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"slug": "for-unhoused-lgbtq-youth-in-san-francisco-a-spare-room-becomes-a-lifeline",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“E\u003c/span>very single day, Pendarvis, we get emails from young people, we get referrals, we get people that walk-in, all looking for housing,” Karessa Irvin, the Program Manager at the San Francisco LGBT Center stresses to me over the phone. “But unfortunately we’re not always able to meet their need because of the lack of available hosts right now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" class=\"alignright size-thumbnail wp-image-13833985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Irvin is the head of the Center’s \u003ca href=\"https://www.sfcenter.org/host-homes/\" target=\"_blank\" rel=\"noopener noreferrer\">Host Homes program\u003c/a>, an initiative aimed at curbing homelessness by pairing people age 18-24 who don’t have stable housing and identify as LGBTQ with hosts who have vacant room in their houses.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> The program originally started in the UK over three decades ago, and is currently operating in cities around the United States, including Los Angeles, San Jose and Sacramento. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But\u003c/span>\u003cspan style=\"font-weight: 400\"> in San Francisco, where the federally funded program was implemented in 2019, the program takes on some unique circumstances, given the cost of living and price of housing. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nationally, it’s been estimated that up to \u003ca href=\"https://lesley.edu/article/the-cost-of-coming-out-lgbt-youth-homelessness\" rel=\"noopener noreferrer\" target=\"_blank\">40% of unsheltered people under the age of 25\u003c/a> identify as LGBT, and in San Francisco that count is nearly 50%, according to \u003ca href=\"https://hsh.sfgov.org/wp-content/uploads/2017/06/2017-SF-Youth-PIT-Report-FINAL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a 2017 report\u003c/a> from San Francisco’s Homeless Unique Youth Count and Survey.\u003c/p>\n\u003cp>The SF LGBT Center is one of about \u003ca href=\"https://sf.gov/information/transgender-housing\" target=\"_blank\" rel=\"noopener noreferrer\">a dozen organizations\u003c/a> listed on the City’s website working on the issue. And while elected officials and community groups have taken action, everyday residents can get involved with Host Homes and have some agency in the situation as well. \u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13899632\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899632\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Lynn1-800x533.jpeg\" alt=\"Lynn Painter, one of the hosts in the Host Homes program, stands in front of her house in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Lynn1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Lynn1-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Lynn1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Lynn1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Lynn1-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Lynn1-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Lynn1.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynne Painter, one of the hosts in the Host Homes program, stands in front of her house in San Francisco. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I f\u003cspan style=\"font-weight: 400\">ound out about the program through a \u003ca href=\"https://www.sfchronicle.com/bayarea/heatherknight/article/Would-you-take-in-a-homeless-person-San-14862291.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em> article\u003c/a>,” Lynne Painter tells me, adding that she\u003c/span>\u003cspan style=\"font-weight: 400\"> had also read about \u003ca href=\"https://www.kqed.org/news/11737198/overnight-parking-for-homeless-college-students-lawmakers-consider-it\">City College students sleeping in their cars\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It kind of broke my heart thinking about that,” says Painter, who recalled some of the “crazy places” she lived during college, including a soy bean farm in South Carolina. “I had been lucky finding things like that, and I just wanted to help someone else.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With no children or young people in her life, Painter opened up the doors of her two-bedroom condo to a young person who has since come and gone, and is now living stably in housing of their own.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The idea of the program isn’t to house them forever in our homes,” Painter says, matter-of-factly. “The idea of the program is to help them stabilize their situations.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even after they’re stable, they might come back, as Painter’s former resident did—to help Painter celebrate a birthday earlier this year. \u003c/span>\u003cspan style=\"font-weight: 400\">“I have new friends that are young people, and they didn’t have to worry about safety. It all worked out great,” says Painter.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13899805\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899805\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Eric-and-Ron2-800x533.jpeg\" alt=\"Ron (left) and Erik (right) hold each other, sitting on a couch in their home while posing for a photo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron2-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron2-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron2-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron2-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron (left) and Erik (right) hold each other, sitting on a couch in their home while posing for a photo. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“R\u003c/span>on and I, as a gay couple, had been thinking about starting a family,” Erik Green tells me during a chat a few weeks back. “And it’s a little more complicated for gay folks than it is for straight folks, or it can be, let’s say.”\u003c/p>\n\u003cp>So before taking that leap to adopt a child, Ron Frost and Erik Green thought it’d be wise to see how a family dynamic would play out in the short term—and, at the same time, utilize the extra space in their house and “\u003cspan style=\"font-weight: 400\">help a LGBT youth get grounded and have secure housing while they look for something more permanent,” says Green. \u003c/span>\u003c/p>\n\u003cp>They were the first hosts in the program to officially have a young person placed in their residence, and it happened just one month prior to 2020’s COVID-19 related shelter-in-place mandate came down from the state.\u003c/p>\n\u003cp>Their new resident moved in and instantly crashed, sleeping for almost 18 hours, Green recalls. He posed the rhetorical question: What’s a better sign of feeling safe than falling into a deep sleep?\u003c/p>\n\u003cp>“L\u003cspan style=\"font-weight: 400\">ater that week,” Frost says, “when they came out of the cave, we all sat down, we cooked together and had a meal.” The transition into being a functional household started with “figuring out who is who and what is what.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13899807\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Eric-and-Ron1-800x533.jpeg\" alt=\"Erik Green (left) and Ron Frost share a moment on the couch. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron1-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron1-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron1-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron1-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erik Green (left) and Ron Frost share a moment on the couch. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were hurdles, like the young person having to gather their stuff from all around town, including a beloved guitar. There were a few days, during the unnerving start of the pandemic, where the young resident had to stay with a close friend.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Also, Frost tells me, “because our youth is not a U.S. citizen, they’re on an eduction visa, and because there was no in-person class, there was there really big question of will they be able to stay in this country or will they be deported?”\u003c/span>\u003c/p>\n\u003cp>Luckily, Green, an educator at City College, connected the young person to the proper resources to get everything straightened out.\u003c/p>\n\u003cp>Throughout the stay their young resident was supported with gift cards from the SF LGBT Center and check-ins from a case manager. Green and Frost received support for their utilities and were engaged in meetings as well.\u003c/p>\n\u003cp>After the six-month period was up, the young person transitioned into a stable housing situation with a roommate who was immunocompromised, causing the young person to keep a distance from Green and Frost.\u003c/p>\n\u003cp>“W\u003cspan style=\"font-weight: 400\">e had a final dinner on Zoom,” Green tells me, mentioning that they still stay in contact to this day. “T\u003c/span>\u003cspan style=\"font-weight: 400\">hey keep saying, ‘When this is all over I’m going to have you over, I’m going to cook dinner for you, I’m going to show you my place.'”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Reflecting on their experience, Frost says, “It’s so easy, in San Francisco, to look out at all of the homeless population and feel a real sense of despair and helplessness.” But he says the program \u003c/span>\u003cspan style=\"font-weight: 400\">gave he and his partner a tangible way of helping one person, “and sometimes all you can do is help one other person.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Green dispels any notion of a savior mentality. But it reminds him of the parable about two people seeing thousands of starfish washed ashore, and one person picking one up and throwing it back into its ocean home. “Why are you bothering? It’s not going to make any difference, there’s so many,” the other person says.\u003c/span>\u003c/p>\n\u003cp>Green tells this story, before answering, “It’ll make a difference for \u003cem>that\u003c/em> one.”\u003c/p>\n\u003cfigure id=\"attachment_13899806\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899806\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Jay2-800x533.jpeg\" alt=\"Jay Young sitting on their skateboard on a park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Jay2-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Jay2-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Jay2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Jay2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Jay2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Jay2-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Jay2-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jay Young sits on their skateboard in a park in San Francisco. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hat one starfish is a young person like Jay Young.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When asked where they’d be without this program, Young tells me, “Probably back in a mental hospital.” And then they say, “Nah, for real, I don’t think I could’ve handled the pandemic nearly as well as I did.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Young’s hosts were \u003ca href=\"https://www.youtube.com/watch?v=77e7rVeYkUk\" target=\"_blank\" rel=\"noopener noreferrer\">Adam and Decima\u003c/a>, and their three children. After befriending the youngest one, Young says, the older kids eventually came around. \u003c/span>\u003cspan style=\"font-weight: 400\">“It’s a trip to think about,” says Young. “The whole year went by, and those were like my best friends.”\u003c/span>\u003c/p>\n\u003cp>Young says they spent time with Adam and Decima too, running errands, cooking or going to the park as a family. The experience overall gave Young a new perspective on what’s possible.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I just felt so stressed at the time I moved in,” says Young. “Just feeling like, how am I ever going to be financially ok? In San Francisco, how am I going to find good roommates? Find good anything? And take care of myself without getting super overwhelmed? And it ended up happening.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Young says they now live in a “cool queer house” in Oakland, and are better suited for change. “I’m not super overwhelmed the way I was before,” adds Young, who \u003c/span>\u003cspan style=\"font-weight: 400\">moved out the night of the oldest kid’s birthday dinner. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They had a shared celebration; Karessa Irvin and Young’s mother were even in attendance. “The biggest thing for me,” says Young, “was for the kids to understand that it’s a ‘goodbye,’ but it’s not like ‘Jay is gone.’ It’s just going to be different.”\u003c/span>\u003c/p>\n\u003cp>Karessa Irvin says more hosts are needed for Host Homes, and urges people who are interested in contributing to the effort to end homelessness to \u003ca href=\"https://www.eventbrite.com/e/host-homes-information-session-tickets-146666931741\" target=\"_blank\" rel=\"noopener noreferrer\">apply\u003c/a>. In doing the work of connecting resources, people and places, she tells me there’s a saying she often thinks about: “\u003cspan>Homelessness doesn’t start when people run out of money, it starts when people run out of relationships.” \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s only the second full year of the pilot program at the SF LGBT Center, and only three people have so far completed the process. But the program, and the stories of those involved, show all of the work and resources that it takes to make a difference: government funding, a community center that’s actually ingrained in the community, and individuals stepping up to make a change. All of that energy just throw one starfish back into the ocean. But it makes a big difference for that one starfish.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“E\u003c/span>very single day, Pendarvis, we get emails from young people, we get referrals, we get people that walk-in, all looking for housing,” Karessa Irvin, the Program Manager at the San Francisco LGBT Center stresses to me over the phone. “But unfortunately we’re not always able to meet their need because of the lack of available hosts right now.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" class=\"alignright size-thumbnail wp-image-13833985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Irvin is the head of the Center’s \u003ca href=\"https://www.sfcenter.org/host-homes/\" target=\"_blank\" rel=\"noopener noreferrer\">Host Homes program\u003c/a>, an initiative aimed at curbing homelessness by pairing people age 18-24 who don’t have stable housing and identify as LGBTQ with hosts who have vacant room in their houses.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> The program originally started in the UK over three decades ago, and is currently operating in cities around the United States, including Los Angeles, San Jose and Sacramento. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But\u003c/span>\u003cspan style=\"font-weight: 400\"> in San Francisco, where the federally funded program was implemented in 2019, the program takes on some unique circumstances, given the cost of living and price of housing. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nationally, it’s been estimated that up to \u003ca href=\"https://lesley.edu/article/the-cost-of-coming-out-lgbt-youth-homelessness\" rel=\"noopener noreferrer\" target=\"_blank\">40% of unsheltered people under the age of 25\u003c/a> identify as LGBT, and in San Francisco that count is nearly 50%, according to \u003ca href=\"https://hsh.sfgov.org/wp-content/uploads/2017/06/2017-SF-Youth-PIT-Report-FINAL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a 2017 report\u003c/a> from San Francisco’s Homeless Unique Youth Count and Survey.\u003c/p>\n\u003cp>The SF LGBT Center is one of about \u003ca href=\"https://sf.gov/information/transgender-housing\" target=\"_blank\" rel=\"noopener noreferrer\">a dozen organizations\u003c/a> listed on the City’s website working on the issue. And while elected officials and community groups have taken action, everyday residents can get involved with Host Homes and have some agency in the situation as well. \u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13899632\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899632\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Lynn1-800x533.jpeg\" alt=\"Lynn Painter, one of the hosts in the Host Homes program, stands in front of her house in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Lynn1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Lynn1-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Lynn1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Lynn1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Lynn1-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Lynn1-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Lynn1.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynne Painter, one of the hosts in the Host Homes program, stands in front of her house in San Francisco. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I f\u003cspan style=\"font-weight: 400\">ound out about the program through a \u003ca href=\"https://www.sfchronicle.com/bayarea/heatherknight/article/Would-you-take-in-a-homeless-person-San-14862291.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em> article\u003c/a>,” Lynne Painter tells me, adding that she\u003c/span>\u003cspan style=\"font-weight: 400\"> had also read about \u003ca href=\"https://www.kqed.org/news/11737198/overnight-parking-for-homeless-college-students-lawmakers-consider-it\">City College students sleeping in their cars\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It kind of broke my heart thinking about that,” says Painter, who recalled some of the “crazy places” she lived during college, including a soy bean farm in South Carolina. “I had been lucky finding things like that, and I just wanted to help someone else.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With no children or young people in her life, Painter opened up the doors of her two-bedroom condo to a young person who has since come and gone, and is now living stably in housing of their own.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The idea of the program isn’t to house them forever in our homes,” Painter says, matter-of-factly. “The idea of the program is to help them stabilize their situations.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even after they’re stable, they might come back, as Painter’s former resident did—to help Painter celebrate a birthday earlier this year. \u003c/span>\u003cspan style=\"font-weight: 400\">“I have new friends that are young people, and they didn’t have to worry about safety. It all worked out great,” says Painter.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13899805\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899805\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Eric-and-Ron2-800x533.jpeg\" alt=\"Ron (left) and Erik (right) hold each other, sitting on a couch in their home while posing for a photo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron2-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron2-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron2-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron2-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron (left) and Erik (right) hold each other, sitting on a couch in their home while posing for a photo. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“R\u003c/span>on and I, as a gay couple, had been thinking about starting a family,” Erik Green tells me during a chat a few weeks back. “And it’s a little more complicated for gay folks than it is for straight folks, or it can be, let’s say.”\u003c/p>\n\u003cp>So before taking that leap to adopt a child, Ron Frost and Erik Green thought it’d be wise to see how a family dynamic would play out in the short term—and, at the same time, utilize the extra space in their house and “\u003cspan style=\"font-weight: 400\">help a LGBT youth get grounded and have secure housing while they look for something more permanent,” says Green. \u003c/span>\u003c/p>\n\u003cp>They were the first hosts in the program to officially have a young person placed in their residence, and it happened just one month prior to 2020’s COVID-19 related shelter-in-place mandate came down from the state.\u003c/p>\n\u003cp>Their new resident moved in and instantly crashed, sleeping for almost 18 hours, Green recalls. He posed the rhetorical question: What’s a better sign of feeling safe than falling into a deep sleep?\u003c/p>\n\u003cp>“L\u003cspan style=\"font-weight: 400\">ater that week,” Frost says, “when they came out of the cave, we all sat down, we cooked together and had a meal.” The transition into being a functional household started with “figuring out who is who and what is what.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13899807\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Eric-and-Ron1-800x533.jpeg\" alt=\"Erik Green (left) and Ron Frost share a moment on the couch. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron1-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron1-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron1-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Eric-and-Ron1-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erik Green (left) and Ron Frost share a moment on the couch. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were hurdles, like the young person having to gather their stuff from all around town, including a beloved guitar. There were a few days, during the unnerving start of the pandemic, where the young resident had to stay with a close friend.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Also, Frost tells me, “because our youth is not a U.S. citizen, they’re on an eduction visa, and because there was no in-person class, there was there really big question of will they be able to stay in this country or will they be deported?”\u003c/span>\u003c/p>\n\u003cp>Luckily, Green, an educator at City College, connected the young person to the proper resources to get everything straightened out.\u003c/p>\n\u003cp>Throughout the stay their young resident was supported with gift cards from the SF LGBT Center and check-ins from a case manager. Green and Frost received support for their utilities and were engaged in meetings as well.\u003c/p>\n\u003cp>After the six-month period was up, the young person transitioned into a stable housing situation with a roommate who was immunocompromised, causing the young person to keep a distance from Green and Frost.\u003c/p>\n\u003cp>“W\u003cspan style=\"font-weight: 400\">e had a final dinner on Zoom,” Green tells me, mentioning that they still stay in contact to this day. “T\u003c/span>\u003cspan style=\"font-weight: 400\">hey keep saying, ‘When this is all over I’m going to have you over, I’m going to cook dinner for you, I’m going to show you my place.'”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Reflecting on their experience, Frost says, “It’s so easy, in San Francisco, to look out at all of the homeless population and feel a real sense of despair and helplessness.” But he says the program \u003c/span>\u003cspan style=\"font-weight: 400\">gave he and his partner a tangible way of helping one person, “and sometimes all you can do is help one other person.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Green dispels any notion of a savior mentality. But it reminds him of the parable about two people seeing thousands of starfish washed ashore, and one person picking one up and throwing it back into its ocean home. “Why are you bothering? It’s not going to make any difference, there’s so many,” the other person says.\u003c/span>\u003c/p>\n\u003cp>Green tells this story, before answering, “It’ll make a difference for \u003cem>that\u003c/em> one.”\u003c/p>\n\u003cfigure id=\"attachment_13899806\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899806\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Jay2-800x533.jpeg\" alt=\"Jay Young sitting on their skateboard on a park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Jay2-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Jay2-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Jay2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Jay2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Jay2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Jay2-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Jay2-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jay Young sits on their skateboard in a park in San Francisco. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hat one starfish is a young person like Jay Young.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When asked where they’d be without this program, Young tells me, “Probably back in a mental hospital.” And then they say, “Nah, for real, I don’t think I could’ve handled the pandemic nearly as well as I did.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Young’s hosts were \u003ca href=\"https://www.youtube.com/watch?v=77e7rVeYkUk\" target=\"_blank\" rel=\"noopener noreferrer\">Adam and Decima\u003c/a>, and their three children. After befriending the youngest one, Young says, the older kids eventually came around. \u003c/span>\u003cspan style=\"font-weight: 400\">“It’s a trip to think about,” says Young. “The whole year went by, and those were like my best friends.”\u003c/span>\u003c/p>\n\u003cp>Young says they spent time with Adam and Decima too, running errands, cooking or going to the park as a family. The experience overall gave Young a new perspective on what’s possible.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I just felt so stressed at the time I moved in,” says Young. “Just feeling like, how am I ever going to be financially ok? In San Francisco, how am I going to find good roommates? Find good anything? And take care of myself without getting super overwhelmed? And it ended up happening.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Young says they now live in a “cool queer house” in Oakland, and are better suited for change. “I’m not super overwhelmed the way I was before,” adds Young, who \u003c/span>\u003cspan style=\"font-weight: 400\">moved out the night of the oldest kid’s birthday dinner. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They had a shared celebration; Karessa Irvin and Young’s mother were even in attendance. “The biggest thing for me,” says Young, “was for the kids to understand that it’s a ‘goodbye,’ but it’s not like ‘Jay is gone.’ It’s just going to be different.”\u003c/span>\u003c/p>\n\u003cp>Karessa Irvin says more hosts are needed for Host Homes, and urges people who are interested in contributing to the effort to end homelessness to \u003ca href=\"https://www.eventbrite.com/e/host-homes-information-session-tickets-146666931741\" target=\"_blank\" rel=\"noopener noreferrer\">apply\u003c/a>. In doing the work of connecting resources, people and places, she tells me there’s a saying she often thinks about: “\u003cspan>Homelessness doesn’t start when people run out of money, it starts when people run out of relationships.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s only the second full year of the pilot program at the SF LGBT Center, and only three people have so far completed the process. But the program, and the stories of those involved, show all of the work and resources that it takes to make a difference: government funding, a community center that’s actually ingrained in the community, and individuals stepping up to make a change. All of that energy just throw one starfish back into the ocean. But it makes a big difference for that one starfish.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-1906-earthquake-survivor-who-fought-for-san-franciscos-homeless-population",
"title": "The 1906 Earthquake Survivor Who Fought For San Francisco’s Homeless Population",
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"headTitle": "The 1906 Earthquake Survivor Who Fought For San Francisco’s Homeless Population | KQED",
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"content": "\u003cp>On Nov. 3, 1906, San Francisco residents, still busy rebuilding the city after April’s earthquake and fire, were startled by a truly bizarre sight. It was a four-horse truck hauling a refugee “cottage” through the city streets, from Fillmore’s Jefferson Square Park all the way down to Ingleside. Hanging out of one of the structure’s windows was an agitated, gray-haired woman in her late forties clutching two placards. They read, “We demand a share of the Relief Fund,” and “We demand a distribution of food and supplies.”\u003c/p>\n\u003cp>The defiant protester in the window was Mary Kelly, a cleaning woman by trade whose family had been residing in a camp in Jefferson Square since they lost their home and worldly belongings in the earthquake. After months of surviving in cold, leaky tents with her invalid husband William, Kelly had begun squatting in the cottage—a small uninsulated shack with no sanitary provisions—out of sheer desperation. Heads of the city’s Relief Corporation—the organization set up to distribute supplies and donations to refugees—ordered Kelly’s removal on the truck after a month of her refusing to move out or pay rent. As they hauled her away, she is said to have shouted, “I’ll stay with this house if they take it to the end of the Earth!”\u003c/p>\n\u003cfigure id=\"attachment_13899282\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Mary-Kelly-Cottage-Protest-800x390.png\" alt=\"Mary Kelly, as seen in the 'San Francisco Call' newspaper on Nov. 4, 1906, after getting removed inside her temporary house, by city officials.\" width=\"800\" height=\"390\">\u003cfigcaption class=\"wp-caption-text\">Mary Kelly, as seen in the ‘San Francisco Call’ newspaper on Nov. 4, 1906, after getting removed inside her temporary house, by city officials.\u003c/figcaption>\u003c/figure>\n\u003cp>What was happening to Kelly was by no means standard practice for the Relief Corporation. It was an unusually harsh and public punishment doled out against an individual who had spent seven months loudly and persistently demanding dignity for those who lost their homes in the April 18 disaster. In that time, Kelly had transformed herself from a private, hard-working wife and mother into one of the most tenacious activists in the city. Her efforts made her a leader in her community, but a sharp thorn in the side of city officials and the Relief Corporation.\u003c/p>\n\u003cp>[aside postid='arts_13895374']Once delivered to Ingleside, for three whole days, Kelly stayed inside her cottage, “firmly roped to the truck,” the \u003cem>San Francisco Call\u003c/em> noted. She later reported that she was subjected to daily harassment and verbal abuse from Relief Corporation employees that would “turn the crowd of thugs in a tenderloin saloon, let alone a respectable woman.”\u003c/p>\n\u003cp>On her third day on the truck, the Relief Corporation roughly dismantled the cottage with Kelly still inside. “There seemed about ten men with axes and crowbars and hatchets getting on the roof and ripping off the shingles,” Kelly later wrote in a pamphlet titled \u003cem>Shame of the Relief\u003c/em>. This despite the fact that Kelly was, according to the \u003cem>San Francisco Call\u003c/em>, “worn and feeble” due to “a fast developing case of grip or pneumonia sapping her energy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had a perfect legal right to the cottage,” Kelly wrote in April 1908, “as it was built out of the money which had been sent here to San Francisco to rehabilitate the suffering and destitute refugees … The cottage was built on public ground, and it was not right to pay six dollars or any other sum per month for rent of these cottages.”\u003c/p>\n\u003cp>So what exactly had Kelly done that spurred the Relief Corporation into taking such cruel and unusual action towards her? It started almost immediately after the earthquake and fire.\u003c/p>\n\u003cfigure id=\"attachment_13898767\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-800x561.png\" alt=\"Earthquake refugees gather at Jefferson Square as smoke still billows from the 1906 fires.\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-768x538.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-1536x1077.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-1920x1346.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM.png 1980w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Earthquake refugees gather at Jefferson Square as smoke still billows from the 1906 fires. \u003ccite>(OpenSFHistory / wnp37.00042)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When city officials encouraged camp residents to leave the parks, she was one of the loudest objectors. The rents in San Francisco were inflated after the fire—they doubled in the unburned Western Addition, for example—and many locals had lost their places of work. The working poor simply couldn’t afford to move into new homes.\u003c/p>\n\u003cp>When city officials encouraged camp residents to leave the city for towns with cheaper rent, Kelly publicly spoke out about the financial impracticality of doing so. The money she would have to come up with for her own, and her family’s, daily commutes to San Francisco for work, were entirely unfeasible.\u003c/p>\n\u003cfigure id=\"attachment_13898764\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-800x567.png\" alt=\"The Jefferson Square camp, viewed north from Turk St.\" width=\"800\" height=\"567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-800x567.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-1020x723.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-768x544.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-1536x1089.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-1920x1361.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM.png 1984w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jefferson Square camp, viewed north from Turk St. \u003ccite>(OpenSFHistory / wnp59.00056)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon, Kelly was leading marches and making speeches on behalf of her community—in her words, a “steady, honest, hard-working class of people who never asked for charity from anyone and always paid their own way.” She demanded cash grants be distributed directly to the refugees. She publicly criticized camp administrators, city officials, and the Relief Corporation.\u003c/p>\n\u003cp>Kelly didn’t just go after the slow-moving bureaucracy that prevented the refugees from receiving their due, she went after the men at the head of the organizations. At one point, she accused “nearly every man that held any prominent position at the Relief Headquarters” of using relief money to buy expensive cars for their own personal use. At another, she led and made speeches in front of 3,000 protestors outside a banquet attended by city officials. “Let the whole world know,” their banners read, “that while we are starving, they are feasting.”\u003c/p>\n\u003cp>Kelly had no qualms about calling out these individuals and publicly portraying them as sniveling, self-serving cowards. Of the attendees at that particular banquet, Kelly later wrote, “Fearing that we might force an entrance and partake of their fine menu, they very quietly sneaked out of the back entrance of the hotel and rode away in their autos, not to again return to finish their banquet until after the poor, suffering refugees had returned to their cold and dreary tents.”\u003c/p>\n\u003cp>Though Mary’s delivery sometimes erred on the side of the dramatic, her keen sense of injustice was not without cause. Funds and provisions to assist earthquake survivors were woefully mishandled at times, and in ways that served to reinforce the pre-earthquake class structure. Financial assistance from the Relief Corporation, for example, was distributed on a tier system that benefited property owners, business owners and the well-connected first. The poorest, most hungry and least able to find work were often left to languish the longest.\u003c/p>\n\u003cfigure id=\"attachment_13898774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-800x504.png\" alt=\"Officers distributing flour near Moscone Playground (then Lobos Square).\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-800x504.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-1020x642.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-1536x967.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-1920x1209.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM.png 1988w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Officers distributing flour near Moscone Playground (then Lobos Square). \u003ccite>(OpenSFHistory / wnp15.1682)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One particularly egregious example of this occurred after the Relief Corporation attempted to sell some of the flour sent from Minneapolis to distribute to hungry refugees. When donors heard of the corporation’s intent to sell, they objected. The corporation responded by dumping multiple barrels of the flour into the Bay. This kind of spiteful mismanagement is what prompted Kelly, along with about a hundred other women, to storm the city’s main relief warehouse on July 6, 1906 and walk out with 2,000 pounds of flour. “The women declared that the flour had been sent here for them,” the \u003cem>San Francisco Chronicle\u003c/em> reported, “and they were going to take it.” The incident was characterized by the local press as a “riot” by “irate” women who “would not listen to reason.”\u003c/p>\n\u003cp>[aside postid='arts_13894842']The war between Kelly and city officials was granted a brief reprieve only after tragedy struck. In January 1907, two of Kelly’s daughters were tragically murdered by their sister’s husband. Joseph Rabley targeted the entire Kelly family after his wife, Mary Jr. left him after suffering beatings at home. After Rabley gunned down Elizabeth Kelly, 16, and Martha Krueger, 28, near the intersection of McAllister and Octavia, he turned the gun on himself, “tearing off the top of his skull,” the \u003ca href=\"https://chroniclingamerica.loc.gov/lccn/sn85066387/1907-01-07/ed-1/seq-1/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Call\u003c/em> reported\u003c/a>.\u003c/p>\n\u003cp>Just two months after they had paraded her through the streets and destroyed the cottage she claimed, the Relief Corporation finally granted Kelly and her husband a similar shelter at Dolores Park. The respite, born out of sympathy for the loss of Kelly’s daughters, lasted only eight months. That August, the city demanded refugees relocate their cottages out of the park. Unable to come up with the money to do so—on average, it cost $71 to move the structures—Kelly and her husband stayed put as long as they could. On Sept. 28, 1907, their cottage was torn down, leaving the couple to sleep entirely unsheltered.\u003c/p>\n\u003cfigure id=\"attachment_13898771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-800x786.png\" alt=\"A woman using a makeshift stove in the Jefferson Square refugee camp. City Hall's dome can be seen in the distance. \" width=\"800\" height=\"786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-800x786.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-1020x1003.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-160x157.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-768x755.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-1536x1510.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM.png 1644w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman using a makeshift stove in the Jefferson Square refugee camp. City Hall’s dome can be seen in the distance. \u003ccite>(OpenSFHistory/wnp37.01528)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s unknown how and when exactly Kelly’s war with the city ceased. But her own ending was not an unhappy one. On Oct. 18, 1911, the \u003cem>Chronicle\u003c/em> reported that Mary Isabella Kelly was among the first wave of women who registered to vote in California. She was, at that time, living at 47 Julia Street, near City Hall, and had not returned to cleaning houses. Rather, she now listed her occupation as “a nurse and labor unionist.”\u003c/p>\n\u003cp>In the end, Kelly’s tireless fighting for those who were left with the least in 1906 changed her life permanently. It politicized her, it made her a leader, and it taught city officials a thing or two about respect. In the latter half of her life, Kelly tirelessly demanded fairness and equality, and never backed down from a fight, even against people and organizations far more powerful than herself. She would have undoubtedly appreciated the description the \u003cem>Chronicle\u003c/em> once gave her. And it’s probably how we should remember her now: “The arch agitator of the refugees.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" style=\"font-style: italic;background-color: transparent\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"title": "The 1906 Earthquake Survivor Who Fought For San Francisco’s Homeless Population | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Nov. 3, 1906, San Francisco residents, still busy rebuilding the city after April’s earthquake and fire, were startled by a truly bizarre sight. It was a four-horse truck hauling a refugee “cottage” through the city streets, from Fillmore’s Jefferson Square Park all the way down to Ingleside. Hanging out of one of the structure’s windows was an agitated, gray-haired woman in her late forties clutching two placards. They read, “We demand a share of the Relief Fund,” and “We demand a distribution of food and supplies.”\u003c/p>\n\u003cp>The defiant protester in the window was Mary Kelly, a cleaning woman by trade whose family had been residing in a camp in Jefferson Square since they lost their home and worldly belongings in the earthquake. After months of surviving in cold, leaky tents with her invalid husband William, Kelly had begun squatting in the cottage—a small uninsulated shack with no sanitary provisions—out of sheer desperation. Heads of the city’s Relief Corporation—the organization set up to distribute supplies and donations to refugees—ordered Kelly’s removal on the truck after a month of her refusing to move out or pay rent. As they hauled her away, she is said to have shouted, “I’ll stay with this house if they take it to the end of the Earth!”\u003c/p>\n\u003cfigure id=\"attachment_13899282\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Mary-Kelly-Cottage-Protest-800x390.png\" alt=\"Mary Kelly, as seen in the 'San Francisco Call' newspaper on Nov. 4, 1906, after getting removed inside her temporary house, by city officials.\" width=\"800\" height=\"390\">\u003cfigcaption class=\"wp-caption-text\">Mary Kelly, as seen in the ‘San Francisco Call’ newspaper on Nov. 4, 1906, after getting removed inside her temporary house, by city officials.\u003c/figcaption>\u003c/figure>\n\u003cp>What was happening to Kelly was by no means standard practice for the Relief Corporation. It was an unusually harsh and public punishment doled out against an individual who had spent seven months loudly and persistently demanding dignity for those who lost their homes in the April 18 disaster. In that time, Kelly had transformed herself from a private, hard-working wife and mother into one of the most tenacious activists in the city. Her efforts made her a leader in her community, but a sharp thorn in the side of city officials and the Relief Corporation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Once delivered to Ingleside, for three whole days, Kelly stayed inside her cottage, “firmly roped to the truck,” the \u003cem>San Francisco Call\u003c/em> noted. She later reported that she was subjected to daily harassment and verbal abuse from Relief Corporation employees that would “turn the crowd of thugs in a tenderloin saloon, let alone a respectable woman.”\u003c/p>\n\u003cp>On her third day on the truck, the Relief Corporation roughly dismantled the cottage with Kelly still inside. “There seemed about ten men with axes and crowbars and hatchets getting on the roof and ripping off the shingles,” Kelly later wrote in a pamphlet titled \u003cem>Shame of the Relief\u003c/em>. This despite the fact that Kelly was, according to the \u003cem>San Francisco Call\u003c/em>, “worn and feeble” due to “a fast developing case of grip or pneumonia sapping her energy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had a perfect legal right to the cottage,” Kelly wrote in April 1908, “as it was built out of the money which had been sent here to San Francisco to rehabilitate the suffering and destitute refugees … The cottage was built on public ground, and it was not right to pay six dollars or any other sum per month for rent of these cottages.”\u003c/p>\n\u003cp>So what exactly had Kelly done that spurred the Relief Corporation into taking such cruel and unusual action towards her? It started almost immediately after the earthquake and fire.\u003c/p>\n\u003cfigure id=\"attachment_13898767\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-800x561.png\" alt=\"Earthquake refugees gather at Jefferson Square as smoke still billows from the 1906 fires.\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-768x538.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-1536x1077.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM-1920x1346.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.25.34-PM.png 1980w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Earthquake refugees gather at Jefferson Square as smoke still billows from the 1906 fires. \u003ccite>(OpenSFHistory / wnp37.00042)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When city officials encouraged camp residents to leave the parks, she was one of the loudest objectors. The rents in San Francisco were inflated after the fire—they doubled in the unburned Western Addition, for example—and many locals had lost their places of work. The working poor simply couldn’t afford to move into new homes.\u003c/p>\n\u003cp>When city officials encouraged camp residents to leave the city for towns with cheaper rent, Kelly publicly spoke out about the financial impracticality of doing so. The money she would have to come up with for her own, and her family’s, daily commutes to San Francisco for work, were entirely unfeasible.\u003c/p>\n\u003cfigure id=\"attachment_13898764\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-800x567.png\" alt=\"The Jefferson Square camp, viewed north from Turk St.\" width=\"800\" height=\"567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-800x567.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-1020x723.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-768x544.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-1536x1089.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM-1920x1361.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.16.41-PM.png 1984w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jefferson Square camp, viewed north from Turk St. \u003ccite>(OpenSFHistory / wnp59.00056)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon, Kelly was leading marches and making speeches on behalf of her community—in her words, a “steady, honest, hard-working class of people who never asked for charity from anyone and always paid their own way.” She demanded cash grants be distributed directly to the refugees. She publicly criticized camp administrators, city officials, and the Relief Corporation.\u003c/p>\n\u003cp>Kelly didn’t just go after the slow-moving bureaucracy that prevented the refugees from receiving their due, she went after the men at the head of the organizations. At one point, she accused “nearly every man that held any prominent position at the Relief Headquarters” of using relief money to buy expensive cars for their own personal use. At another, she led and made speeches in front of 3,000 protestors outside a banquet attended by city officials. “Let the whole world know,” their banners read, “that while we are starving, they are feasting.”\u003c/p>\n\u003cp>Kelly had no qualms about calling out these individuals and publicly portraying them as sniveling, self-serving cowards. Of the attendees at that particular banquet, Kelly later wrote, “Fearing that we might force an entrance and partake of their fine menu, they very quietly sneaked out of the back entrance of the hotel and rode away in their autos, not to again return to finish their banquet until after the poor, suffering refugees had returned to their cold and dreary tents.”\u003c/p>\n\u003cp>Though Mary’s delivery sometimes erred on the side of the dramatic, her keen sense of injustice was not without cause. Funds and provisions to assist earthquake survivors were woefully mishandled at times, and in ways that served to reinforce the pre-earthquake class structure. Financial assistance from the Relief Corporation, for example, was distributed on a tier system that benefited property owners, business owners and the well-connected first. The poorest, most hungry and least able to find work were often left to languish the longest.\u003c/p>\n\u003cfigure id=\"attachment_13898774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-800x504.png\" alt=\"Officers distributing flour near Moscone Playground (then Lobos Square).\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-800x504.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-1020x642.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-1536x967.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM-1920x1209.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.46.38-PM.png 1988w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Officers distributing flour near Moscone Playground (then Lobos Square). \u003ccite>(OpenSFHistory / wnp15.1682)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One particularly egregious example of this occurred after the Relief Corporation attempted to sell some of the flour sent from Minneapolis to distribute to hungry refugees. When donors heard of the corporation’s intent to sell, they objected. The corporation responded by dumping multiple barrels of the flour into the Bay. This kind of spiteful mismanagement is what prompted Kelly, along with about a hundred other women, to storm the city’s main relief warehouse on July 6, 1906 and walk out with 2,000 pounds of flour. “The women declared that the flour had been sent here for them,” the \u003cem>San Francisco Chronicle\u003c/em> reported, “and they were going to take it.” The incident was characterized by the local press as a “riot” by “irate” women who “would not listen to reason.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The war between Kelly and city officials was granted a brief reprieve only after tragedy struck. In January 1907, two of Kelly’s daughters were tragically murdered by their sister’s husband. Joseph Rabley targeted the entire Kelly family after his wife, Mary Jr. left him after suffering beatings at home. After Rabley gunned down Elizabeth Kelly, 16, and Martha Krueger, 28, near the intersection of McAllister and Octavia, he turned the gun on himself, “tearing off the top of his skull,” the \u003ca href=\"https://chroniclingamerica.loc.gov/lccn/sn85066387/1907-01-07/ed-1/seq-1/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Call\u003c/em> reported\u003c/a>.\u003c/p>\n\u003cp>Just two months after they had paraded her through the streets and destroyed the cottage she claimed, the Relief Corporation finally granted Kelly and her husband a similar shelter at Dolores Park. The respite, born out of sympathy for the loss of Kelly’s daughters, lasted only eight months. That August, the city demanded refugees relocate their cottages out of the park. Unable to come up with the money to do so—on average, it cost $71 to move the structures—Kelly and her husband stayed put as long as they could. On Sept. 28, 1907, their cottage was torn down, leaving the couple to sleep entirely unsheltered.\u003c/p>\n\u003cfigure id=\"attachment_13898771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-800x786.png\" alt=\"A woman using a makeshift stove in the Jefferson Square refugee camp. City Hall's dome can be seen in the distance. \" width=\"800\" height=\"786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-800x786.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-1020x1003.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-160x157.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-768x755.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM-1536x1510.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-11-at-12.33.32-PM.png 1644w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman using a makeshift stove in the Jefferson Square refugee camp. City Hall’s dome can be seen in the distance. \u003ccite>(OpenSFHistory/wnp37.01528)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s unknown how and when exactly Kelly’s war with the city ceased. But her own ending was not an unhappy one. On Oct. 18, 1911, the \u003cem>Chronicle\u003c/em> reported that Mary Isabella Kelly was among the first wave of women who registered to vote in California. She was, at that time, living at 47 Julia Street, near City Hall, and had not returned to cleaning houses. Rather, she now listed her occupation as “a nurse and labor unionist.”\u003c/p>\n\u003cp>In the end, Kelly’s tireless fighting for those who were left with the least in 1906 changed her life permanently. It politicized her, it made her a leader, and it taught city officials a thing or two about respect. In the latter half of her life, Kelly tirelessly demanded fairness and equality, and never backed down from a fight, even against people and organizations far more powerful than herself. She would have undoubtedly appreciated the description the \u003cem>Chronicle\u003c/em> once gave her. And it’s probably how we should remember her now: “The arch agitator of the refugees.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" style=\"font-style: italic;background-color: transparent\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Roll With Us: From the Only Girl to Only Skating with Girls",
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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=KQINC5106607389\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Marsha Howard grew up in the skateboarding mecca of San Francisco.\u003c/p>\n\u003cp>After getting her first board as a gift from St. Anthony’s Christmas donation program, she’s since skated with friends in front of the Ferry Building and bombed down the windy roads of Twin Peaks.\u003c/p>\n\u003cp>She’s also worked at Thrasher Magazine and been a skateboarding fashion model.\u003c/p>\n\u003cfigure id=\"attachment_13899352\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13899352 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/marsha5-scaled-e1624571790577-800x1067.jpg\" alt=\"Marsha Howard relaxes at a park, laying down and using her skateboard as a headrest.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/marsha5-scaled-e1624571790577-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/marsha5-scaled-e1624571790577-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/marsha5-scaled-e1624571790577-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/marsha5-scaled-e1624571790577-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/marsha5-scaled-e1624571790577-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/marsha5-scaled-e1624571790577-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/marsha5-scaled-e1624571790577.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marsha Howard relaxes at a park, laying down and using her skateboard as a headrest. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nowadays, she’s an educator who skates for exercise and mental health, while also using videos of her falling and getting back on her board to teach her elementary school students about perseverance.\u003c/p>\n\u003cp>This week, we talk to \u003ca href=\"https://www.instagram.com/marshaann_duh/\" target=\"_blank\" rel=\"noopener noreferrer\">Marsha Howard\u003c/a> about growing up skateboarding in this mecca, and how she navigated the ‘boys club’ by assembling a circle of non-male skaters around herself.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Omar Jones\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: So how did you get started? What was your first skateboarding experience like?\u003c/em>\u003c/p>\n\u003cp>Marsha: I wanted a bike really bad, I was like 13 or 14. I grew up in the city. My mom was a single mother. So we really didn’t have, like, money at all. We lived in shelters sometimes, we were very, very low on the socioeconomic scale.\u003c/p>\n\u003cp>Marsha: There used to be this thing where St. Anthony’s in San Francisco would have a bunch of toys that they would give to the kids at Christmas time and families could come wait in this super long line and get toys to re-gift to their kids.\u003c/p>\n\u003cp>Marsha: One of the things my mom got was a skateboard from that line. And I was like, I didn’t want a skateboard, I wanted a bike. But it was free. And my mom was like, ‘you gonna get what I give you.’\u003c/p>\n\u003cp>Marsha: I just started riding the skateboard around. At first I was just knee boarding it, on my knees, just pushing around, not looking cool at all. And then I made some friends at school. I was already into punk music, so I was already kind of associated with a lot of the white kids in my middle school.\u003c/p>\n\u003cp>Marsha: So when they saw I had a skateboard they’re like, ‘oh, you skateboard, cool, let’s do it, like you’re part of the crew.’ So I just started hanging out with a bunch of little white dudes at school. They were super nice. They would take me to the skate park.\u003c/p>\n\u003cp>\u003cem>Pen: So tell me, what was it like being one of the only girls around on a skateboard?\u003c/em>\u003c/p>\n\u003cp>Marsha: The only space for a woman in skateboarding back in my day was modeling.\u003c/p>\n\u003cp>Marsha: These were different times… exploiting women was, like, OK or acceptable back then. And I didn’t even realize I was being exploited because I was loving it. So it was fun for me, but I was the sexy model girl who would be at skate contests passing out stickers and swag.\u003c/p>\n\u003cp>Marsha: So I had a very small fan base within skateboarding, but it was mostly just horny boys that thought I was hot, it wasn’t anything like, “this girl rips!”\u003c/p>\n\u003cp>\u003cem>Pen: When you found other women to skate with… How did that experience differ from skating with boys?\u003c/em>\u003c/p>\n\u003cp>Marsha: I think the biggest difference was just like the vibe.\u003c/p>\n\u003cp>Marsha: When I started getting better around the boys, it was a little bit more competitive. And I could feel that vibe of, ‘OK, you’re, you’re mad that I’m getting this trick, so let me stop.’\u003c/p>\n\u003cp>Marsha: I felt like if I’m ripping too hard, they’re not going to want to hit me up to skate anymore, because it was like, ‘no, she’s showing me up and she’s a girl. Let’s not even hit her up.’ So sometimes I did feel like I should just chill and I would hang out and smoke weed or whatever because I didn’t want to make it weird or have anybody questioning their manhood. But ugh [laughs] with the girls, it’s like a whole different vibe. Nobody gives a shit if you’re skating good, if you’re skating bad… There is no skating good, skating bad.\u003c/p>\n\u003cp>Marsha: There’s a lot of collaboration. Everybody’s teaching each other, there’s a lot of learning from each other.\u003c/p>\n\u003cp>Marsha: So ever since I made my little group of friends – which isn’t really that little – it’s like a big group of like 30 women. [laughs] I am very adamant about not skating with boys to the point where my friends are annoyed at me for it. Like, I’ll ask them, ‘is there going to be a dude there? Is it a girl sesh?’ And if it’s not, I’m just not interested. Just because I went so long without having any girls and having to skate with all these boys and having them come kill my vibe sometimes, I’m just like, I don’t have to do that. I have 30 other girls that I can hit up if you’re skating with dudes today. It’s cool.\u003c/p>\n\u003cp>Marsha: Ladies only! [laughs] because I’ve been deprived!\u003c/p>\n\u003cp>\u003cem>Pen: Given what you had to go through to get there it makes sense.\u003c/em>\u003c/p>\n\u003cp>Marsha: I didn’t even mention all of the different ways that I’ve been like talked down to racially. There’s so many different things that have happened to me throughout my skateboarding career that just has caused me to move further and further away from the boys club and more towards ‘we need to empower more women to be excited about this sport,’ because there are a lot of girls that like it. They’re just scared because it’s not a very welcoming community in that sense when it comes to women.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- 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=KQINC5106607389\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Marsha Howard grew up in the skateboarding mecca of San Francisco.\u003c/p>\n\u003cp>After getting her first board as a gift from St. Anthony’s Christmas donation program, she’s since skated with friends in front of the Ferry Building and bombed down the windy roads of Twin Peaks.\u003c/p>\n\u003cp>She’s also worked at Thrasher Magazine and been a skateboarding fashion model.\u003c/p>\n\u003cfigure id=\"attachment_13899352\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13899352 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/marsha5-scaled-e1624571790577-800x1067.jpg\" alt=\"Marsha Howard relaxes at a park, laying down and using her skateboard as a headrest.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/marsha5-scaled-e1624571790577-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/marsha5-scaled-e1624571790577-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/marsha5-scaled-e1624571790577-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/marsha5-scaled-e1624571790577-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/marsha5-scaled-e1624571790577-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/marsha5-scaled-e1624571790577-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/marsha5-scaled-e1624571790577.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marsha Howard relaxes at a park, laying down and using her skateboard as a headrest. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nowadays, she’s an educator who skates for exercise and mental health, while also using videos of her falling and getting back on her board to teach her elementary school students about perseverance.\u003c/p>\n\u003cp>This week, we talk to \u003ca href=\"https://www.instagram.com/marshaann_duh/\" target=\"_blank\" rel=\"noopener noreferrer\">Marsha Howard\u003c/a> about growing up skateboarding in this mecca, and how she navigated the ‘boys club’ by assembling a circle of non-male skaters around herself.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Omar Jones\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: So how did you get started? What was your first skateboarding experience like?\u003c/em>\u003c/p>\n\u003cp>Marsha: I wanted a bike really bad, I was like 13 or 14. I grew up in the city. My mom was a single mother. So we really didn’t have, like, money at all. We lived in shelters sometimes, we were very, very low on the socioeconomic scale.\u003c/p>\n\u003cp>Marsha: There used to be this thing where St. Anthony’s in San Francisco would have a bunch of toys that they would give to the kids at Christmas time and families could come wait in this super long line and get toys to re-gift to their kids.\u003c/p>\n\u003cp>Marsha: One of the things my mom got was a skateboard from that line. And I was like, I didn’t want a skateboard, I wanted a bike. But it was free. And my mom was like, ‘you gonna get what I give you.’\u003c/p>\n\u003cp>Marsha: I just started riding the skateboard around. At first I was just knee boarding it, on my knees, just pushing around, not looking cool at all. And then I made some friends at school. I was already into punk music, so I was already kind of associated with a lot of the white kids in my middle school.\u003c/p>\n\u003cp>Marsha: So when they saw I had a skateboard they’re like, ‘oh, you skateboard, cool, let’s do it, like you’re part of the crew.’ So I just started hanging out with a bunch of little white dudes at school. They were super nice. They would take me to the skate park.\u003c/p>\n\u003cp>\u003cem>Pen: So tell me, what was it like being one of the only girls around on a skateboard?\u003c/em>\u003c/p>\n\u003cp>Marsha: The only space for a woman in skateboarding back in my day was modeling.\u003c/p>\n\u003cp>Marsha: These were different times… exploiting women was, like, OK or acceptable back then. And I didn’t even realize I was being exploited because I was loving it. So it was fun for me, but I was the sexy model girl who would be at skate contests passing out stickers and swag.\u003c/p>\n\u003cp>Marsha: So I had a very small fan base within skateboarding, but it was mostly just horny boys that thought I was hot, it wasn’t anything like, “this girl rips!”\u003c/p>\n\u003cp>\u003cem>Pen: When you found other women to skate with… How did that experience differ from skating with boys?\u003c/em>\u003c/p>\n\u003cp>Marsha: I think the biggest difference was just like the vibe.\u003c/p>\n\u003cp>Marsha: When I started getting better around the boys, it was a little bit more competitive. And I could feel that vibe of, ‘OK, you’re, you’re mad that I’m getting this trick, so let me stop.’\u003c/p>\n\u003cp>Marsha: I felt like if I’m ripping too hard, they’re not going to want to hit me up to skate anymore, because it was like, ‘no, she’s showing me up and she’s a girl. Let’s not even hit her up.’ So sometimes I did feel like I should just chill and I would hang out and smoke weed or whatever because I didn’t want to make it weird or have anybody questioning their manhood. But ugh [laughs] with the girls, it’s like a whole different vibe. Nobody gives a shit if you’re skating good, if you’re skating bad… There is no skating good, skating bad.\u003c/p>\n\u003cp>Marsha: There’s a lot of collaboration. Everybody’s teaching each other, there’s a lot of learning from each other.\u003c/p>\n\u003cp>Marsha: So ever since I made my little group of friends – which isn’t really that little – it’s like a big group of like 30 women. [laughs] I am very adamant about not skating with boys to the point where my friends are annoyed at me for it. Like, I’ll ask them, ‘is there going to be a dude there? Is it a girl sesh?’ And if it’s not, I’m just not interested. Just because I went so long without having any girls and having to skate with all these boys and having them come kill my vibe sometimes, I’m just like, I don’t have to do that. I have 30 other girls that I can hit up if you’re skating with dudes today. It’s cool.\u003c/p>\n\u003cp>Marsha: Ladies only! [laughs] because I’ve been deprived!\u003c/p>\n\u003cp>\u003cem>Pen: Given what you had to go through to get there it makes sense.\u003c/em>\u003c/p>\n\u003cp>Marsha: I didn’t even mention all of the different ways that I’ve been like talked down to racially. There’s so many different things that have happened to me throughout my skateboarding career that just has caused me to move further and further away from the boys club and more towards ‘we need to empower more women to be excited about this sport,’ because there are a lot of girls that like it. They’re just scared because it’s not a very welcoming community in that sense when it comes to women.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "i-went-to-yolo-the-nightclub-that-replaced-slims-so-you-dont-have-to",
"title": "I Went to YOLO—the Nightclub That Replaced Slim's—So You Don't Have To",
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"content": "\u003cp>Though it opened just this past weekend, people have been upset about new San Francisco nightclub \u003ca href=\"https://www.yolonightclub.com/\" target=\"_blank\" rel=\"noopener noreferrer\">YOLO\u003c/a> for months now. (Broke Ass Stuart referred to the club as a “\u003ca href=\"https://brokeassstuart.com/2020/08/13/slims-to-be-replaced-by-yolo-nightclub-douchefest/\" target=\"_blank\" rel=\"noopener noreferrer\">douchefest\u003c/a>” all the way back in August 2020.)\u003c/p>\n\u003cp>[aside postid='arts_13877225']For live music fans, the reality of YOLO’s opening was reason enough to be upset. Slim’s, a \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">live music institution in the city for over 30 years\u003c/a>, was being replaced by a dance club featuring DJs only. Then, it was discovered that the new owners were Peter Lin and Michael Hu, who own Sunnyvale’s \u003ca href=\"https://www.purenightclub408.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pure Nightclub\u003c/a>. And Pure is the kind of place where “\u003ca href=\"https://www.purenightclub408.com/dress-code-policy/\" target=\"_blank\" rel=\"noopener noreferrer\">sports, recreation [and] athletic attire\u003c/a>” are prohibited for club-goers, but female waitresses are required to wear\u003ca href=\"https://www.purenightclub408.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> lingerie\u003c/a>.\u003c/p>\n\u003cp>More recently, adding insult to injury was \u003ca href=\"https://www.instagram.com/yolonightclub/\" target=\"_blank\" rel=\"noopener noreferrer\">YOLO’s social media\u003c/a>. It didn’t start out great: a series of images focused mostly on objectifying women—\u003ca href=\"https://www.instagram.com/p/CNxwHyjDCQQ/\" target=\"_blank\" rel=\"noopener noreferrer\">disembodied legs\u003c/a> in stockings, faceless \u003ca href=\"https://www.instagram.com/p/COjGgKtDaZ6/\" target=\"_blank\" rel=\"noopener noreferrer\">bunny girls\u003c/a>, faceless \u003ca href=\"https://www.instagram.com/p/CPR2gnlD1tN/\" target=\"_blank\" rel=\"noopener noreferrer\">space girls\u003c/a>, faceless \u003ca href=\"https://www.instagram.com/p/CN21Pg9DpH2/\" target=\"_blank\" rel=\"noopener noreferrer\">side boob\u003c/a>. But then the club ramped things up with a motivational meme that told people to “Speak English” and “Spend Arab.” (One KQED Arts reader was alarmed enough to take a screenshot and send it to us.)\u003c/p>\n\u003cfigure id=\"attachment_13899098\" class=\"wp-caption alignnone\" style=\"max-width: 716px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-21-at-1.30.18-PM.png\" alt=\"YOLO posted this mess back in April, then deleted it a month later.\" width=\"716\" height=\"916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-21-at-1.30.18-PM.png 716w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-21-at-1.30.18-PM-160x205.png 160w\" sizes=\"(max-width: 716px) 100vw, 716px\">\u003cfigcaption class=\"wp-caption-text\">YOLO posted this mess back in April, then deleted it a month later. \u003ccite>(Debbie Doom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With all this in mind, I was fairly stunned on Friday night to drive past 333 11th Street at 10:45pm and see pandemonium outside the club. It was a lot, even for the first weekend after California’s \u003ca href=\"https://www.kqed.org/news/11868240/newsom-announces-plan-to-open-up-business-as-usual-in-california-by-june-15\" target=\"_blank\" rel=\"noopener noreferrer\">lifting of COVID restrictions\u003c/a>. There was a throng under the awning, and roped-off lines to both the left and right of the front door. People weren’t just casually trying out YOLO, I realized—they were willing to stand in very long lines to get in.\u003c/p>\n\u003cp>In a fit of masochistic madness, and after seeing a sea of YOLO hate on my Facebook feed, I decided to go the following night. I did so knowing full well that I’d have to go it alone (no one I know would agree to step foot in there), and that the experience might be a little emotionally wrenching. Slim’s wasn’t just a place where I saw a lot of great shows; it was a place where I had in fact worked for a couple of years, over a decade ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because of my general aversion to standing in lines, I got to YOLO two minutes after it opened. To the right of the door was the line for VIPs—people who had paid in advance for tables. I joined the line on the left for RSVPs and guest list. (All future events at YOLO will be ticketed; July 9 tickets to see \u003cem>Jersey Shore\u003c/em>‘s Pauly D, for example, will cost you $35-45, plus booking fee.)\u003c/p>\n\u003cp>It only took me a few minutes to get inside. Once in, I was immediately greeted by the sight of multiple female employees dressed in bras, high-waisted underwear and stockings, and the sound of Justin Bieber’s “Sorry.” I had been expecting EDM, but the music for the rest of the night was decidedly and surprisingly… well… \u003cem>basic\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907442 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/267156295_2129049133914372_3518268310006300516_n-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/267156295_2129049133914372_3518268310006300516_n-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/267156295_2129049133914372_3518268310006300516_n-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/267156295_2129049133914372_3518268310006300516_n-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/267156295_2129049133914372_3518268310006300516_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>As for the decor, the Slim’s bar that once took up most of the far wall has been ripped out and replaced by two rows of plush blue seats. That fenced-in area is where groups of up to eight people can now pay $800 for the privilege of sitting. (Woo?) These tables are guarded by the women in lingerie who move bottles from the bar to the tables, and occasionally hold up props. At one point, I witnessed them waving a “Happy Birthday” placard and a white UV seagull on a stick, the symbolism of which escaped me entirely.\u003c/p>\n\u003cp>I managed to sneak a look at a drinks menu from a VIP table and it was fairly jaw-dropping. $1,400 for a magnum of Don Julio 1942 tequila; $900 for a bottle of Dom Pérignon Rosé; $675 for a handle of Grey Goose; and—my personal favorite—$375 for a bottle of Jameson that costs $24.99 in Trader Joe’s. Also, curiously, at the bottom of the UV-lit menu are three options for something called the “Bottle Parade Packages (With Presentation).” These range from $5,500-$6,000. I did not witness one of these presentations during my time at YOLO, but I can only assume they involve more UV animals on sticks.\u003c/p>\n\u003cfigure id=\"attachment_13899099\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899099\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/20210619_225503-scaled-e1624314303718-800x1067.jpg\" alt=\"The stage where your favorite bands used to play.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_225503-scaled-e1624314303718-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_225503-scaled-e1624314303718-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_225503-scaled-e1624314303718-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_225503-scaled-e1624314303718-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_225503-scaled-e1624314303718-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_225503-scaled-e1624314303718-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_225503-scaled-e1624314303718.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stage where your favorite bands used to play. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A much smaller version of the old bar still stands at the back of the room under what used to be the Slim’s dinner balcony, which now houses the more “exclusive” VIP tables. I can only suspect that the bar has been reduced to this minimal size to cause long lines, further incentivizing patrons to throw down for table service. For those willing to wait, though, prices at the bar were reasonable by club standards. I paid $11 for a vodka soda, and it was a heavy pour served by a very efficient bartender.\u003c/p>\n\u003cp>At the front of the club, the Slim’s stage is now dominated by a DJ booth with garish projections both in front of and behind the DJ. These screens never stop telling you where you are, lest you forget how embarrassing the name of this club is. More bizarrely, in front of the stage, taking up a deeply impractical amount of space, is an undulating light fixture. It is roped off and inaccessible, and prevents nightclub patrons from getting within 20 feet of the DJ booth. It also takes out an enormous amount of the club’s floor space. Of all of the endless barriers installed in YOLO, the disco jellyfish is by far the most elaborate and stupid.\u003c/p>\n\u003cfigure id=\"attachment_13899100\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899100\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/20210619_221607-scaled-e1624314653428-800x1067.jpg\" alt=\"The undulating jellyfish of DJ protection.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221607-scaled-e1624314653428-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221607-scaled-e1624314653428-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221607-scaled-e1624314653428-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221607-scaled-e1624314653428-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221607-scaled-e1624314653428-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221607-scaled-e1624314653428-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221607-scaled-e1624314653428.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The undulating jellyfish of DJ protection. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The door to the right of the stage, where bands used to load in, now leads to the smoking area, which comes with its very own security guard. (He was talking about Lamborghinis with another employee when I got there.) To the left of the stage, down the stairs, is the only part of YOLO that still bears a real resemblance to Slim’s. The coatcheck room is still there, but (practicality be damned!) was closed. And the bathrooms look exactly the same, even down to the leaky toilets in the ladies room. (The upstairs bathrooms were—alas—also roped off.)\u003c/p>\n\u003cp>Even more unfathomable than the closed coatcheck is the fact that no one bothered to throw down a couple of hundred bucks to paint the basement walls. The remaining grubby pattern of vertical rectangles is a sad reminder that these halls used to be lined with decades of show posters.\u003c/p>\n\u003cfigure id=\"attachment_13899101\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899101\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/20210619_221708-scaled-e1624315282890-800x1067.jpg\" alt=\"YOLO's painting budget didn't extend to the basement, apparently.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221708-scaled-e1624315282890-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221708-scaled-e1624315282890-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221708-scaled-e1624315282890-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221708-scaled-e1624315282890-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221708-scaled-e1624315282890-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221708-scaled-e1624315282890-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221708-scaled-e1624315282890.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YOLO’s painting budget hasn’t yet extended to the basement, apparently. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing that I will say for YOLO is that its staff was, across the board, remarkably warm and friendly—even the be-suited security guys. I took some consolation in that after an evening spent thinking about \u003ca href=\"http://santamonicainjurylawyer.com/the-skinny-on-san-franciscos-ban-on-size-discrimination/#:~:text=Section%203303%20of%20the%20San,the%20recruitment%2C%20engagement%2C%20use%2C\" target=\"_blank\" rel=\"noopener noreferrer\">Section 3303\u003c/a> of the San Francisco police code. You know—that thing where you’re legally prohibited from hiring and firing people based on their weight. (Look it up, YOLO.)\u003c/p>\n\u003cp>The thing that I was most surprised about, however, were the patrons. These clubbers weren’t the obnoxious, over-privileged d-bags I had been expecting. They were regular people, mostly in their early-to-mid-twenties, wearing smart-casual shirts and camisoles. They were, in the majority, grown men and women dancing in gender-separated circles, like it was a school dance. I watched one group of twenty-somethings on that top balcony, staring longingly at the dance floor, seemingly having the realization that they’d paid a ton of money to not dance or meet anyone new. I was left with the distinct impression that all of these people were forking over too much of their hard-earned cash for, I presume, aspirational reasons.\u003c/p>\n\u003cfigure id=\"attachment_13899096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/20210619_231902-800x600.jpg\" alt=\"YOLO—the nightclub that replaced Slim's—during opening weekend. June 19, 2021.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">YOLO—the nightclub that replaced Slim’s—during opening weekend. June 19, 2021. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>On my way home from the club, my mother—who lives in a timezone eight hours ahead—happened to call me. I told her about YOLO in some depth and sent her some photos. “To each their own,” she said. “But gosh, vanity is expensive.”\u003c/p>\n\n",
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"excerpt": "Waitresses in lingerie. $900 bottles of rosé. The club everyone was dreading is here, and it's exactly what you thought it'd be.",
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"title": "I Went to YOLO—the Nightclub That Replaced Slim's—So You Don't Have To | KQED",
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"headline": "I Went to YOLO—the Nightclub That Replaced Slim's—So You Don't Have To",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though it opened just this past weekend, people have been upset about new San Francisco nightclub \u003ca href=\"https://www.yolonightclub.com/\" target=\"_blank\" rel=\"noopener noreferrer\">YOLO\u003c/a> for months now. (Broke Ass Stuart referred to the club as a “\u003ca href=\"https://brokeassstuart.com/2020/08/13/slims-to-be-replaced-by-yolo-nightclub-douchefest/\" target=\"_blank\" rel=\"noopener noreferrer\">douchefest\u003c/a>” all the way back in August 2020.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For live music fans, the reality of YOLO’s opening was reason enough to be upset. Slim’s, a \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">live music institution in the city for over 30 years\u003c/a>, was being replaced by a dance club featuring DJs only. Then, it was discovered that the new owners were Peter Lin and Michael Hu, who own Sunnyvale’s \u003ca href=\"https://www.purenightclub408.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pure Nightclub\u003c/a>. And Pure is the kind of place where “\u003ca href=\"https://www.purenightclub408.com/dress-code-policy/\" target=\"_blank\" rel=\"noopener noreferrer\">sports, recreation [and] athletic attire\u003c/a>” are prohibited for club-goers, but female waitresses are required to wear\u003ca href=\"https://www.purenightclub408.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> lingerie\u003c/a>.\u003c/p>\n\u003cp>More recently, adding insult to injury was \u003ca href=\"https://www.instagram.com/yolonightclub/\" target=\"_blank\" rel=\"noopener noreferrer\">YOLO’s social media\u003c/a>. It didn’t start out great: a series of images focused mostly on objectifying women—\u003ca href=\"https://www.instagram.com/p/CNxwHyjDCQQ/\" target=\"_blank\" rel=\"noopener noreferrer\">disembodied legs\u003c/a> in stockings, faceless \u003ca href=\"https://www.instagram.com/p/COjGgKtDaZ6/\" target=\"_blank\" rel=\"noopener noreferrer\">bunny girls\u003c/a>, faceless \u003ca href=\"https://www.instagram.com/p/CPR2gnlD1tN/\" target=\"_blank\" rel=\"noopener noreferrer\">space girls\u003c/a>, faceless \u003ca href=\"https://www.instagram.com/p/CN21Pg9DpH2/\" target=\"_blank\" rel=\"noopener noreferrer\">side boob\u003c/a>. But then the club ramped things up with a motivational meme that told people to “Speak English” and “Spend Arab.” (One KQED Arts reader was alarmed enough to take a screenshot and send it to us.)\u003c/p>\n\u003cfigure id=\"attachment_13899098\" class=\"wp-caption alignnone\" style=\"max-width: 716px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-21-at-1.30.18-PM.png\" alt=\"YOLO posted this mess back in April, then deleted it a month later.\" width=\"716\" height=\"916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-21-at-1.30.18-PM.png 716w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Screen-Shot-2021-06-21-at-1.30.18-PM-160x205.png 160w\" sizes=\"(max-width: 716px) 100vw, 716px\">\u003cfigcaption class=\"wp-caption-text\">YOLO posted this mess back in April, then deleted it a month later. \u003ccite>(Debbie Doom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With all this in mind, I was fairly stunned on Friday night to drive past 333 11th Street at 10:45pm and see pandemonium outside the club. It was a lot, even for the first weekend after California’s \u003ca href=\"https://www.kqed.org/news/11868240/newsom-announces-plan-to-open-up-business-as-usual-in-california-by-june-15\" target=\"_blank\" rel=\"noopener noreferrer\">lifting of COVID restrictions\u003c/a>. There was a throng under the awning, and roped-off lines to both the left and right of the front door. People weren’t just casually trying out YOLO, I realized—they were willing to stand in very long lines to get in.\u003c/p>\n\u003cp>In a fit of masochistic madness, and after seeing a sea of YOLO hate on my Facebook feed, I decided to go the following night. I did so knowing full well that I’d have to go it alone (no one I know would agree to step foot in there), and that the experience might be a little emotionally wrenching. Slim’s wasn’t just a place where I saw a lot of great shows; it was a place where I had in fact worked for a couple of years, over a decade ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because of my general aversion to standing in lines, I got to YOLO two minutes after it opened. To the right of the door was the line for VIPs—people who had paid in advance for tables. I joined the line on the left for RSVPs and guest list. (All future events at YOLO will be ticketed; July 9 tickets to see \u003cem>Jersey Shore\u003c/em>‘s Pauly D, for example, will cost you $35-45, plus booking fee.)\u003c/p>\n\u003cp>It only took me a few minutes to get inside. Once in, I was immediately greeted by the sight of multiple female employees dressed in bras, high-waisted underwear and stockings, and the sound of Justin Bieber’s “Sorry.” I had been expecting EDM, but the music for the rest of the night was decidedly and surprisingly… well… \u003cem>basic\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907442 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/267156295_2129049133914372_3518268310006300516_n-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/267156295_2129049133914372_3518268310006300516_n-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/267156295_2129049133914372_3518268310006300516_n-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/267156295_2129049133914372_3518268310006300516_n-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/267156295_2129049133914372_3518268310006300516_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>As for the decor, the Slim’s bar that once took up most of the far wall has been ripped out and replaced by two rows of plush blue seats. That fenced-in area is where groups of up to eight people can now pay $800 for the privilege of sitting. (Woo?) These tables are guarded by the women in lingerie who move bottles from the bar to the tables, and occasionally hold up props. At one point, I witnessed them waving a “Happy Birthday” placard and a white UV seagull on a stick, the symbolism of which escaped me entirely.\u003c/p>\n\u003cp>I managed to sneak a look at a drinks menu from a VIP table and it was fairly jaw-dropping. $1,400 for a magnum of Don Julio 1942 tequila; $900 for a bottle of Dom Pérignon Rosé; $675 for a handle of Grey Goose; and—my personal favorite—$375 for a bottle of Jameson that costs $24.99 in Trader Joe’s. Also, curiously, at the bottom of the UV-lit menu are three options for something called the “Bottle Parade Packages (With Presentation).” These range from $5,500-$6,000. I did not witness one of these presentations during my time at YOLO, but I can only assume they involve more UV animals on sticks.\u003c/p>\n\u003cfigure id=\"attachment_13899099\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899099\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/20210619_225503-scaled-e1624314303718-800x1067.jpg\" alt=\"The stage where your favorite bands used to play.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_225503-scaled-e1624314303718-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_225503-scaled-e1624314303718-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_225503-scaled-e1624314303718-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_225503-scaled-e1624314303718-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_225503-scaled-e1624314303718-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_225503-scaled-e1624314303718-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_225503-scaled-e1624314303718.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stage where your favorite bands used to play. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A much smaller version of the old bar still stands at the back of the room under what used to be the Slim’s dinner balcony, which now houses the more “exclusive” VIP tables. I can only suspect that the bar has been reduced to this minimal size to cause long lines, further incentivizing patrons to throw down for table service. For those willing to wait, though, prices at the bar were reasonable by club standards. I paid $11 for a vodka soda, and it was a heavy pour served by a very efficient bartender.\u003c/p>\n\u003cp>At the front of the club, the Slim’s stage is now dominated by a DJ booth with garish projections both in front of and behind the DJ. These screens never stop telling you where you are, lest you forget how embarrassing the name of this club is. More bizarrely, in front of the stage, taking up a deeply impractical amount of space, is an undulating light fixture. It is roped off and inaccessible, and prevents nightclub patrons from getting within 20 feet of the DJ booth. It also takes out an enormous amount of the club’s floor space. Of all of the endless barriers installed in YOLO, the disco jellyfish is by far the most elaborate and stupid.\u003c/p>\n\u003cfigure id=\"attachment_13899100\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899100\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/20210619_221607-scaled-e1624314653428-800x1067.jpg\" alt=\"The undulating jellyfish of DJ protection.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221607-scaled-e1624314653428-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221607-scaled-e1624314653428-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221607-scaled-e1624314653428-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221607-scaled-e1624314653428-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221607-scaled-e1624314653428-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221607-scaled-e1624314653428-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221607-scaled-e1624314653428.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The undulating jellyfish of DJ protection. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The door to the right of the stage, where bands used to load in, now leads to the smoking area, which comes with its very own security guard. (He was talking about Lamborghinis with another employee when I got there.) To the left of the stage, down the stairs, is the only part of YOLO that still bears a real resemblance to Slim’s. The coatcheck room is still there, but (practicality be damned!) was closed. And the bathrooms look exactly the same, even down to the leaky toilets in the ladies room. (The upstairs bathrooms were—alas—also roped off.)\u003c/p>\n\u003cp>Even more unfathomable than the closed coatcheck is the fact that no one bothered to throw down a couple of hundred bucks to paint the basement walls. The remaining grubby pattern of vertical rectangles is a sad reminder that these halls used to be lined with decades of show posters.\u003c/p>\n\u003cfigure id=\"attachment_13899101\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899101\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/20210619_221708-scaled-e1624315282890-800x1067.jpg\" alt=\"YOLO's painting budget didn't extend to the basement, apparently.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221708-scaled-e1624315282890-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221708-scaled-e1624315282890-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221708-scaled-e1624315282890-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221708-scaled-e1624315282890-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221708-scaled-e1624315282890-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221708-scaled-e1624315282890-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/20210619_221708-scaled-e1624315282890.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YOLO’s painting budget hasn’t yet extended to the basement, apparently. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing that I will say for YOLO is that its staff was, across the board, remarkably warm and friendly—even the be-suited security guys. I took some consolation in that after an evening spent thinking about \u003ca href=\"http://santamonicainjurylawyer.com/the-skinny-on-san-franciscos-ban-on-size-discrimination/#:~:text=Section%203303%20of%20the%20San,the%20recruitment%2C%20engagement%2C%20use%2C\" target=\"_blank\" rel=\"noopener noreferrer\">Section 3303\u003c/a> of the San Francisco police code. You know—that thing where you’re legally prohibited from hiring and firing people based on their weight. (Look it up, YOLO.)\u003c/p>\n\u003cp>The thing that I was most surprised about, however, were the patrons. These clubbers weren’t the obnoxious, over-privileged d-bags I had been expecting. They were regular people, mostly in their early-to-mid-twenties, wearing smart-casual shirts and camisoles. They were, in the majority, grown men and women dancing in gender-separated circles, like it was a school dance. I watched one group of twenty-somethings on that top balcony, staring longingly at the dance floor, seemingly having the realization that they’d paid a ton of money to not dance or meet anyone new. I was left with the distinct impression that all of these people were forking over too much of their hard-earned cash for, I presume, aspirational reasons.\u003c/p>\n\u003cfigure id=\"attachment_13899096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/20210619_231902-800x600.jpg\" alt=\"YOLO—the nightclub that replaced Slim's—during opening weekend. June 19, 2021.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">YOLO—the nightclub that replaced Slim’s—during opening weekend. June 19, 2021. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On my way home from the club, my mother—who lives in a timezone eight hours ahead—happened to call me. I told her about YOLO in some depth and sent her some photos. “To each their own,” she said. “But gosh, vanity is expensive.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF’s Most Exciting New Ramen Restaurant Is Moving Out of the Living Room",
"headTitle": "SF’s Most Exciting New Ramen Restaurant Is Moving Out of the Living Room | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]F[/dropcap]or the better part of the past six years, Clint and Yoko Tan have welcomed customers into their Daly City home for a blowout, multi-course ramen dinner. The pop-up, \u003c/span>\u003ca href=\"http://www.noodleinhaystack.com/\">\u003cspan style=\"font-weight: 400\">Noodle in a Haystack\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, started out small: six guests seated around the dining room table a couple of nights each month. Tickets started selling out so quickly, though, that the Tans soon expanded. They squeezed two more guests on either side of a little folding table—then three more in their living room, on a snug Ikea sofa they dubbed the “VIP couch,” where the Tans’ dog, Toto, often joined the fray. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Legalities aside,” Clint says, “the whole atmosphere of it felt more akin to eating at our favorite restaurants in Japan.” Or, perhaps more apt, like a rollicking dinner party that they might host for a group of friends. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Noodle in a Haystack quickly became an underground favorite, both for its atmosphere and for what many ramen connoisseurs considered to be some of the finest bowls of ramen in the Bay—labor-intensive dishes like their brothless wagyu beef abura soba, their duck shoyu ramen or the bright yuzu shio ramen that earned the couple a finalist’s spot at one of Japan’s biggest ramen competitions, the \u003c/span>\u003ca href=\"https://www.facebook.com/1576692412647548/videos/1902941763355943\">\u003cspan style=\"font-weight: 400\">2017 World Ramen Grand Prix held in Osaka\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then COVID happened, and, with no viable way to continue serving guests at home, the pop-up went into an extended hibernation. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, as the \u003c/span>\u003ca href=\"https://www.sfchronicle.com/food/article/Noodle-in-a-Haystack-is-bringing-its-mind-blowing-16217062.php\">\u003ci>\u003cspan style=\"font-weight: 400\">San Francisco Chronicle \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">first reported\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Noodle in a Haystack will open as a standalone restaurant in the Inner Richmond, in the space recently vacated by the Japanese curry shop Konomama. The Tans hope to open as early as August or September of this year—though given the amount of renovation work they need to do, they say the end of 2021 might be a more realistic target.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Tans plan for the restaurant to be different from any other ramen spot in the city: It will be a tiny, intimate operation, likely serving no more than 20 customers a night. Instead of cranking out hundreds of bowls a night at $12 or $15 a pop, the restaurant will serve one of the Bay Area’s most unique tasting menus: $100 for six to eight courses, with a bowl of ramen—a different style each month, laboriously prepared over the course of three or four days—as the main event. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898768\" class=\"wp-caption alignnone\" style=\"max-width: 2049px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NoodleHaystack_clearbroth.jpg\" alt=\"Yuzu shio ramen topped with thin slices of chicken in a white bowl.\" width=\"2049\" height=\"1537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_clearbroth.jpg 2049w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_clearbroth-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_clearbroth-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_clearbroth-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_clearbroth-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_clearbroth-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_clearbroth-1920x1440.jpg 1920w\" sizes=\"(max-width: 2049px) 100vw, 2049px\">\u003cfigcaption class=\"wp-caption-text\">A version of the pop-up’s internationally recognized yuzu shio ramen. \u003ccite>(Noodle in a Haystack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Clint, who was born and raised in San Francisco, first met Yoko, a Tokyo native, in 2008, shortly after he’d moved to Tokyo, where he worked as a salaryman for six years before returning to the Bay Area. The self-taught chefs started their at-home pop-up as a way to recapture the local ramen culture they’d both fallen in love with in Japan. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Watching people take a slurp of the ramen, they give you that look,” Clint says. “There’s nothing better in the world than seeing that reaction. That was a drug to us.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]S[/dropcap]o much of the pandemic hinged on the luck of timing. There were splashy new restaurants that opened, with a sad trombone sound, just days before the first shelter-in-place order shut them down right away. For others, permitting snafus and construction delays proved to be their saving grace—they wound up sitting out the worst of the ordeal. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the case of Noodle in a Haystack, the timing could scarcely have been worse: A couple of months before the pandemic hit the Bay Area, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Chron \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">food critic Soleil Ho shouted out the at-home pop-up as the \u003c/span>\u003ca href=\"https://sf.eater.com/2019/12/30/21039826/best-restaurant-meals-sf-2019\">\u003cspan style=\"font-weight: 400\">best meal she ate all year\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, saying what she ate there “destroys every bowl of ramen in the Bay.” A couple of weeks later, Ho included the pop-up’s deep-fried pork belly in her list of \u003c/span>\u003ca href=\"https://projects.sfchronicle.com/2020/25-must-eats/\">\u003cspan style=\"font-weight: 400\">“must-eat” dishes for 2020\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Already a hot ticket, a seat at one of Noodle in a Haystack’s ramen dinners became nearly impossible to snag, often selling out some five minutes after they were posted each month. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898770\" class=\"wp-caption alignnone\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898770\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Noodle_Haystack_belly.jpg\" alt=\"Cubes of deep-fried pork belly and salad greens on a blue plate.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Noodle_Haystack_belly.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Noodle_Haystack_belly-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Noodle_Haystack_belly-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Noodle_Haystack_belly-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Noodle_Haystack_belly-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Noodle_Haystack_belly-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Noodle_Haystack_belly-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The pork belly kakuni karaage was one of the pop-up’s signature dishes. \u003ccite>(Jason Wang and Grace Chen, @cityfoodsters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were on the highest of highs,” Clint recalls. “We were going to come out from that rock that we were hiding under.” The Tans started looking for a space where they could turn Noodle in a Haystack into a real restaurant. Then, right at the peak of the pop-up’s popularity, everything got shut down. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It was a tough pill to swallow. We didn’t know if we were ever going to cook again,” Clint recalls. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13894844' label='More Ramen']The Tans never stopped looking for a restaurant space, but they couldn’t ever quite \u003c/span>\u003cspan style=\"font-weight: 400\">bring themselves to pull the trigger on signing a lease, especially as COVID numbers around the Bay looked worse and worse. “You would expect there to be fire sales with all these empty properties, all these businesses that closed down,” Clint says. “The crazy thing is the prices never really changed.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They thought about moving back to Japan, where, even at the height of the pandemic, friends of theirs were able to open a new bar or restaurant in a matter of months. (Perhaps the only thing that stopped them, Yoko notes, was the fact that their aging dog wouldn’t have been able to make the trip.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then, rather quickly and unexpectedly, the space at 4601 Geary Boulevard fell into their laps. It isn’t necessarily the ideal space; it has a kitchen that, as it’s currently set up, isn’t equipped to cook anything much more complicated than “curry in a bag,” Clint says. Already, the Tans are expecting many months of permitting headaches. The good thing about having done pop-ups for so many years, they say, is that they’re used to bootstrapping together a kitchen.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898772\" class=\"wp-caption alignnone\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898772\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NoodleHaystack_tans.jpg\" alt=\"Yoko and Clint Tan wearing Noodle in a Haystack t-shirts.\" width=\"1080\" height=\"1350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_tans.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_tans-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_tans-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_tans-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_tans-768x960.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Yoko and Clint Tan at a fundraiser event in 2017. \u003ccite>(Noodle in a Haystack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Perhaps the even bigger challenge, then, will be maintaining the intimacy of Noodle in a Haystack’s pop-up incarnation. After all, Clint says, “eating in America, even at the best meals, feels transactional at best. There’s this invisible, tangible wall that you can’t get past with the way food is made here.” That wall by and large didn’t exist at Noodle in a Haystack’s home pop-ups—not when customers sat inches away from the kitchen and could poke their heads in at any time to watch the Tans prepping the meal.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">How, then, to translate that experience? The Tans’ solution, counterintuitively, is to make the restaurant even smaller in scale, serving their tasting menu to just eight to 10 customers at a time, with two seatings a night, three or four nights a week. “To people in the industry here, it’s ludicrous,” Clint says. “In America, businesses like that just don’t work.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s worth noting, too, that dinner at Noodle in a Haystack will be a more expensive meal than what you’d find at your typical a la carte ramen shop—again, probably about $100 a person for the six- to eight-course tasting menu. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898773\" class=\"wp-caption alignnone\" style=\"max-width: 2049px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/IMG_0014.jpg\" alt=\"A bowl of Thai-inspired tom yum paitan ramen in a red bowl, topped with a large shrimp and a lime wedge.\" width=\"2049\" height=\"2049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/IMG_0014.jpg 2049w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/IMG_0014-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/IMG_0014-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/IMG_0014-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/IMG_0014-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/IMG_0014-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/IMG_0014-1920x1920.jpg 1920w\" sizes=\"(max-width: 2049px) 100vw, 2049px\">\u003cfigcaption class=\"wp-caption-text\">The tom yum paitan ramen is one of the pop-up’s original creations. \u003ccite>(Colin Ma @eatfreakz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There isn’t, at this point, much to add to the ramen pricing discourse, wherein the Yelp review–writing masses collectively lose their minds anytime a ramen shop charges more than $15 or $16 for a bowl. There’s something to be said for ramen’s origins as an affordable working-class staple in Japan, but in the United States, the arguments in favor of paying \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">more \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">for the kind of highly labor-intensive ramen made by Noodle in a Haystack are hard to refute—especially when the dining public seems perfectly content spending $20 or $30 for a simple plate of pasta. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“That’s really the running joke in our pop-up: Maybe we should be selling carbonara instead,” Clint says. “If I put those same noodles in bacon and eggs, someone will be fine spending $30; I don’t need to be spending three days making [ramen].”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s part of the reason why the Tans have no intention of opening a conventional ramen shop: They just don’t think it’s a viable business model in the Bay Area—not with rent being as expensive as it is, and not, as Clint says, considering “what it costs to make a properly, legitimately, thoughtfully made bowl of ramen here.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We’re not for everybody,” he says. “And that’s fine.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The meals won’t be strictly Japanese either—though “living in the Bay Area, missing Japanese food” will be the driving aesthetic. Certain staples of the pop-up will probably be part of every meal: a deviled ramen egg that starts each meal, for instance, and seasonal dorayaki (stuffed pancakes) that Yoko makes for dessert. Mostly, Clint says, they’ll just cook whatever they’re into at the moment.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898775\" class=\"wp-caption alignnone\" style=\"max-width: 2049px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NoodleHaystack_dorayaki.jpg\" alt=\"Many dorayaki (Japanese pancakes) on a wooden board.\" width=\"2049\" height=\"1537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_dorayaki.jpg 2049w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_dorayaki-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_dorayaki-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_dorayaki-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_dorayaki-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_dorayaki-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_dorayaki-1920x1440.jpg 1920w\" sizes=\"(max-width: 2049px) 100vw, 2049px\">\u003cfigcaption class=\"wp-caption-text\">Cheesecake dorayaki with salted brown butter crumble. \u003ccite>(Noodle in a Haystack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Given all of the hoops they expect they’ll need to jump through, the Tans admit the August–September opening \u003c/span>\u003ca href=\"https://www.sfchronicle.com/food/article/Noodle-in-a-Haystack-is-bringing-its-mind-blowing-16217062.php\">\u003cspan style=\"font-weight: 400\">they were originally shooting for\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is probably unrealistic, though they hope to be able to open in some form during that time frame, even if it’s only to sell the take-home ramen kits they offered periodically during lockdown. It’s likely that the restaurant will fully open closer to December.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fortunately, Noodle in a Haystack’s fan base appears to be unwavering in its enthusiasm. Earlier this month, the Tans launched a \u003c/span>\u003ca href=\"https://www.kickstarter.com/projects/noodleinhaystack/noodle-in-a-haystack\">\u003cspan style=\"font-weight: 400\">Kickstarter campaign\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to help mitigate the expense of those likely delays—and to pay for expensive equipment like the kind of special Pi water filter that’s used by Japan’s top ramen restaurants. At publication time, they’ve already raised nearly $100,000, more than tripling their target.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Noodle in a Haystack will open at \u003cspan style=\"font-weight: 400\">4601 Geary Blvd. in San Francisco.\u003c/span>\u003c/em>\u003c/p>\n\n",
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"excerpt": "Noodle in a Haystack will bring its critically acclaimed, internationally recognized ramen to the Inner Richmond.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>or the better part of the past six years, Clint and Yoko Tan have welcomed customers into their Daly City home for a blowout, multi-course ramen dinner. The pop-up, \u003c/span>\u003ca href=\"http://www.noodleinhaystack.com/\">\u003cspan style=\"font-weight: 400\">Noodle in a Haystack\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, started out small: six guests seated around the dining room table a couple of nights each month. Tickets started selling out so quickly, though, that the Tans soon expanded. They squeezed two more guests on either side of a little folding table—then three more in their living room, on a snug Ikea sofa they dubbed the “VIP couch,” where the Tans’ dog, Toto, often joined the fray. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Legalities aside,” Clint says, “the whole atmosphere of it felt more akin to eating at our favorite restaurants in Japan.” Or, perhaps more apt, like a rollicking dinner party that they might host for a group of friends. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Noodle in a Haystack quickly became an underground favorite, both for its atmosphere and for what many ramen connoisseurs considered to be some of the finest bowls of ramen in the Bay—labor-intensive dishes like their brothless wagyu beef abura soba, their duck shoyu ramen or the bright yuzu shio ramen that earned the couple a finalist’s spot at one of Japan’s biggest ramen competitions, the \u003c/span>\u003ca href=\"https://www.facebook.com/1576692412647548/videos/1902941763355943\">\u003cspan style=\"font-weight: 400\">2017 World Ramen Grand Prix held in Osaka\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then COVID happened, and, with no viable way to continue serving guests at home, the pop-up went into an extended hibernation. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, as the \u003c/span>\u003ca href=\"https://www.sfchronicle.com/food/article/Noodle-in-a-Haystack-is-bringing-its-mind-blowing-16217062.php\">\u003ci>\u003cspan style=\"font-weight: 400\">San Francisco Chronicle \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">first reported\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Noodle in a Haystack will open as a standalone restaurant in the Inner Richmond, in the space recently vacated by the Japanese curry shop Konomama. The Tans hope to open as early as August or September of this year—though given the amount of renovation work they need to do, they say the end of 2021 might be a more realistic target.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Tans plan for the restaurant to be different from any other ramen spot in the city: It will be a tiny, intimate operation, likely serving no more than 20 customers a night. Instead of cranking out hundreds of bowls a night at $12 or $15 a pop, the restaurant will serve one of the Bay Area’s most unique tasting menus: $100 for six to eight courses, with a bowl of ramen—a different style each month, laboriously prepared over the course of three or four days—as the main event. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898768\" class=\"wp-caption alignnone\" style=\"max-width: 2049px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NoodleHaystack_clearbroth.jpg\" alt=\"Yuzu shio ramen topped with thin slices of chicken in a white bowl.\" width=\"2049\" height=\"1537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_clearbroth.jpg 2049w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_clearbroth-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_clearbroth-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_clearbroth-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_clearbroth-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_clearbroth-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_clearbroth-1920x1440.jpg 1920w\" sizes=\"(max-width: 2049px) 100vw, 2049px\">\u003cfigcaption class=\"wp-caption-text\">A version of the pop-up’s internationally recognized yuzu shio ramen. \u003ccite>(Noodle in a Haystack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Clint, who was born and raised in San Francisco, first met Yoko, a Tokyo native, in 2008, shortly after he’d moved to Tokyo, where he worked as a salaryman for six years before returning to the Bay Area. The self-taught chefs started their at-home pop-up as a way to recapture the local ramen culture they’d both fallen in love with in Japan. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Watching people take a slurp of the ramen, they give you that look,” Clint says. “There’s nothing better in the world than seeing that reaction. That was a drug to us.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>o much of the pandemic hinged on the luck of timing. There were splashy new restaurants that opened, with a sad trombone sound, just days before the first shelter-in-place order shut them down right away. For others, permitting snafus and construction delays proved to be their saving grace—they wound up sitting out the worst of the ordeal. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the case of Noodle in a Haystack, the timing could scarcely have been worse: A couple of months before the pandemic hit the Bay Area, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Chron \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">food critic Soleil Ho shouted out the at-home pop-up as the \u003c/span>\u003ca href=\"https://sf.eater.com/2019/12/30/21039826/best-restaurant-meals-sf-2019\">\u003cspan style=\"font-weight: 400\">best meal she ate all year\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, saying what she ate there “destroys every bowl of ramen in the Bay.” A couple of weeks later, Ho included the pop-up’s deep-fried pork belly in her list of \u003c/span>\u003ca href=\"https://projects.sfchronicle.com/2020/25-must-eats/\">\u003cspan style=\"font-weight: 400\">“must-eat” dishes for 2020\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Already a hot ticket, a seat at one of Noodle in a Haystack’s ramen dinners became nearly impossible to snag, often selling out some five minutes after they were posted each month. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898770\" class=\"wp-caption alignnone\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898770\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Noodle_Haystack_belly.jpg\" alt=\"Cubes of deep-fried pork belly and salad greens on a blue plate.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Noodle_Haystack_belly.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Noodle_Haystack_belly-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Noodle_Haystack_belly-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Noodle_Haystack_belly-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Noodle_Haystack_belly-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Noodle_Haystack_belly-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Noodle_Haystack_belly-1920x1280.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The pork belly kakuni karaage was one of the pop-up’s signature dishes. \u003ccite>(Jason Wang and Grace Chen, @cityfoodsters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were on the highest of highs,” Clint recalls. “We were going to come out from that rock that we were hiding under.” The Tans started looking for a space where they could turn Noodle in a Haystack into a real restaurant. Then, right at the peak of the pop-up’s popularity, everything got shut down. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It was a tough pill to swallow. We didn’t know if we were ever going to cook again,” Clint recalls. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Tans never stopped looking for a restaurant space, but they couldn’t ever quite \u003c/span>\u003cspan style=\"font-weight: 400\">bring themselves to pull the trigger on signing a lease, especially as COVID numbers around the Bay looked worse and worse. “You would expect there to be fire sales with all these empty properties, all these businesses that closed down,” Clint says. “The crazy thing is the prices never really changed.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They thought about moving back to Japan, where, even at the height of the pandemic, friends of theirs were able to open a new bar or restaurant in a matter of months. (Perhaps the only thing that stopped them, Yoko notes, was the fact that their aging dog wouldn’t have been able to make the trip.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then, rather quickly and unexpectedly, the space at 4601 Geary Boulevard fell into their laps. It isn’t necessarily the ideal space; it has a kitchen that, as it’s currently set up, isn’t equipped to cook anything much more complicated than “curry in a bag,” Clint says. Already, the Tans are expecting many months of permitting headaches. The good thing about having done pop-ups for so many years, they say, is that they’re used to bootstrapping together a kitchen.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898772\" class=\"wp-caption alignnone\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898772\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NoodleHaystack_tans.jpg\" alt=\"Yoko and Clint Tan wearing Noodle in a Haystack t-shirts.\" width=\"1080\" height=\"1350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_tans.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_tans-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_tans-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_tans-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_tans-768x960.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Yoko and Clint Tan at a fundraiser event in 2017. \u003ccite>(Noodle in a Haystack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Perhaps the even bigger challenge, then, will be maintaining the intimacy of Noodle in a Haystack’s pop-up incarnation. After all, Clint says, “eating in America, even at the best meals, feels transactional at best. There’s this invisible, tangible wall that you can’t get past with the way food is made here.” That wall by and large didn’t exist at Noodle in a Haystack’s home pop-ups—not when customers sat inches away from the kitchen and could poke their heads in at any time to watch the Tans prepping the meal.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">How, then, to translate that experience? The Tans’ solution, counterintuitively, is to make the restaurant even smaller in scale, serving their tasting menu to just eight to 10 customers at a time, with two seatings a night, three or four nights a week. “To people in the industry here, it’s ludicrous,” Clint says. “In America, businesses like that just don’t work.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s worth noting, too, that dinner at Noodle in a Haystack will be a more expensive meal than what you’d find at your typical a la carte ramen shop—again, probably about $100 a person for the six- to eight-course tasting menu. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898773\" class=\"wp-caption alignnone\" style=\"max-width: 2049px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/IMG_0014.jpg\" alt=\"A bowl of Thai-inspired tom yum paitan ramen in a red bowl, topped with a large shrimp and a lime wedge.\" width=\"2049\" height=\"2049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/IMG_0014.jpg 2049w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/IMG_0014-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/IMG_0014-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/IMG_0014-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/IMG_0014-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/IMG_0014-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/IMG_0014-1920x1920.jpg 1920w\" sizes=\"(max-width: 2049px) 100vw, 2049px\">\u003cfigcaption class=\"wp-caption-text\">The tom yum paitan ramen is one of the pop-up’s original creations. \u003ccite>(Colin Ma @eatfreakz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There isn’t, at this point, much to add to the ramen pricing discourse, wherein the Yelp review–writing masses collectively lose their minds anytime a ramen shop charges more than $15 or $16 for a bowl. There’s something to be said for ramen’s origins as an affordable working-class staple in Japan, but in the United States, the arguments in favor of paying \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">more \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">for the kind of highly labor-intensive ramen made by Noodle in a Haystack are hard to refute—especially when the dining public seems perfectly content spending $20 or $30 for a simple plate of pasta. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“That’s really the running joke in our pop-up: Maybe we should be selling carbonara instead,” Clint says. “If I put those same noodles in bacon and eggs, someone will be fine spending $30; I don’t need to be spending three days making [ramen].”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s part of the reason why the Tans have no intention of opening a conventional ramen shop: They just don’t think it’s a viable business model in the Bay Area—not with rent being as expensive as it is, and not, as Clint says, considering “what it costs to make a properly, legitimately, thoughtfully made bowl of ramen here.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We’re not for everybody,” he says. “And that’s fine.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The meals won’t be strictly Japanese either—though “living in the Bay Area, missing Japanese food” will be the driving aesthetic. Certain staples of the pop-up will probably be part of every meal: a deviled ramen egg that starts each meal, for instance, and seasonal dorayaki (stuffed pancakes) that Yoko makes for dessert. Mostly, Clint says, they’ll just cook whatever they’re into at the moment.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13898775\" class=\"wp-caption alignnone\" style=\"max-width: 2049px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/NoodleHaystack_dorayaki.jpg\" alt=\"Many dorayaki (Japanese pancakes) on a wooden board.\" width=\"2049\" height=\"1537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_dorayaki.jpg 2049w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_dorayaki-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_dorayaki-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_dorayaki-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_dorayaki-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_dorayaki-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/NoodleHaystack_dorayaki-1920x1440.jpg 1920w\" sizes=\"(max-width: 2049px) 100vw, 2049px\">\u003cfigcaption class=\"wp-caption-text\">Cheesecake dorayaki with salted brown butter crumble. \u003ccite>(Noodle in a Haystack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Given all of the hoops they expect they’ll need to jump through, the Tans admit the August–September opening \u003c/span>\u003ca href=\"https://www.sfchronicle.com/food/article/Noodle-in-a-Haystack-is-bringing-its-mind-blowing-16217062.php\">\u003cspan style=\"font-weight: 400\">they were originally shooting for\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is probably unrealistic, though they hope to be able to open in some form during that time frame, even if it’s only to sell the take-home ramen kits they offered periodically during lockdown. It’s likely that the restaurant will fully open closer to December.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fortunately, Noodle in a Haystack’s fan base appears to be unwavering in its enthusiasm. Earlier this month, the Tans launched a \u003c/span>\u003ca href=\"https://www.kickstarter.com/projects/noodleinhaystack/noodle-in-a-haystack\">\u003cspan style=\"font-weight: 400\">Kickstarter campaign\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to help mitigate the expense of those likely delays—and to pay for expensive equipment like the kind of special Pi water filter that’s used by Japan’s top ramen restaurants. At publication time, they’ve already raised nearly $100,000, more than tripling their target.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Noodle in a Haystack will open at \u003cspan style=\"font-weight: 400\">4601 Geary Blvd. in San Francisco.\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ronski and Show Banga's 'That Filthy' Puts Fillmore Culture Front and Center",
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"content": "\u003cp>\u003ci>Welcome to Pass the Aux, where every week we feature new music by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>An early frontrunner for Bay Area anthem of the summer is \u003ca href=\"https://www.instagram.com/mobetta_mochedda/\" target=\"_blank\" rel=\"noopener noreferrer\">Ronski\u003c/a> and \u003ca href=\"https://www.instagram.com/showy4mayor/\" target=\"_blank\" rel=\"noopener noreferrer\">Show Banga’s\u003c/a> “That Filthy.” Produced by Clayton William, the track hits with the simple but lethal combination of heavy bass, a cold kick drum, clear claps and a catchy hook.\u003c/p>\n\u003cp>“Fuck that bag off, and run it up again,” Show Banga says on the chorus, showing both the carefree attitude and the money-making mentality that the City is known for.\u003c/p>\n\u003cp>The video is produced by \u003ca href=\"https://www.instagram.com/melvinas_son/\" target=\"_blank\" rel=\"noopener noreferrer\">Melvina’s Son \u003c/a>and features the Fillmore front and center. In the midst of shots of the neighborhood and the people who make up the community, there are cameos from \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a>, \u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a> and \u003ca href=\"https://www.instagram.com/industrymomma/\" target=\"_blank\" rel=\"noopener noreferrer\">Danielle Banks\u003c/a>. There’s also a couple shots of boxer, cannabis club owner and Ronski’s brother,\u003ca href=\"https://www.instagram.com/p/CPLvd7hnGRLNnthSLAkUVVtESH-1FnLxCxib0M0/\" target=\"_blank\" rel=\"noopener noreferrer\"> Karim Mayfield\u003c/a>. We also see archival images and recent footage of Mayor London Breed, who was raised in the Fillmore.\u003c/p>\n\u003cp>Ronski himself is shown swangin’ tight ones in a blue Corvette. And at the end of the video there’s a clip of JT The Bigga Figga chanting “Fillmoe,” as he’s accompanied by a bunch of children; it was filmed in East Africa, or “\u003ca href=\"https://www.instagram.com/p/CMg-NCisFCd/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmoe Africa\u003c/a>,” as JT calls it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can’t have a true anthem about the Moe without incorporating the the dance that JT, founder of Get Low Recordz, played a major part in popularizing three decades ago, The Get Low.\u003c/p>\n\u003cp>In the video for “That Filthy” there’s a short clip of Ronski teaching the dance to comedian Lil Duval. And all throughout the video there are young folks bending their knees to get into a semi-squat position, and bouncing to the beat like the players of the past.\u003c/p>\n\u003cp>It’s all a sign that even with all of the changes the City has experienced, the culture is alive and well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g2J_xGPGHjI&t=194s\u003c/p>\n\n",
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"excerpt": "The new summer anthem celebrates rap, past and present, from the San Francisco neighborhood. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Pass the Aux, where every week we feature new music by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>An early frontrunner for Bay Area anthem of the summer is \u003ca href=\"https://www.instagram.com/mobetta_mochedda/\" target=\"_blank\" rel=\"noopener noreferrer\">Ronski\u003c/a> and \u003ca href=\"https://www.instagram.com/showy4mayor/\" target=\"_blank\" rel=\"noopener noreferrer\">Show Banga’s\u003c/a> “That Filthy.” Produced by Clayton William, the track hits with the simple but lethal combination of heavy bass, a cold kick drum, clear claps and a catchy hook.\u003c/p>\n\u003cp>“Fuck that bag off, and run it up again,” Show Banga says on the chorus, showing both the carefree attitude and the money-making mentality that the City is known for.\u003c/p>\n\u003cp>The video is produced by \u003ca href=\"https://www.instagram.com/melvinas_son/\" target=\"_blank\" rel=\"noopener noreferrer\">Melvina’s Son \u003c/a>and features the Fillmore front and center. In the midst of shots of the neighborhood and the people who make up the community, there are cameos from \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a>, \u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a> and \u003ca href=\"https://www.instagram.com/industrymomma/\" target=\"_blank\" rel=\"noopener noreferrer\">Danielle Banks\u003c/a>. There’s also a couple shots of boxer, cannabis club owner and Ronski’s brother,\u003ca href=\"https://www.instagram.com/p/CPLvd7hnGRLNnthSLAkUVVtESH-1FnLxCxib0M0/\" target=\"_blank\" rel=\"noopener noreferrer\"> Karim Mayfield\u003c/a>. We also see archival images and recent footage of Mayor London Breed, who was raised in the Fillmore.\u003c/p>\n\u003cp>Ronski himself is shown swangin’ tight ones in a blue Corvette. And at the end of the video there’s a clip of JT The Bigga Figga chanting “Fillmoe,” as he’s accompanied by a bunch of children; it was filmed in East Africa, or “\u003ca href=\"https://www.instagram.com/p/CMg-NCisFCd/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmoe Africa\u003c/a>,” as JT calls it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Roll With Us: A Golden Roller on 50 Years of Quad Skating",
"headTitle": "Roll With Us: A Golden Roller on 50 Years of Quad Skating | KQED",
"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9905854391\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"https://www.instagram.com/richardhumphrey/\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Humphrey\u003c/a> has been on quad skates for five decades, so it’s no wonder why we’d talk to him first for our series on wheels, community and culture in the Bay Area.\u003c/p>\n\u003cp>From 1979 to 1988, Richard was a part of the \u003ca href=\"https://www.youtube.com/watch?v=R1RMjcwqCTw\" target=\"_blank\" rel=\"noopener noreferrer\">Golden Rollers\u003c/a>, a trio of skaters who performed in Golden Gate Park every Sunday.\u003c/p>\n\u003cp>Since first getting his roll on, Richard has been featured in the television pilot, \u003cem>Dancing Wheels,\u003c/em> was Damon Wayan’s skating stunt double in \u003cem>The Underground\u003c/em>, performed on stage with the creator of “Bounce, Rock, Skate, Roll,” Vaughan Mason, and has been featured in Ebony Magazine. Richard also has custom wheels that bear his name, and worked with Riedell to manufacture a signature skating boot with no laces called, \u003ca href=\"http://www.rollerdance.com/shop.html#videos\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>No Strings Attached\u003c/em>.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13898280\" class=\"wp-caption alignnone\" style=\"max-width: 588px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13898280 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Image-from-iOS-1-e1622758826411.jpg\" alt=\"The cast of Dancing Wheels in 1979 at the end of a table, eleven of them stare into the camera. They are peak late seventies style, with big smiles.\" width=\"588\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Image-from-iOS-1-e1622758826411.jpg 588w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Image-from-iOS-1-e1622758826411-160x132.jpg 160w\" sizes=\"(max-width: 588px) 100vw, 588px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Dancing Wheels in 1979\u003c/figcaption>\u003c/figure>\n\u003cp>By now, Richard has taught thousands of people his signature skating style of “roller dance” (even \u003ca href=\"https://www.youtube.com/watch?v=s0aGVHWAgz0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dr. Oz\u003c/em>\u003c/a>) through in-person classes and video tutorials. And he noticed skatings rising popularity since the start of the Covid-19 pandemic. On social media, videos of skaters in fly fits doing tricks to the latest hits has made for top tier content, especially on \u003ca href=\"https://www.youtube.com/watch?v=aqKtMw4CZ9o\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok\u003c/a>.\u003c/p>\n\u003cp>While Richard thinks the growing number of quad skaters is a great, he wants to make sure folks know that skating has a deep-seated culture with a history that pre-dates the internet, and moves that sparkled on the rink long before most viral stars were born.\u003c/p>\n\u003cp>This week on Rightnowish, we get rolling with Richard in the first episode of our summer series about wheels and the cultures they carry in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Richard Humphrey.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: How would you describe the scene when you first started skating?\u003c/em>\u003c/p>\n\u003cp>Richard: … What was so cool about the rink days, especially the late 70s, man, everybody’s passion was unbelievable. I mean, it was like the coolest thing in the whole world.\u003c/p>\n\u003cp>Richard: When we started skating together, we had all our big radios, our big boom boxes, we would put two or three of them together, wait for a song to come on the radio just so we could dance. And one of the coolest things – matter of fact, I still have one in my room today – it’s called the bone phone. You just put it right over your neck and it’s like a little sleeve and you can just listen to the radio, ya know, everybody can hear the bone phones. That was hot… So a lot of things happened in the 70s that just made skating what it is today. And it just kind of grew.\u003c/p>\n\u003cp>\u003cem>Pen: As an African-American person, how would you say that Black folks skate differently?\u003c/em>\u003c/p>\n\u003cp>Richard: Ay, you know, we got that bounce, we got that swag, we got that rhythm. For a lot of us, man, we grew up with music and poppin’ our fingers and dancing and just having fun. The skates kind of gave it a different dimension, that’s all.\u003c/p>\n\u003cp>Richard: If you look at the history of roller skating we were excluded… when we finally were included… they gave us one night. One night of skating, which has pretty much been happening for the last 40, 50 years, almost even to this day! They don’t use the word “Black Night,” [more like] “Rhythm Night” or whatever. We got names associated with the night that we’re going to be there, all the other nights is just a regular night.\u003c/p>\n\u003cp>Richard: And even to this day, we still have issues when it comes to skating and being Black at rinks because… when we go into a rink, we are searched… they’re looking in our bags, they’re looking at our clothes. Such a turn off to go to a rink and say, OK, I need to stand up against the wall, [get] pat down like everybody’s a criminal. Oh, I hate that.\u003c/p>\n\u003cp>Richard: But what we did find out: we don’t really need a rink if we got a smooth surface or space. We got Bluetooth now, we don’t have to have a DJ. That’s what we do on Sundays. Regardless of whether they give us a night or not. We’ll make it happen\u003c/p>\n\u003cp>\u003cem>Pen: I was checking out your roller dance website, and there’s this one photo… it’s black and white it’s you and two other gentlemen. It looked like y’all were doing a Temptation-esque, in a diagonal formation striking a pose almost down in the splits — really low to the ground — with your arms stretched out… It looked like a performance. What was going on in this photo?\u003c/em>\u003c/p>\n\u003cp>Richard: In that photo, we were called the Golden Rollers.\u003c/p>\n\u003cp>Richard: Back in the early part of ‘79, we didn’t have the wheels that absorb the shock that we do now. So 1979 became epic because the polyurethane wheel came out and once that soft wheel came out, rollerskating outdoors exploded! We all were into the splits cuz the splits back then was like the hottest move on roller skates. If you could do the splits, you bad.\u003c/p>\n\u003cp>Richard: For me, it was perfect because in high school, college, I was a hurdler, so I ran hurdles. That was my thing. So that particular move right there was straight up my alley. I mean, I could go all the way down, put my chin literally on my knee and come back up in like two moves: down, come back up, and rolling all at the same time.\u003c/p>\n\u003cp>Richard: That became like our signature pose, every time we ended our [performance], it was sort of like a thank you. So that move has just become iconic, I guess.\u003c/p>\n\u003cp>\u003cem>Pen: But there’s more to the art.. It’s not just the dance, as you mentioned before, it’s kind of the swag attitude and it’s also the fashion, that is a part of it. And I see that you have designed a pair of skates with no strings?\u003c/em>\u003c/p>\n\u003cp>Richard: … Ya know, I said to myself one day it would be the coolest thing in the world to have my own boot, something with my name on it. 2009, it actually happened. I was able to collaborate with Riedell Roller Skates, which is [one of] the biggest roller skate companies in the world. I brought them the idea and they said we’ve never done a boot with no laces! And I was like, OK, well, that’s good then, so let’s do our thing.\u003c/p>\n\u003cp>Richard: It’s authentic Richard Humphrey, “No Strings Attached.” And I came up with the no strings attached name because I was like, there’s no laces attached to it. So that was a cool, catchy name.\u003c/p>\n\u003cp>Richard: Roller skating is not like basketball where Curry and all these guys got all these big endorsements and all that kind of stuff. We don’t have that in roller skating. It is rare, absolutely rare for a huge skate company like Riedell or Sure-Grip or any other skate company to actually endorse a person and yet alone put their name on a boot.\u003c/p>\n\u003cp>\u003cem>Pen: Beautiful, hats off to the commitment.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Rollerskating is seeing a new popularity, but Richard Humphrey has been on roller skates for five decades. He’s been in films, on TV shows and even has a signature skate shoe.",
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"title": "Roll With Us: A Golden Roller on 50 Years of Quad Skating | KQED",
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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=KQINC9905854391\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"https://www.instagram.com/richardhumphrey/\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Humphrey\u003c/a> has been on quad skates for five decades, so it’s no wonder why we’d talk to him first for our series on wheels, community and culture in the Bay Area.\u003c/p>\n\u003cp>From 1979 to 1988, Richard was a part of the \u003ca href=\"https://www.youtube.com/watch?v=R1RMjcwqCTw\" target=\"_blank\" rel=\"noopener noreferrer\">Golden Rollers\u003c/a>, a trio of skaters who performed in Golden Gate Park every Sunday.\u003c/p>\n\u003cp>Since first getting his roll on, Richard has been featured in the television pilot, \u003cem>Dancing Wheels,\u003c/em> was Damon Wayan’s skating stunt double in \u003cem>The Underground\u003c/em>, performed on stage with the creator of “Bounce, Rock, Skate, Roll,” Vaughan Mason, and has been featured in Ebony Magazine. Richard also has custom wheels that bear his name, and worked with Riedell to manufacture a signature skating boot with no laces called, \u003ca href=\"http://www.rollerdance.com/shop.html#videos\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>No Strings Attached\u003c/em>.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13898280\" class=\"wp-caption alignnone\" style=\"max-width: 588px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13898280 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Image-from-iOS-1-e1622758826411.jpg\" alt=\"The cast of Dancing Wheels in 1979 at the end of a table, eleven of them stare into the camera. They are peak late seventies style, with big smiles.\" width=\"588\" height=\"484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Image-from-iOS-1-e1622758826411.jpg 588w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Image-from-iOS-1-e1622758826411-160x132.jpg 160w\" sizes=\"(max-width: 588px) 100vw, 588px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Dancing Wheels in 1979\u003c/figcaption>\u003c/figure>\n\u003cp>By now, Richard has taught thousands of people his signature skating style of “roller dance” (even \u003ca href=\"https://www.youtube.com/watch?v=s0aGVHWAgz0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dr. Oz\u003c/em>\u003c/a>) through in-person classes and video tutorials. And he noticed skatings rising popularity since the start of the Covid-19 pandemic. On social media, videos of skaters in fly fits doing tricks to the latest hits has made for top tier content, especially on \u003ca href=\"https://www.youtube.com/watch?v=aqKtMw4CZ9o\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok\u003c/a>.\u003c/p>\n\u003cp>While Richard thinks the growing number of quad skaters is a great, he wants to make sure folks know that skating has a deep-seated culture with a history that pre-dates the internet, and moves that sparkled on the rink long before most viral stars were born.\u003c/p>\n\u003cp>This week on Rightnowish, we get rolling with Richard in the first episode of our summer series about wheels and the cultures they carry in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Richard Humphrey.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: How would you describe the scene when you first started skating?\u003c/em>\u003c/p>\n\u003cp>Richard: … What was so cool about the rink days, especially the late 70s, man, everybody’s passion was unbelievable. I mean, it was like the coolest thing in the whole world.\u003c/p>\n\u003cp>Richard: When we started skating together, we had all our big radios, our big boom boxes, we would put two or three of them together, wait for a song to come on the radio just so we could dance. And one of the coolest things – matter of fact, I still have one in my room today – it’s called the bone phone. You just put it right over your neck and it’s like a little sleeve and you can just listen to the radio, ya know, everybody can hear the bone phones. That was hot… So a lot of things happened in the 70s that just made skating what it is today. And it just kind of grew.\u003c/p>\n\u003cp>\u003cem>Pen: As an African-American person, how would you say that Black folks skate differently?\u003c/em>\u003c/p>\n\u003cp>Richard: Ay, you know, we got that bounce, we got that swag, we got that rhythm. For a lot of us, man, we grew up with music and poppin’ our fingers and dancing and just having fun. The skates kind of gave it a different dimension, that’s all.\u003c/p>\n\u003cp>Richard: If you look at the history of roller skating we were excluded… when we finally were included… they gave us one night. One night of skating, which has pretty much been happening for the last 40, 50 years, almost even to this day! They don’t use the word “Black Night,” [more like] “Rhythm Night” or whatever. We got names associated with the night that we’re going to be there, all the other nights is just a regular night.\u003c/p>\n\u003cp>Richard: And even to this day, we still have issues when it comes to skating and being Black at rinks because… when we go into a rink, we are searched… they’re looking in our bags, they’re looking at our clothes. Such a turn off to go to a rink and say, OK, I need to stand up against the wall, [get] pat down like everybody’s a criminal. Oh, I hate that.\u003c/p>\n\u003cp>Richard: But what we did find out: we don’t really need a rink if we got a smooth surface or space. We got Bluetooth now, we don’t have to have a DJ. That’s what we do on Sundays. Regardless of whether they give us a night or not. We’ll make it happen\u003c/p>\n\u003cp>\u003cem>Pen: I was checking out your roller dance website, and there’s this one photo… it’s black and white it’s you and two other gentlemen. It looked like y’all were doing a Temptation-esque, in a diagonal formation striking a pose almost down in the splits — really low to the ground — with your arms stretched out… It looked like a performance. What was going on in this photo?\u003c/em>\u003c/p>\n\u003cp>Richard: In that photo, we were called the Golden Rollers.\u003c/p>\n\u003cp>Richard: Back in the early part of ‘79, we didn’t have the wheels that absorb the shock that we do now. So 1979 became epic because the polyurethane wheel came out and once that soft wheel came out, rollerskating outdoors exploded! We all were into the splits cuz the splits back then was like the hottest move on roller skates. If you could do the splits, you bad.\u003c/p>\n\u003cp>Richard: For me, it was perfect because in high school, college, I was a hurdler, so I ran hurdles. That was my thing. So that particular move right there was straight up my alley. I mean, I could go all the way down, put my chin literally on my knee and come back up in like two moves: down, come back up, and rolling all at the same time.\u003c/p>\n\u003cp>Richard: That became like our signature pose, every time we ended our [performance], it was sort of like a thank you. So that move has just become iconic, I guess.\u003c/p>\n\u003cp>\u003cem>Pen: But there’s more to the art.. It’s not just the dance, as you mentioned before, it’s kind of the swag attitude and it’s also the fashion, that is a part of it. And I see that you have designed a pair of skates with no strings?\u003c/em>\u003c/p>\n\u003cp>Richard: … Ya know, I said to myself one day it would be the coolest thing in the world to have my own boot, something with my name on it. 2009, it actually happened. I was able to collaborate with Riedell Roller Skates, which is [one of] the biggest roller skate companies in the world. I brought them the idea and they said we’ve never done a boot with no laces! And I was like, OK, well, that’s good then, so let’s do our thing.\u003c/p>\n\u003cp>Richard: It’s authentic Richard Humphrey, “No Strings Attached.” And I came up with the no strings attached name because I was like, there’s no laces attached to it. So that was a cool, catchy name.\u003c/p>\n\u003cp>Richard: Roller skating is not like basketball where Curry and all these guys got all these big endorsements and all that kind of stuff. We don’t have that in roller skating. It is rare, absolutely rare for a huge skate company like Riedell or Sure-Grip or any other skate company to actually endorse a person and yet alone put their name on a boot.\u003c/p>\n\u003cp>\u003cem>Pen: Beautiful, hats off to the commitment.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "here-kitty-kitty-that-mountain-lion-spotted-in-bernal-heights-has-been-captured",
"title": "Here, Kitty, Kitty—That Mountain Lion Spotted in Bernal Heights Has Been Captured",
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"headTitle": "Here, Kitty, Kitty—That Mountain Lion Spotted in Bernal Heights Has Been Captured | KQED",
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"content": "\u003cp>Breathe a sigh of relief, San Francisco hikers, for that mountain lion that’s been roaming around Bernal Heights was safely captured on Wednesday night. And don’t worry, cat lovers—he is safe, thanks to a giant team effort by SF Animal Care and Control, SFPD, California Fish and Wildlife officials, and the Oakland Zoo.\u003c/p>\n\u003cp>First, the brave souls of SFACC cornered the big cat while he was hiding in a tree on Santa Marina Street, near Mission Street. (Ten bucks says the neighbors facing the tree were more excited than the birds living in it.)\u003c/p>\n\u003cfigure id=\"attachment_13897592\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897592\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-20-at-3.16.53-PM-800x440.png\" alt=\"The mountain lion, hanging in the tree, as seen by neighbors.\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-20-at-3.16.53-PM-800x440.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-20-at-3.16.53-PM-1020x561.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-20-at-3.16.53-PM-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-20-at-3.16.53-PM-768x422.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-20-at-3.16.53-PM.png 1390w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The mountain lion, hanging in the tree, as seen by neighbors. \u003ccite>(NBC Bay Area)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While that was going on, SFPD officers secured the perimeter, and the California Fish and Wildlife folks rushed to the scene, Batman and Robin-style. After they’d tranquilized the lion with a dart, he jumped down from the tree, climbed onto the nearest porch and promptly passed out. (We’ve all been there.)\u003c/p>\n\u003cp>[aside postid='arts_13897293']\u003ca href=\"https://www.nbcbayarea.com/news/local/mountain-lion-captured-in-san-francisco-taken-to-oakland-zoo-to-be-examined/2550412/?_osource=SocialFlowTwt_BAYBrand\" target=\"_blank\" rel=\"noopener noreferrer\">NBC Bay Area\u003c/a> interviewed a Bernal Heights resident who witnessed the whole thing. “I came downstairs to take the garbage out,” said Zach Ellenberg. “And I got about three steps down, and there was a man sitting in the car out here who looked at me and yelled, ‘Get back inside! There’s a cougar in the tree!’ I thought it was a joke, but I went back inside, and then sure enough the police showed up and animal control, I guess. It became a whole scene. It was very exciting! Not what you expect when you move to the city.”\u003c/p>\n\u003cp>By 1 in the morning, our large feline friend was in Oakland Zoo custody, getting a thorough examination by vets on staff, as well as vaccines. (Even the mountain lions are doing it!) Once he gets the all-clear, the California Fish and Wildlife heroes will return to move the mountain lion to a “\u003ca href=\"https://twitter.com/oakzoo/status/1395449989409644546\" target=\"_blank\" rel=\"noopener noreferrer\">safe place in Santa Clara County\u003c/a>.” Presumably somewhere way less populated than Bernal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This morning, Oakland Zoo shared a video of the mountain lion in which he looked monumentally unimpressed about his entire night. Sound up for a laptop-shaking growl fest.\u003c/p>\n\u003cp>https://twitter.com/oakzoo/status/1395433495434989574\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hang in there, lil’ fella. You’ll be out of cat jail before you know it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Breathe a sigh of relief, San Francisco hikers, for that mountain lion that’s been roaming around Bernal Heights was safely captured on Wednesday night. And don’t worry, cat lovers—he is safe, thanks to a giant team effort by SF Animal Care and Control, SFPD, California Fish and Wildlife officials, and the Oakland Zoo.\u003c/p>\n\u003cp>First, the brave souls of SFACC cornered the big cat while he was hiding in a tree on Santa Marina Street, near Mission Street. (Ten bucks says the neighbors facing the tree were more excited than the birds living in it.)\u003c/p>\n\u003cfigure id=\"attachment_13897592\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897592\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Screen-Shot-2021-05-20-at-3.16.53-PM-800x440.png\" alt=\"The mountain lion, hanging in the tree, as seen by neighbors.\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-20-at-3.16.53-PM-800x440.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-20-at-3.16.53-PM-1020x561.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-20-at-3.16.53-PM-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-20-at-3.16.53-PM-768x422.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Screen-Shot-2021-05-20-at-3.16.53-PM.png 1390w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The mountain lion, hanging in the tree, as seen by neighbors. \u003ccite>(NBC Bay Area)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While that was going on, SFPD officers secured the perimeter, and the California Fish and Wildlife folks rushed to the scene, Batman and Robin-style. After they’d tranquilized the lion with a dart, he jumped down from the tree, climbed onto the nearest porch and promptly passed out. (We’ve all been there.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.nbcbayarea.com/news/local/mountain-lion-captured-in-san-francisco-taken-to-oakland-zoo-to-be-examined/2550412/?_osource=SocialFlowTwt_BAYBrand\" target=\"_blank\" rel=\"noopener noreferrer\">NBC Bay Area\u003c/a> interviewed a Bernal Heights resident who witnessed the whole thing. “I came downstairs to take the garbage out,” said Zach Ellenberg. “And I got about three steps down, and there was a man sitting in the car out here who looked at me and yelled, ‘Get back inside! There’s a cougar in the tree!’ I thought it was a joke, but I went back inside, and then sure enough the police showed up and animal control, I guess. It became a whole scene. It was very exciting! Not what you expect when you move to the city.”\u003c/p>\n\u003cp>By 1 in the morning, our large feline friend was in Oakland Zoo custody, getting a thorough examination by vets on staff, as well as vaccines. (Even the mountain lions are doing it!) Once he gets the all-clear, the California Fish and Wildlife heroes will return to move the mountain lion to a “\u003ca href=\"https://twitter.com/oakzoo/status/1395449989409644546\" target=\"_blank\" rel=\"noopener noreferrer\">safe place in Santa Clara County\u003c/a>.” Presumably somewhere way less populated than Bernal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This morning, Oakland Zoo shared a video of the mountain lion in which he looked monumentally unimpressed about his entire night. Sound up for a laptop-shaking growl fest.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>Hang in there, lil’ fella. You’ll be out of cat jail before you know it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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=KQINC3382469601\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>After winning an MTV reality TV show contest about a dozen years ago, \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a> landed a gig at Rolling Stone. That was a crowning moment in her career as a journalist.\u003c/p>\n\u003cp>Since then, Rocky Rivera’s enjoyed a successful musical career and expanded her world as an educator in Oakland public schools. Most recently she published an autobiographical collection of essays, \u003ca href=\"https://www.patreon.com/rockyrivera\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Snakeskin, \u003c/em>\u003c/a>which takes a look back at her storied career and personal life.\u003c/p>\n\u003cp>Rocky Rivera, who was raised in San Francisco, uses the book to express the importance of restorative justice practices. Addressing conflict without using punitive models is something that works in the classroom and the community, as well as in art.\u003c/p>\n\u003cp>A major part of restorative justice is being accountable for past actions, and growing out of those behaviors in order to come anew. Rocky Rivera likens that process to a snake shedding its skin– it also parallels her process of going through a period of personal, artistic and spiritual growth. Thus, snakeskin is a multilayered term.\u003c/p>\n\u003cp>This week, I talk to Rocky Rivera about family, community, accountability and growth.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13897105\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/rocky-1-800x534.jpg\" alt=\"A close shot of Rocky Rivera's hands, holding a small snake.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A close shot of Rocky Rivera’s hands, holding a small snake. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Rocky Rivera.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Part of restorative justice is identifying when you’ve been wronged. A few of your essays point out unnamed people who have caused harm. They’re academics who used your labor for free, community members who made hollow promises and festival organizers who shortchanged you on performance time…. You were getting some heat off your chest. Bring me into your thinking behind those essays.\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: I feel like my story and my voice is all I really have, and when these people are in positions of power – which every single person that I called out was in a position of power – well then I have the right to speak on how that that power was either manipulated or abused or taken advantage of.\u003c/p>\n\u003cp>Rocky Rivera: In the academic system, there is this reliance on community artists to forever be available and expecting you to do things for free, for exposure and come to your class and talk about your work without any kind of pay. And that’s the exploitation in itself. Especially artists like me, women, Asian-American women who are forever expected to accommodate.\u003c/p>\n\u003cp>Rocky Rivera: It was restorative for me to speak on that because I wanna make sure that it doesn’t happen to any young folks or any people that are like me. It’s a cautionary tale.\u003c/p>\n\u003cp>\u003cem>Pen: I appreciate the fact that these shots at power holders are interspersed between essays where you’re acknowledging the powers that you had and where you failed to be responsible with your powers, almost apology pieces about some of your lyrics: Pop Killer, Brown Babies or even clarifying some of the lyrics that might have been misconstructed or misconstrued. So how does restorative justice apply to words?\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: Oh, my gosh. Well, words are everything. Words are my business. There’s always a better word for something. But the reasons why we say things are really mired in how we were raised, our circumstances. So in these 10 years, I’ve turned from somebody who was a product of my environment, a product of my circumstances, to somebody who understands that I can influence my circumstances now because I’m in a position of power.\u003c/p>\n\u003cp>Rocky Rivera: And I’m trying to get to that point where I write really accurately and I do no harm. But in the past couple of years, I was careless and I had to address it because here’s the thing about restorative justice. You can’t expect somebody to be vulnerable, to be open, to make mistakes if you’re not willing to do that as well.\u003c/p>\n\u003cp>Rocky Rivera: I’m not going to be 100% woke. That’s not going to happen. I’m from the Bay. I listen to Too $hort. I listen to Keak Da Sneak. I’m just not gonna ever be 100% woke.\u003c/p>\n\u003cp>Rocky Rivera: The realness is that we are where we come from and until we can accept everything that we are, then we can never accept each other’s humanity. And I wanted to be the first to say I’ve made a mistake. I made a mistake and I learned from it. Thanks to my community, not despite my community.\u003c/p>\n\u003cp>Rocky Rivera: And consciousness and politicization is a journey….Really because the revolution starts at home. And I wanted to make myself an example.\u003c/p>\n\u003cp>\u003cem>Pen: The second essay in your book is about being an educator in Oakland, through working at the nonprofit Oakland Kids First– where we actually taught together. So, that line your book about remembering the smell of pizza in the classrooms really brought me back… In that essay, you also covered what restorative justice looks like in real time: getting and giving respect to students, creating safe spaces, changing campus culture through campaigns. Even the details of establishing the ground rules for RJ circles: “speak from the heart, listen from the heart, only talk when holding the talking piece,” … why did you choose to have that essay at the top of your book?\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: A lot of my career has been based on controversial moments, moments where either I wrote something that I took back or I said something that made people feel uncomfortable. But if I had not learned about restorative justice, if I had not learned from those young people what it means to truly be in community, I probably would have quit the game a long time ago.\u003c/p>\n\u003cp>Rocky Rivera: They really humbled me when I organized kids in Oakland because they didn’t care if I interviewed Snoop. They didn’t care if I was on television. They weren’t even in 6th grade when that shit came out [laughs] ya know what i mean. They didn’t care.\u003c/p>\n\u003cp>Rocky: Ok, I think i’m a big M.C., this artist, this journalist who’s done all these things, but when it comes down to the classroom, none of that matters. It does not matter. All that matters is a connection I make with my students and whether or not I’m able to organize and politicize them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- 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=KQINC3382469601\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>After winning an MTV reality TV show contest about a dozen years ago, \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a> landed a gig at Rolling Stone. That was a crowning moment in her career as a journalist.\u003c/p>\n\u003cp>Since then, Rocky Rivera’s enjoyed a successful musical career and expanded her world as an educator in Oakland public schools. Most recently she published an autobiographical collection of essays, \u003ca href=\"https://www.patreon.com/rockyrivera\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Snakeskin, \u003c/em>\u003c/a>which takes a look back at her storied career and personal life.\u003c/p>\n\u003cp>Rocky Rivera, who was raised in San Francisco, uses the book to express the importance of restorative justice practices. Addressing conflict without using punitive models is something that works in the classroom and the community, as well as in art.\u003c/p>\n\u003cp>A major part of restorative justice is being accountable for past actions, and growing out of those behaviors in order to come anew. Rocky Rivera likens that process to a snake shedding its skin– it also parallels her process of going through a period of personal, artistic and spiritual growth. Thus, snakeskin is a multilayered term.\u003c/p>\n\u003cp>This week, I talk to Rocky Rivera about family, community, accountability and growth.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13897105\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/rocky-1-800x534.jpg\" alt=\"A close shot of Rocky Rivera's hands, holding a small snake.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A close shot of Rocky Rivera’s hands, holding a small snake. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Rocky Rivera.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Part of restorative justice is identifying when you’ve been wronged. A few of your essays point out unnamed people who have caused harm. They’re academics who used your labor for free, community members who made hollow promises and festival organizers who shortchanged you on performance time…. You were getting some heat off your chest. Bring me into your thinking behind those essays.\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: I feel like my story and my voice is all I really have, and when these people are in positions of power – which every single person that I called out was in a position of power – well then I have the right to speak on how that that power was either manipulated or abused or taken advantage of.\u003c/p>\n\u003cp>Rocky Rivera: In the academic system, there is this reliance on community artists to forever be available and expecting you to do things for free, for exposure and come to your class and talk about your work without any kind of pay. And that’s the exploitation in itself. Especially artists like me, women, Asian-American women who are forever expected to accommodate.\u003c/p>\n\u003cp>Rocky Rivera: It was restorative for me to speak on that because I wanna make sure that it doesn’t happen to any young folks or any people that are like me. It’s a cautionary tale.\u003c/p>\n\u003cp>\u003cem>Pen: I appreciate the fact that these shots at power holders are interspersed between essays where you’re acknowledging the powers that you had and where you failed to be responsible with your powers, almost apology pieces about some of your lyrics: Pop Killer, Brown Babies or even clarifying some of the lyrics that might have been misconstructed or misconstrued. So how does restorative justice apply to words?\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: Oh, my gosh. Well, words are everything. Words are my business. There’s always a better word for something. But the reasons why we say things are really mired in how we were raised, our circumstances. So in these 10 years, I’ve turned from somebody who was a product of my environment, a product of my circumstances, to somebody who understands that I can influence my circumstances now because I’m in a position of power.\u003c/p>\n\u003cp>Rocky Rivera: And I’m trying to get to that point where I write really accurately and I do no harm. But in the past couple of years, I was careless and I had to address it because here’s the thing about restorative justice. You can’t expect somebody to be vulnerable, to be open, to make mistakes if you’re not willing to do that as well.\u003c/p>\n\u003cp>Rocky Rivera: I’m not going to be 100% woke. That’s not going to happen. I’m from the Bay. I listen to Too $hort. I listen to Keak Da Sneak. I’m just not gonna ever be 100% woke.\u003c/p>\n\u003cp>Rocky Rivera: The realness is that we are where we come from and until we can accept everything that we are, then we can never accept each other’s humanity. And I wanted to be the first to say I’ve made a mistake. I made a mistake and I learned from it. Thanks to my community, not despite my community.\u003c/p>\n\u003cp>Rocky Rivera: And consciousness and politicization is a journey….Really because the revolution starts at home. And I wanted to make myself an example.\u003c/p>\n\u003cp>\u003cem>Pen: The second essay in your book is about being an educator in Oakland, through working at the nonprofit Oakland Kids First– where we actually taught together. So, that line your book about remembering the smell of pizza in the classrooms really brought me back… In that essay, you also covered what restorative justice looks like in real time: getting and giving respect to students, creating safe spaces, changing campus culture through campaigns. Even the details of establishing the ground rules for RJ circles: “speak from the heart, listen from the heart, only talk when holding the talking piece,” … why did you choose to have that essay at the top of your book?\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: A lot of my career has been based on controversial moments, moments where either I wrote something that I took back or I said something that made people feel uncomfortable. But if I had not learned about restorative justice, if I had not learned from those young people what it means to truly be in community, I probably would have quit the game a long time ago.\u003c/p>\n\u003cp>Rocky Rivera: They really humbled me when I organized kids in Oakland because they didn’t care if I interviewed Snoop. They didn’t care if I was on television. They weren’t even in 6th grade when that shit came out [laughs] ya know what i mean. They didn’t care.\u003c/p>\n\u003cp>Rocky: Ok, I think i’m a big M.C., this artist, this journalist who’s done all these things, but when it comes down to the classroom, none of that matters. It does not matter. All that matters is a connection I make with my students and whether or not I’m able to organize and politicize them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\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=KQINC8427933845&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Kate Dash, aka \u003ca href=\"https://www.instagram.com/been.milky/\" target=\"_blank\" rel=\"noopener noreferrer\">Been Milky\u003c/a>, is one of the coolest mothers you’ll ever meet.\u003c/p>\n\u003cp>She likes to bomb down huge San Francisco hills on a skateboard, she notoriously dyes her hair bright colors, she’s a cannabis connoisseur and she’s on the verge of launching a shop called MiLKY WORLD.\u003c/p>\n\u003cp>Been Milky, whose name honors the fact that mothers have the ability to feed all of humankind, sees mothers as the most important beings walking this earth. And since she’s a photographer, she can show us exactly what she sees.\u003c/p>\n\u003cp>Her photography captures vivid images of her friends, many of them moms, and of course, her own kids.\u003c/p>\n\u003cfigure id=\"attachment_13896870\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896870\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Photos-of-Been-Milkys-daughters-800x1184.jpg\" alt=\"Been Milky's daughters smile and pose for a photo on a grassy hillside.\" width=\"800\" height=\"1184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photos-of-Been-Milkys-daughters-800x1184.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photos-of-Been-Milkys-daughters-1020x1510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photos-of-Been-Milkys-daughters-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photos-of-Been-Milkys-daughters-768x1137.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photos-of-Been-Milkys-daughters-1038x1536.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photos-of-Been-Milkys-daughters.jpg 1228w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Been Milky’s daughters smile and pose for a photo on a grassy hillside. \u003ccite>(Been Milky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Been Milky and I talked two years ago at Jessica Buera’s \u003ca href=\"https://concreterosesalon.glossgenius.com/\">Concrete Rose Salon\u003c/a> in downtown San Francisco, the conversation was largely focused on her approach to motherhood and photography.\u003c/p>\n\u003cp>This week, we get an update on the photographer who was born in the Philippines and raised in the South Bay. We discuss her growth as an artist, her embrace of marijuana, and her new approach to getting help with mental issues.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Been Milky.\u003c/strong>\u003c/p>\n\u003cp>Been Milky: Towards the middle of the pandemic, I just started going back to where I started, like shooting my family, my kids, my daughters. So vacations, get-togethers, them being themselves. And then I got a jobby job, and now I’m doing media for them…\u003c/p>\n\u003cp>\u003cem>Pen: I want to get to the jobby job, but stay on the photos first… your children, are they growing frustrated or irritated with you pointing the camera at them?\u003c/em>\u003c/p>\n\u003cp>Been Milky: Oh, sometimes. They will let me know. They will let me know all the time, like, ‘Momma not right now!’…. I’m like damn, I’m tryna get the moment!\u003c/p>\n\u003cp>\u003cem>Pen: I know how it is! My daughter is just like, ‘Come on, dad, I want to play! Stop taking pictures!”…. Ok, the jobby job. Tell us about it, what does it entail?\u003c/em>\u003c/p>\n\u003cp>Been Milky: So I’m back in the weed game, in the retail sense. I started volunteering at a dispensary out in San Jose when I was 18. I’m 30 now and I’m back… I just wanted a job where I get to practice things that I want to do for myself. They’re getting me on Premiere, doing social media, and everything that I already do for myself, but now it’s a structure.\u003c/p>\n\u003cp>\u003cem>Pen: Nice, nice, into the cannabis industry… It’s becoming, how do you say, less taboo to talk about casually and I’m thinking about an article where I read about suburban soccer moms being involved in marijuana. How do you look at your involvement in the marijuana industry as a mom?\u003c/em>\u003c/p>\n\u003cp>Been Milky: So I started at 18, I was volunteering 18 to like 20. And then I moved out of the city and then I got pregnant. I moved back to my parent’s house… My parents, I mean, now they’re starting to try to accept weed…[but] when I was pregnant with Akari, my second, my dad actually was like, ‘I’m not driving you to work’ and he wouldn’t watch Isis or take care of Isis. And I was like, damn, what do I do?… And then the manager — I’ve known him since elementary — he was like, bring her. So I brought her to work with me. And I have photos: I was pregnant with Akari and I had Isis in a little carrier. And I was just rolling joints! Luckily, this club’s not around, so I could talk about it.\u003c/p>\n\u003cp>Been Milky: I look at it like this plant is super healing. I really shifted my perspective, from I’m doing something bad into like…. I actually really fuck with this plant, like, in a deeper way, not just getting high. It’s healing in so many different ways… anxiety, trying to eat, you know, like all the things. The plant itself is super strong. I think we still use it for boats and stuff, little ropes, paper, American history…\u003c/p>\n\u003cp>\u003cem>Pen: You’re right though. It’s literally intertwined with our country. Other check in stuff… Anything else that the world should know about what you got going on right now?\u003c/em>\u003c/p>\n\u003cp>Been Milky: I mean, I’m just really taking care of myself: What brings me joy? What can I do to better myself? And how can I be here for myself and ultimately my daughters?\u003c/p>\n\u003cp>\u003cem>Pen: You have to boil it down to its essence, like what really matters and then start to rebuild from there.\u003c/em>\u003c/p>\n\u003cp>Been Milky: Well, I mean, to go even deeper, I actually checked myself into the mental facility… It was like a choice. It was like wisdom came through cuz I was like, OK, you know what? I don’t really want to leave. I got so much to do. What’s something that I haven’t done for myself? And that’s the hospital route… I was in there for 6 days willingly, really excited to be there because I’m like, OK, this is the change in my life. Like I’m gonna know myself on a deeper level. It was an experience for sure, to like really, ask for help, get help, and then be open to the support. And try new things like pharmaceuticals, they got me on certain things. I’m like, I’ve never tried it, so how can I say something about it? That’s where I’m at right now.\u003c/p>\n\u003cp>Been Milky: I was working at Barbary Coast Sunset while I went to the inpatient program and coming back to work… I always say this to the owner. I’m like, ‘yo, this space, this culture you have in this dispensary.’ I feel safe. I feel supported. I don’t feel judged, like, I can be myself, I dance at work!\u003c/p>\n\u003cp>\u003cem>Pen: That’s important. Congrats, congrats on the progress and the growth.\u003c/em>\u003c/p>\n\u003cp>Been Milky: Thank you, thank you.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- 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=KQINC8427933845&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Kate Dash, aka \u003ca href=\"https://www.instagram.com/been.milky/\" target=\"_blank\" rel=\"noopener noreferrer\">Been Milky\u003c/a>, is one of the coolest mothers you’ll ever meet.\u003c/p>\n\u003cp>She likes to bomb down huge San Francisco hills on a skateboard, she notoriously dyes her hair bright colors, she’s a cannabis connoisseur and she’s on the verge of launching a shop called MiLKY WORLD.\u003c/p>\n\u003cp>Been Milky, whose name honors the fact that mothers have the ability to feed all of humankind, sees mothers as the most important beings walking this earth. And since she’s a photographer, she can show us exactly what she sees.\u003c/p>\n\u003cp>Her photography captures vivid images of her friends, many of them moms, and of course, her own kids.\u003c/p>\n\u003cfigure id=\"attachment_13896870\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896870\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Photos-of-Been-Milkys-daughters-800x1184.jpg\" alt=\"Been Milky's daughters smile and pose for a photo on a grassy hillside.\" width=\"800\" height=\"1184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photos-of-Been-Milkys-daughters-800x1184.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photos-of-Been-Milkys-daughters-1020x1510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photos-of-Been-Milkys-daughters-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photos-of-Been-Milkys-daughters-768x1137.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photos-of-Been-Milkys-daughters-1038x1536.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photos-of-Been-Milkys-daughters.jpg 1228w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Been Milky’s daughters smile and pose for a photo on a grassy hillside. \u003ccite>(Been Milky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Been Milky and I talked two years ago at Jessica Buera’s \u003ca href=\"https://concreterosesalon.glossgenius.com/\">Concrete Rose Salon\u003c/a> in downtown San Francisco, the conversation was largely focused on her approach to motherhood and photography.\u003c/p>\n\u003cp>This week, we get an update on the photographer who was born in the Philippines and raised in the South Bay. We discuss her growth as an artist, her embrace of marijuana, and her new approach to getting help with mental issues.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Been Milky.\u003c/strong>\u003c/p>\n\u003cp>Been Milky: Towards the middle of the pandemic, I just started going back to where I started, like shooting my family, my kids, my daughters. So vacations, get-togethers, them being themselves. And then I got a jobby job, and now I’m doing media for them…\u003c/p>\n\u003cp>\u003cem>Pen: I want to get to the jobby job, but stay on the photos first… your children, are they growing frustrated or irritated with you pointing the camera at them?\u003c/em>\u003c/p>\n\u003cp>Been Milky: Oh, sometimes. They will let me know. They will let me know all the time, like, ‘Momma not right now!’…. I’m like damn, I’m tryna get the moment!\u003c/p>\n\u003cp>\u003cem>Pen: I know how it is! My daughter is just like, ‘Come on, dad, I want to play! Stop taking pictures!”…. Ok, the jobby job. Tell us about it, what does it entail?\u003c/em>\u003c/p>\n\u003cp>Been Milky: So I’m back in the weed game, in the retail sense. I started volunteering at a dispensary out in San Jose when I was 18. I’m 30 now and I’m back… I just wanted a job where I get to practice things that I want to do for myself. They’re getting me on Premiere, doing social media, and everything that I already do for myself, but now it’s a structure.\u003c/p>\n\u003cp>\u003cem>Pen: Nice, nice, into the cannabis industry… It’s becoming, how do you say, less taboo to talk about casually and I’m thinking about an article where I read about suburban soccer moms being involved in marijuana. How do you look at your involvement in the marijuana industry as a mom?\u003c/em>\u003c/p>\n\u003cp>Been Milky: So I started at 18, I was volunteering 18 to like 20. And then I moved out of the city and then I got pregnant. I moved back to my parent’s house… My parents, I mean, now they’re starting to try to accept weed…[but] when I was pregnant with Akari, my second, my dad actually was like, ‘I’m not driving you to work’ and he wouldn’t watch Isis or take care of Isis. And I was like, damn, what do I do?… And then the manager — I’ve known him since elementary — he was like, bring her. So I brought her to work with me. And I have photos: I was pregnant with Akari and I had Isis in a little carrier. And I was just rolling joints! Luckily, this club’s not around, so I could talk about it.\u003c/p>\n\u003cp>Been Milky: I look at it like this plant is super healing. I really shifted my perspective, from I’m doing something bad into like…. I actually really fuck with this plant, like, in a deeper way, not just getting high. It’s healing in so many different ways… anxiety, trying to eat, you know, like all the things. The plant itself is super strong. I think we still use it for boats and stuff, little ropes, paper, American history…\u003c/p>\n\u003cp>\u003cem>Pen: You’re right though. It’s literally intertwined with our country. Other check in stuff… Anything else that the world should know about what you got going on right now?\u003c/em>\u003c/p>\n\u003cp>Been Milky: I mean, I’m just really taking care of myself: What brings me joy? What can I do to better myself? And how can I be here for myself and ultimately my daughters?\u003c/p>\n\u003cp>\u003cem>Pen: You have to boil it down to its essence, like what really matters and then start to rebuild from there.\u003c/em>\u003c/p>\n\u003cp>Been Milky: Well, I mean, to go even deeper, I actually checked myself into the mental facility… It was like a choice. It was like wisdom came through cuz I was like, OK, you know what? I don’t really want to leave. I got so much to do. What’s something that I haven’t done for myself? And that’s the hospital route… I was in there for 6 days willingly, really excited to be there because I’m like, OK, this is the change in my life. Like I’m gonna know myself on a deeper level. It was an experience for sure, to like really, ask for help, get help, and then be open to the support. And try new things like pharmaceuticals, they got me on certain things. I’m like, I’ve never tried it, so how can I say something about it? That’s where I’m at right now.\u003c/p>\n\u003cp>Been Milky: I was working at Barbary Coast Sunset while I went to the inpatient program and coming back to work… I always say this to the owner. I’m like, ‘yo, this space, this culture you have in this dispensary.’ I feel safe. I feel supported. I don’t feel judged, like, I can be myself, I dance at work!\u003c/p>\n\u003cp>\u003cem>Pen: That’s important. Congrats, congrats on the progress and the growth.\u003c/em>\u003c/p>\n\u003cp>Been Milky: Thank you, thank you.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How fnnch’s Honey Bears Became the Most Despised Street Art in San Francisco",
"headTitle": "How fnnch’s Honey Bears Became the Most Despised Street Art in San Francisco | KQED",
"content": "\u003cp>In the summer of 2018, I put together \u003ca href=\"https://www.kqed.org/pop/102978/a-guide-to-san-francisco-murals-and-the-artists-who-make-them\" target=\"_blank\" rel=\"noopener noreferrer\">a guide to six prolific muralists\u003c/a> in San Francisco, including maps of where to find their work. The idea was to create city walks that doubled as art treasure hunts, and to encourage people to learn more about some of our most visible local artists. The list included \u003ca href=\"https://sillypinkbunnies.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeremy Fish\u003c/a>, \u003ca href=\"http://www.sirronnorris.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sirron Norris\u003c/a>, \u003ca href=\"https://www.fewandfarwomen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Few and Far Women\u003c/a>, \u003ca href=\"https://samflores.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sam Flores\u003c/a>, \u003ca href=\"http://theapexer.com/\" target=\"_blank\" rel=\"noopener noreferrer\">APEXER\u003c/a> and—try not to hate me—\u003ca href=\"https://fnnch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">fnnch\u003c/a>, the artist behind all those honey bears plastered everywhere in San Francisco.\u003c/p>\n\u003cp>At the time, fnnch was as well known for his poppies, dogs and bright lips as he was for his honey bears. And at the time, I described his artistic contributions to the city as the “most Instagram-able” on the list, adding that each of his public pieces made the city “a more cheerful place to be.”\u003c/p>\n\u003cp>Almost three years later, I cannot, in good conscience, say the same thing. In the past 12 months, San Francisco has become so oversaturated with fnnch’s honey bears that what was once an occasional sugar rush now feels like a nausea-inducing force-feeding. And I’m not alone: the backlash, brewing since last summer, finally reached its zenith this month. There’s a new (private) Instagram account, \u003ca href=\"https://www.instagram.com/fuckfnnch/\" target=\"_blank\" rel=\"noopener noreferrer\">@fuckfnnch\u003c/a>, that celebrates “pics or videos of dissed or ripped bears.” There’s a Change.org petition titled “\u003ca href=\"https://www.change.org/p/sf-lgbt-center-remove-fnnch-mural-from-sf-lgbt-center?source_location=petitions_browse\" target=\"_blank\" rel=\"noopener noreferrer\">Remove fnnch mural from SF LGBT Center\u003c/a>.” And, notably, there are the local artists who’ve been confronting fnnch on \u003ca href=\"https://www.instagram.com/p/COD3Gg1BpH7/\" target=\"_blank\" rel=\"noopener noreferrer\">walls\u003c/a>, in person and online.\u003c/p>\n\u003cp>https://www.instagram.com/p/CON1e9Hhwap/\u003c/p>\n\u003cp>One of the most visible and vocal is \u003ca href=\"https://www.instagram.com/rickyratcomix/\" target=\"_blank\" rel=\"noopener noreferrer\">Ricky Rat\u003c/a>, whose stories on Instagram often feature montages of honey bear destruction, parodies and badmouthing. “I don’t care where you’re from, but if you’re not doing something directly positive that reflects the real community, then I won’t support it,” \u003ca href=\"https://thebolditalic.com/san-franciscos-honey-bears-harmlessly-cute-or-symbols-of-gentrification-a1cdf925b1f1\" target=\"_blank\" rel=\"noopener noreferrer\">Ricky told the \u003cem>Bold Italic\u003c/em>\u003c/a> last August. “[fnnch] didn’t invent gentrification, but he most publicly represents what it’s about.”\u003c/p>\n\u003cfigure id=\"attachment_13896331\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896331\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/ricky-rat-bear-800x495.jpg\" alt=\"A collection of images featured on Ricky Rat's Instagram stories, on Monday April 26, 2021.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-rat-bear-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-rat-bear-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-rat-bear-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-rat-bear-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-rat-bear-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-rat-bear-2048x1267.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-rat-bear-1920x1188.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of images featured on Ricky Rat’s Instagram stories, on Monday April 26, 2021. \u003ccite>(Instagram/ @rickyratcomix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last week, local artist \u003ca href=\"https://www.instagram.com/doggtowndro/\" target=\"_blank\" rel=\"noopener noreferrer\">DoggTown Dro\u003c/a> uploaded a video of himself confronting fnnch and two of his assistants. The three were apparently cleaning “FUCK FNNCH” graffiti off the trio of honey bears on the side of the \u003ca href=\"https://www.sfcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">LGBT Center\u003c/a> when Dro arrived. “These bears have become synonymous with gentrification in San Francisco,” he told fnnch, “and the displacement of the artists that come from here.” At one point during the exchange, fnnch refers to himself as an “immigrant” from Missouri, a moment \u003ca href=\"https://twitter.com/search?q=fnnch%20immigrant&src=typed_query\" target=\"_blank\" rel=\"noopener noreferrer\">seized upon by his critics\u003c/a> over the weekend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/CN-qwbvBoIR/\u003c/p>\n\u003cp>Back when I wrote that mural guide, in 2018, fnnch was not a favorite within the art community—but he wasn’t this despised, either. He was seen as too generic, too clean-cut, too… \u003cem>safe\u003c/em>. But he held a mainstream appeal that few artists who paint on city walls hold. He was, to put it bluntly, a street artist for people who don’t actually like street art. If regular street artists were the \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFMOMA\u003c/a>, fnnch was the \u003ca href=\"https://tickets.museumoficecream.com/event/museum-of-ice-cream-san-fran\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Ice Cream\u003c/a>.\u003c/p>\n\u003cp>fnnch’s latest problems, however, are rooted in his transition from public selfie backgrounds into the realm of community issues, where he distills serious topics down into his honey bear image. And he’s been doing that, in earnest, since the pandemic began.\u003c/p>\n\u003cp>[aside postid='arts_13896515']It started harmlessly enough. In April 2020, fnnch began, according to one of his newsletters, “wheat-pasting COVID Bears on boarded up storefronts across San Francisco.” At the time, he said he wanted to “convert depressing storefronts into canvases for art, and encourage healthy behavior.” Then, in May, he came up with the #HoneyBearHunt. It was a more urban take on what was happening in the suburbs during the early days of shelter in place: instead of putting actual teddy bears in windows for neighborhood children, people could display fnnch’s honey bear, and kids could follow his virtual map to find them. He sold 3,500 bear window displays in four days.\u003c/p>\n\u003cp>In the year since, fnnch—a straight, white, former tech worker—has been bombarding San Francisco with those bears. After the initial mask and soap bears for the #HoneyBearHunt, there was a woefully \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/gygx2e/fnnch_bear_blackface/\" target=\"_blank\" rel=\"noopener noreferrer\">ill-advised\u003c/a>—then \u003ca href=\"https://www.instagram.com/p/CBY7kg5JUax/\" target=\"_blank\" rel=\"noopener noreferrer\">re-imagined\u003c/a>—Black Lives Matter-inspired bear. There was a bear to encourage voting. There was a Ruth Bader Ginsburg bear, a firefighter bear, a teacher bear, a coffee house bear (which fnnch said symbolized the “many everyday heroes of the pandemic”), a San Francisco Ballet bear, a movie bear and, most recently, a Sisters of Perpetual Indulgence bear.\u003c/p>\n\u003cfigure id=\"attachment_13896343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896343\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/ricky-comix-800x800.jpg\" alt=\"This critique of the Sisters of Perpetual Indulgence honey bear recently appeared on Ricky Rat's Instagram account.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-comix-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-comix-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-comix-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-comix-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-comix-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-comix-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-comix-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This critique of the Sisters of Perpetual Indulgence honey bear recently appeared on Ricky Rat’s Instagram account. \u003ccite>(Instagram/ @rickyratcomix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the reasons people kept buying the bears was because most of them, in one way or another, support a good cause. The Sisters of Perpetual Indulgence will receive 50% of funds from fnnch’s painting and print sales in their likeness. Mask bear and soap bear raised over $100,000 for \u003ca href=\"https://www.safetynetfund.io/\" target=\"_blank\" rel=\"noopener noreferrer\">the Safety Net Fund\u003c/a>. Of the firefighter bear sales, 50% benefited the \u003ca href=\"https://www.cafirefoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CAL FIRE Foundation\u003c/a>. The SF Ballet got “50% of [related] art sales and 25% of other sales … to support their extensive COVID testing of dancers and staff.” Ten percent of the profits from the movie bear print went to \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Roxie\u003c/a>. A line of T-shirts donated 25% of sales to \u003ca href=\"https://www.stanthonysf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">St. Anthony’s\u003c/a>, a nonprofit community organization. As fnnch himself noted in one of his regular newsletters, he “went from raising or donating $12,000 in 2019 to $293,000 in 2020.”\u003c/p>\n\u003cp>[aside postid='arts_13890127']After the uproar that greeted his initial attempt at a BLM-inspired bear, an image that people likened to blackface, fnnch donated 50% of proceeds from his subsequent “Ally Bear” to the \u003ca href=\"https://eji.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Equal Justice Initiative\u003c/a>, and the other 50% to \u003ca href=\"https://www.yelp.com/biz/newbills-barber-shop-and-salon-san-francisco-6\" target=\"_blank\" rel=\"noopener noreferrer\">Newbills Barber Shop and Salon\u003c/a> on Divisadero. It was a rare occasion when the artist himself did not also profit from a design.\u003c/p>\n\u003cp>What is less acknowledged when it comes to fnnch, though, is the primary reason people in the city are so sick of him. He has figured out a way to dominate public space, and without any of the risks or consequences that art that lives in public usually faces. (Such as weather damage, tagging, etc.) Honey bears pasted onto shuttered storefronts will have a shelf life of weeks. Honey bears stuck up safely inside people’s windows, protected by the rules of private property, can live indefinitely.\u003c/p>\n\u003cp>Which is how you end up with this:\u003c/p>\n\u003cfigure id=\"attachment_13896344\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896344\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-26-at-5.48.51-PM-800x536.png\" alt=\"fnnch's own map of honey bear saturation in San Francisco demonstrates how few spaces remain bear-free.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-26-at-5.48.51-PM-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-26-at-5.48.51-PM-1020x684.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-26-at-5.48.51-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-26-at-5.48.51-PM-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-26-at-5.48.51-PM-1536x1029.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-26-at-5.48.51-PM.png 1898w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">fnnch’s own map of honey bear saturation in San Francisco. \u003ccite>(Instagram/ @fnnch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s worse, even at his current level of over-saturation, fnnch’s commitment to blanketing the city with a single image is only getting more aggressive. He specified in his January newsletter that people buying prints for his second honey bear hunt must display the bears in their windows for “at least 3 months.” He added, “It would be swell if you kept it up for the duration of the pandemic, but … after 3 months I will reach out with a survey to see if you’d like to keep your bear up longer.” Children haven’t been this invested in teddy bear hunts in months. So why keep up the proliferation? What’s in it for fnnch?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>fnnch’s honey bear now occupies every type of space in San Francisco: the windows of private homes, public walls, institutional facades, and, as of April, \u003ca href=\"https://www.instagram.com/p/CNpzXw6JnxG/\" target=\"_blank\" rel=\"noopener noreferrer\">inside bus shelters\u003c/a> and on the \u003ca href=\"https://www.instagram.com/p/CN-iAjbpm6_/\" target=\"_blank\" rel=\"noopener noreferrer\">sides of Muni buses\u003c/a>. Through sheer force of their omnipresence, fnnch’s honey bears are coming to define the city as a place that embraces a kind of bland homogeneity, even in its street art. This is the crux of the disconnect between fnnch and San Francisco writ large: How can the repetition of one image uplift a community that has long prided itself on its heterogeneity? That he continues his honey bear output isn’t just ill-advised, it speaks to how much he still doesn’t understand his adopted home of San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the summer of 2018, I put together \u003ca href=\"https://www.kqed.org/pop/102978/a-guide-to-san-francisco-murals-and-the-artists-who-make-them\" target=\"_blank\" rel=\"noopener noreferrer\">a guide to six prolific muralists\u003c/a> in San Francisco, including maps of where to find their work. The idea was to create city walks that doubled as art treasure hunts, and to encourage people to learn more about some of our most visible local artists. The list included \u003ca href=\"https://sillypinkbunnies.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeremy Fish\u003c/a>, \u003ca href=\"http://www.sirronnorris.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sirron Norris\u003c/a>, \u003ca href=\"https://www.fewandfarwomen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Few and Far Women\u003c/a>, \u003ca href=\"https://samflores.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sam Flores\u003c/a>, \u003ca href=\"http://theapexer.com/\" target=\"_blank\" rel=\"noopener noreferrer\">APEXER\u003c/a> and—try not to hate me—\u003ca href=\"https://fnnch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">fnnch\u003c/a>, the artist behind all those honey bears plastered everywhere in San Francisco.\u003c/p>\n\u003cp>At the time, fnnch was as well known for his poppies, dogs and bright lips as he was for his honey bears. And at the time, I described his artistic contributions to the city as the “most Instagram-able” on the list, adding that each of his public pieces made the city “a more cheerful place to be.”\u003c/p>\n\u003cp>Almost three years later, I cannot, in good conscience, say the same thing. In the past 12 months, San Francisco has become so oversaturated with fnnch’s honey bears that what was once an occasional sugar rush now feels like a nausea-inducing force-feeding. And I’m not alone: the backlash, brewing since last summer, finally reached its zenith this month. There’s a new (private) Instagram account, \u003ca href=\"https://www.instagram.com/fuckfnnch/\" target=\"_blank\" rel=\"noopener noreferrer\">@fuckfnnch\u003c/a>, that celebrates “pics or videos of dissed or ripped bears.” There’s a Change.org petition titled “\u003ca href=\"https://www.change.org/p/sf-lgbt-center-remove-fnnch-mural-from-sf-lgbt-center?source_location=petitions_browse\" target=\"_blank\" rel=\"noopener noreferrer\">Remove fnnch mural from SF LGBT Center\u003c/a>.” And, notably, there are the local artists who’ve been confronting fnnch on \u003ca href=\"https://www.instagram.com/p/COD3Gg1BpH7/\" target=\"_blank\" rel=\"noopener noreferrer\">walls\u003c/a>, in person and online.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most visible and vocal is \u003ca href=\"https://www.instagram.com/rickyratcomix/\" target=\"_blank\" rel=\"noopener noreferrer\">Ricky Rat\u003c/a>, whose stories on Instagram often feature montages of honey bear destruction, parodies and badmouthing. “I don’t care where you’re from, but if you’re not doing something directly positive that reflects the real community, then I won’t support it,” \u003ca href=\"https://thebolditalic.com/san-franciscos-honey-bears-harmlessly-cute-or-symbols-of-gentrification-a1cdf925b1f1\" target=\"_blank\" rel=\"noopener noreferrer\">Ricky told the \u003cem>Bold Italic\u003c/em>\u003c/a> last August. “[fnnch] didn’t invent gentrification, but he most publicly represents what it’s about.”\u003c/p>\n\u003cfigure id=\"attachment_13896331\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896331\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/ricky-rat-bear-800x495.jpg\" alt=\"A collection of images featured on Ricky Rat's Instagram stories, on Monday April 26, 2021.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-rat-bear-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-rat-bear-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-rat-bear-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-rat-bear-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-rat-bear-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-rat-bear-2048x1267.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-rat-bear-1920x1188.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collection of images featured on Ricky Rat’s Instagram stories, on Monday April 26, 2021. \u003ccite>(Instagram/ @rickyratcomix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last week, local artist \u003ca href=\"https://www.instagram.com/doggtowndro/\" target=\"_blank\" rel=\"noopener noreferrer\">DoggTown Dro\u003c/a> uploaded a video of himself confronting fnnch and two of his assistants. The three were apparently cleaning “FUCK FNNCH” graffiti off the trio of honey bears on the side of the \u003ca href=\"https://www.sfcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">LGBT Center\u003c/a> when Dro arrived. “These bears have become synonymous with gentrification in San Francisco,” he told fnnch, “and the displacement of the artists that come from here.” At one point during the exchange, fnnch refers to himself as an “immigrant” from Missouri, a moment \u003ca href=\"https://twitter.com/search?q=fnnch%20immigrant&src=typed_query\" target=\"_blank\" rel=\"noopener noreferrer\">seized upon by his critics\u003c/a> over the weekend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back when I wrote that mural guide, in 2018, fnnch was not a favorite within the art community—but he wasn’t this despised, either. He was seen as too generic, too clean-cut, too… \u003cem>safe\u003c/em>. But he held a mainstream appeal that few artists who paint on city walls hold. He was, to put it bluntly, a street artist for people who don’t actually like street art. If regular street artists were the \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFMOMA\u003c/a>, fnnch was the \u003ca href=\"https://tickets.museumoficecream.com/event/museum-of-ice-cream-san-fran\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Ice Cream\u003c/a>.\u003c/p>\n\u003cp>fnnch’s latest problems, however, are rooted in his transition from public selfie backgrounds into the realm of community issues, where he distills serious topics down into his honey bear image. And he’s been doing that, in earnest, since the pandemic began.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It started harmlessly enough. In April 2020, fnnch began, according to one of his newsletters, “wheat-pasting COVID Bears on boarded up storefronts across San Francisco.” At the time, he said he wanted to “convert depressing storefronts into canvases for art, and encourage healthy behavior.” Then, in May, he came up with the #HoneyBearHunt. It was a more urban take on what was happening in the suburbs during the early days of shelter in place: instead of putting actual teddy bears in windows for neighborhood children, people could display fnnch’s honey bear, and kids could follow his virtual map to find them. He sold 3,500 bear window displays in four days.\u003c/p>\n\u003cp>In the year since, fnnch—a straight, white, former tech worker—has been bombarding San Francisco with those bears. After the initial mask and soap bears for the #HoneyBearHunt, there was a woefully \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/gygx2e/fnnch_bear_blackface/\" target=\"_blank\" rel=\"noopener noreferrer\">ill-advised\u003c/a>—then \u003ca href=\"https://www.instagram.com/p/CBY7kg5JUax/\" target=\"_blank\" rel=\"noopener noreferrer\">re-imagined\u003c/a>—Black Lives Matter-inspired bear. There was a bear to encourage voting. There was a Ruth Bader Ginsburg bear, a firefighter bear, a teacher bear, a coffee house bear (which fnnch said symbolized the “many everyday heroes of the pandemic”), a San Francisco Ballet bear, a movie bear and, most recently, a Sisters of Perpetual Indulgence bear.\u003c/p>\n\u003cfigure id=\"attachment_13896343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896343\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/ricky-comix-800x800.jpg\" alt=\"This critique of the Sisters of Perpetual Indulgence honey bear recently appeared on Ricky Rat's Instagram account.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-comix-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-comix-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-comix-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-comix-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-comix-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-comix-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ricky-comix-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This critique of the Sisters of Perpetual Indulgence honey bear recently appeared on Ricky Rat’s Instagram account. \u003ccite>(Instagram/ @rickyratcomix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the reasons people kept buying the bears was because most of them, in one way or another, support a good cause. The Sisters of Perpetual Indulgence will receive 50% of funds from fnnch’s painting and print sales in their likeness. Mask bear and soap bear raised over $100,000 for \u003ca href=\"https://www.safetynetfund.io/\" target=\"_blank\" rel=\"noopener noreferrer\">the Safety Net Fund\u003c/a>. Of the firefighter bear sales, 50% benefited the \u003ca href=\"https://www.cafirefoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CAL FIRE Foundation\u003c/a>. The SF Ballet got “50% of [related] art sales and 25% of other sales … to support their extensive COVID testing of dancers and staff.” Ten percent of the profits from the movie bear print went to \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Roxie\u003c/a>. A line of T-shirts donated 25% of sales to \u003ca href=\"https://www.stanthonysf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">St. Anthony’s\u003c/a>, a nonprofit community organization. As fnnch himself noted in one of his regular newsletters, he “went from raising or donating $12,000 in 2019 to $293,000 in 2020.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After the uproar that greeted his initial attempt at a BLM-inspired bear, an image that people likened to blackface, fnnch donated 50% of proceeds from his subsequent “Ally Bear” to the \u003ca href=\"https://eji.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Equal Justice Initiative\u003c/a>, and the other 50% to \u003ca href=\"https://www.yelp.com/biz/newbills-barber-shop-and-salon-san-francisco-6\" target=\"_blank\" rel=\"noopener noreferrer\">Newbills Barber Shop and Salon\u003c/a> on Divisadero. It was a rare occasion when the artist himself did not also profit from a design.\u003c/p>\n\u003cp>What is less acknowledged when it comes to fnnch, though, is the primary reason people in the city are so sick of him. He has figured out a way to dominate public space, and without any of the risks or consequences that art that lives in public usually faces. (Such as weather damage, tagging, etc.) Honey bears pasted onto shuttered storefronts will have a shelf life of weeks. Honey bears stuck up safely inside people’s windows, protected by the rules of private property, can live indefinitely.\u003c/p>\n\u003cp>Which is how you end up with this:\u003c/p>\n\u003cfigure id=\"attachment_13896344\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896344\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-26-at-5.48.51-PM-800x536.png\" alt=\"fnnch's own map of honey bear saturation in San Francisco demonstrates how few spaces remain bear-free.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-26-at-5.48.51-PM-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-26-at-5.48.51-PM-1020x684.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-26-at-5.48.51-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-26-at-5.48.51-PM-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-26-at-5.48.51-PM-1536x1029.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-26-at-5.48.51-PM.png 1898w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">fnnch’s own map of honey bear saturation in San Francisco. \u003ccite>(Instagram/ @fnnch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s worse, even at his current level of over-saturation, fnnch’s commitment to blanketing the city with a single image is only getting more aggressive. He specified in his January newsletter that people buying prints for his second honey bear hunt must display the bears in their windows for “at least 3 months.” He added, “It would be swell if you kept it up for the duration of the pandemic, but … after 3 months I will reach out with a survey to see if you’d like to keep your bear up longer.” Children haven’t been this invested in teddy bear hunts in months. So why keep up the proliferation? What’s in it for fnnch?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>fnnch’s honey bear now occupies every type of space in San Francisco: the windows of private homes, public walls, institutional facades, and, as of April, \u003ca href=\"https://www.instagram.com/p/CNpzXw6JnxG/\" target=\"_blank\" rel=\"noopener noreferrer\">inside bus shelters\u003c/a> and on the \u003ca href=\"https://www.instagram.com/p/CN-iAjbpm6_/\" target=\"_blank\" rel=\"noopener noreferrer\">sides of Muni buses\u003c/a>. Through sheer force of their omnipresence, fnnch’s honey bears are coming to define the city as a place that embraces a kind of bland homogeneity, even in its street art. This is the crux of the disconnect between fnnch and San Francisco writ large: How can the repetition of one image uplift a community that has long prided itself on its heterogeneity? That he continues his honey bear output isn’t just ill-advised, it speaks to how much he still doesn’t understand his adopted home of San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nobody knows the true identity of Alice Smith, or exactly where she came from. But in 1913, her account of living on the margins of society as a young woman, and selling sex to survive, shook the foundations of Bay Area society. In her first-person column titled “A Voice From the Underworld” for the \u003cem>San Francisco Bulletin\u003c/em> newspaper, Smith humanized sex work and changed perceptions about women in “the life” for thousands of readers. And it happened just as California brothels faced unprecedented legal threats.\u003c/p>\n\u003cp>Smith hailed from a small town in the Midwest, where she was raised on a farm by her maternal grandparents after her mother died and her father moved away with a new wife. At 11, Smith dropped out of school, having fallen behind in class because her “eyes started to get bad,” and her grandparents “didn’t know about such things as glasses for children.” Later, in her teens, and frustrated by the limited employment options in her hometown, Smith accepted an invitation from her paternal grandmother to move to Northern California.\u003c/p>\n\u003cp>Once on the coast, Smith was stunned to find that the available work was woefully underpaid. Despite working long, exhausting days in a laundry, she was forced to skip meals in order to pay rent. In a moment of desperation, while still in her teens, Smith fell into sex work almost entirely on a whim. Early on, she made her own schedule, making brief returns to waitressing when jobs were available. But within a couple of years, she was residing and working full-time in brothels. At the time she shared her story with the \u003cem>Bulletin\u003c/em>, Smith was living in a brothel on Commercial Street, close to the newspaper offices.\u003c/p>\n\u003cp>Smith’s story—which ran six days a week for almost two months—was remarkable in its scope, candidness and relatability. “Evidently a prostitute was one who sold herself for money,” Smith pondered after having sex with a client for the first time. “Well, I wondered, was there anybody in the world, according to that, who didn’t sell herself or himself for money? Didn’t everybody supply some demand, in some more or less disagreeable way?”\u003c/p>\n\u003cp>[aside postid='pop_103907']Reading Smith’s account, one is struck by how few choices were available to women at the time—especially working-class women. Marriage to the first man who came along and a life of household gruntwork didn’t appeal to Smith. (“As soon as a girl married, she stopped growing, stopped learning, stopping thinking, stopped going ahead any; just gave up and became a drudge,” she wrote.) At the same time, living alone in boarding houses and tolerating a life of underpaid manual labor was also grim. (“I would go to bed at night so tired I could hardly walk,” Smith reported of her time at the laundry. “I would get up in the morning pretty near as tired—with all the time that empty gnawing feeling at my stomach.”) Selling sex was literally the only means Smith found, as an uneducated single woman, to crawl out of poverty.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Smith’s columns also explored how simply being a woman meant being subjected to the sexual whims of men, whether one was in the sex trade or not. “There was always something that seemed to come into the minds of men whenever I was alone with them,” she reported. “It gave me the queerest feeling—as if I was always going to be sort of hunted. As if I was never going to be safe, never off my guard, always bound to be chased by some man.”\u003c/p>\n\u003cp>For Smith, almost no topic was off the table. She talked plainly about corrupt police officers; about the list of people that brothel madams had to pay to keep their doors open; and about her own harrowing experiences with illegal abortion. “Underworld women don’t have any friends who will prosecute in case of death,” she said of her first termination. “I didn’t come far from dying. Of course, that doctor didn’t think I was worth much to the world, and didn’t give me proper care after the worst part was through; and it was just luck that brought me out finally without blood poisoning.”\u003c/p>\n\u003cp>In her accounts, the only details Smith ever shied away from were the ones related to her sexual encounters with clients. But one of the things that made her column so impactful was its ability to relay brothel life without resorting to salacious details. “Night after night it was the same,” she said of her first group house. “Men coming in, with their talk, ordering drinks … and that constant flow of dirty language from both men and women—curses, vile songs, the smell of whiskey and of disinfectants; and later in the evening, the ‘work.'” At times, she admitted, her reliance on alcohol and tobacco made her “miserably ill.”\u003c/p>\n\u003cfigure id=\"attachment_13895943\" class=\"wp-caption alignright\" style=\"max-width: 424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13895943\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/04704601.jpg\" alt=\"\" width=\"424\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/04704601.jpg 424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/04704601-160x226.jpg 160w\" sizes=\"auto, (max-width: 424px) 100vw, 424px\">\u003cfigcaption class=\"wp-caption-text\">A photograph by Edgar Degas (1895). \u003ccite>(The J. Paul Getty Museum, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite reliving some of the most painful parts of her life there, Smith was said to have liked coming into the newspaper’s office to tell her story. (She dictated it to \u003cem>Bulletin\u003c/em> employees, whose notes were then passed to senior journalist Ernest Hopkins, who ghost-wrote it.) The newspaper staff, in turn, is said to have adored her. Years after the column ran, newspaperman John D. Barry described Smith as “a girl of medium height, slim and quietly dressed, with refined, rather pretty features and a gentle manner. [She talked] briskly and smiling. What chiefly impressed me about her was the sincerity of all her remarks and her ways.”\u003c/p>\n\u003cp>\u003cem>Bulletin\u003c/em> publisher Fremont Older was so enamored with Smith, in fact, he is said to have openly wept after his first meeting with her. Older subsequently developed a greater interest in creating a platform for marginalized voices in his newspaper. This is, in part, what led to his decision to publish so many of the letters that poured into the \u003cem>Bulletin\u003c/em> once Smith’s “A Voice From the Underworld” column started running.\u003c/p>\n\u003cp>All told, the paper received 4,000 letters—an unprecedented outpouring—and the \u003cem>Bulletin\u003c/em> printed 291 of them. Of those that made it into print, 114 came from Smith’s fellow sex workers who, inspired by her straightforward manner, wrote in to speak their minds. “You like to save us,” one told the general public. “Pray, why do you not save the factory girl, who works from eight to twelve hours a day for a mere pittance? She ruins herself as quickly—I mean in body—as we do.”\u003c/p>\n\u003cp>Other women wrote in to share their own impossible living situations, and the temptation to stray into the underworld. “When one goes to bed hungry many times,” one wrote, “the demarcation between right and wrong becomes much less in evidence.”\u003c/p>\n\u003cp>For the \u003cem>San Francisco Bulletin\u003c/em> to give a major platform to so many of the city’s sex workers was important in 1913, and not just for the personal expression of women in the profession. It also gave them voice at a time when their fate was being determined by moral crusaders, politicians and people who knew little about them. Just two months before Smith’s series began, on April 7, 1913, the \u003ca href=\"https://en.wikipedia.org/wiki/Red_Light_Abatement_Act\" target=\"_blank\" rel=\"noopener noreferrer\">Red Light Abatement and Injunction Act\u003c/a>—designed to shut down brothels—was signed into law by California Governor Hiram Johnson. In San Francisco, where 63.9% of residents opposed it, the law was greeted with vocal objections and legal efforts to block its passage. “A Story From the Underworld” highlighted just how much the law would endanger women who were reliant on the sex trade for survival.\u003c/p>\n\u003cp>[aside postid='arts_13880286']In the end, Smith’s essays weren’t only essential in humanizing and understanding the motivations of sex workers. They also instantly started an open conversation about the damage wrought by sexism, classism and gender double standards in not just the Bay Area, but the entire United States.\u003c/p>\n\u003cp>In one column halfway through the series, Smith casually noted: “People can never understand the class below them.” But by the time her story was done, she had single-handedly changed that. Nowhere was that more obvious than in a letter printed in the \u003cem>Bulletin\u003c/em> in response to Smith’s story.\u003c/p>\n\u003cp>As the letter-writer ‘A Married Woman’ wrote, “I obey [my husband] because he supports me. I don’t know how to earn a living in any other way. So I have a great sympathy for women who must depend not on the whims and passions of one man in a day, but of ten … I sometimes think that if we wives ever told our story it would be as horrible as that of Alice Smith … For the first time, women of the upper world really understand how much they have in common with women of the underworld.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nobody knows the true identity of Alice Smith, or exactly where she came from. But in 1913, her account of living on the margins of society as a young woman, and selling sex to survive, shook the foundations of Bay Area society. In her first-person column titled “A Voice From the Underworld” for the \u003cem>San Francisco Bulletin\u003c/em> newspaper, Smith humanized sex work and changed perceptions about women in “the life” for thousands of readers. And it happened just as California brothels faced unprecedented legal threats.\u003c/p>\n\u003cp>Smith hailed from a small town in the Midwest, where she was raised on a farm by her maternal grandparents after her mother died and her father moved away with a new wife. At 11, Smith dropped out of school, having fallen behind in class because her “eyes started to get bad,” and her grandparents “didn’t know about such things as glasses for children.” Later, in her teens, and frustrated by the limited employment options in her hometown, Smith accepted an invitation from her paternal grandmother to move to Northern California.\u003c/p>\n\u003cp>Once on the coast, Smith was stunned to find that the available work was woefully underpaid. Despite working long, exhausting days in a laundry, she was forced to skip meals in order to pay rent. In a moment of desperation, while still in her teens, Smith fell into sex work almost entirely on a whim. Early on, she made her own schedule, making brief returns to waitressing when jobs were available. But within a couple of years, she was residing and working full-time in brothels. At the time she shared her story with the \u003cem>Bulletin\u003c/em>, Smith was living in a brothel on Commercial Street, close to the newspaper offices.\u003c/p>\n\u003cp>Smith’s story—which ran six days a week for almost two months—was remarkable in its scope, candidness and relatability. “Evidently a prostitute was one who sold herself for money,” Smith pondered after having sex with a client for the first time. “Well, I wondered, was there anybody in the world, according to that, who didn’t sell herself or himself for money? Didn’t everybody supply some demand, in some more or less disagreeable way?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Reading Smith’s account, one is struck by how few choices were available to women at the time—especially working-class women. Marriage to the first man who came along and a life of household gruntwork didn’t appeal to Smith. (“As soon as a girl married, she stopped growing, stopped learning, stopping thinking, stopped going ahead any; just gave up and became a drudge,” she wrote.) At the same time, living alone in boarding houses and tolerating a life of underpaid manual labor was also grim. (“I would go to bed at night so tired I could hardly walk,” Smith reported of her time at the laundry. “I would get up in the morning pretty near as tired—with all the time that empty gnawing feeling at my stomach.”) Selling sex was literally the only means Smith found, as an uneducated single woman, to crawl out of poverty.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Smith’s columns also explored how simply being a woman meant being subjected to the sexual whims of men, whether one was in the sex trade or not. “There was always something that seemed to come into the minds of men whenever I was alone with them,” she reported. “It gave me the queerest feeling—as if I was always going to be sort of hunted. As if I was never going to be safe, never off my guard, always bound to be chased by some man.”\u003c/p>\n\u003cp>For Smith, almost no topic was off the table. She talked plainly about corrupt police officers; about the list of people that brothel madams had to pay to keep their doors open; and about her own harrowing experiences with illegal abortion. “Underworld women don’t have any friends who will prosecute in case of death,” she said of her first termination. “I didn’t come far from dying. Of course, that doctor didn’t think I was worth much to the world, and didn’t give me proper care after the worst part was through; and it was just luck that brought me out finally without blood poisoning.”\u003c/p>\n\u003cp>In her accounts, the only details Smith ever shied away from were the ones related to her sexual encounters with clients. But one of the things that made her column so impactful was its ability to relay brothel life without resorting to salacious details. “Night after night it was the same,” she said of her first group house. “Men coming in, with their talk, ordering drinks … and that constant flow of dirty language from both men and women—curses, vile songs, the smell of whiskey and of disinfectants; and later in the evening, the ‘work.'” At times, she admitted, her reliance on alcohol and tobacco made her “miserably ill.”\u003c/p>\n\u003cfigure id=\"attachment_13895943\" class=\"wp-caption alignright\" style=\"max-width: 424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13895943\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/04704601.jpg\" alt=\"\" width=\"424\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/04704601.jpg 424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/04704601-160x226.jpg 160w\" sizes=\"auto, (max-width: 424px) 100vw, 424px\">\u003cfigcaption class=\"wp-caption-text\">A photograph by Edgar Degas (1895). \u003ccite>(The J. Paul Getty Museum, Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite reliving some of the most painful parts of her life there, Smith was said to have liked coming into the newspaper’s office to tell her story. (She dictated it to \u003cem>Bulletin\u003c/em> employees, whose notes were then passed to senior journalist Ernest Hopkins, who ghost-wrote it.) The newspaper staff, in turn, is said to have adored her. Years after the column ran, newspaperman John D. Barry described Smith as “a girl of medium height, slim and quietly dressed, with refined, rather pretty features and a gentle manner. [She talked] briskly and smiling. What chiefly impressed me about her was the sincerity of all her remarks and her ways.”\u003c/p>\n\u003cp>\u003cem>Bulletin\u003c/em> publisher Fremont Older was so enamored with Smith, in fact, he is said to have openly wept after his first meeting with her. Older subsequently developed a greater interest in creating a platform for marginalized voices in his newspaper. This is, in part, what led to his decision to publish so many of the letters that poured into the \u003cem>Bulletin\u003c/em> once Smith’s “A Voice From the Underworld” column started running.\u003c/p>\n\u003cp>All told, the paper received 4,000 letters—an unprecedented outpouring—and the \u003cem>Bulletin\u003c/em> printed 291 of them. Of those that made it into print, 114 came from Smith’s fellow sex workers who, inspired by her straightforward manner, wrote in to speak their minds. “You like to save us,” one told the general public. “Pray, why do you not save the factory girl, who works from eight to twelve hours a day for a mere pittance? She ruins herself as quickly—I mean in body—as we do.”\u003c/p>\n\u003cp>Other women wrote in to share their own impossible living situations, and the temptation to stray into the underworld. “When one goes to bed hungry many times,” one wrote, “the demarcation between right and wrong becomes much less in evidence.”\u003c/p>\n\u003cp>For the \u003cem>San Francisco Bulletin\u003c/em> to give a major platform to so many of the city’s sex workers was important in 1913, and not just for the personal expression of women in the profession. It also gave them voice at a time when their fate was being determined by moral crusaders, politicians and people who knew little about them. Just two months before Smith’s series began, on April 7, 1913, the \u003ca href=\"https://en.wikipedia.org/wiki/Red_Light_Abatement_Act\" target=\"_blank\" rel=\"noopener noreferrer\">Red Light Abatement and Injunction Act\u003c/a>—designed to shut down brothels—was signed into law by California Governor Hiram Johnson. In San Francisco, where 63.9% of residents opposed it, the law was greeted with vocal objections and legal efforts to block its passage. “A Story From the Underworld” highlighted just how much the law would endanger women who were reliant on the sex trade for survival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the end, Smith’s essays weren’t only essential in humanizing and understanding the motivations of sex workers. They also instantly started an open conversation about the damage wrought by sexism, classism and gender double standards in not just the Bay Area, but the entire United States.\u003c/p>\n\u003cp>In one column halfway through the series, Smith casually noted: “People can never understand the class below them.” But by the time her story was done, she had single-handedly changed that. Nowhere was that more obvious than in a letter printed in the \u003cem>Bulletin\u003c/em> in response to Smith’s story.\u003c/p>\n\u003cp>As the letter-writer ‘A Married Woman’ wrote, “I obey [my husband] because he supports me. I don’t know how to earn a living in any other way. So I have a great sympathy for women who must depend not on the whims and passions of one man in a day, but of ten … I sometimes think that if we wives ever told our story it would be as horrible as that of Alice Smith … For the first time, women of the upper world really understand how much they have in common with women of the underworld.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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