-Chi,’ a Muni Line Made Possible by Chinatown Community Advocacy | KQED",
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"headline": "In ‘Shang-Chi,’ a Muni Line Made Possible by Chinatown Community Advocacy",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sure, Marvel’s newest superhero flick, \u003cem>Shang-Chi and the Legend of the Ten Rings\u003c/em>, impresses with its high-flying martial arts fight scenes, the usual show-stopping, Disney-caliber visual effects, and a groundbreaking Asian superhero taking center stage.\u003c/p>\n\u003cp>But for advocates in San Francisco’s Chinese community, the movie’s trailer perked up eyebrows for a totally different reason.\u003c/p>\n\u003cp>That San Francisco Muni bus—now \u003cem>that\u003c/em> was a show-stopper.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No, I’m not kidding. The 1-California line, in fact, plays the leading role in a key scene that early reviews have called the \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/review-shang-chi-and-its-s-f-bus-chase-make-good-transfer-to-marvel-universe\" target=\"_blank\" rel=\"noopener noreferrer\">second-best San Francisco car chase of all time\u003c/a>. As Shang-Chi (Simu Liu) lands artfully thrown fists against his attackers on Muni, the bus careens through San Francisco, moving faster than any Muni bus has before, from the Stockton Street Tunnel, through Chinatown, to Ghirardelli Square.\u003c/p>\n\u003cp>The 1-California carries more than just passengers gawking at superheroes in Marvel blockbusters, though. It carries the history and legacy of San Francisco’s Chinese community, its advocacy, and its perseverance.\u003c/p>\n\u003cp>That is, if you know the history.\u003c/p>\n\u003ch3>A Chinatown Connector\u003c/h3>\n\u003cp>Community advocacy wasn’t quite the first thing that Queena Chen noticed when she first saw the \u003cem>Shang-Chi\u003c/em> trailer—even with her role as co-chair of the Chinatown Transportation Research and Improvement Project (TRIP).\u003c/p>\n\u003cfigure id=\"attachment_13902483\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/M1383_1-1-1020x1479.jpg\" alt=\"\" width=\"640\" height=\"928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1020x1479.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-800x1160.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1412x2048.jpg 1412w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-scaled.jpg 1766w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">55-Sacramento bus line on Sacramento Street at Grant Avenue looking east | September 18, 1972 \u003ccite>(SFMTA Photo | SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chen, 32, was watching her year-old daughter playing in her room when she first took a peek, excited to see a movie with more Asian representation. She remembers thinking that the Muni bus traveled far too quickly from the Stockton Street Tunnel to Ghirardelli Square, “and I’m pretty sure the 1-California is off route.”\u003c/p>\n\u003cp>You know, regular Muni stuff.\u003c/p>\n\u003cp>But at the next meeting of Chinatown TRIP, her colleagues were all aflutter: the \u003cem>Shang-Chi\u003c/em> bus routes were ones their organizations’ founders had fought for in the 1970s and 1990s. The trailer even showed tunnel safety improvements they’d fought for, as well.\u003c/p>\n\u003cp>These Muni connections trace back to the flourishing of the Chinese community in San Francisco, following the repeal of exclusionary racist laws. With new communities came new transportation routes, fought for through advocacy, and established to keep Chinese Americans in touch with their heritage in Chinatown, just a short bus ride away.\u003c/p>\n\u003cfigure id=\"attachment_13902473\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902473\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0012-muni-800x589.jpg\" alt=\"\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-1536x1130.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Muni bus ride in the 1990s. \u003ccite>(Photo courtesy Chinatown TRIP.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was significant because the superheroes of TRIP had fought for all those things,” Chen tells KQED. While Chen says she’d always heard bits and pieces of the old stories about lobbying for different bus lines, “I didn’t know the fights and struggles they went through to get Chinatown connected to other neighborhoods.”\u003c/p>\n\u003ch3>Citywide Community\u003c/h3>\n\u003cp>While drumming up fear over Chinese labor competition, local politicians passed the Chinese Exclusion Act in 1882, which banned new Chinese immigrants from entering the country. The act’s repeal in 1943 still came with restrictions, as the number of new immigrants was severely limited by an annual cap.\u003c/p>\n\u003cp>That all changed in 1965 with the passage of the 1965 Immigration and Nationality Act, which abolished the national-origins quota law. As Chinese immigration began to rise again in San Francisco, housing restrictions across San Francisco were lifted, says Pam Wong, deputy director of the Chinese Historical Society of America.\u003c/p>\n\u003cp>“Because of this, the Chinese population in San Francisco grew out of Chinatown,” Wong says.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the ’60s and ’70s, Visitacion Valley, the Richmond District, the Sunset District, the Excelsior and the Bayview all blossomed with their own Chinese communities. But Chinatown remained the social, political and shopping hub for Chinese Americans in San Francisco, including those living in other neighborhoods across the city.\u003c/p>\n\u003cp>“The cultural traditions of food, Chinese traditional medicine—those were still very important to these families,” Wong says. “So going back to Chinatown, where these resources were centered, was a way to stay connected to their cultural heritage.”\u003c/p>\n\u003cp>And to get there, many would take Muni.\u003c/p>\n\u003cp>Bus service wasn’t perfect in Chinatown, but Muni was a bit forward-thinking, at least. In 1976, an engineering findings team made their first proposals to improve Chinatown service. But their concepts of how to do so clashed with the residents’ views of what buses they needed.\u003c/p>\n\u003cp>(“It still stands true today,” says Chen. “We have planners telling residents of Chinatown what they need but they don’t go out and actually see what’s happening.”)\u003c/p>\n\u003cp>Cue the Chinatown Transportation Research and Improvement Project.\u003c/p>\n\u003cfigure id=\"attachment_13902478\" class=\"wp-caption alignnone\" style=\"max-width: 1460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0031.jpg\" alt=\"\" width=\"1460\" height=\"1032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031.jpg 1460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-1020x721.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-768x543.jpg 768w\" sizes=\"(max-width: 1460px) 100vw, 1460px\">\u003cfigcaption class=\"wp-caption-text\">A transit-focused community meeting at Cameron House in the late 1980s or early 1990s. Left, Michael Louie, right, Phil Chin. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chinatown TRIP became one of a bevy of San Francisco advocacy groups—like the Asian Law Caucus, Chinese for Affirmative Action, and the Chinese Progressive Association—that sprung from the civil rights era, when the fight for Black equality stirred the hearts and charted the careers of Asian American advocates.\u003c/p>\n\u003cp>Chinatown TRIP lobbied Muni for a new bus line catered directly to Chinatown and the people who frequented it. Some involved had a direct tie to both the community and Muni, like Phil Chin, one of the group’s founders. Now in his 70s, Chin was once a bus driver himself, and his experience behind the wheel in his own community helped inform the organization’s advocacy at its inception.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>(Even today, Chin wants bus service to improve. “It’s great that we have superheroes to inspire us as we strive to improve, but superheroes are all make-believe,” Chin says. “What we need is for the [San Francisco Municipal Transportation Agency] to provide full-service levels and to ensure true safety on every single one of their trains and buses.”)\u003c/p>\n\u003cp>Finally, in 1978, two years after TRIP’s effort began, Muni christened the 82-Chinatown, a wholly new bus line meant to ease crushing crowds on the 30-Stockton for Chinatown commuters. It launched with a small ceremony at Washington Square Park, replete with acrobatic lion dancers and “good luck” fireworks.\u003c/p>\n\u003cp>Then-San Francisco Mayor George Moscone attended the inauguration. Chin did, too.\u003c/p>\n\u003cfigure id=\"attachment_13902475\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902475\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/1978-82-Line.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Muni bus advertisement talks up the ‘new’ 82-Chinatown line. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Martial-Arts Muni\u003c/h3>\n\u003cp>So what does this all have to do with \u003cem>Shang-Chi\u003c/em>?\u003c/p>\n\u003cp>Fast-forward 40-plus years, and the 1-California bus in \u003cem>Shang-Chi\u003c/em> travels the same route the 82-Chinatown traveled, right through the Stockton Street Tunnel. The 82-Chinatown traveled this route, advocated for by the community, for years, before being folded into the expanded service of the 30-Stockton and 45-Union lines. (It should be clarified that the 1-California’s \u003cem>actual \u003c/em>route is far different than the one shown in the movie, taking it up Sacramento street, much like the famous \u003cem>Bullitt\u003c/em> car-chase scene \u003ca href=\"https://projects.sfchronicle.com/2020/movie-car-chases/\">doesn’t follow real San Francisco geography\u003c/a>.)\u003c/p>\n\u003cp>Transportation gets taken for granted, Chen says. But “it brings you to places for stability or to a job. It could bring you economic opportunities that you probably won’t have for folks who live in lower-income areas, for the kids going to school.”\u003c/p>\n\u003cp>Chen adds: “I think when people think of transit, they think it’s only going to point A to point B, but for me, it’s really about opportunity, right?”\u003c/p>\n\u003cp>It’s that ethos that emboldens TRIP’s advocacy, and helps embolden other groups like the Chinatown Community Development Center and Self-Help for the Elderly. It also brings us even more ties to \u003cem>Shang-Chi\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13902477\" class=\"wp-caption alignnone\" style=\"max-width: 2463px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0008-55-line.jpg\" alt=\"\" width=\"2463\" height=\"1449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line.jpg 2463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1536x904.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-2048x1205.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1920x1130.jpg 1920w\" sizes=\"(max-width: 2463px) 100vw, 2463px\">\u003cfigcaption class=\"wp-caption-text\">A 55-Sacramento bus tackles a San Francisco hill, with passengers waiting beside it. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going back to the years when it was known as the 55-Sacramento line, the 1-California bus line that Shang-Chi rides in the movie has long been a way for Chinese residents of the Richmond District to shuttle into Chinatown—part of that spread of the community to other neighborhoods, jump-started in the 1960s.\u003c/p>\n\u003cp>But in the 1980s, the motor coaches on the 1-California line were so sluggish that when they got too crowded, they’d slow down on the steep slopes of Nob Hill. Passengers would have to hop off the bus, let the bus finish the hill, and walk up to catch up with it.\u003c/p>\n\u003cp>Chinatown TRIP successfully fought for the route to become an electric one, replete with “bunny ear” poles, to ensure those buses got where they were going.\u003c/p>\n\u003cp>Also in the 1980s, the Stockton Street Tunnel that Shang-Chi rides through on the 1-California bus was—if you can believe it—an even more dark and dangerous place than it is today, and the site of a pedestrian death that shook local residents.\u003c/p>\n\u003cp>“An auto had lost control and ended up on the sidewalk pinning the pedestrian against the wall,” recalls Landy Dong, another Chinatown TRIP founder (and former Muni driver).\u003c/p>\n\u003cp>While many locals and tourists know the historic, ornate Dragon’s Gate to Chinatown on Grant Avenue, the most-used portal to Chinatown by locals is the Stockton Street Tunnel. Even to this day, it’s frequently used by Chinatown shoppers to walk south, toward downtown, to catch a connecting bus to take them elsewhere in the city. That death spurred advocates to ensure safety for their community.\u003c/p>\n\u003cfigure id=\"attachment_13902484\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/X2434_1-1-1020x817.jpg\" alt=\"\" width=\"640\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-1020x817.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-1536x1230.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Street lighting in Stockton Street Tunnel, looking north at tunnel entrance below Bush Street | August 3, 1950 \u003ccite>(SFMTA Photo | SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902479\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902479\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg\" alt=\"\" width=\"640\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1536x768.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shang-Chi (Simu Liu) gets ready to fight on a Muni bus going through the Stockton Street Tunnel. \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So in 1982, Chinatown TRIP pushed the city to apply for a $200,000 federal grant for safety rails, new lighting, and waterproofing, which was completed in 1984.\u003c/p>\n\u003cp>This all may seem like dry infrastructure history. But between the tunnel improvements, new routes, electric enhancements and openings attended by the mayor, these transportation advocates helped connect San Francisco’s outlying Chinese communities with Chinatown. They helped weave together their community.\u003c/p>\n\u003cp>And, watching \u003cem>Shang-Chi\u003c/em> on the big screen, all these changes and more flash through their minds when they see an Asian superhero fighting through San Francisco—much the same way they fought for transportation justice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘Shang-Chi and the Legend of the Ten Rings’ is in theaters now. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In just before the end of Filipino American History Month, LumpiaPalooza is, of course, a celebration of all things lumpia. Ten different vendors, including Oakland’s \u003ca href=\"https://www.instagram.com/thelumpiacompany/?hl=en\">Lumpia Company\u003c/a> and Hayward-based \u003ca href=\"https://www.instagram.com/marleystreats/?hl=en\">Marley’s Treats\u003c/a>, will each offer their own signature version of the quintessential Filipino deep-fried treat—from traditional pork- and chicken-filled versions to dessert lumpia, vegan lumpia and unorthodox, hybridized creations inspired by cheeseburgers or elote. And, for the brave of heart, there will be a lumpia eating contest too.\u003c/p>\n\u003cp>Because of COVID safety concerns, this year’s LumpiaPalooza will be spread across two days to help reduce the crowds, and District Six’s 18,000-square-foot outdoor space should allow for plenty of social distancing. That said, folks should come expecting a party—especially with legendary hype man Fran Boogie hosting and Bay Area icon DJ Shortkut behind the decks.\u003c/p>\n\u003cp>\u003cem>LumpiaPalooza takes place at District Six (428 11th Street, San Francisco) on Oct. 23–24, 11am–4pm. Details \u003ca href=\"https://www.eventbrite.com/e/lumpiapalooza-tickets-165622835359?aff=ebdsoporgprofile\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In just before the end of Filipino American History Month, LumpiaPalooza is, of course, a celebration of all things lumpia. Ten different vendors, including Oakland’s \u003ca href=\"https://www.instagram.com/thelumpiacompany/?hl=en\">Lumpia Company\u003c/a> and Hayward-based \u003ca href=\"https://www.instagram.com/marleystreats/?hl=en\">Marley’s Treats\u003c/a>, will each offer their own signature version of the quintessential Filipino deep-fried treat—from traditional pork- and chicken-filled versions to dessert lumpia, vegan lumpia and unorthodox, hybridized creations inspired by cheeseburgers or elote. And, for the brave of heart, there will be a lumpia eating contest too.\u003c/p>\n\u003cp>Because of COVID safety concerns, this year’s LumpiaPalooza will be spread across two days to help reduce the crowds, and District Six’s 18,000-square-foot outdoor space should allow for plenty of social distancing. That said, folks should come expecting a party—especially with legendary hype man Fran Boogie hosting and Bay Area icon DJ Shortkut behind the decks.\u003c/p>\n\u003cp>\u003cem>LumpiaPalooza takes place at District Six (428 11th Street, San Francisco) on Oct. 23–24, 11am–4pm. Details \u003ca href=\"https://www.eventbrite.com/e/lumpiapalooza-tickets-165622835359?aff=ebdsoporgprofile\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Not content to welcome audiences back to the theater with a single play, San Francisco Bay Area Theatre Company (SFBATCO) has instead curated an entire festival. The inaugural New Roots Theatre Festival includes an Afrofuturist play in verse by Aidaa Peerzada, a musical centering the East Bay’s Betty Reid Soskin (the oldest living park ranger in the United States), a performance from SF’s Cuicacalli Ballet Folklórico, and short pieces produced by Black-led organizations including Lorraine Hansberry Theatre Company, African-American Shakespeare Company, AfroSolo, and PUSH Dance. (The companies are organized into “pods” that perform in tandem, with repeating shows, so audiences can see the whole program over the course of the weekend.)\u003c/p>\n\u003cp>Additionally, SFBATCO will revive their award-winning \u003cem>I, Too, Sing America\u003c/em>. First conceptualized in 2018 by music director Othello Jefferson, \u003cem>ITSA\u003c/em> sets works by notable artists of color such as Langston Hughes, Gwendolyn Brooks, Frances Chung and Beyoncé to music and movement. This timely revival includes new materials for 2021 while celebrating the long history of revolutionary poetry and prose as an American tradition. \u003c/p>\n\u003cp>\u003cem>The New Roots Theatre Festival runs Saturday and Sunday, Oct. 16 and 17, at the Brava Theater Center in San Francisco. \u003ca href=\"https://www.sfbatco.org/new-roots-theatre-festival\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not content to welcome audiences back to the theater with a single play, San Francisco Bay Area Theatre Company (SFBATCO) has instead curated an entire festival. The inaugural New Roots Theatre Festival includes an Afrofuturist play in verse by Aidaa Peerzada, a musical centering the East Bay’s Betty Reid Soskin (the oldest living park ranger in the United States), a performance from SF’s Cuicacalli Ballet Folklórico, and short pieces produced by Black-led organizations including Lorraine Hansberry Theatre Company, African-American Shakespeare Company, AfroSolo, and PUSH Dance. (The companies are organized into “pods” that perform in tandem, with repeating shows, so audiences can see the whole program over the course of the weekend.)\u003c/p>\n\u003cp>Additionally, SFBATCO will revive their award-winning \u003cem>I, Too, Sing America\u003c/em>. First conceptualized in 2018 by music director Othello Jefferson, \u003cem>ITSA\u003c/em> sets works by notable artists of color such as Langston Hughes, Gwendolyn Brooks, Frances Chung and Beyoncé to music and movement. This timely revival includes new materials for 2021 while celebrating the long history of revolutionary poetry and prose as an American tradition. \u003c/p>\n\u003cp>\u003cem>The New Roots Theatre Festival runs Saturday and Sunday, Oct. 16 and 17, at the Brava Theater Center in San Francisco. \u003ca href=\"https://www.sfbatco.org/new-roots-theatre-festival\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[dropcap]W[/dropcap]hen venues closed during the COVID-19 shutdowns last year, Bionka Stevens suddenly found herself losing out on the supplemental income from her work as an entertainer dancing at local venues. In search of new ways to make money, she hit on an idea: \u003ca href=\"https://www.snatchedbysimone.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Snatched by Simone\u003c/a>, a shapewear business specifically catering to members of the transgender community.\u003c/p>\n\u003cp>“I’ve always been a sucker for undergarments,” she says, “and lots of trans women don’t know about proper shapewear. I wanted to shed new light on it and make it OK for them.”\u003c/p>\n\u003cp>Stevens lost no time in getting down to work, but she couldn’t do it alone. She had a lot of questions about the ins and outs of running her own business, and not enough answers. A lot of intensive googling yielded some explainers on YouTube and Instagram, and while these did help somewhat, she needed more information.\u003c/p>\n\u003cp>Enter the \u003ca href=\"https://www.transgenderdistrictsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Transgender District\u003c/a>’s \u003ca href=\"https://www.transgenderdistrictsf.com/entrepreneurship-accelerator\" target=\"_blank\" rel=\"noopener noreferrer\">Entrepreneurship Accelerator\u003c/a>. After seeing a social media blast last summer, Stevens applied for the program, and she was overjoyed to become one of its very first participants. “It made me feel really accomplished to be selected,” she says. “I was glad to know that my business idea was good enough to move forward.”\u003c/p>\n\u003cp>For the next several months, Stevens received rigorous training in the nitty gritty of running her business. She was placed into a community of business professionals that supported and mentored her, as well as a cohort of transgender entrepreneurs that reflected her identity and aspirations. By the end of the months-long intensive program, the Entrepreneurship Accelerator helped Stevens develop her website and ecommerce platform, and it still provides ongoing support for her business even after graduation.\u003c/p>\n\u003cfigure id=\"attachment_13901457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/020_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/020_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/020_SanFrancisco_TransgenderDistrictStaff_07292021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/020_SanFrancisco_TransgenderDistrictStaff_07292021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/020_SanFrancisco_TransgenderDistrictStaff_07292021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/020_SanFrancisco_TransgenderDistrictStaff_07292021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/020_SanFrancisco_TransgenderDistrictStaff_07292021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Transgender District staff supports its Tenderloin community through a housing program, entrepreneurship training and more. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]A[/dropcap] pilot program last year, set to launch its first full year this fall, the Entrepreneurship Accelerator is one of several programs that the Transgender District created since its founding in 2017 as the first legally recognized transgender district in the world. In the four years since it came into existence, the District has inspired transgender activists the world over, while developing initiatives that address many of the unique forms of discrimination and oppression that transgender San Franciscans face.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The District’s location in San Francisco’s Tenderloin was chosen both because of the area’s current population of underserved Black trans people and for its historic significance to the community. As transgender historian Susan Stryker recounted in her book \u003cem>Transgender History\u003c/em>, gender-diverse San Franciscans have made their home in the Tenderloin since the early 20th century. In August 1966, tensions in the community reached a tipping point when the neighborhood saw a massive riot between transgender people and the police, with enormous implications. [aside postid='arts_13835520']\u003c/p>\n\u003cp>The chaos sparked when a police officer aggressively manhandled a trans woman patron at Compton’s Cafeteria, which was a known gathering place for LGBT people with few options for community. The riot was a culmination of years of gentrification and marginalization against the LGBT population in the Tenderloin. This ongoing oppression became much more acute throughout the summer of 1966 as the management of Compton’s Cafeteria took to harassing its trans clientele. One weekend in August (nobody knows exactly which one), the trans community snapped back against this bullying, engaging in street fights with police and unleashing general havoc throughout the neighborhood.\u003c/p>\n\u003cp>The riot occurred during a wave of trans empowerment in the 1960s, as more doctors began to recognize the existence of transgender people, and medical treatment for gender dysphoria became available for the first time in the U.S. That makes it a key event in the battle for trans liberation that continues to this day. The riot’s continuing relevance is evident when one considers that the abuses Compton’s patrons fought back against—among them police brutality and economic marginalization—continue to beset San Francisco’s transgender community today.\u003c/p>\n\u003cfigure id=\"attachment_13901458\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901458\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/010_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/010_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/010_SanFrancisco_TransgenderDistrictStaff_07292021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/010_SanFrancisco_TransgenderDistrictStaff_07292021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/010_SanFrancisco_TransgenderDistrictStaff_07292021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/010_SanFrancisco_TransgenderDistrictStaff_07292021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/010_SanFrancisco_TransgenderDistrictStaff_07292021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juniper Yun is the Transgender District’s director of cultural affairs. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Transgender District’s mission is both to honor this rich cultural history while empowering those currently living there. For Juniper Yun, director of cultural affairs for the District, this means changing the fact that, historically, transgender individuals have been prevented from recognizing and supporting one another due to intense stigma. “There’s been less chance for our community to create generational wealth, or community spaces,” she tells me. “The District has to do that work from the ground up.”\u003c/p>\n\u003cp>Creating such spaces can be as simple as painting the transgender flag on the District’s light poles, and it can be as complicated as creating a trans business corridor in the Tenderloin. The Entrepreneurship Accelerator program is part of the District’s push to bring in businesses owned by trans people and promote trans culture, just as other San Francisco neighborhoods are associated with other ethnic or LGBT cultures. “It’s important to work in a way that’s anti-gentrification,” Yun says. “We want to give space and resources to the people who would normally be marginalized.”\u003c/p>\n\u003cp>[dropcap]A[/dropcap] second issue that the District is focusing on is another longstanding flashpoint for the transgender community: housing discrimination. Jupiter Peraza, the District’s director of social justice and empowerment initiatives, manages the Housing Opportunity for Transgender Tenants program, which seeks to educate landlords, create welcoming spaces for trans tenants, and provide 50% of rent for program participants. “We’re seeing gentrification change the landscape of the city,” she tells me. “With people being displaced, forced to leave a place that has been their home for decades, the fabric of the neighborhood is changing.”\u003c/p>\n\u003cfigure id=\"attachment_13901459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901459\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/003_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/003_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/003_SanFrancisco_TransgenderDistrictStaff_07292021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/003_SanFrancisco_TransgenderDistrictStaff_07292021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/003_SanFrancisco_TransgenderDistrictStaff_07292021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/003_SanFrancisco_TransgenderDistrictStaff_07292021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/003_SanFrancisco_TransgenderDistrictStaff_07292021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jupiter Peraza is the Transgender District’s director of social justice and empowerment initiatives. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Creating all of these programs has not been easy. After Black trans women Aria Sa’id, Janetta Johnson and Honey Mahogany won legal recognition of the District in 2017, there was no blueprint for how to move forward. “It’s required a lot of tenacity,” says Sean Greene, the District’s vice president of strategic partnerships and deputy director. “We really wanted to make this happen. We’ve understood that we have had a lot of eyes on us.”\u003c/p>\n\u003cp>Those eyes have come from all over the world. The District has fielded press from France, England and Canada, and it has partnered to export its ideas for supporting trans communities to other U.S. cities, including Atlanta, Austin, New York, Philly and Baltimore.\u003c/p>\n\u003cfigure id=\"attachment_13901462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/028_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/028_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/028_SanFrancisco_TransgenderDistrictStaff_07292021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/028_SanFrancisco_TransgenderDistrictStaff_07292021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/028_SanFrancisco_TransgenderDistrictStaff_07292021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/028_SanFrancisco_TransgenderDistrictStaff_07292021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/028_SanFrancisco_TransgenderDistrictStaff_07292021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aria Sa’id co-founded San Francisco’s Transgender District and serves as its president and chief strategist. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along the way, Greene and his colleagues have dealt with misunderstandings and patronizing reactions. “We’ve encountered condescension around the fact that we are led by a Black trans woman,” says Greene. In the beginning, funding was hard to come by, as many institutions required a track record of success in order to secure grants. By necessity, the District has had to work in terms of what it could accomplish with available resources, snowballing its way to bigger and bigger projects.\u003c/p>\n\u003cp>A big moment occurred during the massive protests following the deaths of George Floyd and Breonna Taylor last summer: donors began to create funds specifically for Black-led organizations, and individual donations came rushing in. Overall, the District’s development has required a lot of imagination and flexibility. “We’ve taken risks because we knew there wasn’t a blueprint to model ourselves on,” said Greene, “so we leapt with both feet forward, being run by the community for the community.”\u003c/p>\n\u003cfigure id=\"attachment_13901460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901460\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/002_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/002_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/002_SanFrancisco_TransgenderDistrictStaff_07292021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/002_SanFrancisco_TransgenderDistrictStaff_07292021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/002_SanFrancisco_TransgenderDistrictStaff_07292021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/002_SanFrancisco_TransgenderDistrictStaff_07292021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/002_SanFrancisco_TransgenderDistrictStaff_07292021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juniper Yun, Ivory Smith, Jupiter Peraza and Ernie Tovar pose in front of Aunt Charlie’s, an iconic LGBTQ+ bar in the Tenderloin. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the District is guided by a dedication to truly care for its community. Greene explained how new tenants in its housing program are each given care packages because it’s essential to create a welcoming environment. Peraza struck a similar note, explaining that the housing program “aspires to help members of our community feel good about where they live. We want them to feel inspired, to have a foundation for a life where you’re aware of your potential and how bright your future can be.”\u003c/p>\n\u003cp>For Stevens, that brighter future is becoming a reality. After well over a year of hard work, Snatched by Simone recently launched, and orders have begun coming in. “Watching the analytics brings me a little joy,” she remarks. “I want to be up there with Spanx, Kim Kardashian, I want to be right up there with them.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Those dreams are now closer to being realized thanks to Stevens’ hard work, along with the power of support from her trans community.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen venues closed during the COVID-19 shutdowns last year, Bionka Stevens suddenly found herself losing out on the supplemental income from her work as an entertainer dancing at local venues. In search of new ways to make money, she hit on an idea: \u003ca href=\"https://www.snatchedbysimone.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Snatched by Simone\u003c/a>, a shapewear business specifically catering to members of the transgender community.\u003c/p>\n\u003cp>“I’ve always been a sucker for undergarments,” she says, “and lots of trans women don’t know about proper shapewear. I wanted to shed new light on it and make it OK for them.”\u003c/p>\n\u003cp>Stevens lost no time in getting down to work, but she couldn’t do it alone. She had a lot of questions about the ins and outs of running her own business, and not enough answers. A lot of intensive googling yielded some explainers on YouTube and Instagram, and while these did help somewhat, she needed more information.\u003c/p>\n\u003cp>Enter the \u003ca href=\"https://www.transgenderdistrictsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Transgender District\u003c/a>’s \u003ca href=\"https://www.transgenderdistrictsf.com/entrepreneurship-accelerator\" target=\"_blank\" rel=\"noopener noreferrer\">Entrepreneurship Accelerator\u003c/a>. After seeing a social media blast last summer, Stevens applied for the program, and she was overjoyed to become one of its very first participants. “It made me feel really accomplished to be selected,” she says. “I was glad to know that my business idea was good enough to move forward.”\u003c/p>\n\u003cp>For the next several months, Stevens received rigorous training in the nitty gritty of running her business. She was placed into a community of business professionals that supported and mentored her, as well as a cohort of transgender entrepreneurs that reflected her identity and aspirations. By the end of the months-long intensive program, the Entrepreneurship Accelerator helped Stevens develop her website and ecommerce platform, and it still provides ongoing support for her business even after graduation.\u003c/p>\n\u003cfigure id=\"attachment_13901457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/020_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/020_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/020_SanFrancisco_TransgenderDistrictStaff_07292021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/020_SanFrancisco_TransgenderDistrictStaff_07292021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/020_SanFrancisco_TransgenderDistrictStaff_07292021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/020_SanFrancisco_TransgenderDistrictStaff_07292021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/020_SanFrancisco_TransgenderDistrictStaff_07292021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Transgender District staff supports its Tenderloin community through a housing program, entrepreneurship training and more. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp> pilot program last year, set to launch its first full year this fall, the Entrepreneurship Accelerator is one of several programs that the Transgender District created since its founding in 2017 as the first legally recognized transgender district in the world. In the four years since it came into existence, the District has inspired transgender activists the world over, while developing initiatives that address many of the unique forms of discrimination and oppression that transgender San Franciscans face.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The District’s location in San Francisco’s Tenderloin was chosen both because of the area’s current population of underserved Black trans people and for its historic significance to the community. As transgender historian Susan Stryker recounted in her book \u003cem>Transgender History\u003c/em>, gender-diverse San Franciscans have made their home in the Tenderloin since the early 20th century. In August 1966, tensions in the community reached a tipping point when the neighborhood saw a massive riot between transgender people and the police, with enormous implications. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The chaos sparked when a police officer aggressively manhandled a trans woman patron at Compton’s Cafeteria, which was a known gathering place for LGBT people with few options for community. The riot was a culmination of years of gentrification and marginalization against the LGBT population in the Tenderloin. This ongoing oppression became much more acute throughout the summer of 1966 as the management of Compton’s Cafeteria took to harassing its trans clientele. One weekend in August (nobody knows exactly which one), the trans community snapped back against this bullying, engaging in street fights with police and unleashing general havoc throughout the neighborhood.\u003c/p>\n\u003cp>The riot occurred during a wave of trans empowerment in the 1960s, as more doctors began to recognize the existence of transgender people, and medical treatment for gender dysphoria became available for the first time in the U.S. That makes it a key event in the battle for trans liberation that continues to this day. The riot’s continuing relevance is evident when one considers that the abuses Compton’s patrons fought back against—among them police brutality and economic marginalization—continue to beset San Francisco’s transgender community today.\u003c/p>\n\u003cfigure id=\"attachment_13901458\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901458\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/010_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/010_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/010_SanFrancisco_TransgenderDistrictStaff_07292021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/010_SanFrancisco_TransgenderDistrictStaff_07292021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/010_SanFrancisco_TransgenderDistrictStaff_07292021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/010_SanFrancisco_TransgenderDistrictStaff_07292021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/010_SanFrancisco_TransgenderDistrictStaff_07292021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juniper Yun is the Transgender District’s director of cultural affairs. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Transgender District’s mission is both to honor this rich cultural history while empowering those currently living there. For Juniper Yun, director of cultural affairs for the District, this means changing the fact that, historically, transgender individuals have been prevented from recognizing and supporting one another due to intense stigma. “There’s been less chance for our community to create generational wealth, or community spaces,” she tells me. “The District has to do that work from the ground up.”\u003c/p>\n\u003cp>Creating such spaces can be as simple as painting the transgender flag on the District’s light poles, and it can be as complicated as creating a trans business corridor in the Tenderloin. The Entrepreneurship Accelerator program is part of the District’s push to bring in businesses owned by trans people and promote trans culture, just as other San Francisco neighborhoods are associated with other ethnic or LGBT cultures. “It’s important to work in a way that’s anti-gentrification,” Yun says. “We want to give space and resources to the people who would normally be marginalized.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp> second issue that the District is focusing on is another longstanding flashpoint for the transgender community: housing discrimination. Jupiter Peraza, the District’s director of social justice and empowerment initiatives, manages the Housing Opportunity for Transgender Tenants program, which seeks to educate landlords, create welcoming spaces for trans tenants, and provide 50% of rent for program participants. “We’re seeing gentrification change the landscape of the city,” she tells me. “With people being displaced, forced to leave a place that has been their home for decades, the fabric of the neighborhood is changing.”\u003c/p>\n\u003cfigure id=\"attachment_13901459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901459\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/003_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/003_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/003_SanFrancisco_TransgenderDistrictStaff_07292021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/003_SanFrancisco_TransgenderDistrictStaff_07292021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/003_SanFrancisco_TransgenderDistrictStaff_07292021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/003_SanFrancisco_TransgenderDistrictStaff_07292021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/003_SanFrancisco_TransgenderDistrictStaff_07292021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jupiter Peraza is the Transgender District’s director of social justice and empowerment initiatives. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Creating all of these programs has not been easy. After Black trans women Aria Sa’id, Janetta Johnson and Honey Mahogany won legal recognition of the District in 2017, there was no blueprint for how to move forward. “It’s required a lot of tenacity,” says Sean Greene, the District’s vice president of strategic partnerships and deputy director. “We really wanted to make this happen. We’ve understood that we have had a lot of eyes on us.”\u003c/p>\n\u003cp>Those eyes have come from all over the world. The District has fielded press from France, England and Canada, and it has partnered to export its ideas for supporting trans communities to other U.S. cities, including Atlanta, Austin, New York, Philly and Baltimore.\u003c/p>\n\u003cfigure id=\"attachment_13901462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/028_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/028_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/028_SanFrancisco_TransgenderDistrictStaff_07292021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/028_SanFrancisco_TransgenderDistrictStaff_07292021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/028_SanFrancisco_TransgenderDistrictStaff_07292021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/028_SanFrancisco_TransgenderDistrictStaff_07292021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/028_SanFrancisco_TransgenderDistrictStaff_07292021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aria Sa’id co-founded San Francisco’s Transgender District and serves as its president and chief strategist. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along the way, Greene and his colleagues have dealt with misunderstandings and patronizing reactions. “We’ve encountered condescension around the fact that we are led by a Black trans woman,” says Greene. In the beginning, funding was hard to come by, as many institutions required a track record of success in order to secure grants. By necessity, the District has had to work in terms of what it could accomplish with available resources, snowballing its way to bigger and bigger projects.\u003c/p>\n\u003cp>A big moment occurred during the massive protests following the deaths of George Floyd and Breonna Taylor last summer: donors began to create funds specifically for Black-led organizations, and individual donations came rushing in. Overall, the District’s development has required a lot of imagination and flexibility. “We’ve taken risks because we knew there wasn’t a blueprint to model ourselves on,” said Greene, “so we leapt with both feet forward, being run by the community for the community.”\u003c/p>\n\u003cfigure id=\"attachment_13901460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901460\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/002_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/002_SanFrancisco_TransgenderDistrictStaff_07292021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/002_SanFrancisco_TransgenderDistrictStaff_07292021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/002_SanFrancisco_TransgenderDistrictStaff_07292021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/002_SanFrancisco_TransgenderDistrictStaff_07292021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/002_SanFrancisco_TransgenderDistrictStaff_07292021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/002_SanFrancisco_TransgenderDistrictStaff_07292021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juniper Yun, Ivory Smith, Jupiter Peraza and Ernie Tovar pose in front of Aunt Charlie’s, an iconic LGBTQ+ bar in the Tenderloin. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the District is guided by a dedication to truly care for its community. Greene explained how new tenants in its housing program are each given care packages because it’s essential to create a welcoming environment. Peraza struck a similar note, explaining that the housing program “aspires to help members of our community feel good about where they live. We want them to feel inspired, to have a foundation for a life where you’re aware of your potential and how bright your future can be.”\u003c/p>\n\u003cp>For Stevens, that brighter future is becoming a reality. After well over a year of hard work, Snatched by Simone recently launched, and orders have begun coming in. “Watching the analytics brings me a little joy,” she remarks. “I want to be up there with Spanx, Kim Kardashian, I want to be right up there with them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those dreams are now closer to being realized thanks to Stevens’ hard work, along with the power of support from her trans community.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few years ago, the Chicago composer Angel Bat Dawid began recording pieces of music using her phone’s built-in memo function. Those home recordings, featuring her multitracked voice, keyboards and clarinet, became \u003cem>The Oracle\u003c/em>, an album almost frightening in its intimacy. The atmosphere picked up by the small microphone on Dawid’s phone gave the album a lo-fi yet close personal ambiance, as if eavesdropping on someone’s private moments. \u003c/p>\n\u003cp>[aside hero='https://media.npr.org/assets/img/2021/04/05/photo-by-rhizomes-films-6-9daf387924c35e86e4ab1f32b90e5faa338cb99d-s800-c85.webp' link1='https://www.npr.org/2021/04/05/984421378/play-it-forward-angel-bat-dawid-knows-how-to-deliver-emotion-through-song,NPR: Angel Bat Dawid Knows How To Deliver Emotion Through Song' target=\"_blank\"]Dawid returned the next year with a live recording featuring her band, The Brotherhood, and the tone is demonstrably different; it opens with a loud exploration of Sun Ra’s “Enlightenment,” with horns and drums on full blast. And yet the album’s most mesmerizing moments remain two slow, intimate songs from \u003cem>The Oracle\u003c/em>, both pedal-point evocations of Blackness: “\u003ca href=\"https://www.youtube.com/watch?v=tfOCJy0ZthU\" rel=\"noopener noreferrer\" target=\"_blank\">What Shall I Tell My Children Who Are Black\u003c/a>” and the afrofuturist mantra “\u003ca href=\"https://www.youtube.com/watch?v=XlzdrPkbNbw\" rel=\"noopener noreferrer\" target=\"_blank\">We Are Starzz\u003c/a>.” \u003c/p>\n\u003cp>At Saturday’s show in San Francisco, Dawid performs solo, bringing along material from her recent \u003cem>Hush Harbor Mixtape Vol. 1 Doxology\u003c/em>, a series of songs dedicated to Escrava Anastacia, the enslaved African woman venerated as a saint in Brazil. It’s a rare chance to see a star of Chicago’s new jazz avant-garde on the West Coast, and it’s sure to be unforgettable. \u003c/p>\n\u003cp>\u003cem>Angel Bat Dawid performs Saturday, Aug. 14, at the Lab in San Francisco. \u003ca href=\"https://www.thelab.org/projects/2021/8/14/angel-bat-dawid\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few years ago, the Chicago composer Angel Bat Dawid began recording pieces of music using her phone’s built-in memo function. Those home recordings, featuring her multitracked voice, keyboards and clarinet, became \u003cem>The Oracle\u003c/em>, an album almost frightening in its intimacy. The atmosphere picked up by the small microphone on Dawid’s phone gave the album a lo-fi yet close personal ambiance, as if eavesdropping on someone’s private moments. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Dawid returned the next year with a live recording featuring her band, The Brotherhood, and the tone is demonstrably different; it opens with a loud exploration of Sun Ra’s “Enlightenment,” with horns and drums on full blast. And yet the album’s most mesmerizing moments remain two slow, intimate songs from \u003cem>The Oracle\u003c/em>, both pedal-point evocations of Blackness: “\u003ca href=\"https://www.youtube.com/watch?v=tfOCJy0ZthU\" rel=\"noopener noreferrer\" target=\"_blank\">What Shall I Tell My Children Who Are Black\u003c/a>” and the afrofuturist mantra “\u003ca href=\"https://www.youtube.com/watch?v=XlzdrPkbNbw\" rel=\"noopener noreferrer\" target=\"_blank\">We Are Starzz\u003c/a>.” \u003c/p>\n\u003cp>At Saturday’s show in San Francisco, Dawid performs solo, bringing along material from her recent \u003cem>Hush Harbor Mixtape Vol. 1 Doxology\u003c/em>, a series of songs dedicated to Escrava Anastacia, the enslaved African woman venerated as a saint in Brazil. It’s a rare chance to see a star of Chicago’s new jazz avant-garde on the West Coast, and it’s sure to be unforgettable. \u003c/p>\n\u003cp>\u003cem>Angel Bat Dawid performs Saturday, Aug. 14, at the Lab in San Francisco. \u003ca href=\"https://www.thelab.org/projects/2021/8/14/angel-bat-dawid\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In the Tenderloin, PianoFight Plans Simultaneous Caution, Expansion",
"headTitle": "In the Tenderloin, PianoFight Plans Simultaneous Caution, Expansion | KQED",
"content": "\u003cp>If there’s one thing that the past year and a half has taught arts organizations, it’s that maximum flexibility will be a key component of producing events for months, perhaps years, to come.\u003c/p>\n\u003cp>Take, for example, PianoFight, the hybrid performing arts space/restaurant/bar located on Taylor Street in San Francisco’s Tenderloin district. After months of planning a highly anticipated welcome-back series of performances by favorite resident acts such as the San Francisco Neo-Futurists, Awesome Theatre, Chardonnay, Killing My Lobster, and jazz pianist Max Chanowitz, PianoFight was forced to pull the plug the day before the show opened, after multiple people tested positive for COVID-19 following a private party held in the space.\u003c/p>\n\u003cp>“We don’t feel like we have protocols that can protect peoples’ health well enough,” PianoFight co-founder Rob Ready says about the last-minute cancellation. Despite requiring proof of vaccination from all patrons and staff, assigning “pod” seating, and enforcing a limited capacity, PianoFight has discovered—as other venues would be wise to note—that there may not yet be a risk-free option for indoor performance.\u003c/p>\n\u003cp>It’s not a decision any company wants to have to admit. But it’s likely to be a familiar one in the coming months.\u003c/p>\n\u003cfigure id=\"attachment_13900297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/PianoFightSF_AfterHours_PhotoCredit_DuncanWold-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_AfterHours_PhotoCredit_DuncanWold-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_AfterHours_PhotoCredit_DuncanWold-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_AfterHours_PhotoCredit_DuncanWold-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_AfterHours_PhotoCredit_DuncanWold-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_AfterHours_PhotoCredit_DuncanWold-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_AfterHours_PhotoCredit_DuncanWold-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_AfterHours_PhotoCredit_DuncanWold.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An empty PianoFight bar in SF awaits the return of in-person performances. \u003ccite>(Duncan Wold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Expanding to Oakland\u003c/h2>\n\u003cp>Despite the myriad challenges of operating a performing arts venue during a pandemic, PianoFight has not only weathered the financial storms of running one venue—they’ve actually expanded.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When shutdowns arrived in March of 2020, Pianofight had already been in negotiations to take over the lease of Oakland venue the Flight Deck. Founded and operated by Ragged Wing in 2014, the Flight Deck has been an artistic home and host for numerous East Bay companies in an area short on black box theaters but large in talent. When Ragged Wing announced in late 2019 an intention to give up the lease, Ready immediately forwarded the announcement to his business partners, and they threw their collective hat into the ring of contenders. It was the beginning of what Ready describes as “a long process”—even before the pandemic made the process even longer.\u003c/p>\n\u003cp>A couple of financial assists made their proposal viable—even though, as a for-profit LLC, PianoFight was “once again signing our personal names to some very heavy documents,” a daunting detail during a protracted shutdown without a clear ending. The first was a successful fundraising campaign at the beginning of the pandemic that garnered over $100,000, money that helped their San Francisco space survive, particularly before they were able to receive federal and city assistance. The second was being able to garner grant funding—through the fiscal sponsorship of Independent Arts & Media—enough to pay for their first year of operating in Oakland.\u003c/p>\n\u003cp>By early June in 2020, the lease was theirs. The venue was still shut to public performance, but thanks to substantial support from Ragged Wing, PianoFight was able to immediately open the lobby during the height of the George Floyd demonstrations—part of a nationwide movement of arts venues offering refuge and essentials to protesters.\u003c/p>\n\u003cfigure id=\"attachment_13900295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/PianoFightOakland_NewSign_Staff_PhotoCredit_RobReady-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightOakland_NewSign_Staff_PhotoCredit_RobReady-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightOakland_NewSign_Staff_PhotoCredit_RobReady-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightOakland_NewSign_Staff_PhotoCredit_RobReady-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightOakland_NewSign_Staff_PhotoCredit_RobReady-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightOakland_NewSign_Staff_PhotoCredit_RobReady-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightOakland_NewSign_Staff_PhotoCredit_RobReady-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightOakland_NewSign_Staff_PhotoCredit_RobReady.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Entrance to PianoFight Oakland and staff. \u003ccite>(Rob Ready)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since that time, PianoFight Oakland, like San Francisco, has been mostly closed. Recently, a few community organizations and companies have staged work there in limited capacities—including the \u003ca href=\"https://fippp.org\">Formerly Incarcerated Peoples Performance Project\u003c/a> and \u003ca href=\"https://www.alloutcomedytheater.com\">All Out Comedy Theater\u003c/a>. And while Ready promises that a grand opening bash is in the works, the first priority is to get PianoFight in San Francisco back up and running.\u003c/p>\n\u003cp>Which, ostensibly, was to happen this past weekend. Until it wasn’t.\u003c/p>\n\u003ch2>A Cautious Reopening Plan\u003c/h2>\n\u003cp>With the Delta variant spreading, venues around the Bay Area and the country now face similar decisions and contingency plans as they dance towards the tantalizing prospect of fully reopening. Focused for the past 16-plus months on sheer survival, they must now weigh the continuously shifting public health protocols put in place by their respective cities, counties, states, and unions, while also taking into account the comfort levels and safety of their resident artists and audiences. Should masks be required for all audience and staff? Proof of vaccination? Socially-distanced seating options? What does enforcement look like? But also, how would it look and feel to throw open the doors and welcome people back into the communal spaces that they’ve been missing, while still mitigating the risks of indoor gathering?\u003c/p>\n\u003cfigure id=\"attachment_13900296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900296\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doesn’t this Space Prom at PianoFight SF look like fun? \u003ccite>(Courtesy of PianoFight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, plans have to be made, even if they wind up changing. That’s why PianoFight—along with a cohort of around 30 fellow members of the Independent Venue Alliance and the San Francisco Venue Coalition—are planning a joint festival for the Fall they’re tentatively calling “SF Rising: Get Up to Get Down.” Participating venues will range in size and scope from the Bill Graham Civic Auditorium to Amado’s—a rare collaborative effort borne in part from their work over the course of the pandemic \u003ca href=\"https://www.kqed.org/arts/13892620/san-franciscos-music-and-entertainment-venue-recovery-fund-is-now-official\">organizing on behalf of their shuttered industry\u003c/a> for government funds.\u003c/p>\n\u003cp>For Ready, personally, what will make the long and unpredictable path towards reopening worthwhile? The moment he gets to go onstage at PianoFight on Taylor Street, he says, and welcome everyone back into the room, in person.\u003c/p>\n\u003cp>“I’m a performer at heart,” Ready confesses. “(So) I really keep imagining that moment… I don’t know what is going to happen after that. But I just know, in that moment, on that first step, it’s gonna feel real real good.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Watch for updates on PianoFight’s reopening and “SF Rising: Get Up to Get Down” \u003ca href=\"https://www.pianofight.com\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As performing arts venues struggle to reopen to the public, PianoFight is both a model and a cautionary tale.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s one thing that the past year and a half has taught arts organizations, it’s that maximum flexibility will be a key component of producing events for months, perhaps years, to come.\u003c/p>\n\u003cp>Take, for example, PianoFight, the hybrid performing arts space/restaurant/bar located on Taylor Street in San Francisco’s Tenderloin district. After months of planning a highly anticipated welcome-back series of performances by favorite resident acts such as the San Francisco Neo-Futurists, Awesome Theatre, Chardonnay, Killing My Lobster, and jazz pianist Max Chanowitz, PianoFight was forced to pull the plug the day before the show opened, after multiple people tested positive for COVID-19 following a private party held in the space.\u003c/p>\n\u003cp>“We don’t feel like we have protocols that can protect peoples’ health well enough,” PianoFight co-founder Rob Ready says about the last-minute cancellation. Despite requiring proof of vaccination from all patrons and staff, assigning “pod” seating, and enforcing a limited capacity, PianoFight has discovered—as other venues would be wise to note—that there may not yet be a risk-free option for indoor performance.\u003c/p>\n\u003cp>It’s not a decision any company wants to have to admit. But it’s likely to be a familiar one in the coming months.\u003c/p>\n\u003cfigure id=\"attachment_13900297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/PianoFightSF_AfterHours_PhotoCredit_DuncanWold-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_AfterHours_PhotoCredit_DuncanWold-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_AfterHours_PhotoCredit_DuncanWold-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_AfterHours_PhotoCredit_DuncanWold-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_AfterHours_PhotoCredit_DuncanWold-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_AfterHours_PhotoCredit_DuncanWold-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_AfterHours_PhotoCredit_DuncanWold-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_AfterHours_PhotoCredit_DuncanWold.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An empty PianoFight bar in SF awaits the return of in-person performances. \u003ccite>(Duncan Wold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Expanding to Oakland\u003c/h2>\n\u003cp>Despite the myriad challenges of operating a performing arts venue during a pandemic, PianoFight has not only weathered the financial storms of running one venue—they’ve actually expanded.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When shutdowns arrived in March of 2020, Pianofight had already been in negotiations to take over the lease of Oakland venue the Flight Deck. Founded and operated by Ragged Wing in 2014, the Flight Deck has been an artistic home and host for numerous East Bay companies in an area short on black box theaters but large in talent. When Ragged Wing announced in late 2019 an intention to give up the lease, Ready immediately forwarded the announcement to his business partners, and they threw their collective hat into the ring of contenders. It was the beginning of what Ready describes as “a long process”—even before the pandemic made the process even longer.\u003c/p>\n\u003cp>A couple of financial assists made their proposal viable—even though, as a for-profit LLC, PianoFight was “once again signing our personal names to some very heavy documents,” a daunting detail during a protracted shutdown without a clear ending. The first was a successful fundraising campaign at the beginning of the pandemic that garnered over $100,000, money that helped their San Francisco space survive, particularly before they were able to receive federal and city assistance. The second was being able to garner grant funding—through the fiscal sponsorship of Independent Arts & Media—enough to pay for their first year of operating in Oakland.\u003c/p>\n\u003cp>By early June in 2020, the lease was theirs. The venue was still shut to public performance, but thanks to substantial support from Ragged Wing, PianoFight was able to immediately open the lobby during the height of the George Floyd demonstrations—part of a nationwide movement of arts venues offering refuge and essentials to protesters.\u003c/p>\n\u003cfigure id=\"attachment_13900295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/PianoFightOakland_NewSign_Staff_PhotoCredit_RobReady-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightOakland_NewSign_Staff_PhotoCredit_RobReady-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightOakland_NewSign_Staff_PhotoCredit_RobReady-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightOakland_NewSign_Staff_PhotoCredit_RobReady-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightOakland_NewSign_Staff_PhotoCredit_RobReady-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightOakland_NewSign_Staff_PhotoCredit_RobReady-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightOakland_NewSign_Staff_PhotoCredit_RobReady-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightOakland_NewSign_Staff_PhotoCredit_RobReady.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Entrance to PianoFight Oakland and staff. \u003ccite>(Rob Ready)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since that time, PianoFight Oakland, like San Francisco, has been mostly closed. Recently, a few community organizations and companies have staged work there in limited capacities—including the \u003ca href=\"https://fippp.org\">Formerly Incarcerated Peoples Performance Project\u003c/a> and \u003ca href=\"https://www.alloutcomedytheater.com\">All Out Comedy Theater\u003c/a>. And while Ready promises that a grand opening bash is in the works, the first priority is to get PianoFight in San Francisco back up and running.\u003c/p>\n\u003cp>Which, ostensibly, was to happen this past weekend. Until it wasn’t.\u003c/p>\n\u003ch2>A Cautious Reopening Plan\u003c/h2>\n\u003cp>With the Delta variant spreading, venues around the Bay Area and the country now face similar decisions and contingency plans as they dance towards the tantalizing prospect of fully reopening. Focused for the past 16-plus months on sheer survival, they must now weigh the continuously shifting public health protocols put in place by their respective cities, counties, states, and unions, while also taking into account the comfort levels and safety of their resident artists and audiences. Should masks be required for all audience and staff? Proof of vaccination? Socially-distanced seating options? What does enforcement look like? But also, how would it look and feel to throw open the doors and welcome people back into the communal spaces that they’ve been missing, while still mitigating the risks of indoor gathering?\u003c/p>\n\u003cfigure id=\"attachment_13900296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900296\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/PianoFightSF_spaceprom_PhotoCredit_PianoFight.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doesn’t this Space Prom at PianoFight SF look like fun? \u003ccite>(Courtesy of PianoFight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, plans have to be made, even if they wind up changing. That’s why PianoFight—along with a cohort of around 30 fellow members of the Independent Venue Alliance and the San Francisco Venue Coalition—are planning a joint festival for the Fall they’re tentatively calling “SF Rising: Get Up to Get Down.” Participating venues will range in size and scope from the Bill Graham Civic Auditorium to Amado’s—a rare collaborative effort borne in part from their work over the course of the pandemic \u003ca href=\"https://www.kqed.org/arts/13892620/san-franciscos-music-and-entertainment-venue-recovery-fund-is-now-official\">organizing on behalf of their shuttered industry\u003c/a> for government funds.\u003c/p>\n\u003cp>For Ready, personally, what will make the long and unpredictable path towards reopening worthwhile? The moment he gets to go onstage at PianoFight on Taylor Street, he says, and welcome everyone back into the room, in person.\u003c/p>\n\u003cp>“I’m a performer at heart,” Ready confesses. “(So) I really keep imagining that moment… I don’t know what is going to happen after that. But I just know, in that moment, on that first step, it’s gonna feel real real good.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Watch for updates on PianoFight’s reopening and “SF Rising: Get Up to Get Down” \u003ca href=\"https://www.pianofight.com\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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