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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\">B\u003c/span>ack in December of 2020, as Vallejo’s E-40 and Oakland’s Too $hort \u003ca href=\"https://www.kqed.org/arts/13890437/e-40-and-too-horts-verzuz-battle-a-treasure-trove-of-bay-area-hip-hop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">celebrated the Bay’s hip-hop culture\u003c/a> during a Verzuz event, I got to thinking: the East Bay may have its icons, but someone should write about the current state of San Francisco’s rap scene. It’s lightweight on fire.\u003c/p>\n\u003cp>Artists are active. Songs are slapping. Community is coming together. And this might only be \u003cem>the start\u003c/em>. That is, if it’s handled properly. At least that’s what people are telling me.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" 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>Superstar \u003ca href=\"https://www.instagram.com/24kgoldn/\" target=\"_blank\" rel=\"noopener noreferrer\">24K Goldn\u003c/a> is on the path to Bieber status. Rapper and \u003ca href=\"https://cookies.co/\" target=\"_blank\" rel=\"noopener noreferrer\">Cookies\u003c/a> cannabis company founder \u003ca href=\"https://www.instagram.com/berner415/\" target=\"_blank\" rel=\"noopener noreferrer\">Berner\u003c/a> is one of the biggest kingpins in the legal marijuana industry. \u003ca href=\"https://www.instagram.com/larryjunetfm/\" target=\"_blank\" rel=\"noopener noreferrer\">Larry June\u003c/a> raps about player stuff like expensive watches and green smoothies, has a signature \u003ca href=\"https://www.lakai.com/collections/larry-june\" target=\"_blank\" rel=\"noopener noreferrer\">Lakai shoe\u003c/a> and is behind the\u003ca href=\"https://www.instagram.com/honeybearboba_/\" target=\"_blank\" rel=\"noopener noreferrer\"> Honey Bear boba shop\u003c/a> in the Dogpatch neighborhood—yet somehow still drops albums as often as BART experiences delays. (As he’d say to himself, “Good job, Larry.”) And \u003ca href=\"https://www.instagram.com/empire/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire\u003c/a>, arguably the most influential independent rap label in the world right now, is based in San Francisco.\u003c/p>\n\u003cp>But what does this all mean? Is SF having “a moment”? If so, where does this moment stand in the larger scope of things?\u003c/p>\n\u003cp>I started researching by listening to everything from San Francisco I could find.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/PqQHpU6Wli4\u003c/p>\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\">I\u003c/span> gigged to\u003ca href=\"https://www.instagram.com/thereal_lilkayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Lil Kayla\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?v=_CJkNmPgx6A\" target=\"_blank\" rel=\"noopener noreferrer\">Clone Me\u003c/a>” featuring East Oakland’s\u003ca href=\"https://www.instagram.com/officialsulan/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Su’lan\u003c/a>. And I bobbed my head to the bars that\u003ca href=\"https://twitter.com/FrakThePerson/status/1364381425953165312?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> Frak The Person\u003c/a> kicked over the \u003ca href=\"https://www.instagram.com/explore/tags/bakarybeatchallenge/\" target=\"_blank\" rel=\"noopener noreferrer\">Bakary beat challenge\u003c/a>, which went so stupid \u003ca href=\"https://twitter.com/Kehlani/status/1364635081998880769?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani had to comment\u003c/a>.\u003c/p>\n\u003cp>I read about \u003ca href=\"https://www.instagram.com/ladona415/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a> in the \u003ca href=\"https://www.nytimes.com/interactive/2021/03/10/magazine/la-dona.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>,\u003c/a> and just watched her latest video for “\u003ca href=\"https://www.youtube.com/watch?v=zfqhEks9mCY\" target=\"_blank\" rel=\"noopener noreferrer\">Setas y Ceros\u003c/a>“—she’s singing and she’s spittin’. I gave that new Show Banga and IAMSU! song, “\u003ca href=\"https://song.link/i/1562344727\" target=\"_blank\" rel=\"noopener noreferrer\">Lonely\u003c/a>” a spin. I added \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener noreferrer\">Dregs One’s\u003c/a> new track “\u003ca href=\"https://www.youtube.com/watch?v=wRk_UNXtpUc\" target=\"_blank\" rel=\"noopener noreferrer\">Fog Mode\u003c/a>” (featuring Andre Nickatina), City P’s “\u003ca href=\"https://soundcloud.com/supastarcity/top-down\" target=\"_blank\" rel=\"noopener noreferrer\">Top Down\u003c/a>” and \u003ca href=\"https://www.instagram.com/p/CNOBPFmBKHM/\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Yee\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?app=desktop&v=Zbxnbh7o5XE\" target=\"_blank\" rel=\"noopener noreferrer\">Steppin’ On Steppers\u003c/a>” to my playlist.\u003c/p>\n\u003cp>Ahead of an upcoming episode of my \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em> podcast\u003c/a> I read \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a>‘s book \u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Snakeskin\u003c/em>\u003c/a> and reviewed her entire musical catalog. And through a recently published interview with \u003ca href=\"https://www.kqed.org/arts/13895377/these-artists-amplify-415-days-message-of-resistance-resilience-and-restitution\" target=\"_blank\" rel=\"noopener noreferrer\">Cereal for The Kids and Baghead\u003c/a>, I found out about the \u003ca href=\"https://www.instagram.com/oldsoulko/\" target=\"_blank\" rel=\"noopener noreferrer\">Old Soul Kollective\u003c/a>, as well as so many other artists.\u003c/p>\n\u003cp>Yung Lott’s “\u003ca href=\"https://www.youtube.com/watch?v=PqQHpU6Wli4\" target=\"_blank\" rel=\"noopener noreferrer\">How To Survive\u003c/a>” has that classic west coast kick. Galaxy Atoms’ just-dropped “\u003ca href=\"https://www.youtube.com/watch?v=ndK9zBP_O0s\" target=\"_blank\" rel=\"noopener noreferrer\">MVP\u003c/a>” sounds like newer west coast flavor. I know that \u003ca href=\"https://twitter.com/RichieCunning\" target=\"_blank\" rel=\"noopener noreferrer\">Richie Cunning\u003c/a> is entertaining on Twitter, as well as on the track. And I know that \u003ca href=\"https://www.instagram.com/adamraps/\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Raps\u003c/a>, a.k.a. A-1, just celebrated a birthday and is about to release new music.\u003c/p>\n\u003cp>https://youtu.be/oTBurjAiL2g\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> is headlining \u003ca href=\"https://www.instagram.com/p/CNoGm6YscGB/\" target=\"_blank\" rel=\"noopener noreferrer\">a 415 Day show\u003c/a>, alongside \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">StunnaMan02\u003c/a> (aka Jordan Gomes)—and both Gunna and Gomes are also thespians, featured in the film \u003cem>The Last Black Man in San Francisco\u003c/em>, amongst other projects.\u003c/p>\n\u003cp>I revisited Bby Laana’s “2018 Freestyle” and the “\u003ca href=\"https://www.youtube.com/watch?v=HynpJ0ZHojE\" target=\"_blank\" rel=\"noopener noreferrer\">Lose Control Freestyle\u003c/a>” that she dropped the following year. I listened to \u003ca href=\"https://www.instagram.com/troyllf/\" target=\"_blank\" rel=\"noopener noreferrer\">Troy LLF’s\u003c/a> \u003cem>Free Play 4 \u003c/em>and a few of the projects he dropped before that. I got put on to \u003ca href=\"https://www.instagram.com/soviciousofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">So Vicious \u003c/a>and \u003ca href=\"https://www.instagram.com/drew_beez_/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Beez\u003c/a>.\u003c/p>\n\u003cp>I talked to \u003ca href=\"https://www.instagram.com/y0ungbari/\" target=\"_blank\" rel=\"noopener noreferrer\">Young Bari,\u003c/a> \u003ca href=\"https://www.instagram.com/08_zaybang/\" target=\"_blank\" rel=\"noopener noreferrer\">ZayBang\u003c/a> and \u003ca href=\"https://www.instagram.com/lilbean/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Bean\u003c/a>, who all, in one way or another, told me the City’s rap scene is definitely having a moment. I read about the recent passing of 11-5’s Maine-O, and I also re-read the circumstances around \u003ca href=\"https://www.latimes.com/california/story/2020-11-30/rapper-lil-yase-shot-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Yase’s death\u003c/a>; a sad loss of so much potential.\u003c/p>\n\u003cfigure id=\"attachment_13895805\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13895805\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/IMG_0651.jpg\" alt=\"Hugh E.M.C poses for a photo for his album cover, as drug paraphernalia, a gun and cash lay in front of him.\" width=\"600\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_0651.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_0651-160x109.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Hugh E.M.C in a photoshoot for his 1994 album ‘The Mob.’ \u003ccite>(Via Hugh E.M.C. )\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\">I\u003c/span> even went back, and called \u003ca href=\"https://www.instagram.com/hughemc/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Hugh E.M.C.\u003c/a>, the artist behind the early ’90s song “\u003ca href=\"https://www.youtube.com/watch?v=9o7KJcYEX80\" target=\"_blank\" rel=\"noopener noreferrer\">H N*gga Groove (Keep a B*tch Broke)\u003c/a>.”\u003c/p>\n\u003cp>Hugh, following his\u003cspan style=\"font-weight: 400\"> “\u003ca href=\"https://soundcloud.com/hugh-emc/sets/hiphopmanifesto\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Manifesto\u003c/a>,” is \u003c/span>now encouraging\u003cspan style=\"font-weight: 400\"> artists to put out one conscious song per project. In regards to the current rap scene in San Francisco, he says, \u003c/span>\u003cspan style=\"font-weight: 400\">“This is a \u003cem>type\u003c/em> of moment, but when I compare it to the past, San Francisco artists were having multi-regional, almost national moments… I would love to see it jump to another level.”\u003c/span>\u003c/p>\n\u003cp>I called up another Frisco vet, \u003ca href=\"https://www.instagram.com/equipto_415/\" target=\"_blank\" rel=\"noopener noreferrer\">Equipto\u003c/a>, who also got his start in the ’90s, and is steeped in community activism. He helped launch the anti-police hunger strike by the\u003ca href=\"https://www.sfexaminer.com/news/rapper-frisco-five-protester-equipto-arrested-in-mission-district-confrontation-with-police/\" target=\"_blank\" rel=\"noopener noreferrer\"> Frisco Five\u003c/a> and currently works with \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/frisco_copwatch/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Frisco Cop Watch\u003c/a>—in addition to advocating for the unsheltered community through\u003c/span> \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.poormagazine.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Poor Magazine\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>Equipto, who recently dropped a new project with \u003ca href=\"https://www.youtube.com/channel/UC9pTDmqO_h7UkQtdAYLCmaQ\" target=\"_blank\" rel=\"noopener noreferrer\">The Watershed\u003c/a>, says, “Frisco ain’t never really had that highlight—the Bay Area might’ve—but Frisco never really had that run. And that’s what’s cultivating right now. There’s more eyes are on San Francisco.”\u003c/p>\n\u003cp>Equipto tells me that SF always had that “underground, solid, rawness of what the industry needed.” But despite the notoriety of artists like Rappin’ 4-Tay and the late Cougnut, “We were just kind of always overlooked in the economics of it,” says Equipto.\u003c/p>\n\u003cfigure id=\"attachment_13895804\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13895804\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/IMG_2507-1020x1530.jpg\" alt=\"Big Rich wears a leather letterman jacket and a big chain with his initials as he looks into the lens.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507.jpg 1365w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Big Rich, cofounder of Project Level, turned “tragedy into triumph.” \u003ccite>(BillionDreams)\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\">A\u003c/span>sk \u003ca href=\"https://www.instagram.com/deo415/\" target=\"_blank\" rel=\"noopener noreferrer\">D.E.O\u003c/a>, founder of the \u003ca href=\"https://twitter.com/trackdout\" target=\"_blank\" rel=\"noopener noreferrer\">Trackdout app\u003c/a> and half of the \u003ca href=\"https://www.instagram.com/evenoddsmusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Evenodds\u003c/a> production team, and he’ll tell you that he believes there’s something good happening in his city too. But he’s weary of pitfalls that have come about in the past—namely the “politics,” in addition to the economics.\u003c/p>\n\u003cp>“The street politics of the City has been the curse of Frisco,” says D.E.O. “It goes back to RBL. One of the greatest hip-hop groups of all time was dismantled because of street beef.” D.E.O believes the murders of the RBL Posse’s \u003ca href=\"https://www.sfgate.com/news/article/THE-KILLING-STREETS-A-Cycle-of-Vengeance-2839391.php\" target=\"_blank\" rel=\"noopener noreferrer\">Hitman and Mr. Cee\u003c/a> played a significant role in labels turning their backs on San Francisco.\u003c/p>\n\u003cp>He tells me that the divisions amongst communities, and the propensity for rappers to keep one foot in the streets while trying to run a legitimate business, have proven to be a major hurdle.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of Frisco artists,” says D.E.O, “don’t look at themselves as a commodity, they look at themselves as the savior of the hood—when it’s bigger than the hood. It’s fine to want to save the hood and everything, but you’ve got to think more about the corporate structure. How do real corporations work?”\u003c/span>\u003c/p>\n\u003cp>Richard “\u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a>” Bougere is a well-known San Francisco rapper who has some knowledge of how both the rap game and big corporations work.\u003c/p>\n\u003cp>In 2012, Big Rich parlayed his name recognition from music into an arts-based nonprofit for young folks called \u003ca href=\"https://www.projectlevel.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Project Level\u003c/a>, which he co-founded with his partner \u003ca href=\"https://www.instagram.com/industrymomma/\" target=\"_blank\" rel=\"noopener noreferrer\">Danielle Banks\u003c/a>. After an incident in the summer of 2019, where staff of the major fashion retailer Forever 21 mistakenly accused young folks from Project Level of stealing, the two groups met and developed\u003ca href=\"https://sanfrancisco.cbslocal.com/2020/06/20/racial-profiling-incident-at-forever-21-leads-to-remarkable-partnership-for-non-profit-group/\" target=\"_blank\" rel=\"noopener noreferrer\"> a partnership\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We turned tragedy into triumph,” Big Rich tells me during a phone call. “It opened up doors, we have Black equity in a major corporation.” It’s a\u003c/span> big 180° to the way big companies treated Big Rich’s business when he was rapping.\u003c/p>\n\u003cp>Now he wants to see more investment from billion-dollar corporations into the careers of young artists of color. \u003cspan style=\"font-weight: 400\">“This is the culture of the industry, this is where the money is generated from,” says Big Rich of the young people he works with. “We have to reinvest into these communities.”\u003c/span>\u003c/p>\n\u003cp>Through Project Level, Big Rich has also seen how investing in the community can lead to striking gold.\u003c/p>\n\u003cp>https://youtu.be/trU-S53fK04\u003c/p>\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\">O\u003c/span>n a rainy April 15th, at a 415 Day celebration in 2018, a young artist named \u003ca href=\"https://www.instagram.com/24kgoldn/\" target=\"_blank\" rel=\"noopener noreferrer\">24K Goldn\u003c/a> grabbed the microphone. \u003cspan style=\"font-weight: 400\">“H\u003c/span>\u003cspan style=\"font-weight: 400\">e electrified the stage, but no one was really there,” says Big Rich. “I was like, ‘This kid is dope!'”\u003c/span>\u003c/p>\n\u003cp>After learning that 24K Goldn was already en route to USC in the fall, Big Rich connected him to a manager in Southern California. Now 24K Goldn, who went \u003ca href=\"https://twitter.com/24kGoldn/status/1258103370562146304?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">platinum last year\u003c/a> and just dropped a new album, \u003cem>El Dorado\u003c/em>, a month ago,\u003cspan style=\"font-weight: 400\"> “is arguably the hottest artist in the country right now,” according to Big Rich—and the \u003ca href=\"https://www.billboard.com/music/24kgoldn\" target=\"_blank\" rel=\"noopener noreferrer\">Billboard charts\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>Now the question is, how can more San Francisco artists shine like 24K Goldn?\u003c/p>\n\u003cp>It’s a question that’s not just about talent. It’s about “politics,” structure and business acumen. It’s about navigating the high cost of living. And, for some, it’s about being a member of the small percentage of working class Black and brown folks struggling to make ends meet in one the world’s most expensive cities—and still make art.\u003c/p>\n\u003cp>How?\u003c/p>\n\u003cp>“Ghazi at Empire has a plan,” Big Rich tells me. “He’s investing in artists in the City, and I think it’s going to pay off.”\u003c/p>\n\u003cfigure id=\"attachment_13895809\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13895809\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-1020x1020.jpg\" alt=\"The cover of 'Zaytoven Presents Fo15,' released by Empire. \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Zaytoven Presents Fo15,’ released by Empire.\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\">“I\u003c/span> didn’t realize we were having a moment,” Ghazi says during a Zoom call earlier this week. “I was trying to create a moment.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ghazi/\" target=\"_blank\" rel=\"noopener noreferrer\">Ghazi\u003c/a> is the head of the major independent label Empire, and the A&R behind the newly released album, \u003cem>Zaytoven Presents:\u003c/em> \u003cem>\u003ca href=\"https://www.empi.re/listen/index.php?id=172356\" target=\"_blank\" rel=\"noopener noreferrer\">Fo15\u003c/a>\u003c/em>, which celebrates some of San Francisco’s rawest talent.\u003c/p>\n\u003cp>The album is produced by San Francisco’s own mega-producer \u003ca href=\"https://www.instagram.com/zaytovenbeatz/\" target=\"_blank\" rel=\"noopener noreferrer\">Zaytoven\u003c/a>, known for his collaborations with southern rappers like Gucci Mane. The album features members of Frisco’s next wave of stars: Lil Bean, ZayBang, Prezi, Kxng Lamma and Lil Pete.\u003c/p>\n\u003cp>Ghazi, who grew up listening to artists like \u003ca href=\"https://www.discogs.com/artist/338893-IMP\" target=\"_blank\" rel=\"noopener noreferrer\">I.M.P\u003c/a>. and the \u003ca href=\"https://www.discogs.com/artist/332457-Get-Low-Playaz\" target=\"_blank\" rel=\"noopener noreferrer\">Get Low Playaz\u003c/a>, says, “A big part of putting this project together was to do for the next generation what those artists did for me, which is creating bigger and better things.”\u003c/p>\n\u003cp>He says that in the past, a lot of the issues the City’s rap scene faced were “due to lack of infrastructure, lack of proper mentorship, the political landscape that surrounds a lot of the neighborhoods, the socioeconomics,” and a bunch of other things going on in the City. But now there’s potential do things differently.\u003c/p>\n\u003cp>Ghazi makes a basketball comparison, saying that an artist putting up great individual stats isn’t the same as the whole team putting up great stats, or having a coaching staff that can compete with the rest of the league. “We’ve always had the talented players,” says Ghazi of San Francisco’s artists. “But we never had the franchise, we never had the coaching staff, and we never ran an 82 game season.”\u003c/p>\n\u003cp>https://youtu.be/uZpWqUpAbbo\u003c/p>\n\u003cp>“In my mind, San Francisco is not having a moment,” Ghazi tells me over the video chat as he drives through East Oakland. “In my mind, the whole entire Bay Area has been dry for quite some time, and most people have no idea what the glory years were like in the Bay… \u003cspan style=\"font-weight: 400\">There’s a little bit of something happening, and I wouldn’t call it a moment, but there’s potential for a great moment if we stay on it. I wouldn’t call it a moment, yet.”\u003c/span>\u003c/p>\n\u003cp>One of the primary hurdles the City faces is the issue with talent leaving—not just artists, but talented people who work behind the scenes in businesses that support the industry. That’s why Ghazi’s been mindful to keep his company in San Francisco and create space for culture to flourish.\u003c/p>\n\u003cp>“This album is proof of the factory existing,” says Ghazi of the \u003cem>Fo15\u003c/em> project.\u003c/p>\n\u003cp>And now, in order to get to that true “moment”—or rather, a time period of extended success for San Francisco—Ghazi has a simple formula.\u003c/p>\n\u003cp>“We gotta tell our story,” Ghazi tells me. He’s firm in his beliefs that people should know and be proud of all of the talent that has come from San Francisco—from Andre Nickatina to Apple’s \u003ca href=\"https://www.instagram.com/thelarryjackson/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Larry Jackson\u003c/a> (who plays a significant role in making those \u003ca href=\"https://appleinsider.com/articles/20/08/13/apple-musics-larry-jackson-weighs-in-on-verzuz-collaboration\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz events\u003c/a> happen) and back to every rapper named in this article.\u003c/p>\n\u003cp>“The more individual success stories you create, you raise the economy of the region,” says Ghazi. “When you raise the overall economy of the region, people are less inclined to leave the region because they have something to do. And when people don’t leave, you keep the talent in.”\u003c/p>\n\u003cp>As a kid from Oakland who grew up listening to E-40 and Too $hort, as well as Messy Marv, JT the Bigga Figga, and San Quinn, I get it. We’re a vast region with different cultures in each city, neighborhood and block. That said, when one section is going about their business correctly, the honorable thing to do is give them a salute.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>San Francisco, here’s to you.\u003c/p>\n\n",
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"excerpt": "The City got somethin' to say, that's all I got to say.",
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"title": "A Salute to San Francisco Rap | KQED",
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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\">B\u003c/span>ack in December of 2020, as Vallejo’s E-40 and Oakland’s Too $hort \u003ca href=\"https://www.kqed.org/arts/13890437/e-40-and-too-horts-verzuz-battle-a-treasure-trove-of-bay-area-hip-hop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">celebrated the Bay’s hip-hop culture\u003c/a> during a Verzuz event, I got to thinking: the East Bay may have its icons, but someone should write about the current state of San Francisco’s rap scene. It’s lightweight on fire.\u003c/p>\n\u003cp>Artists are active. Songs are slapping. Community is coming together. And this might only be \u003cem>the start\u003c/em>. That is, if it’s handled properly. At least that’s what people are telling me.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" 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>Superstar \u003ca href=\"https://www.instagram.com/24kgoldn/\" target=\"_blank\" rel=\"noopener noreferrer\">24K Goldn\u003c/a> is on the path to Bieber status. Rapper and \u003ca href=\"https://cookies.co/\" target=\"_blank\" rel=\"noopener noreferrer\">Cookies\u003c/a> cannabis company founder \u003ca href=\"https://www.instagram.com/berner415/\" target=\"_blank\" rel=\"noopener noreferrer\">Berner\u003c/a> is one of the biggest kingpins in the legal marijuana industry. \u003ca href=\"https://www.instagram.com/larryjunetfm/\" target=\"_blank\" rel=\"noopener noreferrer\">Larry June\u003c/a> raps about player stuff like expensive watches and green smoothies, has a signature \u003ca href=\"https://www.lakai.com/collections/larry-june\" target=\"_blank\" rel=\"noopener noreferrer\">Lakai shoe\u003c/a> and is behind the\u003ca href=\"https://www.instagram.com/honeybearboba_/\" target=\"_blank\" rel=\"noopener noreferrer\"> Honey Bear boba shop\u003c/a> in the Dogpatch neighborhood—yet somehow still drops albums as often as BART experiences delays. (As he’d say to himself, “Good job, Larry.”) And \u003ca href=\"https://www.instagram.com/empire/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire\u003c/a>, arguably the most influential independent rap label in the world right now, is based in San Francisco.\u003c/p>\n\u003cp>But what does this all mean? Is SF having “a moment”? If so, where does this moment stand in the larger scope of things?\u003c/p>\n\u003cp>I started researching by listening to everything from San Francisco I could find.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PqQHpU6Wli4'\n title='//www.youtube.com/embed/PqQHpU6Wli4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\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\">I\u003c/span> gigged to\u003ca href=\"https://www.instagram.com/thereal_lilkayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Lil Kayla\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?v=_CJkNmPgx6A\" target=\"_blank\" rel=\"noopener noreferrer\">Clone Me\u003c/a>” featuring East Oakland’s\u003ca href=\"https://www.instagram.com/officialsulan/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Su’lan\u003c/a>. And I bobbed my head to the bars that\u003ca href=\"https://twitter.com/FrakThePerson/status/1364381425953165312?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> Frak The Person\u003c/a> kicked over the \u003ca href=\"https://www.instagram.com/explore/tags/bakarybeatchallenge/\" target=\"_blank\" rel=\"noopener noreferrer\">Bakary beat challenge\u003c/a>, which went so stupid \u003ca href=\"https://twitter.com/Kehlani/status/1364635081998880769?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani had to comment\u003c/a>.\u003c/p>\n\u003cp>I read about \u003ca href=\"https://www.instagram.com/ladona415/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a> in the \u003ca href=\"https://www.nytimes.com/interactive/2021/03/10/magazine/la-dona.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>,\u003c/a> and just watched her latest video for “\u003ca href=\"https://www.youtube.com/watch?v=zfqhEks9mCY\" target=\"_blank\" rel=\"noopener noreferrer\">Setas y Ceros\u003c/a>“—she’s singing and she’s spittin’. I gave that new Show Banga and IAMSU! song, “\u003ca href=\"https://song.link/i/1562344727\" target=\"_blank\" rel=\"noopener noreferrer\">Lonely\u003c/a>” a spin. I added \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener noreferrer\">Dregs One’s\u003c/a> new track “\u003ca href=\"https://www.youtube.com/watch?v=wRk_UNXtpUc\" target=\"_blank\" rel=\"noopener noreferrer\">Fog Mode\u003c/a>” (featuring Andre Nickatina), City P’s “\u003ca href=\"https://soundcloud.com/supastarcity/top-down\" target=\"_blank\" rel=\"noopener noreferrer\">Top Down\u003c/a>” and \u003ca href=\"https://www.instagram.com/p/CNOBPFmBKHM/\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Yee\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?app=desktop&v=Zbxnbh7o5XE\" target=\"_blank\" rel=\"noopener noreferrer\">Steppin’ On Steppers\u003c/a>” to my playlist.\u003c/p>\n\u003cp>Ahead of an upcoming episode of my \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em> podcast\u003c/a> I read \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a>‘s book \u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Snakeskin\u003c/em>\u003c/a> and reviewed her entire musical catalog. And through a recently published interview with \u003ca href=\"https://www.kqed.org/arts/13895377/these-artists-amplify-415-days-message-of-resistance-resilience-and-restitution\" target=\"_blank\" rel=\"noopener noreferrer\">Cereal for The Kids and Baghead\u003c/a>, I found out about the \u003ca href=\"https://www.instagram.com/oldsoulko/\" target=\"_blank\" rel=\"noopener noreferrer\">Old Soul Kollective\u003c/a>, as well as so many other artists.\u003c/p>\n\u003cp>Yung Lott’s “\u003ca href=\"https://www.youtube.com/watch?v=PqQHpU6Wli4\" target=\"_blank\" rel=\"noopener noreferrer\">How To Survive\u003c/a>” has that classic west coast kick. Galaxy Atoms’ just-dropped “\u003ca href=\"https://www.youtube.com/watch?v=ndK9zBP_O0s\" target=\"_blank\" rel=\"noopener noreferrer\">MVP\u003c/a>” sounds like newer west coast flavor. I know that \u003ca href=\"https://twitter.com/RichieCunning\" target=\"_blank\" rel=\"noopener noreferrer\">Richie Cunning\u003c/a> is entertaining on Twitter, as well as on the track. And I know that \u003ca href=\"https://www.instagram.com/adamraps/\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Raps\u003c/a>, a.k.a. A-1, just celebrated a birthday and is about to release new music.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oTBurjAiL2g'\n title='//www.youtube.com/embed/oTBurjAiL2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> is headlining \u003ca href=\"https://www.instagram.com/p/CNoGm6YscGB/\" target=\"_blank\" rel=\"noopener noreferrer\">a 415 Day show\u003c/a>, alongside \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">StunnaMan02\u003c/a> (aka Jordan Gomes)—and both Gunna and Gomes are also thespians, featured in the film \u003cem>The Last Black Man in San Francisco\u003c/em>, amongst other projects.\u003c/p>\n\u003cp>I revisited Bby Laana’s “2018 Freestyle” and the “\u003ca href=\"https://www.youtube.com/watch?v=HynpJ0ZHojE\" target=\"_blank\" rel=\"noopener noreferrer\">Lose Control Freestyle\u003c/a>” that she dropped the following year. I listened to \u003ca href=\"https://www.instagram.com/troyllf/\" target=\"_blank\" rel=\"noopener noreferrer\">Troy LLF’s\u003c/a> \u003cem>Free Play 4 \u003c/em>and a few of the projects he dropped before that. I got put on to \u003ca href=\"https://www.instagram.com/soviciousofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">So Vicious \u003c/a>and \u003ca href=\"https://www.instagram.com/drew_beez_/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Beez\u003c/a>.\u003c/p>\n\u003cp>I talked to \u003ca href=\"https://www.instagram.com/y0ungbari/\" target=\"_blank\" rel=\"noopener noreferrer\">Young Bari,\u003c/a> \u003ca href=\"https://www.instagram.com/08_zaybang/\" target=\"_blank\" rel=\"noopener noreferrer\">ZayBang\u003c/a> and \u003ca href=\"https://www.instagram.com/lilbean/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Bean\u003c/a>, who all, in one way or another, told me the City’s rap scene is definitely having a moment. I read about the recent passing of 11-5’s Maine-O, and I also re-read the circumstances around \u003ca href=\"https://www.latimes.com/california/story/2020-11-30/rapper-lil-yase-shot-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Yase’s death\u003c/a>; a sad loss of so much potential.\u003c/p>\n\u003cfigure id=\"attachment_13895805\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13895805\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/IMG_0651.jpg\" alt=\"Hugh E.M.C poses for a photo for his album cover, as drug paraphernalia, a gun and cash lay in front of him.\" width=\"600\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_0651.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_0651-160x109.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Hugh E.M.C in a photoshoot for his 1994 album ‘The Mob.’ \u003ccite>(Via Hugh E.M.C. )\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\">I\u003c/span> even went back, and called \u003ca href=\"https://www.instagram.com/hughemc/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Hugh E.M.C.\u003c/a>, the artist behind the early ’90s song “\u003ca href=\"https://www.youtube.com/watch?v=9o7KJcYEX80\" target=\"_blank\" rel=\"noopener noreferrer\">H N*gga Groove (Keep a B*tch Broke)\u003c/a>.”\u003c/p>\n\u003cp>Hugh, following his\u003cspan style=\"font-weight: 400\"> “\u003ca href=\"https://soundcloud.com/hugh-emc/sets/hiphopmanifesto\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Manifesto\u003c/a>,” is \u003c/span>now encouraging\u003cspan style=\"font-weight: 400\"> artists to put out one conscious song per project. In regards to the current rap scene in San Francisco, he says, \u003c/span>\u003cspan style=\"font-weight: 400\">“This is a \u003cem>type\u003c/em> of moment, but when I compare it to the past, San Francisco artists were having multi-regional, almost national moments… I would love to see it jump to another level.”\u003c/span>\u003c/p>\n\u003cp>I called up another Frisco vet, \u003ca href=\"https://www.instagram.com/equipto_415/\" target=\"_blank\" rel=\"noopener noreferrer\">Equipto\u003c/a>, who also got his start in the ’90s, and is steeped in community activism. He helped launch the anti-police hunger strike by the\u003ca href=\"https://www.sfexaminer.com/news/rapper-frisco-five-protester-equipto-arrested-in-mission-district-confrontation-with-police/\" target=\"_blank\" rel=\"noopener noreferrer\"> Frisco Five\u003c/a> and currently works with \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/frisco_copwatch/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Frisco Cop Watch\u003c/a>—in addition to advocating for the unsheltered community through\u003c/span> \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.poormagazine.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Poor Magazine\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>Equipto, who recently dropped a new project with \u003ca href=\"https://www.youtube.com/channel/UC9pTDmqO_h7UkQtdAYLCmaQ\" target=\"_blank\" rel=\"noopener noreferrer\">The Watershed\u003c/a>, says, “Frisco ain’t never really had that highlight—the Bay Area might’ve—but Frisco never really had that run. And that’s what’s cultivating right now. There’s more eyes are on San Francisco.”\u003c/p>\n\u003cp>Equipto tells me that SF always had that “underground, solid, rawness of what the industry needed.” But despite the notoriety of artists like Rappin’ 4-Tay and the late Cougnut, “We were just kind of always overlooked in the economics of it,” says Equipto.\u003c/p>\n\u003cfigure id=\"attachment_13895804\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13895804\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/IMG_2507-1020x1530.jpg\" alt=\"Big Rich wears a leather letterman jacket and a big chain with his initials as he looks into the lens.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507.jpg 1365w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Big Rich, cofounder of Project Level, turned “tragedy into triumph.” \u003ccite>(BillionDreams)\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\">A\u003c/span>sk \u003ca href=\"https://www.instagram.com/deo415/\" target=\"_blank\" rel=\"noopener noreferrer\">D.E.O\u003c/a>, founder of the \u003ca href=\"https://twitter.com/trackdout\" target=\"_blank\" rel=\"noopener noreferrer\">Trackdout app\u003c/a> and half of the \u003ca href=\"https://www.instagram.com/evenoddsmusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Evenodds\u003c/a> production team, and he’ll tell you that he believes there’s something good happening in his city too. But he’s weary of pitfalls that have come about in the past—namely the “politics,” in addition to the economics.\u003c/p>\n\u003cp>“The street politics of the City has been the curse of Frisco,” says D.E.O. “It goes back to RBL. One of the greatest hip-hop groups of all time was dismantled because of street beef.” D.E.O believes the murders of the RBL Posse’s \u003ca href=\"https://www.sfgate.com/news/article/THE-KILLING-STREETS-A-Cycle-of-Vengeance-2839391.php\" target=\"_blank\" rel=\"noopener noreferrer\">Hitman and Mr. Cee\u003c/a> played a significant role in labels turning their backs on San Francisco.\u003c/p>\n\u003cp>He tells me that the divisions amongst communities, and the propensity for rappers to keep one foot in the streets while trying to run a legitimate business, have proven to be a major hurdle.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of Frisco artists,” says D.E.O, “don’t look at themselves as a commodity, they look at themselves as the savior of the hood—when it’s bigger than the hood. It’s fine to want to save the hood and everything, but you’ve got to think more about the corporate structure. How do real corporations work?”\u003c/span>\u003c/p>\n\u003cp>Richard “\u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a>” Bougere is a well-known San Francisco rapper who has some knowledge of how both the rap game and big corporations work.\u003c/p>\n\u003cp>In 2012, Big Rich parlayed his name recognition from music into an arts-based nonprofit for young folks called \u003ca href=\"https://www.projectlevel.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Project Level\u003c/a>, which he co-founded with his partner \u003ca href=\"https://www.instagram.com/industrymomma/\" target=\"_blank\" rel=\"noopener noreferrer\">Danielle Banks\u003c/a>. After an incident in the summer of 2019, where staff of the major fashion retailer Forever 21 mistakenly accused young folks from Project Level of stealing, the two groups met and developed\u003ca href=\"https://sanfrancisco.cbslocal.com/2020/06/20/racial-profiling-incident-at-forever-21-leads-to-remarkable-partnership-for-non-profit-group/\" target=\"_blank\" rel=\"noopener noreferrer\"> a partnership\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We turned tragedy into triumph,” Big Rich tells me during a phone call. “It opened up doors, we have Black equity in a major corporation.” It’s a\u003c/span> big 180° to the way big companies treated Big Rich’s business when he was rapping.\u003c/p>\n\u003cp>Now he wants to see more investment from billion-dollar corporations into the careers of young artists of color. \u003cspan style=\"font-weight: 400\">“This is the culture of the industry, this is where the money is generated from,” says Big Rich of the young people he works with. “We have to reinvest into these communities.”\u003c/span>\u003c/p>\n\u003cp>Through Project Level, Big Rich has also seen how investing in the community can lead to striking gold.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/trU-S53fK04'\n title='//www.youtube.com/embed/trU-S53fK04'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\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\">O\u003c/span>n a rainy April 15th, at a 415 Day celebration in 2018, a young artist named \u003ca href=\"https://www.instagram.com/24kgoldn/\" target=\"_blank\" rel=\"noopener noreferrer\">24K Goldn\u003c/a> grabbed the microphone. \u003cspan style=\"font-weight: 400\">“H\u003c/span>\u003cspan style=\"font-weight: 400\">e electrified the stage, but no one was really there,” says Big Rich. “I was like, ‘This kid is dope!'”\u003c/span>\u003c/p>\n\u003cp>After learning that 24K Goldn was already en route to USC in the fall, Big Rich connected him to a manager in Southern California. Now 24K Goldn, who went \u003ca href=\"https://twitter.com/24kGoldn/status/1258103370562146304?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">platinum last year\u003c/a> and just dropped a new album, \u003cem>El Dorado\u003c/em>, a month ago,\u003cspan style=\"font-weight: 400\"> “is arguably the hottest artist in the country right now,” according to Big Rich—and the \u003ca href=\"https://www.billboard.com/music/24kgoldn\" target=\"_blank\" rel=\"noopener noreferrer\">Billboard charts\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>Now the question is, how can more San Francisco artists shine like 24K Goldn?\u003c/p>\n\u003cp>It’s a question that’s not just about talent. It’s about “politics,” structure and business acumen. It’s about navigating the high cost of living. And, for some, it’s about being a member of the small percentage of working class Black and brown folks struggling to make ends meet in one the world’s most expensive cities—and still make art.\u003c/p>\n\u003cp>How?\u003c/p>\n\u003cp>“Ghazi at Empire has a plan,” Big Rich tells me. “He’s investing in artists in the City, and I think it’s going to pay off.”\u003c/p>\n\u003cfigure id=\"attachment_13895809\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13895809\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-1020x1020.jpg\" alt=\"The cover of 'Zaytoven Presents Fo15,' released by Empire. \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Zaytoven Presents Fo15,’ released by Empire.\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\">“I\u003c/span> didn’t realize we were having a moment,” Ghazi says during a Zoom call earlier this week. “I was trying to create a moment.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ghazi/\" target=\"_blank\" rel=\"noopener noreferrer\">Ghazi\u003c/a> is the head of the major independent label Empire, and the A&R behind the newly released album, \u003cem>Zaytoven Presents:\u003c/em> \u003cem>\u003ca href=\"https://www.empi.re/listen/index.php?id=172356\" target=\"_blank\" rel=\"noopener noreferrer\">Fo15\u003c/a>\u003c/em>, which celebrates some of San Francisco’s rawest talent.\u003c/p>\n\u003cp>The album is produced by San Francisco’s own mega-producer \u003ca href=\"https://www.instagram.com/zaytovenbeatz/\" target=\"_blank\" rel=\"noopener noreferrer\">Zaytoven\u003c/a>, known for his collaborations with southern rappers like Gucci Mane. The album features members of Frisco’s next wave of stars: Lil Bean, ZayBang, Prezi, Kxng Lamma and Lil Pete.\u003c/p>\n\u003cp>Ghazi, who grew up listening to artists like \u003ca href=\"https://www.discogs.com/artist/338893-IMP\" target=\"_blank\" rel=\"noopener noreferrer\">I.M.P\u003c/a>. and the \u003ca href=\"https://www.discogs.com/artist/332457-Get-Low-Playaz\" target=\"_blank\" rel=\"noopener noreferrer\">Get Low Playaz\u003c/a>, says, “A big part of putting this project together was to do for the next generation what those artists did for me, which is creating bigger and better things.”\u003c/p>\n\u003cp>He says that in the past, a lot of the issues the City’s rap scene faced were “due to lack of infrastructure, lack of proper mentorship, the political landscape that surrounds a lot of the neighborhoods, the socioeconomics,” and a bunch of other things going on in the City. But now there’s potential do things differently.\u003c/p>\n\u003cp>Ghazi makes a basketball comparison, saying that an artist putting up great individual stats isn’t the same as the whole team putting up great stats, or having a coaching staff that can compete with the rest of the league. “We’ve always had the talented players,” says Ghazi of San Francisco’s artists. “But we never had the franchise, we never had the coaching staff, and we never ran an 82 game season.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uZpWqUpAbbo'\n title='//www.youtube.com/embed/uZpWqUpAbbo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“In my mind, San Francisco is not having a moment,” Ghazi tells me over the video chat as he drives through East Oakland. “In my mind, the whole entire Bay Area has been dry for quite some time, and most people have no idea what the glory years were like in the Bay… \u003cspan style=\"font-weight: 400\">There’s a little bit of something happening, and I wouldn’t call it a moment, but there’s potential for a great moment if we stay on it. I wouldn’t call it a moment, yet.”\u003c/span>\u003c/p>\n\u003cp>One of the primary hurdles the City faces is the issue with talent leaving—not just artists, but talented people who work behind the scenes in businesses that support the industry. That’s why Ghazi’s been mindful to keep his company in San Francisco and create space for culture to flourish.\u003c/p>\n\u003cp>“This album is proof of the factory existing,” says Ghazi of the \u003cem>Fo15\u003c/em> project.\u003c/p>\n\u003cp>And now, in order to get to that true “moment”—or rather, a time period of extended success for San Francisco—Ghazi has a simple formula.\u003c/p>\n\u003cp>“We gotta tell our story,” Ghazi tells me. He’s firm in his beliefs that people should know and be proud of all of the talent that has come from San Francisco—from Andre Nickatina to Apple’s \u003ca href=\"https://www.instagram.com/thelarryjackson/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Larry Jackson\u003c/a> (who plays a significant role in making those \u003ca href=\"https://appleinsider.com/articles/20/08/13/apple-musics-larry-jackson-weighs-in-on-verzuz-collaboration\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz events\u003c/a> happen) and back to every rapper named in this article.\u003c/p>\n\u003cp>“The more individual success stories you create, you raise the economy of the region,” says Ghazi. “When you raise the overall economy of the region, people are less inclined to leave the region because they have something to do. And when people don’t leave, you keep the talent in.”\u003c/p>\n\u003cp>As a kid from Oakland who grew up listening to E-40 and Too $hort, as well as Messy Marv, JT the Bigga Figga, and San Quinn, I get it. We’re a vast region with different cultures in each city, neighborhood and block. That said, when one section is going about their business correctly, the honorable thing to do is give them a salute.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A return to indoor live events has come sooner than previously expected for San Francisco residents. Today, San Francisco Director of Health Dr. Grant Colfax and Mayor London Breed issued official guidelines to allow indoor live events, both public and private, to return with some limited capacity starting Thursday, April 15. \u003c/p>\n\u003cp>According to Mayor Breed’s office, indoor ticketed and seated events will be allowed to operate at a maximum capacity of 35%, with attendees required to show proof of a negative COVID test or vaccination for entry. All participants must keep their masks on except when eating and drinking while seated, and social distancing will be required according to state guidelines. Venues operating at up to 35% capacity must also have an approved Health and Safety Plan.\u003c/p>\n\u003cp>[aside postID='arts_13894499']Should a venue choose to operate at only 15% capacity or with less with 200 people, proof of a negative test or vaccination, as well as a Health and Safety Plan, will not be required. As for private indoor events like conventions, weddings and meetings, up to 150 attendees will be allowed with proof of vaccine or negative COVID test. \u003c/p>\n\u003cp>Outdoor venues will be allowed to expand capacity for live events and performances up to 50%. “Like indoor venues, outdoor venues may create vaccinated-only sections with relaxed distancing restrictions, subject to specified criteria and an approved health and safety plan,” the city’s statement reads.\u003c/p>\n\u003cp>Live music fans may have to wait a little longer than April 15 to return to their favorite concerts, however, as many music venues \u003ca href=\"https://www.kqed.org/arts/13895321/california-reopens-in-june-when-can-we-see-live-music-again\" rel=\"noopener noreferrer\" target=\"_blank\">do not plan to host events and concerts until the late summer or fall\u003c/a>, when they will be able to reopen at full capacity. Other performers, many of whom have been unable to rehearse together due to COVID, will need time to develop their productions, and venues that have been closed since the beginning of the pandemic need time to navigate \u003ca href=\"https://datebook.sfchronicle.com/entertainment/bay-areas-arts-organization-cautiously-optimistic-about-june-15-reopening/amp\" rel=\"noopener noreferrer\" target=\"_blank\">complex financial and logistical circumstances\u003c/a> posed by ever-changing guidelines and plans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13895321']“We know that much of what makes San Francisco special are the live performances and events,” said Mayor Breed. “We’ve all been missing these events over the last year… but we all need to keep doing our part to put safety first.”\u003c/p>\n\u003cp>San Francisco is also expanding capacity for social gatherings, both indoor and outdoor, as well as guidelines for “drive-ins, tour operators, childcare, sports and recreation, and institutes of higher education.” \u003c/p>\n\u003cp>San Francisco’s relatively low COVID-19 caseload and hospitalization rates have remained stable since early March 2021, and if cases go up, officials will reevaluate the new guidelines. Currently over 50% of San Francisco residents have received at least their first dose of the vaccine. Starting next Thursday, Apr. 15, the city plans to allow general access to the vaccine to anyone over the age of 16. \u003c/p>\n\u003cp>San Francisco’s public health guidelines can be found \u003ca href=\"https://www.sfdph.org/dph/alerts/coronavirus-health-directives.asp\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on April 9; it has been updated.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A return to indoor live events has come sooner than previously expected for San Francisco residents. Today, San Francisco Director of Health Dr. Grant Colfax and Mayor London Breed issued official guidelines to allow indoor live events, both public and private, to return with some limited capacity starting Thursday, April 15. \u003c/p>\n\u003cp>According to Mayor Breed’s office, indoor ticketed and seated events will be allowed to operate at a maximum capacity of 35%, with attendees required to show proof of a negative COVID test or vaccination for entry. All participants must keep their masks on except when eating and drinking while seated, and social distancing will be required according to state guidelines. Venues operating at up to 35% capacity must also have an approved Health and Safety Plan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Should a venue choose to operate at only 15% capacity or with less with 200 people, proof of a negative test or vaccination, as well as a Health and Safety Plan, will not be required. As for private indoor events like conventions, weddings and meetings, up to 150 attendees will be allowed with proof of vaccine or negative COVID test. \u003c/p>\n\u003cp>Outdoor venues will be allowed to expand capacity for live events and performances up to 50%. “Like indoor venues, outdoor venues may create vaccinated-only sections with relaxed distancing restrictions, subject to specified criteria and an approved health and safety plan,” the city’s statement reads.\u003c/p>\n\u003cp>Live music fans may have to wait a little longer than April 15 to return to their favorite concerts, however, as many music venues \u003ca href=\"https://www.kqed.org/arts/13895321/california-reopens-in-june-when-can-we-see-live-music-again\" rel=\"noopener noreferrer\" target=\"_blank\">do not plan to host events and concerts until the late summer or fall\u003c/a>, when they will be able to reopen at full capacity. Other performers, many of whom have been unable to rehearse together due to COVID, will need time to develop their productions, and venues that have been closed since the beginning of the pandemic need time to navigate \u003ca href=\"https://datebook.sfchronicle.com/entertainment/bay-areas-arts-organization-cautiously-optimistic-about-june-15-reopening/amp\" rel=\"noopener noreferrer\" target=\"_blank\">complex financial and logistical circumstances\u003c/a> posed by ever-changing guidelines and plans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We know that much of what makes San Francisco special are the live performances and events,” said Mayor Breed. “We’ve all been missing these events over the last year… but we all need to keep doing our part to put safety first.”\u003c/p>\n\u003cp>San Francisco is also expanding capacity for social gatherings, both indoor and outdoor, as well as guidelines for “drive-ins, tour operators, childcare, sports and recreation, and institutes of higher education.” \u003c/p>\n\u003cp>San Francisco’s relatively low COVID-19 caseload and hospitalization rates have remained stable since early March 2021, and if cases go up, officials will reevaluate the new guidelines. Currently over 50% of San Francisco residents have received at least their first dose of the vaccine. Starting next Thursday, Apr. 15, the city plans to allow general access to the vaccine to anyone over the age of 16. \u003c/p>\n\u003cp>San Francisco’s public health guidelines can be found \u003ca href=\"https://www.sfdph.org/dph/alerts/coronavirus-health-directives.asp\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on April 9; it has been updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "These Artists Amplify 415 Day's Message of Resistance, Resilience and Restitution",
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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=KQINC4647142472&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A few days ahead of April 15th — 415 Day — we’re talking to two artists from San Francisco who have lived, fought, partied, and made art for their hometown.\u003c/p>\n\u003cp>Jules Retzlaff (\u003ca href=\"https://www.instagram.com/cerealforthekids/\" target=\"_blank\" rel=\"noopener noreferrer\">Cereal For The Kids\u003c/a>) and Sachiel Rosen (\u003ca href=\"https://www.instagram.com/baghead.osk/\" target=\"_blank\" rel=\"noopener noreferrer\">Baghead\u003c/a>) are the duo behind the film and album, \u003ca href=\"https://www.youtube.com/watch?v=cWmX3Y5GnP8\" target=\"_blank\" rel=\"noopener noreferrer\">Dedicated To Those Who\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cWmX3Y5GnP8\u003c/p>\n\u003cp>Cereal For The Kids produced the film, which highlights one of the most picturesque cities in the world, some people who make it what it is and the history that brought us here.\u003c/p>\n\u003cp>Baghead is the producer behind \u003ca href=\"https://www.audiovandals.com/baghead\" target=\"_blank\" rel=\"noopener noreferrer\">the audio portion\u003c/a> of the project, which serves as the soundtrack to the film. His album incorporates quotes from luminaries — like Toni Morrison, Nipsey Hussle and James Baldwin — as they speak to topics that transcend the boundaries of San Francisco’s seven mile by seven mile grid.\u003c/p>\n\u003cp>This week, we’re talking San Francisco’s art and activism, its history and its homies.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Baghead and Cereal For The Kids.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Are there any message you want to share with the world as it relates to 415 day?\u003c/em>\u003c/p>\n\u003cp>Baghead: [415 Day] highlights how the people of San Francisco have always pushed back against forces that don’t want to respect them. It’s saying this is our land, this is the people’s, we want to grow our crops here we wanna grow our families here. And you can extend that idea to the world. This is the people’s world… We can’t keep building from these places of anger and hurt and pain. We have to enjoy our life and the people around us so that we can be invigorated and charged up to go do that work.\u003c/p>\n\u003cp>\u003cem>Pen: What is the intended purpose of the film “Dedicated To Those Who”?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: This is a love letter to the people who fight every day for the City, who fight to be here. And it’s also a call to action. You know, if you aren’t already throwing down, this is the time and we live in a very particular historical moment where we can make great change that lasts for generations. And we should celebrate that too and get hyphy, have a lot of fun, talk shit and drink 40s, but also, you know, do it and then show up at city hall the next day.\u003c/p>\n\u003cp>Baghead: We explore the role of artistry inside of a community revolution and love. And it’s not pretty and it’s not perfect, but it is really beautiful. And that kind of goes back to at the very end of the album, James Baldwin is talking…\u003c/p>\n\u003cp>Baldwin: “Your suffering does not isolate you but is your bridge, and many people have suffered before you, people have been suffering around you and always will…. All you can do is bring a little light into that suffering… We don’t change anything all we can do is invest people with the moral to change it for themselves”\u003c/p>\n\u003cp>Baghead: … We don’t change anything, we just give people a place to figure out their reality and learn how to engage with engage in it in a way that is going to create change.\u003c/p>\n\u003cp>\u003cem>Pen: Gotcha. Gotcha. And while Baghead held down the audio side of things, [Cereal For The Kids], you were behind the visuals.\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: The imagery is all reminiscent of our families histories. Like my father has lived in San Francisco since the 70s and was organizing. It’s an homage to folks here and gone, and the solidarity we have for each other… generations gone past… When our families migrated here 10 years ago, that struggle that brought them here is part of that intergenerational movement and that struggle in the city too.\u003c/p>\n\u003cp>\u003cem>Pen: There’s a lot of different footage, there’s ethnic studies footage, there’s some from labor strike. What footage are we looking at in terms of protest imagery?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: There’s footage from the Frisco 500 action where folks stormed city hall. Mario Woods was murdered in 2015. And then in 2016 is when organizing really kicked off. There’s also footage of the White Night riots when Dan White murdered Harvey Milk — which is an homage to the gay rights movement in the city, another moment in which city hall was stormed. So just trying to juxtapose historical moments to the ones we’re currently experiencing and trying to let folks know that history is a cycle, but we have the chance to break that cycle if we pay attention to it.\u003c/p>\n\u003cp>\u003cem>Pen: Baghead, Mario Woods, the organizing that happened around his killing, how did that politicize you and how does that show up in your art today?\u003c/em>\u003c/p>\n\u003cp>Baghead: That moment was kind of everything for me. Around the same time Mario Woods got killed, the administration at SF State was trying to cut funding to ethnic studies. And there was a huge march to expose the administration for cutting that funding. And relating it to the history of there being no space for Black and brown voices, or for working class voices.\u003c/p>\n\u003cp>\u003cem>Pen: Were you a part of the hunger strike that happened? At SF state?\u003c/em>\u003c/p>\n\u003cp>Baghead: Well, myself, [Cereal For the Kids], Ahkeel and Hassani went on hunger strike at SF state to push the administration to not cut funding as well as the other other list of demands.\u003c/p>\n\u003cp>\u003cem>Pen: How’d that go? How’d it end?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: It’s complicated, a lot of mistakes, a lot of good things too. We were able to fight the cuts but we did not make all our wins: the need for the expansion of programs that were not getting the funding they deserved. It was a big learning lesson for us as new organizers. But I think it also helped rejuvenate some stuff at State and was a really important politicizing moment for a lot of people.\u003c/p>\n\u003cp>\u003cem>Pen: You’re doing this work and you are in the City where it’s expensive as hell. How do you keep it together? How do you work with this collective group of people? I imagine it’s got to be tough.\u003c/em>\u003c/p>\n\u003cp>Baghead: Being an artist is hard as it is, but when everyone has a job, and on top of it, they have to work as much as they can to be able to live here, it makes it hard to collaborate in a healthy way. Ya know, a lot of us have these moments of being burnt out, but it’s the passion that keeps us going.\u003c/p>\n\u003cp>Cereal For The Kids: There’s a lot of mutual aid. There’s a lot of… we’re helping each other, all of us in our community deeply care about one another, have such fucking love.\u003c/p>\n\u003cp>Baghead: We’re not really sure how we’re going to make this city, from top down care about the people who built the city. We’re not sure how we’re going to make this a better world. We’re not sure how we’re going to make our dreams come true, but we believe in it. So go finish that sentence for us. Figure out your role, figure out, help us out, help yourself out.\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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"description": "Cereal For The Kids and Baghead celebrate San Francisco with this audio and visual love letter.",
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"headline": "These Artists Amplify 415 Day's Message of Resistance, Resilience and Restitution",
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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=KQINC4647142472&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A few days ahead of April 15th — 415 Day — we’re talking to two artists from San Francisco who have lived, fought, partied, and made art for their hometown.\u003c/p>\n\u003cp>Jules Retzlaff (\u003ca href=\"https://www.instagram.com/cerealforthekids/\" target=\"_blank\" rel=\"noopener noreferrer\">Cereal For The Kids\u003c/a>) and Sachiel Rosen (\u003ca href=\"https://www.instagram.com/baghead.osk/\" target=\"_blank\" rel=\"noopener noreferrer\">Baghead\u003c/a>) are the duo behind the film and album, \u003ca href=\"https://www.youtube.com/watch?v=cWmX3Y5GnP8\" target=\"_blank\" rel=\"noopener noreferrer\">Dedicated To Those Who\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cWmX3Y5GnP8'\n title='//www.youtube.com/embed/cWmX3Y5GnP8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cereal For The Kids produced the film, which highlights one of the most picturesque cities in the world, some people who make it what it is and the history that brought us here.\u003c/p>\n\u003cp>Baghead is the producer behind \u003ca href=\"https://www.audiovandals.com/baghead\" target=\"_blank\" rel=\"noopener noreferrer\">the audio portion\u003c/a> of the project, which serves as the soundtrack to the film. His album incorporates quotes from luminaries — like Toni Morrison, Nipsey Hussle and James Baldwin — as they speak to topics that transcend the boundaries of San Francisco’s seven mile by seven mile grid.\u003c/p>\n\u003cp>This week, we’re talking San Francisco’s art and activism, its history and its homies.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Baghead and Cereal For The Kids.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Are there any message you want to share with the world as it relates to 415 day?\u003c/em>\u003c/p>\n\u003cp>Baghead: [415 Day] highlights how the people of San Francisco have always pushed back against forces that don’t want to respect them. It’s saying this is our land, this is the people’s, we want to grow our crops here we wanna grow our families here. And you can extend that idea to the world. This is the people’s world… We can’t keep building from these places of anger and hurt and pain. We have to enjoy our life and the people around us so that we can be invigorated and charged up to go do that work.\u003c/p>\n\u003cp>\u003cem>Pen: What is the intended purpose of the film “Dedicated To Those Who”?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: This is a love letter to the people who fight every day for the City, who fight to be here. And it’s also a call to action. You know, if you aren’t already throwing down, this is the time and we live in a very particular historical moment where we can make great change that lasts for generations. And we should celebrate that too and get hyphy, have a lot of fun, talk shit and drink 40s, but also, you know, do it and then show up at city hall the next day.\u003c/p>\n\u003cp>Baghead: We explore the role of artistry inside of a community revolution and love. And it’s not pretty and it’s not perfect, but it is really beautiful. And that kind of goes back to at the very end of the album, James Baldwin is talking…\u003c/p>\n\u003cp>Baldwin: “Your suffering does not isolate you but is your bridge, and many people have suffered before you, people have been suffering around you and always will…. All you can do is bring a little light into that suffering… We don’t change anything all we can do is invest people with the moral to change it for themselves”\u003c/p>\n\u003cp>Baghead: … We don’t change anything, we just give people a place to figure out their reality and learn how to engage with engage in it in a way that is going to create change.\u003c/p>\n\u003cp>\u003cem>Pen: Gotcha. Gotcha. And while Baghead held down the audio side of things, [Cereal For The Kids], you were behind the visuals.\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: The imagery is all reminiscent of our families histories. Like my father has lived in San Francisco since the 70s and was organizing. It’s an homage to folks here and gone, and the solidarity we have for each other… generations gone past… When our families migrated here 10 years ago, that struggle that brought them here is part of that intergenerational movement and that struggle in the city too.\u003c/p>\n\u003cp>\u003cem>Pen: There’s a lot of different footage, there’s ethnic studies footage, there’s some from labor strike. What footage are we looking at in terms of protest imagery?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: There’s footage from the Frisco 500 action where folks stormed city hall. Mario Woods was murdered in 2015. And then in 2016 is when organizing really kicked off. There’s also footage of the White Night riots when Dan White murdered Harvey Milk — which is an homage to the gay rights movement in the city, another moment in which city hall was stormed. So just trying to juxtapose historical moments to the ones we’re currently experiencing and trying to let folks know that history is a cycle, but we have the chance to break that cycle if we pay attention to it.\u003c/p>\n\u003cp>\u003cem>Pen: Baghead, Mario Woods, the organizing that happened around his killing, how did that politicize you and how does that show up in your art today?\u003c/em>\u003c/p>\n\u003cp>Baghead: That moment was kind of everything for me. Around the same time Mario Woods got killed, the administration at SF State was trying to cut funding to ethnic studies. And there was a huge march to expose the administration for cutting that funding. And relating it to the history of there being no space for Black and brown voices, or for working class voices.\u003c/p>\n\u003cp>\u003cem>Pen: Were you a part of the hunger strike that happened? At SF state?\u003c/em>\u003c/p>\n\u003cp>Baghead: Well, myself, [Cereal For the Kids], Ahkeel and Hassani went on hunger strike at SF state to push the administration to not cut funding as well as the other other list of demands.\u003c/p>\n\u003cp>\u003cem>Pen: How’d that go? How’d it end?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: It’s complicated, a lot of mistakes, a lot of good things too. We were able to fight the cuts but we did not make all our wins: the need for the expansion of programs that were not getting the funding they deserved. It was a big learning lesson for us as new organizers. But I think it also helped rejuvenate some stuff at State and was a really important politicizing moment for a lot of people.\u003c/p>\n\u003cp>\u003cem>Pen: You’re doing this work and you are in the City where it’s expensive as hell. How do you keep it together? How do you work with this collective group of people? I imagine it’s got to be tough.\u003c/em>\u003c/p>\n\u003cp>Baghead: Being an artist is hard as it is, but when everyone has a job, and on top of it, they have to work as much as they can to be able to live here, it makes it hard to collaborate in a healthy way. Ya know, a lot of us have these moments of being burnt out, but it’s the passion that keeps us going.\u003c/p>\n\u003cp>Cereal For The Kids: There’s a lot of mutual aid. There’s a lot of… we’re helping each other, all of us in our community deeply care about one another, have such fucking love.\u003c/p>\n\u003cp>Baghead: We’re not really sure how we’re going to make this city, from top down care about the people who built the city. We’re not sure how we’re going to make this a better world. We’re not sure how we’re going to make our dreams come true, but we believe in it. So go finish that sentence for us. Figure out your role, figure out, help us out, help yourself out.\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>When Kate Connell and Oscar Melara, also known as the artist collaborative Book and Wheel, unveiled \u003ci>\u003ca href=\"http://bookandwheel.org/project/chispa/\" target=\"_blank\" rel=\"noopener noreferrer\">Chispa\u003c/a>\u003c/i>, they had big plans for the future of their colorfully painted, roving art cart. (“We like to think of it as an independent float,” says Connell.) On its first outing in August 2019 at the Visitacion Valley Greenway’s Peace & Unity Festival, \u003ci>Chispa\u003c/i> was the centerpiece of invocations, music and artwork, including a display of botanical drawings by one of the Greenway’s founders, \u003ca href=\"http://bookandwheel.org/artists/anne-seeman/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Seeman\u003c/a>.\u003c/p>\n\u003cp>But the giant, teal cart would only appear in public once more before the pandemic put a halt to community gatherings.\u003c/p>\n\u003cp>“We were pretty excited after that event,” Connell says of the second, even larger production, a September 2019 Autumn Moon festival in McLaren Park. “We had a lot of momentum going—and then COVID happened.”\u003c/p>\n\u003cfigure id=\"attachment_13894143\" class=\"wp-caption aligncenter\" style=\"max-width: 920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1.jpeg\" alt=\"\" width=\"920\" height=\"613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1.jpeg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1-768x512.jpeg 768w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003cfigcaption class=\"wp-caption-text\">Kate Connell and Oscar Melara in their project ‘Moving Art House’ on the Mexican Bus in 2015. \u003ccite>(Sibila Savage; courtesy the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now Connell and Melara, whose collaborative name is a shout-out to their former positions as a librarian and bus driver, have rethought one of \u003ci>Chispa\u003c/i>’s central projects—building a portfolio of work by artists from Southeast San Francisco—into a format suited to pandemic-mandated restrictions. With \u003ci>\u003ca href=\"http://bookandwheel.org/project/trade/\" target=\"_blank\" rel=\"noopener noreferrer\">We Trade\u003c/a>\u003c/i>, they’re exchanging artwork by residents of Bayview/Hunters Point, the Excelsior District, the Portola and Visitacion Valley with anyone who mails Book and Wheel a creative work of their own.\u003c/p>\n\u003cp>“One thing we really like about this that we couldn’t do with \u003ci>Chispa\u003c/i> is the range of things that people can trade us,” Connell says, naming playlists, recipes, photographic prints, poems and song lyrics. “Someone sent us a short-run artist book. Someone else in the neighborhood made neighborhood-specific stickers.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003cem>Southeast San Francisco Artists Portfolio\u003c/em> now contains the work of around 50 artists. “The artists range in age, from their 20s to their 70s, and that’s something that’s really important to us,” Connell says, adding they also work to make the cohort “culturally reflective of the Southeast.”\u003c/p>\n\u003cp>The plan is to build a cultural archive of a part of San Francisco that is often quite literally left off the map. (Many, particularly those meant for tourists, stop at Cesar Chavez or even farther north.)\u003c/p>\n\u003cfigure id=\"attachment_13894105\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SESF_1200.jpg\" alt=\"\" width=\"1200\" height=\"904\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200-800x603.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200-768x579.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Connell, Oscar Melara and Sofía Vivanco Airaghi’s ‘The Cultural Map of Southeast San Francisco,’ first designed in 2016, is now in its third edition. \u003ccite>(Courtesy Book and Wheel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the prints \u003ci>We Trade\u003c/i> participants can choose from is a direct response to that omission: a participatory map of Southeast San Francisco created by Connell, Melara, Sofía Vivanco Airaghi and over 200 participants since 2016. It identifies art and performance spaces, parks and athletic fields, as well the locations of significant historical events. The map visually groups the four Southeast neighborhoods as an interconnected corner of the city.\u003c/p>\n\u003cp>Connell says when she and Melara first moved to the Portola District from the Mission over 25 years ago, it took them time to adjust to the lack of nearby cultural institutions—or what they thought of \u003ci>then\u003c/i> as cultural institutions. \u003ci>\u003ca href=\"http://bookandwheel.org/project/the-cultural-map-of-southeast-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">The Cultural Map of Southeast San Francisco\u003c/a>\u003c/i> demonstrates that a “cultural institution” isn’t always a formal, physical arts center.\u003c/p>\n\u003cp>Other \u003ci>We Trade\u003c/i> prints include work by \u003ca href=\"http://bookandwheel.org/artists/juan-fuentes/\" target=\"_blank\" rel=\"noopener noreferrer\">Juan Fuentes\u003c/a>, \u003ca href=\"http://bookandwheel.org/artists/sarah-a-smith/\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Smith\u003c/a> and \u003ca href=\"http://bookandwheel.org/artists/charles-dabo/\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Dabo\u003c/a>—all ready to fit into a standard letter-sized envelope.\u003c/p>\n\u003cfigure id=\"attachment_13894154\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/What-You-Traded-Us008_1200.jpg\" alt=\"\" width=\"1200\" height=\"1492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200-800x995.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200-1020x1268.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200-768x955.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Drawing by a young participant traded to Book and Wheel for a print from the ‘Southeast San Francisco Artists Portfolio.’ \u003ccite>(Courtesy the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Connell in particular enjoys visiting their post office box and checking on submissions, for artists rooted in the social aspect of social practice, exchange-by-mail isn’t quite the same. “When this was with \u003ci>Chispa\u003c/i>, we would be out in the street posting posters, talking to people, handing out postcards—just having as many conversations as possible,” she says.\u003c/p>\n\u003cp>“Right now it’s several steps removed,” Melara agrees. “There’s this weird tension between public projects and sheltering in place.” They miss the excitement of explaining \u003ci>Chispa\u003c/i> to people, hearing what they think and encouraging them to engage.\u003c/p>\n\u003cp>Thankfully, building the \u003cem>Southeast San Francisco Artists Portfolio\u003c/em> while in isolation has been an outlet for these desires. Part of \u003ci>Chispa\u003c/i>’s funding, from Southern Exposure’s Alternative Exposure grant, was earmarked for artist commissions, and Book and Wheel was still able to make use of that money over the past year.\u003c/p>\n\u003cp>“There were dark days when we realized we couldn’t take \u003ci>Chispa\u003c/i> back out for the foreseeable future,” Connell says, “and just the idea that we still had money to build the portfolio, get money to artists who needed it—even though it’s a modest sum—is kind of what really made it possible to think about where to go with it.”\u003c/p>\n\u003cfigure id=\"attachment_13894153\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200.jpg\" alt=\"\" width=\"1200\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200-800x708.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200-1020x903.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200-768x680.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Visual artist Kaiya Canja Wong Jones and drag storyteller Severa Wang at the September 2019 Autumn Moon Festival. \u003ccite>(Photo by Sibila Savage; courtesy the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And even without an event on the horizon, they’re still putting up posters (currently featuring the work of \u003ca href=\"http://bookandwheel.org/artists/kaiya-canja-wong-jones/\" target=\"_blank\" rel=\"noopener noreferrer\">Kaiya Canja Wong Jones\u003c/a>, a young artist from the Portola), to spread the word about \u003ci>We Trade\u003c/i> beyond the confines of social media and email inboxes.\u003c/p>\n\u003cp>Running out of prints to exchange is a problem Connell and Melara welcome—with 500–1,000 copies of each artwork made in expectation of large public events and regular Sunday Streets appearances, Book and Wheel is excited to get the \u003cem>Southeast San Francisco Artists Portfolio\u003c/em> into wider circulation.\u003c/p>\n\u003cp>And what will they do with the objects they receive? “Kate has talked about a—what would you call it?” asks Melara.\u003c/p>\n\u003cp>“A stately zine!” she says. “An exhibition would be great.”\u003c/p>\n\u003cp>Some of the artworks sent in for prints may even come from farther afield—a classroom in northern Quebec has promised to send drawings—but Book and Wheel is fine with that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Sending out art from the Southeast lets people know who’s working here,” Connell says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Kate Connell and Oscar Melara, also known as the artist collaborative Book and Wheel, unveiled \u003ci>\u003ca href=\"http://bookandwheel.org/project/chispa/\" target=\"_blank\" rel=\"noopener noreferrer\">Chispa\u003c/a>\u003c/i>, they had big plans for the future of their colorfully painted, roving art cart. (“We like to think of it as an independent float,” says Connell.) On its first outing in August 2019 at the Visitacion Valley Greenway’s Peace & Unity Festival, \u003ci>Chispa\u003c/i> was the centerpiece of invocations, music and artwork, including a display of botanical drawings by one of the Greenway’s founders, \u003ca href=\"http://bookandwheel.org/artists/anne-seeman/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Seeman\u003c/a>.\u003c/p>\n\u003cp>But the giant, teal cart would only appear in public once more before the pandemic put a halt to community gatherings.\u003c/p>\n\u003cp>“We were pretty excited after that event,” Connell says of the second, even larger production, a September 2019 Autumn Moon festival in McLaren Park. “We had a lot of momentum going—and then COVID happened.”\u003c/p>\n\u003cfigure id=\"attachment_13894143\" class=\"wp-caption aligncenter\" style=\"max-width: 920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1.jpeg\" alt=\"\" width=\"920\" height=\"613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1.jpeg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/047-Moving_Art_House-5pt5MileBus_9-2015_med-copy-920x613-1-768x512.jpeg 768w\" sizes=\"(max-width: 920px) 100vw, 920px\">\u003cfigcaption class=\"wp-caption-text\">Kate Connell and Oscar Melara in their project ‘Moving Art House’ on the Mexican Bus in 2015. \u003ccite>(Sibila Savage; courtesy the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now Connell and Melara, whose collaborative name is a shout-out to their former positions as a librarian and bus driver, have rethought one of \u003ci>Chispa\u003c/i>’s central projects—building a portfolio of work by artists from Southeast San Francisco—into a format suited to pandemic-mandated restrictions. With \u003ci>\u003ca href=\"http://bookandwheel.org/project/trade/\" target=\"_blank\" rel=\"noopener noreferrer\">We Trade\u003c/a>\u003c/i>, they’re exchanging artwork by residents of Bayview/Hunters Point, the Excelsior District, the Portola and Visitacion Valley with anyone who mails Book and Wheel a creative work of their own.\u003c/p>\n\u003cp>“One thing we really like about this that we couldn’t do with \u003ci>Chispa\u003c/i> is the range of things that people can trade us,” Connell says, naming playlists, recipes, photographic prints, poems and song lyrics. “Someone sent us a short-run artist book. Someone else in the neighborhood made neighborhood-specific stickers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003cem>Southeast San Francisco Artists Portfolio\u003c/em> now contains the work of around 50 artists. “The artists range in age, from their 20s to their 70s, and that’s something that’s really important to us,” Connell says, adding they also work to make the cohort “culturally reflective of the Southeast.”\u003c/p>\n\u003cp>The plan is to build a cultural archive of a part of San Francisco that is often quite literally left off the map. (Many, particularly those meant for tourists, stop at Cesar Chavez or even farther north.)\u003c/p>\n\u003cfigure id=\"attachment_13894105\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SESF_1200.jpg\" alt=\"\" width=\"1200\" height=\"904\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200-800x603.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SESF_1200-768x579.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Connell, Oscar Melara and Sofía Vivanco Airaghi’s ‘The Cultural Map of Southeast San Francisco,’ first designed in 2016, is now in its third edition. \u003ccite>(Courtesy Book and Wheel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the prints \u003ci>We Trade\u003c/i> participants can choose from is a direct response to that omission: a participatory map of Southeast San Francisco created by Connell, Melara, Sofía Vivanco Airaghi and over 200 participants since 2016. It identifies art and performance spaces, parks and athletic fields, as well the locations of significant historical events. The map visually groups the four Southeast neighborhoods as an interconnected corner of the city.\u003c/p>\n\u003cp>Connell says when she and Melara first moved to the Portola District from the Mission over 25 years ago, it took them time to adjust to the lack of nearby cultural institutions—or what they thought of \u003ci>then\u003c/i> as cultural institutions. \u003ci>\u003ca href=\"http://bookandwheel.org/project/the-cultural-map-of-southeast-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">The Cultural Map of Southeast San Francisco\u003c/a>\u003c/i> demonstrates that a “cultural institution” isn’t always a formal, physical arts center.\u003c/p>\n\u003cp>Other \u003ci>We Trade\u003c/i> prints include work by \u003ca href=\"http://bookandwheel.org/artists/juan-fuentes/\" target=\"_blank\" rel=\"noopener noreferrer\">Juan Fuentes\u003c/a>, \u003ca href=\"http://bookandwheel.org/artists/sarah-a-smith/\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Smith\u003c/a> and \u003ca href=\"http://bookandwheel.org/artists/charles-dabo/\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Dabo\u003c/a>—all ready to fit into a standard letter-sized envelope.\u003c/p>\n\u003cfigure id=\"attachment_13894154\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/What-You-Traded-Us008_1200.jpg\" alt=\"\" width=\"1200\" height=\"1492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200-800x995.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200-1020x1268.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/What-You-Traded-Us008_1200-768x955.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Drawing by a young participant traded to Book and Wheel for a print from the ‘Southeast San Francisco Artists Portfolio.’ \u003ccite>(Courtesy the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Connell in particular enjoys visiting their post office box and checking on submissions, for artists rooted in the social aspect of social practice, exchange-by-mail isn’t quite the same. “When this was with \u003ci>Chispa\u003c/i>, we would be out in the street posting posters, talking to people, handing out postcards—just having as many conversations as possible,” she says.\u003c/p>\n\u003cp>“Right now it’s several steps removed,” Melara agrees. “There’s this weird tension between public projects and sheltering in place.” They miss the excitement of explaining \u003ci>Chispa\u003c/i> to people, hearing what they think and encouraging them to engage.\u003c/p>\n\u003cp>Thankfully, building the \u003cem>Southeast San Francisco Artists Portfolio\u003c/em> while in isolation has been an outlet for these desires. Part of \u003ci>Chispa\u003c/i>’s funding, from Southern Exposure’s Alternative Exposure grant, was earmarked for artist commissions, and Book and Wheel was still able to make use of that money over the past year.\u003c/p>\n\u003cp>“There were dark days when we realized we couldn’t take \u003ci>Chispa\u003c/i> back out for the foreseeable future,” Connell says, “and just the idea that we still had money to build the portfolio, get money to artists who needed it—even though it’s a modest sum—is kind of what really made it possible to think about where to go with it.”\u003c/p>\n\u003cfigure id=\"attachment_13894153\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200.jpg\" alt=\"\" width=\"1200\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200-800x708.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200-1020x903.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Visual-artist-Kaiya-Jones-and-Drag-story-teller-Severa-Wang-Autumn-Moon-event_1200-768x680.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Visual artist Kaiya Canja Wong Jones and drag storyteller Severa Wang at the September 2019 Autumn Moon Festival. \u003ccite>(Photo by Sibila Savage; courtesy the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And even without an event on the horizon, they’re still putting up posters (currently featuring the work of \u003ca href=\"http://bookandwheel.org/artists/kaiya-canja-wong-jones/\" target=\"_blank\" rel=\"noopener noreferrer\">Kaiya Canja Wong Jones\u003c/a>, a young artist from the Portola), to spread the word about \u003ci>We Trade\u003c/i> beyond the confines of social media and email inboxes.\u003c/p>\n\u003cp>Running out of prints to exchange is a problem Connell and Melara welcome—with 500–1,000 copies of each artwork made in expectation of large public events and regular Sunday Streets appearances, Book and Wheel is excited to get the \u003cem>Southeast San Francisco Artists Portfolio\u003c/em> into wider circulation.\u003c/p>\n\u003cp>And what will they do with the objects they receive? “Kate has talked about a—what would you call it?” asks Melara.\u003c/p>\n\u003cp>“A stately zine!” she says. “An exhibition would be great.”\u003c/p>\n\u003cp>Some of the artworks sent in for prints may even come from farther afield—a classroom in northern Quebec has promised to send drawings—but Book and Wheel is fine with that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Sending out art from the Southeast lets people know who’s working here,” Connell says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco being San Francisco, hundreds of people who watch Alexis Gay’s take on the San Francisco “park hang” will vehemently object to its content. That’s primarily because the comedian focuses in on that side of San Francisco that so many city residents still try to ignore: tech and stuff that techies like.\u003c/p>\n\u003cp>Regardless, Gay has garnered 1.5 million views in 24 hours for her one-minute video making fun of how un-fun certain park gatherings in the city have recently become. The techies will enjoy it because it’s about them. But who amongst the rest of us has not glanced over our shoulder to figure out who the hell is babbling about IPOs and angel investors on a sunny Sunday in the park?\u003c/p>\n\u003cp>Gay—who hosts \u003ca href=\"https://twitter.com/nontechnicalpod\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Non-Technical\u003c/em>\u003c/a>, a podcast in which she interviews tech people about non-tech (and often ridiculous) subjects—also includes more universal aspects of being outside in the Bay. Yes, it \u003cem>is\u003c/em> freezing and yes, that guy \u003cem>is\u003c/em> naked.\u003c/p>\n\u003cp>Enjoy!\u003c/p>\n\u003cp>https://twitter.com/yayalexisgay/status/1369346460911734784\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco being San Francisco, hundreds of people who watch Alexis Gay’s take on the San Francisco “park hang” will vehemently object to its content. That’s primarily because the comedian focuses in on that side of San Francisco that so many city residents still try to ignore: tech and stuff that techies like.\u003c/p>\n\u003cp>Regardless, Gay has garnered 1.5 million views in 24 hours for her one-minute video making fun of how un-fun certain park gatherings in the city have recently become. The techies will enjoy it because it’s about them. But who amongst the rest of us has not glanced over our shoulder to figure out who the hell is babbling about IPOs and angel investors on a sunny Sunday in the park?\u003c/p>\n\u003cp>Gay—who hosts \u003ca href=\"https://twitter.com/nontechnicalpod\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Non-Technical\u003c/em>\u003c/a>, a podcast in which she interviews tech people about non-tech (and often ridiculous) subjects—also includes more universal aspects of being outside in the Bay. Yes, it \u003cem>is\u003c/em> freezing and yes, that guy \u003cem>is\u003c/em> naked.\u003c/p>\n\u003cp>Enjoy!\u003c/p>\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=KQINC9241183697&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/_tongogara_/\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a>, San Francisco’s eighth poet laureate, says it’s not enough to simply be a poet.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The poet needs to just come on down to the trenches\u003c/span>,” he says. Eisen-Martin’s suggestion for writers out there is to get involved in the community, whether that’s passing out flyers or organizing a mutual aid program. “\u003cspan style=\"font-weight: 400\">That experience is what you synthesize good revolutionary poetry from.”\u003c/span>\u003c/p>\n\u003cp>As a lifelong San Franciscan, Eisen-Martin has developed a unique perspective on how racism manifests in a liberal bastion like the Bay Area. In this episode, he addresses American militarism, state-sanctioned violence, and mass incarceration– as well as what can be done about these issues.\u003c/p>\n\u003cp>Eisen-Martin joined me for a brief but powerful interview that includes a performance of his poem, “A Sketch of Genocide.” The piece was included in his book, \u003cspan id=\"productTitle\" class=\"a-size-extra-large\">\u003cem>Heaven Is All Goodbyes\u003c/em>, which won a 2018 American Book Award. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3 class=\"p1\">A Sketch about Genocide\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>A police chief says, “Yes, you poets make points. But they are all silly,” \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Police chief sowing a mouth onto a mouth\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Police chief looking straight through the poet\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Flesh market both sides of the levy\u003cbr>\nChange of plans both sides of the nonviolence\u003c/em>\u003c/strong>\u003c/p>\n\u003cp class=\"p1\" style=\"text-align: left\">\u003cstrong>\u003cem> On no earth\u003cbr>\nJust an earth character \u003c/em>\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>\u003cem>His subordinate says, “Awkward basketball moves look good on you, sir… Yes, we are everywhere, sir… yes, unfortunately for now, white people only have Black History … we will slide the wallpaper right into their cereal bowls, sir … Surveil the shuffle.” \u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>\u003cem>I am a beggar and all of this day is too easy \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>I want to see all of the phases of a wall \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Every age it goes through\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> Its humanity \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> Its environmental racism \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>We call this the ordeal blues \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Now crawl to the piano seat and make a blanket for your cell \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Paint scenes of a child dancing up to the court appearance\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>And leaving a man,\u003cbr>\n\u003c/em>\u003c/strong>\u003cstrong>\u003cem> but not for home\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Atlantic ocean charts mixed in with parole papers \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Mainstream funding (the ruling class’s only pacifism) \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ruling class printing judges (fiat kangaroos) \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Making judges hand over fist \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Rapture cop packs and opposition whites all above a thorny stem \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Caste plans picked out like vans for the murder show anglo‐saints addicting you to a power structure \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>you want me to raise a little slave, don’t you? \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>bash his little brain in \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>and send him to your civil rights \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>No pain \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Just a white pain \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Delicate bullets in a box next to a stack of monolith scriptures \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> (makes these bullets look relevant, don’t it?)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>I remember you\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Everywhere you lay your hat is the capital of the south \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The posture you introduced to that fence \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The fence you introduced to political theory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>If you shred my dreams, son \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>I will tack you to gun smoke\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>The suburbs are finally offended\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>this will be a meditation too\u003c/em>\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with poet Tongo Eisen-Martin: \u003c/strong>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: I feel like the primary generator of reality in the United States is military reality. It’s the organizations of violence or the monopolies of violence especially, wielded by the state. And a state wielded by a ruling class. Prison is evidence of this principle. \u003c/span>\u003cspan style=\"font-weight: 400\">To be clear, you are living in a reality of organized violence. Along with the blood comes the culture of just, confined, compartmentalized living. \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t see how any of us walk around having normal days when the kids are still in cages. When you think about the individual adventure you’re on. How lovingly can I pat myself on the back when there’s some severe injustice going on.\u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN\u003c/em>\u003cspan style=\"font-weight: 400\">: What can you do about that injustice as a poet?\u003c/span>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: The poet needs to just come on down to the trenches, come on down to whatever political efforts are already going on. Do not be sad if nobody wants to hear a poem down there, ya know. \u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN\u003c/em>\u003cspan style=\"font-weight: 400\">: [laughs]\u003c/span>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: That’s primary. That experience is what you synthesize good revolutionary poetry from. \u003c/span>\u003c/p>\n\u003cp>\u003cem>This is the first in a series of shorter shows we’re doing this year, called “Pocket Poems Podcasts.” All of these Rightnowish episodes feature poets performing their work. Enjoy!\u003c/em>\u003c/p>\n\u003cp>Catch up on our music series with this Spotify playlist:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6ok3fmGwvwmuyGvuWxlv3Q\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "San Francisco's Poet Laureate, Tongo Eisen-Martin, has a call to action for poets out there: \r\nGet Active! ",
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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=KQINC9241183697&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/_tongogara_/\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a>, San Francisco’s eighth poet laureate, says it’s not enough to simply be a poet.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The poet needs to just come on down to the trenches\u003c/span>,” he says. Eisen-Martin’s suggestion for writers out there is to get involved in the community, whether that’s passing out flyers or organizing a mutual aid program. “\u003cspan style=\"font-weight: 400\">That experience is what you synthesize good revolutionary poetry from.”\u003c/span>\u003c/p>\n\u003cp>As a lifelong San Franciscan, Eisen-Martin has developed a unique perspective on how racism manifests in a liberal bastion like the Bay Area. In this episode, he addresses American militarism, state-sanctioned violence, and mass incarceration– as well as what can be done about these issues.\u003c/p>\n\u003cp>Eisen-Martin joined me for a brief but powerful interview that includes a performance of his poem, “A Sketch of Genocide.” The piece was included in his book, \u003cspan id=\"productTitle\" class=\"a-size-extra-large\">\u003cem>Heaven Is All Goodbyes\u003c/em>, which won a 2018 American Book Award. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3 class=\"p1\">A Sketch about Genocide\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>A police chief says, “Yes, you poets make points. But they are all silly,” \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Police chief sowing a mouth onto a mouth\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Police chief looking straight through the poet\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Flesh market both sides of the levy\u003cbr>\nChange of plans both sides of the nonviolence\u003c/em>\u003c/strong>\u003c/p>\n\u003cp class=\"p1\" style=\"text-align: left\">\u003cstrong>\u003cem> On no earth\u003cbr>\nJust an earth character \u003c/em>\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>\u003cem>His subordinate says, “Awkward basketball moves look good on you, sir… Yes, we are everywhere, sir… yes, unfortunately for now, white people only have Black History … we will slide the wallpaper right into their cereal bowls, sir … Surveil the shuffle.” \u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>\u003cem>I am a beggar and all of this day is too easy \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>I want to see all of the phases of a wall \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Every age it goes through\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> Its humanity \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> Its environmental racism \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>We call this the ordeal blues \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Now crawl to the piano seat and make a blanket for your cell \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Paint scenes of a child dancing up to the court appearance\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>And leaving a man,\u003cbr>\n\u003c/em>\u003c/strong>\u003cstrong>\u003cem> but not for home\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Atlantic ocean charts mixed in with parole papers \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Mainstream funding (the ruling class’s only pacifism) \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ruling class printing judges (fiat kangaroos) \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Making judges hand over fist \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Rapture cop packs and opposition whites all above a thorny stem \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Caste plans picked out like vans for the murder show anglo‐saints addicting you to a power structure \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>you want me to raise a little slave, don’t you? \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>bash his little brain in \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>and send him to your civil rights \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>No pain \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Just a white pain \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Delicate bullets in a box next to a stack of monolith scriptures \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> (makes these bullets look relevant, don’t it?)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>I remember you\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Everywhere you lay your hat is the capital of the south \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The posture you introduced to that fence \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The fence you introduced to political theory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>If you shred my dreams, son \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>I will tack you to gun smoke\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>The suburbs are finally offended\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>this will be a meditation too\u003c/em>\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with poet Tongo Eisen-Martin: \u003c/strong>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: I feel like the primary generator of reality in the United States is military reality. It’s the organizations of violence or the monopolies of violence especially, wielded by the state. And a state wielded by a ruling class. Prison is evidence of this principle. \u003c/span>\u003cspan style=\"font-weight: 400\">To be clear, you are living in a reality of organized violence. Along with the blood comes the culture of just, confined, compartmentalized living. \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t see how any of us walk around having normal days when the kids are still in cages. When you think about the individual adventure you’re on. How lovingly can I pat myself on the back when there’s some severe injustice going on.\u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN\u003c/em>\u003cspan style=\"font-weight: 400\">: What can you do about that injustice as a poet?\u003c/span>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: The poet needs to just come on down to the trenches, come on down to whatever political efforts are already going on. Do not be sad if nobody wants to hear a poem down there, ya know. \u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN\u003c/em>\u003cspan style=\"font-weight: 400\">: [laughs]\u003c/span>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: That’s primary. That experience is what you synthesize good revolutionary poetry from. \u003c/span>\u003c/p>\n\u003cp>\u003cem>This is the first in a series of shorter shows we’re doing this year, called “Pocket Poems Podcasts.” All of these Rightnowish episodes feature poets performing their work. Enjoy!\u003c/em>\u003c/p>\n\u003cp>Catch up on our music series with this Spotify playlist:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6ok3fmGwvwmuyGvuWxlv3Q\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\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": "PHOTOS: Lawrence Ferlinghetti Sidewalk Memorial at City Lights Books",
"headTitle": "PHOTOS: Lawrence Ferlinghetti Sidewalk Memorial at City Lights Books | KQED",
"content": "\u003cp>On Tuesday, Feb. 23, a group of about 50 people gathered outside City Lights Books in San Francisco at an impromptu memorial for Lawrence Ferlinghetti, who \u003ca href=\"https://www.kqed.org/arts/13893125/lawrence-ferlinghetti-beat-poet-and-small-press-publisher-dies-at-101\" rel=\"noopener noreferrer\" target=\"_blank\">died on Monday\u003c/a> at age 101. \u003c/p>\n\u003cp>The crowd ranged from those close to Ferlinghetti—like Jack Hirschman, one of the famed poet and publisher’s oldest friends—to readers touched by his work. But all shared the impulse to gather and pay tribute to the City Lights founder in Jack Kerouac Alley—outside the bookstore where Ferlinghetti made his home, in the neighborhood and city that he loved.\u003c/p>\n\u003cp>While readings, anecdotes and testimonials to Ferlinghetti’s \u003ca href=\"https://www.kqed.org/news/10447892/at-95-lawrence-ferlinghetti-recounts-more-than-six-decades-of-life-in-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">indomitable spirit\u003c/a> filled the sidewalk and alley, KQED photographer Beth LaBerge captured the scene in photos.\u003c/p>\n\u003cfigure id=\"attachment_13893247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Agneta Falk reads a poem while Jack Hirschman listens during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Agneta Falk reads a poem during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Bobby Coleman speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1465w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Coleman speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A woman lights a candle at a memorial for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman lights a candle at a memorial for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A crowd of people listen to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of people listen to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Patrick Monk speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Monk speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A vigil and poetry reading is held outside of City Lights Books in San Francisco for its founder Lawrence Ferlinghetti on Tuesday Feb. 23, 2021, who died on Monday at the age of 101. Friends and fellow poets shared remembrances, read his work and raised their glasses.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A vigil and poetry reading is held outside of City Lights Books in San Francisco for its founder Lawrence Ferlinghetti on Tuesday Feb. 23, 2021, who died on Monday at the age of 101. Friends and fellow poets shared remembrances, read his work and raised their glasses. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Scott Bird (right) during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Bird (right) during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Poet Charlie Getter reads from Lawrence Ferlinghetti's book Coney Island of the Mind during a vigil outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet Charlie Getter reads from Lawrence Ferlinghetti’s book Coney Island of the Mind during a vigil outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Bottles of beer are raised in the air during a cheers for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bottles of beer are raised in the air during a cheers for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Friends and fellow poets share remembrances and read poems during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Friends and fellow poets share remembrances and read poems during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Photos of Lawrence Ferlinghetti and his bowler hat in the City Lights Poetry Room on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photos of Lawrence Ferlinghetti and his bowler hat in the City Lights Poetry Room on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x1200.jpg\" alt=\"Leilani Chun listens to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"600\" height=\"900\" class=\"size-medium wp-image-13893237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1280w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Leilani Chun listens to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"An attendee at the memorial points to a photo of Ferlinghetti in a poetry book outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at the memorial points to a photo of Ferlinghetti in a poetry book outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "A group of about 50 people gathered Tuesday night to pay tribute to the legendary poet and publisher.",
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"title": "PHOTOS: Lawrence Ferlinghetti Sidewalk Memorial at City Lights Books | KQED",
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"headline": "PHOTOS: Lawrence Ferlinghetti Sidewalk Memorial at City Lights Books",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, Feb. 23, a group of about 50 people gathered outside City Lights Books in San Francisco at an impromptu memorial for Lawrence Ferlinghetti, who \u003ca href=\"https://www.kqed.org/arts/13893125/lawrence-ferlinghetti-beat-poet-and-small-press-publisher-dies-at-101\" rel=\"noopener noreferrer\" target=\"_blank\">died on Monday\u003c/a> at age 101. \u003c/p>\n\u003cp>The crowd ranged from those close to Ferlinghetti—like Jack Hirschman, one of the famed poet and publisher’s oldest friends—to readers touched by his work. But all shared the impulse to gather and pay tribute to the City Lights founder in Jack Kerouac Alley—outside the bookstore where Ferlinghetti made his home, in the neighborhood and city that he loved.\u003c/p>\n\u003cp>While readings, anecdotes and testimonials to Ferlinghetti’s \u003ca href=\"https://www.kqed.org/news/10447892/at-95-lawrence-ferlinghetti-recounts-more-than-six-decades-of-life-in-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">indomitable spirit\u003c/a> filled the sidewalk and alley, KQED photographer Beth LaBerge captured the scene in photos.\u003c/p>\n\u003cfigure id=\"attachment_13893247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Agneta Falk reads a poem while Jack Hirschman listens during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Agneta Falk reads a poem during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Bobby Coleman speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1465w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Coleman speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A woman lights a candle at a memorial for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman lights a candle at a memorial for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A crowd of people listen to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of people listen to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Patrick Monk speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Monk speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A vigil and poetry reading is held outside of City Lights Books in San Francisco for its founder Lawrence Ferlinghetti on Tuesday Feb. 23, 2021, who died on Monday at the age of 101. Friends and fellow poets shared remembrances, read his work and raised their glasses.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A vigil and poetry reading is held outside of City Lights Books in San Francisco for its founder Lawrence Ferlinghetti on Tuesday Feb. 23, 2021, who died on Monday at the age of 101. Friends and fellow poets shared remembrances, read his work and raised their glasses. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Scott Bird (right) during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Bird (right) during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Poet Charlie Getter reads from Lawrence Ferlinghetti's book Coney Island of the Mind during a vigil outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet Charlie Getter reads from Lawrence Ferlinghetti’s book Coney Island of the Mind during a vigil outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Bottles of beer are raised in the air during a cheers for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bottles of beer are raised in the air during a cheers for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Friends and fellow poets share remembrances and read poems during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Friends and fellow poets share remembrances and read poems during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Photos of Lawrence Ferlinghetti and his bowler hat in the City Lights Poetry Room on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photos of Lawrence Ferlinghetti and his bowler hat in the City Lights Poetry Room on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x1200.jpg\" alt=\"Leilani Chun listens to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"600\" height=\"900\" class=\"size-medium wp-image-13893237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1280w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Leilani Chun listens to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"An attendee at the memorial points to a photo of Ferlinghetti in a poetry book outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at the memorial points to a photo of Ferlinghetti in a poetry book outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Vallie Brown Appointed to Lead SF's Main Nonprofit Arts Funding Agency",
"headTitle": "Vallie Brown Appointed to Lead SF’s Main Nonprofit Arts Funding Agency | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco Mayor London Breed and City Administrator Carmen Chu announced the appointment Thursday of Vallie Brown to the role of director of its main agency for nonprofit arts and culture funding, \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>Brown comes to the job as a strong ally of Mayor Breed’s.\u003c/p>\n\u003cp>The two women go back a long way, first meeting in the early 2000s when Breed ran San Francisco’s \u003ca href=\"https://www.sfartscommission.org/profile-submissions/african-american-art-and-culture-complex\" target=\"_blank\" rel=\"noopener noreferrer\">African American Arts and Culture Complex\u003c/a> and Brown was a community activist in the Haight. When Breed was a city supervisor, Brown was one of her aides. When Breed became Mayor in 2018, Brown took over the District 5 supervisor seat, which she lost in 2019 to a progressive, Dean Preston.\u003c/p>\n\u003cp>A former sculptor who specialized in metalwork, Brown said she won the job because of her many years in City Hall and her background fighting for equity for arts programming in underserved neighborhoods.\u003c/p>\n\u003cp>“I think my experience speaks for itself,” Brown told KQED in a video interview shortly after her appointment was announced. “As we know, the city administrator and the mayor are your bosses, and so they have to feel like they can put someone in there that they can trust and that also can push their agenda. And I know Mayor Breed has been very vocal about equity as her agenda.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Vallie Brown is a dedicated public servant, with a passion for community and the arts in San Francisco,” said Mayor Breed, in a statement. “Her extensive experience and steady hand will serve San Francisco’s arts community well as we navigate the challenges created by COVID-19 and work to recover as a city.”\u003c/p>\n\u003cp>Brown succeeds interim director Jason Blackwell in her new position with Grants for the Arts. Brown said Blackwell will return to his role as associate director as soon as she begins her new job, which she expects to do as early as next week.\u003c/p>\n\u003cp>Grants for the Arts, which has been around for 60 years, provided $12.9 million in general operating support grants in 2020, and increased funding for small- and medium-sized arts and culture groups by 28% over the previous year.\u003c/p>\n\u003cp>“Vallie Brown is a new woman leader in the arts who knows how to work within the political system of the city and the budget of the city,” said longtime former director of Grants for the Arts, Kary Schulman, in a phone interview. “In these difficult budget times, the big task for Brown will be to secure the revenue stream for the arts—the hotel tax—because hotels have been struggling during the pandemic.”\u003c/p>\n\u003cp>(Schulman referred to the passing of \u003ca href=\"https://sfelections.sfgov.org/sites/default/files/Documents/Voting/2018/N18_VIP_EN.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Proposition E\u003c/a> in 2018, which dedicates 1.5% of the base hotel tax—a 14% tax levied on hotel stays in the city—to support arts and culture programs in San Francisco. More about that \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.)\u003c/p>\n\u003cp>Brown said she plans to continue to focus on equity for community arts groups in her new role, especially since so many of them have struggled to survive in recent years—not just because of the COVID-19 pandemic, but also because of the high cost of living in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When you have a festival that is getting $10,000 or $15,000 from the city to put on their event, and you think, ‘OK, we’re going to cut them 10%,’ that could actually completely make it where they can’t put it on,” said Brown. “So we really have to look at equity first. We have to collaborate with the community arts. And we have to listen to them.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco Mayor London Breed and City Administrator Carmen Chu announced the appointment Thursday of Vallie Brown to the role of director of its main agency for nonprofit arts and culture funding, \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>Brown comes to the job as a strong ally of Mayor Breed’s.\u003c/p>\n\u003cp>The two women go back a long way, first meeting in the early 2000s when Breed ran San Francisco’s \u003ca href=\"https://www.sfartscommission.org/profile-submissions/african-american-art-and-culture-complex\" target=\"_blank\" rel=\"noopener noreferrer\">African American Arts and Culture Complex\u003c/a> and Brown was a community activist in the Haight. When Breed was a city supervisor, Brown was one of her aides. When Breed became Mayor in 2018, Brown took over the District 5 supervisor seat, which she lost in 2019 to a progressive, Dean Preston.\u003c/p>\n\u003cp>A former sculptor who specialized in metalwork, Brown said she won the job because of her many years in City Hall and her background fighting for equity for arts programming in underserved neighborhoods.\u003c/p>\n\u003cp>“I think my experience speaks for itself,” Brown told KQED in a video interview shortly after her appointment was announced. “As we know, the city administrator and the mayor are your bosses, and so they have to feel like they can put someone in there that they can trust and that also can push their agenda. And I know Mayor Breed has been very vocal about equity as her agenda.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Vallie Brown is a dedicated public servant, with a passion for community and the arts in San Francisco,” said Mayor Breed, in a statement. “Her extensive experience and steady hand will serve San Francisco’s arts community well as we navigate the challenges created by COVID-19 and work to recover as a city.”\u003c/p>\n\u003cp>Brown succeeds interim director Jason Blackwell in her new position with Grants for the Arts. Brown said Blackwell will return to his role as associate director as soon as she begins her new job, which she expects to do as early as next week.\u003c/p>\n\u003cp>Grants for the Arts, which has been around for 60 years, provided $12.9 million in general operating support grants in 2020, and increased funding for small- and medium-sized arts and culture groups by 28% over the previous year.\u003c/p>\n\u003cp>“Vallie Brown is a new woman leader in the arts who knows how to work within the political system of the city and the budget of the city,” said longtime former director of Grants for the Arts, Kary Schulman, in a phone interview. “In these difficult budget times, the big task for Brown will be to secure the revenue stream for the arts—the hotel tax—because hotels have been struggling during the pandemic.”\u003c/p>\n\u003cp>(Schulman referred to the passing of \u003ca href=\"https://sfelections.sfgov.org/sites/default/files/Documents/Voting/2018/N18_VIP_EN.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Proposition E\u003c/a> in 2018, which dedicates 1.5% of the base hotel tax—a 14% tax levied on hotel stays in the city—to support arts and culture programs in San Francisco. More about that \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.)\u003c/p>\n\u003cp>Brown said she plans to continue to focus on equity for community arts groups in her new role, especially since so many of them have struggled to survive in recent years—not just because of the COVID-19 pandemic, but also because of the high cost of living in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When you have a festival that is getting $10,000 or $15,000 from the city to put on their event, and you think, ‘OK, we’re going to cut them 10%,’ that could actually completely make it where they can’t put it on,” said Brown. “So we really have to look at equity first. We have to collaborate with the community arts. And we have to listen to them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'They're OK': How One Journalist Experienced the Search for Two Kidnapped Children",
"headTitle": "‘They’re OK’: How One Journalist Experienced the Search for Two Kidnapped Children | KQED",
"content": "\u003cp>Journalists who report on cities know this phone call, this scenario, nearly down to the detail: It’s the middle of the night, you’re at home unwinding in your pajamas, maybe with your latest TV-binge obsession, maybe snuggled next to a loved one, when the phone rings.\u003c/p>\n\u003cp>It could just be a personal call. Or it could be a news tip so compelling that everyone in your audience needs to know, \u003cem>now\u003c/em>. You have to pick it up — because you never know.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13892520\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/JoeFitz.Bio_-160x166.jpg\" alt=\"\" width=\"160\" height=\"166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/JoeFitz.Bio_-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/JoeFitz.Bio_.jpg 400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>You tap that green phone button, and someone on the other end outlines a grave situation. Mayor Ed Lee \u003ca href=\"https://www.sfexaminer.com/news/san-francisco-mayor-ed-lee-dies-at-age-65/\">just died\u003c/a>. There’s an active shooter on a hospital rooftop. A wildfire is taking a turn for the worse, \u003ca href=\"https://www.kqed.org/news/11844521/when-wildfire-breaks-out-during-a-pandemic-whos-responsible-for-elderly-evacuees\">prompting mass evacuations\u003c/a>. You’ve got to \u003cem>go\u003c/em>.\u003c/p>\n\u003cp>This past Saturday night, I got a call much like those others. San Francisco resident and DoorDash delivery driver Jeffrey Fang’s two toddlers, Winnifred and Sean, aged 4 and 1, were in the backseat of his silver Honda Odyssey minivan when it was carjacked.\u003c/p>\n\u003cp>Jeffrey was making a DoorDash delivery in Pacific Heights, leaving his engine on while bringing the bag of food to a front door. That’s when he spotted a stranger in his vehicle. A struggle ensued, which ended with Jeffrey’s car stolen, his children still inside.\u003c/p>\n\u003cp>The story was equal in gravity to so many news incidents I’ve covered. But this time, the horrific story was personal.\u003c/p>\n\u003cp>Jeffrey is my friend.\u003c/p>\n\u003ch3>Trekkies Together\u003c/h3>\n\u003cp>I admit it: Somewhere in my closet, I own a\u003ca href=\"https://www.forbes.com/sites/alexknapp/2012/03/13/five-leadership-lessons-from-jean-luc-picard/?sh=37afcdd350a7\"> Captain Jean-Luc Picard\u003c/a> costume. But then again, so does Jeffrey. (His is much nicer).\u003c/p>\n\u003cp>For almost ten years, we’ve debated the merits of Star Trek’s goofy, makeup-laden societal allegories, having bonded over the show when we were City College of San Francisco students — \u003ca href=\"https://issuu.com/theguardsmanonline/docs/vol153issue1\">me a student journalist\u003c/a>, him a student representative on the college board. Jeffrey’s been one of the few people I’ve hung out with, socially-distantly, since March. He asked me to be a pallbearer at his father’s funeral. When the damned pandemic is \u003cem>finally \u003c/em>over and my fiancee and I can \u003cem>finally\u003c/em> have a proper big wedding, his invitation is near the top of the list.\u003c/p>\n\u003cfigure id=\"attachment_11859579\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11859579\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/JeffreyFang2012-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Fang blowing bubbles on Golden Gate Park’s Hippie Hill in 2012. KQED reporter Joe Fitzgerald Rodriguez took the photo.\u003c/figcaption>\u003c/figure>\n\u003cp>So, suffice to say, I didn’t expect \u003cem>that call \u003c/em>from Jeffrey.\u003c/p>\n\u003cp>On the phone Saturday night, his voice was strained but focused. “I’m sorry to ask you this, Joe, but my car was just stolen with two of my children inside. I need your help to reach every TV station you can, to get the word out.”\u003c/p>\n\u003cp>He’s already talked to the police. But Jeffrey was right: as a journalist, I had unique connections with TV reporters, police, and community members of all stripes. I got as much information as I could—the make and model of the minivan, exact spelling of his children’s names, along with photos of them—and started making calls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By 10:30 p.m., colleagues at various TV stations across the Bay Area were themselves mobilizing from their cozy Saturday nights to run the story. On the 11 o’clock news, the same photos Jeffrey sent me splashed across nearly every newscast.\u003c/p>\n\u003cp>I may not have been writing news that night, but I was in what I think of as my \u003cem>breaking news mode\u003c/em>. The adrenaline pumps. You’re alert, like you had a dozen cups of coffee, without the jitters. You’re ticking off mental boxes of what you need to do.\u003c/p>\n\u003cp>My fiancee, Anna Kaminski, sat by my side as we followed every development on the local police scanner.\u003c/p>\n\u003cp>A Silver Honda Odyssey was spotted in the Mission. An officer checked a section of Golden Gate Park and found nothing. A description of Jeffrey’s children was repeated, again, and again. This was like so many news events I had been part of before, and much like those incidents, the adrenaline suppressed the fear, suppressed the sadness.\u003c/p>\n\u003cp>https://twitter.com/FitzTheReporter/status/1358320044124504064\u003c/p>\n\u003cp>Anna and I decided to head out to Pacific Heights and offer our support to Jeffrey, in person. I just had one last thing to do, the only other thing I \u003cem>could\u003c/em> do, in my profession.\u003c/p>\n\u003cp>Tweet.\u003c/p>\n\u003cp>Little did I know how much it would echo. Partially in response to that tweet, to the TV coverage, and the Amber Alert that would later come from the police, it wouldn’t be long before the entire Bay Area would rise up to help Jeffrey’s family.\u003c/p>\n\u003cp>All of you are part of this story, too.\u003c/p>\n\u003cfigure id=\"attachment_11859588\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11859588 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210209-190651_Messages-800x665.jpg\" alt=\"\" width=\"800\" height=\"665\">\u003cfigcaption class=\"wp-caption-text\">A community member sends Joe Fitzgerald Rodriguez a text message coordinating a search for Jeffrey Fang’s kids.\u003c/figcaption>\u003c/figure>\n\u003ch3>Joining the Search\u003c/h3>\n\u003cp>At least an hour before the police’s Amber Alert went out, I tweeted from my account, @FitztheReporter, “MISSING CHILDREN PLEASE HELP,” along with the details of Jeffrey’s plight.\u003c/p>\n\u003cp>Within hours, the Tweet had been seen by hundreds of thousands of people. By the time Jeffrey’s kids were found, unharmed, the tweet was viewed more than 2.5 million times.\u003c/p>\n\u003cp>Many chimed in on Twitter, and elsewhere, offering to help.\u003c/p>\n\u003cp>\u003cem>“I’ll spread the word.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I just cross-posted this to an East Bay / Alameda group on Facebook.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m spreading this alert to SF friends.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I could put the word out in a taxi driver group chat.”\u003c/em>\u003c/p>\n\u003cp>Thousands of people in the Bay Area and beyond tweeted, retweeted, and did even more. Across San Francisco, people told me they walked around their own neighborhoods, or drove across the city, helping to be eyes and ears for Jeffrey’s kids.\u003c/p>\n\u003cp>The Bay Area turned out for one of its own.\u003c/p>\n\u003cp>I wonder if the sheer volume of the Bay Area’s concern for these children at all compelled the carjackers to rethink their plan. I suppose I might never know.\u003c/p>\n\u003cp>https://twitter.com/MichelleFranck/status/1358313800173199361\u003c/p>\n\u003ch3>‘They’re OK’\u003c/h3>\n\u003cp>Still scrolling social media replies with my face in my phone, hoping to find someone, somewhere, who spotted the kids, my fiancee and I gathered our gear to hunker down for the night: blankets, pillows, water, spare phone batteries, and snacks.\u003c/p>\n\u003cp>She drove (and I doom-scrolled) on the way from her home in Oakland to San Francisco to help Jeffrey keep his sanity.\u003c/p>\n\u003cp>My fiancee and I got to Jackson and Laguna streets at about 12:30 pm. I know the neighborhood well, as I grew up just nine blocks away, down the hill, toward the water.\u003c/p>\n\u003cfigure id=\"attachment_11859584\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11859584 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210206-220635_Citizen-800x1112.jpg\" alt=\"\" width=\"800\" height=\"1112\">\u003cfigcaption class=\"wp-caption-text\">A screenshot of the Citizen app alerting its users to the stolen vehicle with Jeffrey Fang’s children, Winnifred and Sean, inside.\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly a dozen uniformed police stood nearby. One marked SFPD car blocked the street at either end of the block. Jeffrey stood at a corner, masked, speaking to plainclothes cops when we walked up. I grasped McDonald’s bags in one hand, coffee in the other, hoping a full stomach would calm his nerves, but he refused to eat. He took the coffee, at least.\u003c/p>\n\u003cp>That’s when his mind started to drift into perilous waters.\u003c/p>\n\u003cp>What if the carjackers, worried they would be accused as kidnappers, did the worst to his children to hide the evidence? What if they let Winnifred and Sean out of the minivan on a street, and they were struck by a vehicle? What if? What if? What if?\u003c/p>\n\u003cp>Anna and I tried to calm his nerves as best we could. In a very community-minded moment, a local organizer named Max Leung, who volunteered to search for the kids, also stopped by and offered Jeffrey moral support. The pandemic made comforting our friend harder than it should have been — we stood, as you can guess, socially distantly.\u003c/p>\n\u003cp>I offered to turn on the police scanner, for Jeffrey to follow the search in real-time. He said no, he could only bear to hear the news when it came in a definitive manner, good or bad.\u003c/p>\n\u003cp>We didn’t stand there together long before one of the plainclothes cops called out, “Jeffrey, can you come here?” He held his hand out and cocked his fingers toward himself.\u003c/p>\n\u003cp>Jeffrey walked over. My stomach clenched.\u003c/p>\n\u003cp>“They’re OK,” he said.\u003c/p>\n\u003cp>I couldn’t hear the rest. But I could see Jeffrey’s back was to me. I watched his shoulders slump, the tension visibly fading from his body.\u003c/p>\n\u003cp>Anna and I shouted out. Leung, too. I threw my own cup of coffee behind me out of shock and joy. As it fell behind Anna and splattered next to a tree, I wrapped my arms around her as hard as I could, laughing from relief. Police from Bayview Station had found Jeffrey’s children.\u003c/p>\n\u003cp>In minutes, Jeffrey sat in a police vehicle, finally heading toward his kids. Doing what any journalist would do, I took to Twitter to let everyone know Winnifred and Sean were safe.\u003c/p>\n\u003cp>https://twitter.com/SVscanners/status/1358363844586868738?s=19\u003c/p>\n\u003ch3>A Story Everyone Could Relate To\u003c/h3>\n\u003cp>Once home, the emotions still hadn’t hit. I was too exhausted. This often happens after covering a heavy news story — the armor takes time to come down, the emotions take time to bubble up.\u003c/p>\n\u003cp>Still wired, I turned back to Twitter.\u003c/p>\n\u003cp>It was about 1:30 a.m. when Kim-Mai Cutler,\u003ca href=\"https://techcrunch.com/2014/04/14/sf-housing/\"> a journalist\u003c/a> and partner at Initialized Capital, reached out to me in a DM. We talk once in a while, and she offered wise counsel that night.\u003c/p>\n\u003cp>“Put up a GoFundMe for the dad. His family needs a break,” she wrote.\u003c/p>\n\u003cp>She was the second person to say so. Another dozen or so people had already asked me for his Venmo information, to offer Jeffrey’s family support. As a journalist, it was something \u003ca href=\"https://www.spj.org/ethicscode.asp\">I ordinarily wouldn’t do \u003c/a>— but again, Jeffrey was my friend, not a source.\u003c/p>\n\u003cp>So I set up the account. The Fang family’s story had clearly resonated with people, and days later, at the time of this writing, \u003ca href=\"https://www.gofundme.com/f/help-the-fang-family-after-children-abducted\">more than 3,300 have donated\u003c/a> to help them recuperate, and heal from the trauma of the night.\u003c/p>\n\u003cp>That’s $136,910, to be exact, as of this writing. Easily more than a year’s worth of Jeffrey’s earnings, and counting.\u003c/p>\n\u003cp>https://twitter.com/henrykleeKTVU/status/1358767878778986496\u003c/p>\n\u003cp>I got to play my own small role lighting a spark to help Jeffrey, but it was only the beginning of something much bigger than either of us. The teams of police canvassing the city for his children, the small army of Bay Area folks going outside their homes in a pandemic to help, or the literal tens of thousands who spread the word—they’re the flame.\u003c/p>\n\u003cp>Maybe \u003cem>you’ve \u003c/em>felt this way too: During the pandemic, with some of us stuck inside so often (with the obvious exception of our essential workers), it can seem like the webs of our lives have had all the threads snipped, one by one. The loneliness can be overbearing. But over the weekend, when my good friend needed it most, when he feared the worst — the unimaginable — for his children, it felt like all of the Bay Area’s human connections were woven together again — like thousands of Golden Gate Bridges built in the span of a few hours, with everyone in the community I love marching across in solidarity to lift Jeffrey and his family onto their shoulders.\u003c/p>\n\u003cp>It was Sunday, a day later, when the enormity of everything you all did hit me. The sobs that wracked me were happy ones.\u003c/p>\n\u003ch3>Why Jeffrey’s Story is Really All of Us\u003c/h3>\n\u003cp>Those who felt for Jeffrey’s family fall into two main camps.\u003c/p>\n\u003cp>Many empathized with him as a hard-working father from China who has been in the US for most of his adult life, an immigrant who became a citizen here, who over many long hours behind the wheel for various gig economy companies afforded to bring over his wife and three children to the United States right at the beginning of the pandemic.\u003c/p>\n\u003cp>Donors called out this story again and again in the GoFundMe comments:\u003c/p>\n\u003cp>\u003cem>“I come from a Korean immigrant family, and know the joys but also the struggle. Please know that there is far more good in the world than evil, and your sacrifices for your children are beautiful and worthy. Sending all love to you Fang family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m a child of immigrant parents and know how hard it was for my parents to raise two kids and make an honest living through hard work and sacrifice. Jeffrey Fang is trying to do this during a worldwide Pandemic. Best of luck and all the health and happiness to you and your family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“From one immigrant’s family to another, we hope this will help. We understand the struggle. With hard work, it will get better in time.”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11859590\" class=\"wp-caption alignnone\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11859590\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/JeffreyFam2.jpg\" alt=\"\" width=\"1500\" height=\"1000\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Fang and two of his three children, Winnifred and Sean, Feb. 2021. \u003cem>(Chris Victorio/Courtesy of the S.F. Examiner)\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Others who donated money said in GoFundMe comments that they found solidarity in his life as an Uber and Lyft driver-turned DoorDash driver, in the ever-precarious gig economy:\u003c/p>\n\u003cp>\u003cem>“Tech Workers For Tech Workers.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I really felt for this family when I saw this on the news. This pandemic has been challenging for so many people. Working as a food delivery driver is tough enough. How difficult it must have been for him to juggle work and babysitting the kids. So glad there are so many kind hearted people reaching out to help this family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m sorry for your trauma and wish you a full recovery. My parents used to leave my siblings and me in the car while making deliveries in the ’80s. The immigrant/refugee struggle is real. Your hard work will not go unnoticed, and your children will be better because of it. You make this country great, thank you!”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11859595\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11859595\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210208-084541_Chrome.jpg\" alt=\"\" width=\"1080\" height=\"1471\">\u003cfigcaption class=\"wp-caption-text\">An excerpt from a GoFundMe for DoorDash driver Jeffrey Fang, whose children were abducted Feb. 6, 2021.\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the Fang family’s story hit \u003cem>\u003ca href=\"https://www.washingtonpost.com/nation/2021/02/07/doordash-driver-kids-car/\">The Washington Post\u003c/a>, \u003ca href=\"https://www.vice.com/en/article/4adpmq/a-doordash-drivers-van-was-stolen-with-his-two-kids-inside\">Vice\u003c/a>,\u003c/em> and nearly every \u003ca href=\"https://abc7news.com/san-francisco-car-theft-2-kids-stolen-while-dad-delivers-doordash-order-sf-robbery-jackson-street/10320623/\">local TV station\u003c/a>, radio station, and news outlet you can think of. Thousands upon thousands of people responded to those stories on social media.\u003c/p>\n\u003cp>Jeffrey acknowledged the Bay Area’s support in an interview with my KQED colleague, Sara Hossaini.\u003c/p>\n\u003cp>“I know they helped me look, they pitched in massively to help looking for my children, which I’m eternally grateful for,” Jeffrey told her.\u003c/p>\n\u003cp>And as for his kids? How were they?\u003c/p>\n\u003cp>Sean is too young to say what he saw. But Winnifred apparently slept through the whole ordeal.\u003c/p>\n\u003cp>“She told me the only thing she remembers is waking up to police showing up at the car,” Jeffrey said, “So I am honestly quite thankful for that. Quite thankful.”\u003c/p>\n\u003cp>And as for me?\u003c/p>\n\u003cp>Much like Jeffrey, I’m quite thankful for all of you, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Journalists who report on cities know this phone call, this scenario, nearly down to the detail: It’s the middle of the night, you’re at home unwinding in your pajamas, maybe with your latest TV-binge obsession, maybe snuggled next to a loved one, when the phone rings.\u003c/p>\n\u003cp>It could just be a personal call. Or it could be a news tip so compelling that everyone in your audience needs to know, \u003cem>now\u003c/em>. You have to pick it up — because you never know.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13892520\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/JoeFitz.Bio_-160x166.jpg\" alt=\"\" width=\"160\" height=\"166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/JoeFitz.Bio_-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/JoeFitz.Bio_.jpg 400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>You tap that green phone button, and someone on the other end outlines a grave situation. Mayor Ed Lee \u003ca href=\"https://www.sfexaminer.com/news/san-francisco-mayor-ed-lee-dies-at-age-65/\">just died\u003c/a>. There’s an active shooter on a hospital rooftop. A wildfire is taking a turn for the worse, \u003ca href=\"https://www.kqed.org/news/11844521/when-wildfire-breaks-out-during-a-pandemic-whos-responsible-for-elderly-evacuees\">prompting mass evacuations\u003c/a>. You’ve got to \u003cem>go\u003c/em>.\u003c/p>\n\u003cp>This past Saturday night, I got a call much like those others. San Francisco resident and DoorDash delivery driver Jeffrey Fang’s two toddlers, Winnifred and Sean, aged 4 and 1, were in the backseat of his silver Honda Odyssey minivan when it was carjacked.\u003c/p>\n\u003cp>Jeffrey was making a DoorDash delivery in Pacific Heights, leaving his engine on while bringing the bag of food to a front door. That’s when he spotted a stranger in his vehicle. A struggle ensued, which ended with Jeffrey’s car stolen, his children still inside.\u003c/p>\n\u003cp>The story was equal in gravity to so many news incidents I’ve covered. But this time, the horrific story was personal.\u003c/p>\n\u003cp>Jeffrey is my friend.\u003c/p>\n\u003ch3>Trekkies Together\u003c/h3>\n\u003cp>I admit it: Somewhere in my closet, I own a\u003ca href=\"https://www.forbes.com/sites/alexknapp/2012/03/13/five-leadership-lessons-from-jean-luc-picard/?sh=37afcdd350a7\"> Captain Jean-Luc Picard\u003c/a> costume. But then again, so does Jeffrey. (His is much nicer).\u003c/p>\n\u003cp>For almost ten years, we’ve debated the merits of Star Trek’s goofy, makeup-laden societal allegories, having bonded over the show when we were City College of San Francisco students — \u003ca href=\"https://issuu.com/theguardsmanonline/docs/vol153issue1\">me a student journalist\u003c/a>, him a student representative on the college board. Jeffrey’s been one of the few people I’ve hung out with, socially-distantly, since March. He asked me to be a pallbearer at his father’s funeral. When the damned pandemic is \u003cem>finally \u003c/em>over and my fiancee and I can \u003cem>finally\u003c/em> have a proper big wedding, his invitation is near the top of the list.\u003c/p>\n\u003cfigure id=\"attachment_11859579\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11859579\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/JeffreyFang2012-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Fang blowing bubbles on Golden Gate Park’s Hippie Hill in 2012. KQED reporter Joe Fitzgerald Rodriguez took the photo.\u003c/figcaption>\u003c/figure>\n\u003cp>So, suffice to say, I didn’t expect \u003cem>that call \u003c/em>from Jeffrey.\u003c/p>\n\u003cp>On the phone Saturday night, his voice was strained but focused. “I’m sorry to ask you this, Joe, but my car was just stolen with two of my children inside. I need your help to reach every TV station you can, to get the word out.”\u003c/p>\n\u003cp>He’s already talked to the police. But Jeffrey was right: as a journalist, I had unique connections with TV reporters, police, and community members of all stripes. I got as much information as I could—the make and model of the minivan, exact spelling of his children’s names, along with photos of them—and started making calls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By 10:30 p.m., colleagues at various TV stations across the Bay Area were themselves mobilizing from their cozy Saturday nights to run the story. On the 11 o’clock news, the same photos Jeffrey sent me splashed across nearly every newscast.\u003c/p>\n\u003cp>I may not have been writing news that night, but I was in what I think of as my \u003cem>breaking news mode\u003c/em>. The adrenaline pumps. You’re alert, like you had a dozen cups of coffee, without the jitters. You’re ticking off mental boxes of what you need to do.\u003c/p>\n\u003cp>My fiancee, Anna Kaminski, sat by my side as we followed every development on the local police scanner.\u003c/p>\n\u003cp>A Silver Honda Odyssey was spotted in the Mission. An officer checked a section of Golden Gate Park and found nothing. A description of Jeffrey’s children was repeated, again, and again. This was like so many news events I had been part of before, and much like those incidents, the adrenaline suppressed the fear, suppressed the sadness.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Anna and I decided to head out to Pacific Heights and offer our support to Jeffrey, in person. I just had one last thing to do, the only other thing I \u003cem>could\u003c/em> do, in my profession.\u003c/p>\n\u003cp>Tweet.\u003c/p>\n\u003cp>Little did I know how much it would echo. Partially in response to that tweet, to the TV coverage, and the Amber Alert that would later come from the police, it wouldn’t be long before the entire Bay Area would rise up to help Jeffrey’s family.\u003c/p>\n\u003cp>All of you are part of this story, too.\u003c/p>\n\u003cfigure id=\"attachment_11859588\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11859588 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210209-190651_Messages-800x665.jpg\" alt=\"\" width=\"800\" height=\"665\">\u003cfigcaption class=\"wp-caption-text\">A community member sends Joe Fitzgerald Rodriguez a text message coordinating a search for Jeffrey Fang’s kids.\u003c/figcaption>\u003c/figure>\n\u003ch3>Joining the Search\u003c/h3>\n\u003cp>At least an hour before the police’s Amber Alert went out, I tweeted from my account, @FitztheReporter, “MISSING CHILDREN PLEASE HELP,” along with the details of Jeffrey’s plight.\u003c/p>\n\u003cp>Within hours, the Tweet had been seen by hundreds of thousands of people. By the time Jeffrey’s kids were found, unharmed, the tweet was viewed more than 2.5 million times.\u003c/p>\n\u003cp>Many chimed in on Twitter, and elsewhere, offering to help.\u003c/p>\n\u003cp>\u003cem>“I’ll spread the word.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I just cross-posted this to an East Bay / Alameda group on Facebook.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m spreading this alert to SF friends.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I could put the word out in a taxi driver group chat.”\u003c/em>\u003c/p>\n\u003cp>Thousands of people in the Bay Area and beyond tweeted, retweeted, and did even more. Across San Francisco, people told me they walked around their own neighborhoods, or drove across the city, helping to be eyes and ears for Jeffrey’s kids.\u003c/p>\n\u003cp>The Bay Area turned out for one of its own.\u003c/p>\n\u003cp>I wonder if the sheer volume of the Bay Area’s concern for these children at all compelled the carjackers to rethink their plan. I suppose I might never know.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>‘They’re OK’\u003c/h3>\n\u003cp>Still scrolling social media replies with my face in my phone, hoping to find someone, somewhere, who spotted the kids, my fiancee and I gathered our gear to hunker down for the night: blankets, pillows, water, spare phone batteries, and snacks.\u003c/p>\n\u003cp>She drove (and I doom-scrolled) on the way from her home in Oakland to San Francisco to help Jeffrey keep his sanity.\u003c/p>\n\u003cp>My fiancee and I got to Jackson and Laguna streets at about 12:30 pm. I know the neighborhood well, as I grew up just nine blocks away, down the hill, toward the water.\u003c/p>\n\u003cfigure id=\"attachment_11859584\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11859584 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210206-220635_Citizen-800x1112.jpg\" alt=\"\" width=\"800\" height=\"1112\">\u003cfigcaption class=\"wp-caption-text\">A screenshot of the Citizen app alerting its users to the stolen vehicle with Jeffrey Fang’s children, Winnifred and Sean, inside.\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly a dozen uniformed police stood nearby. One marked SFPD car blocked the street at either end of the block. Jeffrey stood at a corner, masked, speaking to plainclothes cops when we walked up. I grasped McDonald’s bags in one hand, coffee in the other, hoping a full stomach would calm his nerves, but he refused to eat. He took the coffee, at least.\u003c/p>\n\u003cp>That’s when his mind started to drift into perilous waters.\u003c/p>\n\u003cp>What if the carjackers, worried they would be accused as kidnappers, did the worst to his children to hide the evidence? What if they let Winnifred and Sean out of the minivan on a street, and they were struck by a vehicle? What if? What if? What if?\u003c/p>\n\u003cp>Anna and I tried to calm his nerves as best we could. In a very community-minded moment, a local organizer named Max Leung, who volunteered to search for the kids, also stopped by and offered Jeffrey moral support. The pandemic made comforting our friend harder than it should have been — we stood, as you can guess, socially distantly.\u003c/p>\n\u003cp>I offered to turn on the police scanner, for Jeffrey to follow the search in real-time. He said no, he could only bear to hear the news when it came in a definitive manner, good or bad.\u003c/p>\n\u003cp>We didn’t stand there together long before one of the plainclothes cops called out, “Jeffrey, can you come here?” He held his hand out and cocked his fingers toward himself.\u003c/p>\n\u003cp>Jeffrey walked over. My stomach clenched.\u003c/p>\n\u003cp>“They’re OK,” he said.\u003c/p>\n\u003cp>I couldn’t hear the rest. But I could see Jeffrey’s back was to me. I watched his shoulders slump, the tension visibly fading from his body.\u003c/p>\n\u003cp>Anna and I shouted out. Leung, too. I threw my own cup of coffee behind me out of shock and joy. As it fell behind Anna and splattered next to a tree, I wrapped my arms around her as hard as I could, laughing from relief. Police from Bayview Station had found Jeffrey’s children.\u003c/p>\n\u003cp>In minutes, Jeffrey sat in a police vehicle, finally heading toward his kids. Doing what any journalist would do, I took to Twitter to let everyone know Winnifred and Sean were safe.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>A Story Everyone Could Relate To\u003c/h3>\n\u003cp>Once home, the emotions still hadn’t hit. I was too exhausted. This often happens after covering a heavy news story — the armor takes time to come down, the emotions take time to bubble up.\u003c/p>\n\u003cp>Still wired, I turned back to Twitter.\u003c/p>\n\u003cp>It was about 1:30 a.m. when Kim-Mai Cutler,\u003ca href=\"https://techcrunch.com/2014/04/14/sf-housing/\"> a journalist\u003c/a> and partner at Initialized Capital, reached out to me in a DM. We talk once in a while, and she offered wise counsel that night.\u003c/p>\n\u003cp>“Put up a GoFundMe for the dad. His family needs a break,” she wrote.\u003c/p>\n\u003cp>She was the second person to say so. Another dozen or so people had already asked me for his Venmo information, to offer Jeffrey’s family support. As a journalist, it was something \u003ca href=\"https://www.spj.org/ethicscode.asp\">I ordinarily wouldn’t do \u003c/a>— but again, Jeffrey was my friend, not a source.\u003c/p>\n\u003cp>So I set up the account. The Fang family’s story had clearly resonated with people, and days later, at the time of this writing, \u003ca href=\"https://www.gofundme.com/f/help-the-fang-family-after-children-abducted\">more than 3,300 have donated\u003c/a> to help them recuperate, and heal from the trauma of the night.\u003c/p>\n\u003cp>That’s $136,910, to be exact, as of this writing. Easily more than a year’s worth of Jeffrey’s earnings, and counting.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I got to play my own small role lighting a spark to help Jeffrey, but it was only the beginning of something much bigger than either of us. The teams of police canvassing the city for his children, the small army of Bay Area folks going outside their homes in a pandemic to help, or the literal tens of thousands who spread the word—they’re the flame.\u003c/p>\n\u003cp>Maybe \u003cem>you’ve \u003c/em>felt this way too: During the pandemic, with some of us stuck inside so often (with the obvious exception of our essential workers), it can seem like the webs of our lives have had all the threads snipped, one by one. The loneliness can be overbearing. But over the weekend, when my good friend needed it most, when he feared the worst — the unimaginable — for his children, it felt like all of the Bay Area’s human connections were woven together again — like thousands of Golden Gate Bridges built in the span of a few hours, with everyone in the community I love marching across in solidarity to lift Jeffrey and his family onto their shoulders.\u003c/p>\n\u003cp>It was Sunday, a day later, when the enormity of everything you all did hit me. The sobs that wracked me were happy ones.\u003c/p>\n\u003ch3>Why Jeffrey’s Story is Really All of Us\u003c/h3>\n\u003cp>Those who felt for Jeffrey’s family fall into two main camps.\u003c/p>\n\u003cp>Many empathized with him as a hard-working father from China who has been in the US for most of his adult life, an immigrant who became a citizen here, who over many long hours behind the wheel for various gig economy companies afforded to bring over his wife and three children to the United States right at the beginning of the pandemic.\u003c/p>\n\u003cp>Donors called out this story again and again in the GoFundMe comments:\u003c/p>\n\u003cp>\u003cem>“I come from a Korean immigrant family, and know the joys but also the struggle. Please know that there is far more good in the world than evil, and your sacrifices for your children are beautiful and worthy. Sending all love to you Fang family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m a child of immigrant parents and know how hard it was for my parents to raise two kids and make an honest living through hard work and sacrifice. Jeffrey Fang is trying to do this during a worldwide Pandemic. Best of luck and all the health and happiness to you and your family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“From one immigrant’s family to another, we hope this will help. We understand the struggle. With hard work, it will get better in time.”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11859590\" class=\"wp-caption alignnone\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11859590\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/JeffreyFam2.jpg\" alt=\"\" width=\"1500\" height=\"1000\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Fang and two of his three children, Winnifred and Sean, Feb. 2021. \u003cem>(Chris Victorio/Courtesy of the S.F. Examiner)\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Others who donated money said in GoFundMe comments that they found solidarity in his life as an Uber and Lyft driver-turned DoorDash driver, in the ever-precarious gig economy:\u003c/p>\n\u003cp>\u003cem>“Tech Workers For Tech Workers.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I really felt for this family when I saw this on the news. This pandemic has been challenging for so many people. Working as a food delivery driver is tough enough. How difficult it must have been for him to juggle work and babysitting the kids. So glad there are so many kind hearted people reaching out to help this family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m sorry for your trauma and wish you a full recovery. My parents used to leave my siblings and me in the car while making deliveries in the ’80s. The immigrant/refugee struggle is real. Your hard work will not go unnoticed, and your children will be better because of it. You make this country great, thank you!”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11859595\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11859595\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210208-084541_Chrome.jpg\" alt=\"\" width=\"1080\" height=\"1471\">\u003cfigcaption class=\"wp-caption-text\">An excerpt from a GoFundMe for DoorDash driver Jeffrey Fang, whose children were abducted Feb. 6, 2021.\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the Fang family’s story hit \u003cem>\u003ca href=\"https://www.washingtonpost.com/nation/2021/02/07/doordash-driver-kids-car/\">The Washington Post\u003c/a>, \u003ca href=\"https://www.vice.com/en/article/4adpmq/a-doordash-drivers-van-was-stolen-with-his-two-kids-inside\">Vice\u003c/a>,\u003c/em> and nearly every \u003ca href=\"https://abc7news.com/san-francisco-car-theft-2-kids-stolen-while-dad-delivers-doordash-order-sf-robbery-jackson-street/10320623/\">local TV station\u003c/a>, radio station, and news outlet you can think of. Thousands upon thousands of people responded to those stories on social media.\u003c/p>\n\u003cp>Jeffrey acknowledged the Bay Area’s support in an interview with my KQED colleague, Sara Hossaini.\u003c/p>\n\u003cp>“I know they helped me look, they pitched in massively to help looking for my children, which I’m eternally grateful for,” Jeffrey told her.\u003c/p>\n\u003cp>And as for his kids? How were they?\u003c/p>\n\u003cp>Sean is too young to say what he saw. But Winnifred apparently slept through the whole ordeal.\u003c/p>\n\u003cp>“She told me the only thing she remembers is waking up to police showing up at the car,” Jeffrey said, “So I am honestly quite thankful for that. Quite thankful.”\u003c/p>\n\u003cp>And as for me?\u003c/p>\n\u003cp>Much like Jeffrey, I’m quite thankful for all of you, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Q&A: San Francisco Poet Laureate Tongo Eisen-Martin on the City’s Pivotal Moment",
"headTitle": "Q&A: San Francisco Poet Laureate Tongo Eisen-Martin on the City’s Pivotal Moment | KQED",
"content": "\u003cp>When Mayor London Breed announced San Francisco poet \u003ca href=\"https://www.kqed.org/arts/13891380/tongo-eisen-martin-selected-as-san-franciscos-poet-laureate\" rel=\"noopener noreferrer\" target=\"_blank\">Tongo Eisen-Martin as the city’s eighth poet laureate\u003c/a> earlier this month, she praised his work uplifting the voices of black men and youth. “He will continue the work that our ancestors did as they fought for their own voices to be heard,” she said.\u003c/p>\n\u003cp>Some of that work appeared in Eisen-Martin’s two previous poetry collections, \u003cem>Someone’s Dead Already\u003c/em> and the multiple-award-wining \u003cem>Heaven is All Goodbyes Now\u003c/em>. Now, as he finds himself in an official city role, Eisen-Martin spoke with KQED to outline his vision for San Francisco, emphasize the importance of poetry in underserved communities, and explain why we need to revisit the urgency of last summer.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Kate Wolffe: Hi Tongo, congratulations. You’ve said San Francisco, the Bay Area, is a dystopia. To me, a poet laureate feels like someone who engages with the city and inspires hope. How do you balance those two things? \u003c/strong>\u003c/p>\n\u003cp>Tongo Eisen-Martin: I think below inspiration and hope and a lot of various energies, there has to be awareness — social awareness, political awareness — and that’s where my efforts are skewed to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How we react to it is how we react to it. But I think now is the time to, you know, really approach social life with a praxis, with an understanding of, “OK, well, how does oppression actually work? Who is actually benefiting? How do we resist this?”\u003c/p>\n\u003cp>If there’s any little boost in my craft, it really just comes from a perpetual inquiry. \u003c/p>\n\u003cp>\u003cstrong>In your inaugural address as Poet Laureate, you said “unity is the only thing” and “individualism at its core is about selective humanization.” Can you say more about that?\u003c/strong>[aside postID='arts_13806398']\u003c/p>\n\u003cp>Just to take our conversation, for example, I’m speaking as Poet Laureate: “Let us speak about these issues pertaining to poetry and application of some kind of public embrace of poetry.” Even my identity. I have this identity as a poet, or this or that, and not just a person that is actually talking to you live from unceded territory. If you think about it, there’s so much genocide, and so much slavery, there’s so much exploitation, that we psychically turn a blind eye just to go on about our daily business. \u003c/p>\n\u003cp>That’s the individualism that’s dangerous, because that ignoring — I mean, “ignoring” doesn’t even cover it — that delusion actually adds to the consent that makes all this oppression and repression possible. \u003c/p>\n\u003cp>I mean, even think about the kids in the cages. Are they still in the cages? The three-year-olds and the five-year-olds of the asylum seekers, are they still in the cages? \u003c/p>\n\u003cp>This has been in our face for three years now, at least. Right? We talk about a billion things other than the fact there are, within driving distance, there are kids in cages. This is that kind of individualism that oppression — that oppressors — thrive on. And that’s what we have to turn our attention to, or at least take our efforts, whatever our individual assertion is, whatever our talents, our interests, whatever our skills, and synthesize it with some kind of acknowledgment of the total social picture. \u003c/p>\n\u003cp>This is what I’m at the gate yelling. \u003c/p>\n\u003cp>\u003cstrong>Maybe people feel like they have to turn a blind eye in order to function in society.\u003c/strong>\u003c/p>\n\u003cp>Right, definitely. In order to fit your psyche in the structure, it requires you to take some of your mind and leave it at home. And this is how we’re socialized. This is what’s rewarded, right? \u003c/p>\n\u003cp>To not acknowledge the humanity of some is rewarded. And really it’s been rewarded since the settler colonial project began. And when you look at what’s not rewarded, nine times out of ten, it’s people who decide that what’s going to be the center of their day is the humanity of all. \u003c/p>\n\u003cp>Some might call them revolutionaries, but that’s really all it is, right? Someone who’s just entering everybody’s humanity. Because if I center everybody’s humanity, well, now my day looks different. I’m going to have to do something different with it. \u003c/p>\n\u003cp>\u003cstrong>Would you call yourself a revolutionary?\u003c/strong>[aside postID='arts_13810393']\u003c/p>\n\u003cp>I would, but a failing revolutionary. I wouldn’t pat myself on the back yet, until we had movements that are better organized, or organized more around a clear ideology and not just tactic, tactic, tactic. \u003c/p>\n\u003cp>What’s interesting about resistance is where it exists in the daily self-talk. Now for somebody who wants to stand on the identity of “revolutionary,” daily this is what you think about: “Where am I in relationship to revolutionary change?” \u003c/p>\n\u003cp>For those who don’t, that’s just not what we’re talking to ourselves about. We’re talking about all kinds of other stuff. No judgment, it’s just reality, that’s not what’s going through your mind. \u003c/p>\n\u003cp>Now in the summer, what the opportunity was, everybody was defining themselves according to this moment. That’s a huge amount of energy that movement doesn’t ordinarily have access to. \u003c/p>\n\u003cp>But it’s gone now, right? And it’s gone because there was no solid enough political organization to take that energy and clarify it for people and then give people something to do. \u003c/p>\n\u003cp>We see this dance and things are only going to get more and more frenetic because capitalism is in crisis, because climate catastrophe is only going to get more and more dramatic. \u003c/p>\n\u003cp>Revolutionary energy is not just a spontaneous reaction to dramatic conditions. We see how this kind of modern psyche will just adjust itself, will adjust its individualism, to whatever. We’re addicted to it. So it’s time to Black Panther up again. That’s really where transformation comes from. \u003c/p>\n\u003cp>\u003cstrong>Right. So what is your vision for yourself in this role?\u003c/strong> \u003c/p>\n\u003cp>There are so many beautiful artists, educators, curators, organizations [in San Francisco]. The art landscape of San Francisco is not missing anything — except maybe missing the people, because so many are gone. [laughing] You know, we might have to do some San Francisco extension workshops in Antioch or something like that. \u003c/p>\n\u003cp>What I want to add to the landscape or just support: I want workshops. Poetry programs that do center social analysis. Yes, we want to build insight into what language can do. But at the same time, the vehicle is insight into the content that language is exploring. I’ll work with anybody, anywhere, any any age. I love youth programming, but I think the whole village should get the opportunity to develop themselves in craft too. \u003c/p>\n\u003cp>\u003cstrong>Along those lines, how do you see poetry becoming more integrated into the community? \u003c/strong>\u003c/p>\n\u003cp>I love the prospects of the neighborhood libraries becoming centers of this almost political education. Really, I guess moving the poetry scene back into the proletariat a little bit. \u003c/p>\n\u003cp>This kind of “high art” really is a mass effort. It’s definitely a product of a mass effort. I did not get these poems, they did not cost me tens of thousands of dollars. You know, my poetry was developed in the trenches of mass culture. And so I want to bring it home. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Tongo Eisen-Martin is San Francisco’s eighth Poet Laureate and the author of the poetry collections ‘Someone’s Dead Already’ and ‘Heaven is All Goodbyes.’ He has a third poetry collection set to be published in the fall of this year.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Mayor London Breed announced San Francisco poet \u003ca href=\"https://www.kqed.org/arts/13891380/tongo-eisen-martin-selected-as-san-franciscos-poet-laureate\" rel=\"noopener noreferrer\" target=\"_blank\">Tongo Eisen-Martin as the city’s eighth poet laureate\u003c/a> earlier this month, she praised his work uplifting the voices of black men and youth. “He will continue the work that our ancestors did as they fought for their own voices to be heard,” she said.\u003c/p>\n\u003cp>Some of that work appeared in Eisen-Martin’s two previous poetry collections, \u003cem>Someone’s Dead Already\u003c/em> and the multiple-award-wining \u003cem>Heaven is All Goodbyes Now\u003c/em>. Now, as he finds himself in an official city role, Eisen-Martin spoke with KQED to outline his vision for San Francisco, emphasize the importance of poetry in underserved communities, and explain why we need to revisit the urgency of last summer.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Kate Wolffe: Hi Tongo, congratulations. You’ve said San Francisco, the Bay Area, is a dystopia. To me, a poet laureate feels like someone who engages with the city and inspires hope. How do you balance those two things? \u003c/strong>\u003c/p>\n\u003cp>Tongo Eisen-Martin: I think below inspiration and hope and a lot of various energies, there has to be awareness — social awareness, political awareness — and that’s where my efforts are skewed to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How we react to it is how we react to it. But I think now is the time to, you know, really approach social life with a praxis, with an understanding of, “OK, well, how does oppression actually work? Who is actually benefiting? How do we resist this?”\u003c/p>\n\u003cp>If there’s any little boost in my craft, it really just comes from a perpetual inquiry. \u003c/p>\n\u003cp>\u003cstrong>In your inaugural address as Poet Laureate, you said “unity is the only thing” and “individualism at its core is about selective humanization.” Can you say more about that?\u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just to take our conversation, for example, I’m speaking as Poet Laureate: “Let us speak about these issues pertaining to poetry and application of some kind of public embrace of poetry.” Even my identity. I have this identity as a poet, or this or that, and not just a person that is actually talking to you live from unceded territory. If you think about it, there’s so much genocide, and so much slavery, there’s so much exploitation, that we psychically turn a blind eye just to go on about our daily business. \u003c/p>\n\u003cp>That’s the individualism that’s dangerous, because that ignoring — I mean, “ignoring” doesn’t even cover it — that delusion actually adds to the consent that makes all this oppression and repression possible. \u003c/p>\n\u003cp>I mean, even think about the kids in the cages. Are they still in the cages? The three-year-olds and the five-year-olds of the asylum seekers, are they still in the cages? \u003c/p>\n\u003cp>This has been in our face for three years now, at least. Right? We talk about a billion things other than the fact there are, within driving distance, there are kids in cages. This is that kind of individualism that oppression — that oppressors — thrive on. And that’s what we have to turn our attention to, or at least take our efforts, whatever our individual assertion is, whatever our talents, our interests, whatever our skills, and synthesize it with some kind of acknowledgment of the total social picture. \u003c/p>\n\u003cp>This is what I’m at the gate yelling. \u003c/p>\n\u003cp>\u003cstrong>Maybe people feel like they have to turn a blind eye in order to function in society.\u003c/strong>\u003c/p>\n\u003cp>Right, definitely. In order to fit your psyche in the structure, it requires you to take some of your mind and leave it at home. And this is how we’re socialized. This is what’s rewarded, right? \u003c/p>\n\u003cp>To not acknowledge the humanity of some is rewarded. And really it’s been rewarded since the settler colonial project began. And when you look at what’s not rewarded, nine times out of ten, it’s people who decide that what’s going to be the center of their day is the humanity of all. \u003c/p>\n\u003cp>Some might call them revolutionaries, but that’s really all it is, right? Someone who’s just entering everybody’s humanity. Because if I center everybody’s humanity, well, now my day looks different. I’m going to have to do something different with it. \u003c/p>\n\u003cp>\u003cstrong>Would you call yourself a revolutionary?\u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I would, but a failing revolutionary. I wouldn’t pat myself on the back yet, until we had movements that are better organized, or organized more around a clear ideology and not just tactic, tactic, tactic. \u003c/p>\n\u003cp>What’s interesting about resistance is where it exists in the daily self-talk. Now for somebody who wants to stand on the identity of “revolutionary,” daily this is what you think about: “Where am I in relationship to revolutionary change?” \u003c/p>\n\u003cp>For those who don’t, that’s just not what we’re talking to ourselves about. We’re talking about all kinds of other stuff. No judgment, it’s just reality, that’s not what’s going through your mind. \u003c/p>\n\u003cp>Now in the summer, what the opportunity was, everybody was defining themselves according to this moment. That’s a huge amount of energy that movement doesn’t ordinarily have access to. \u003c/p>\n\u003cp>But it’s gone now, right? And it’s gone because there was no solid enough political organization to take that energy and clarify it for people and then give people something to do. \u003c/p>\n\u003cp>We see this dance and things are only going to get more and more frenetic because capitalism is in crisis, because climate catastrophe is only going to get more and more dramatic. \u003c/p>\n\u003cp>Revolutionary energy is not just a spontaneous reaction to dramatic conditions. We see how this kind of modern psyche will just adjust itself, will adjust its individualism, to whatever. We’re addicted to it. So it’s time to Black Panther up again. That’s really where transformation comes from. \u003c/p>\n\u003cp>\u003cstrong>Right. So what is your vision for yourself in this role?\u003c/strong> \u003c/p>\n\u003cp>There are so many beautiful artists, educators, curators, organizations [in San Francisco]. The art landscape of San Francisco is not missing anything — except maybe missing the people, because so many are gone. [laughing] You know, we might have to do some San Francisco extension workshops in Antioch or something like that. \u003c/p>\n\u003cp>What I want to add to the landscape or just support: I want workshops. Poetry programs that do center social analysis. Yes, we want to build insight into what language can do. But at the same time, the vehicle is insight into the content that language is exploring. I’ll work with anybody, anywhere, any any age. I love youth programming, but I think the whole village should get the opportunity to develop themselves in craft too. \u003c/p>\n\u003cp>\u003cstrong>Along those lines, how do you see poetry becoming more integrated into the community? \u003c/strong>\u003c/p>\n\u003cp>I love the prospects of the neighborhood libraries becoming centers of this almost political education. Really, I guess moving the poetry scene back into the proletariat a little bit. \u003c/p>\n\u003cp>This kind of “high art” really is a mass effort. It’s definitely a product of a mass effort. I did not get these poems, they did not cost me tens of thousands of dollars. You know, my poetry was developed in the trenches of mass culture. And so I want to bring it home. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The COVID-19 crisis is nearing its second year in the Bay Area, and it’s no secret that small businesses are struggling—especially during the current wave of tougher restrictions and climbing infection rates.\u003c/p>\n\u003cp>Today, San Francisco Mayor London Breed proposed two new small business grant and loan programs that aim to offer some relief in this challenging climate. The $62 million plan could be a boon for arts organizations waiting for funding from the state and federal governments, such as, for instance, the \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> grant program for independent music venues. Congress passed it in December along with its latest pandemic stimulus package, but funds \u003ca href=\"https://www.billboard.com/articles/business/9509810/save-our-stages-act-passage-niva-director-next-steps/?utm_medium=social&utm_source=twitter\" target=\"_blank\" rel=\"noopener noreferrer\">may not be disbursed for months\u003c/a>, and many concert venue owners have said that they are weeks or months away from closing permanently if help doesn’t arrive soon. [aside postid='arts_13890093']\u003c/p>\n\u003cp>Breed’s new plan offers $12.4 million in grants for small businesses, which will be given out in amounts of $5,000-$20,000 depending on the number of employees the business had in February 2020. The grants prioritize businesses owned by people of color and women, long-standing businesses, those most impacted by stay-at-home orders and those unable to access state and federal programs.\u003c/p>\n\u003cp>At today’s Board of Supervisors meeting, Breed said that music and nightlife venues would be among the businesses prioritized. Most of them haven’t been able to operate in any capacity—other than the few selling merchandise or to-go drinks—since March. Yet the San Francisco Venue Coalition estimates that most music venues’ monthly overhead costs are between $18,000–$35,000; many of them have racked up substantial debt, and some, like The Stud, have opted to close for good.\u003c/p>\n\u003cp>Breed emphasized the importance of preserving the city’s nightlife and entertainment venues so there are places to celebrate when the pandemic is over.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The remaining $50 million of the proposed program will go to low-to-no interest small business loans, distributed in amounts of up to $250,000. The goal of the loan program is to stabilize the workforce, the mayor’s announcement says, and to retain and create jobs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Breed’s office is working with other departments of San Francisco government to cut their expenditures in order to fund this proposal. To go into effect, it’ll require the Board of Supervisors to approve a new ordinance that will be introduced later this month.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The COVID-19 crisis is nearing its second year in the Bay Area, and it’s no secret that small businesses are struggling—especially during the current wave of tougher restrictions and climbing infection rates.\u003c/p>\n\u003cp>Today, San Francisco Mayor London Breed proposed two new small business grant and loan programs that aim to offer some relief in this challenging climate. The $62 million plan could be a boon for arts organizations waiting for funding from the state and federal governments, such as, for instance, the \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> grant program for independent music venues. Congress passed it in December along with its latest pandemic stimulus package, but funds \u003ca href=\"https://www.billboard.com/articles/business/9509810/save-our-stages-act-passage-niva-director-next-steps/?utm_medium=social&utm_source=twitter\" target=\"_blank\" rel=\"noopener noreferrer\">may not be disbursed for months\u003c/a>, and many concert venue owners have said that they are weeks or months away from closing permanently if help doesn’t arrive soon. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Breed’s new plan offers $12.4 million in grants for small businesses, which will be given out in amounts of $5,000-$20,000 depending on the number of employees the business had in February 2020. The grants prioritize businesses owned by people of color and women, long-standing businesses, those most impacted by stay-at-home orders and those unable to access state and federal programs.\u003c/p>\n\u003cp>At today’s Board of Supervisors meeting, Breed said that music and nightlife venues would be among the businesses prioritized. Most of them haven’t been able to operate in any capacity—other than the few selling merchandise or to-go drinks—since March. Yet the San Francisco Venue Coalition estimates that most music venues’ monthly overhead costs are between $18,000–$35,000; many of them have racked up substantial debt, and some, like The Stud, have opted to close for good.\u003c/p>\n\u003cp>Breed emphasized the importance of preserving the city’s nightlife and entertainment venues so there are places to celebrate when the pandemic is over.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Watch: That Time the Mayor Burned a Cage of Opium Outside SF City Hall",
"headTitle": "Watch: That Time the Mayor Burned a Cage of Opium Outside SF City Hall | KQED",
"content": "\u003cp>Picture, if you will, Mayor London Breed one day emerging from San Francisco City Hall to set fire to half a million dollars’ worth of narcotics piled inside a massive cage constructed out of drug paraphernalia. And imagine if the main thing in that burning structure was opium, which gets you high if you set it on fire and inhale the smoke it produces.\u003c/p>\n\u003cp>\u003cem>Yeah.\u003c/em>\u003c/p>\n\u003cp>In 1914, this is exactly what San Francisco’s mayor James Rolph did, in front of a gathered crowd of 5,000 people. Rolph’s stated goal was to send a very public message to local drug smugglers and dealers. (That message, to be clear, was supposed to be about zero tolerance, not the dangers of secondhand smoke.)\u003c/p>\n\u003cp>According to an article from the \u003ca href=\"https://books.google.com/books?id=XaxMAAAAYAAJ&pg=PA392&lpg=PA392&dq=%22Ten+thousand+packages+of+morphia,+opium,+and+cocaine%22&source=bl&ots=jYG95RRkUe&sig=ACfU3U1PE87JyT1fwGUYOdIjLFIJ5APIVA&hl=en&sa=X&ved=2ahUKEwjL4viNnYfgAhXDct8KHbn3A7AQ6AEwAHoECAAQAQ#v=onepage&q=%22Ten%20thousand%20packages%20of%20morphia%2C%20opium%2C%20and%20cocaine%22&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">March 1914 issue of \u003cem>Technical World Magazine\u003c/em>\u003c/a>, “All the condemned articles were piled upon the stone ruins of the old City Hall. With the tins of drugs were mixed excelsior and other highly inflammable material, while the pipes were hung side by side on scaffolding erected for the purpose.” The photo accompanying the story called the resulting bonfire “The Funeral Pyre of Dreams.”\u003c/p>\n\u003cfigure id=\"attachment_13890860\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890860\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-800x497.png\" alt=\"The photo that 'Technical World Magazine' used in its March 1914 report on the opium bonfire shows a plume of black smoke rising up, outside San Francisco's City Hall.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM.png 1007w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The photo that ‘Technical World Magazine’ used in its report on the opium bonfire outside San Francisco’s City Hall. \u003ccite>(Technical World Magazine, March 1914, P.392.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This drug blaze was the result of an 18-month crackdown by California’s State Board of Pharmacy. During that time, 1,200 people were successfully prosecuted on narcotics-related charges, a multitude of pipes and syringes were seized, and $20,000 (in 1914 money) of opium, morphine and cocaine (around “10,000 packages”) was confiscated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At around 2pm, Mayor Rolph set all of it alight, including, according to \u003cem>Technical World Magazine\u003c/em>, “several hundred pipes, centuries old, beautifully carved and ornamented with gold and jewels.” (Thankfully, Rolph did make a last minute call to rescue “several pipes, known to be more than two hundred years old” to be sent to “the Golden Gate Museum.”) The \u003cem>Chronicle\u003c/em> later \u003ca href=\"https://www.newstimes.com/sfhistory/article/San-Francisco-opium-burning-1914-13031409.php\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a>, “It was only a matter of moments ere the entire monument of potential degeneracy and vice was sending its smoke up to heaven.”\u003c/p>\n\u003cp>Thankfully someone had the good sense to capture it on film:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ForrNJLv0A\u003c/p>\n\u003cp>At the time of the burning, the State Board of Pharmacy had been holding public drug-related burnings for five years. A year earlier, one bonfire set to destroy 1,300 pipes ($25,000 worth) came dangerously close to igniting several buildings on the corner of Washington Street and Ross Alley. After that close call, the wide open space outside City Hall must have seemed like a much safer option. [aside postid='arts_13886018']\u003c/p>\n\u003cp>These kinds of dramatic clampdowns came after decades of San Francisco mostly turning a blind eye to the opium boom. What started with the arrival of \u003ca href=\"https://www.foundsf.org/index.php?title=Chinatown%27s_Opium_Dens\" target=\"_blank\" rel=\"noopener noreferrer\">52 boxes of opium in 1861\u003c/a> had created around 300 opium dens by the end of the 1880s. While the city served as the \u003ca href=\"https://immigrants.harpweek.com/chineseamericans/Items/Item061L.htm\" target=\"_blank\" rel=\"noopener noreferrer\">primary American gateway\u003c/a> for drug imports from China, law enforcement was slow to do anything about it. Commissioner Jesse B. Cook, a former chief of SFPD and a sergeant of the “Chinatown Squad” before the 1906 earthquake, wrote in 1931 about his experience with opium in the city at the turn of the century.\u003c/p>\n\u003cp>“At that time nearly every store in Chinatown had an opium layout in the rear for their customers,” \u003ca href=\"http://www.sfmuseum.org/hist9/cook.html\" target=\"_blank\" rel=\"noopener noreferrer\">he reported\u003c/a>. “In those days the Chinese were allowed to smoke opium, provided they did not do so in the presence of a white man. If a white man was present it meant the arrest of all who were in the room at the time.”\u003c/p>\n\u003cp>Cook said that some dens could accommodate as many as 100 opium smokers. “The opium smoke was sometimes so thick in those dens that the gas jets looked like small matches burning. Opium has a peculiar, sweet smell, not at all distasteful, and many times when coming home from Chinatown after going through dens, people in the cars sitting near me, would be sniffing, smelling the opium in my clothes and wondering what it was. When I got home it would be necessary to undress in an outer room and air my clothes to get the opium fumes out of them.” [aside postid='arts_13884403']\u003c/p>\n\u003cp>At the end of the 19th century, messages about opium were fairly mixed, with some advocates viewing the narcotic as positively medicinal. One journal article titled “\u003ca href=\"https://jamanetwork.com/journals/jama/article-abstract/468857\" target=\"_blank\" rel=\"noopener noreferrer\">Opium Smoking\u003c/a>” from March 5, 1892 quoted one enthusiast as saying: “Opium smoking is not only innocuous, but positively beneficial to the system. It is a complete preservative against drunkenness.”\u003c/p>\n\u003cp>After the 1906 earthquake decimated much of Chinatown, many of the city’s opium dens disappeared literally overnight. And by 1914, public attitudes to narcotics entered a major shift on a national level. In 1908, Hamilton Wright had become United States Opium Commissioner and launched a passionate and concerted campaign to stamp out opium. In March 1911, \u003ca href=\"https://www.nytimes.com/1911/03/12/archives/-uncle-sam-is-the-worst-drug-fiend-in-the-world-dr-hamilton-wright-.html\" target=\"_blank\" rel=\"noopener noreferrer\">he told the \u003cem>New York Times\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Of all the nations of the world, the United States consumes most habit-forming drugs per capita … China now guards [opium] with much greater care than we do; Japan preserves her people from it far more intelligently than we do ours, who can buy it, in almost any form, in every tenth one of our drug stores. Our physicians use it recklessly in remedies and thus become responsible for making numberless ‘dope fiends’ … The habit has this Nation in its grip to an astonishing extent. Our prisons and our hospitals are full of victims of it.\u003c/p>\u003c/blockquote>\n\u003cp>Heeding Wright’s warnings, America tip-toed into the war on drugs via the Harrison Narcotics Tax Act of 1914. The legislation imposed “a special tax on all persons who produce, import, manufacture, compound, deal in, dispense, sell, distribute, or give away opium or coca leaves, their salts, derivatives, or preparations, and for other purposes.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The act quickly reduced the amount of opium in circulation—without anyone having to publicly set it on fire.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Picture, if you will, Mayor London Breed one day emerging from San Francisco City Hall to set fire to half a million dollars’ worth of narcotics piled inside a massive cage constructed out of drug paraphernalia. And imagine if the main thing in that burning structure was opium, which gets you high if you set it on fire and inhale the smoke it produces.\u003c/p>\n\u003cp>\u003cem>Yeah.\u003c/em>\u003c/p>\n\u003cp>In 1914, this is exactly what San Francisco’s mayor James Rolph did, in front of a gathered crowd of 5,000 people. Rolph’s stated goal was to send a very public message to local drug smugglers and dealers. (That message, to be clear, was supposed to be about zero tolerance, not the dangers of secondhand smoke.)\u003c/p>\n\u003cp>According to an article from the \u003ca href=\"https://books.google.com/books?id=XaxMAAAAYAAJ&pg=PA392&lpg=PA392&dq=%22Ten+thousand+packages+of+morphia,+opium,+and+cocaine%22&source=bl&ots=jYG95RRkUe&sig=ACfU3U1PE87JyT1fwGUYOdIjLFIJ5APIVA&hl=en&sa=X&ved=2ahUKEwjL4viNnYfgAhXDct8KHbn3A7AQ6AEwAHoECAAQAQ#v=onepage&q=%22Ten%20thousand%20packages%20of%20morphia%2C%20opium%2C%20and%20cocaine%22&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">March 1914 issue of \u003cem>Technical World Magazine\u003c/em>\u003c/a>, “All the condemned articles were piled upon the stone ruins of the old City Hall. With the tins of drugs were mixed excelsior and other highly inflammable material, while the pipes were hung side by side on scaffolding erected for the purpose.” The photo accompanying the story called the resulting bonfire “The Funeral Pyre of Dreams.”\u003c/p>\n\u003cfigure id=\"attachment_13890860\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890860\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-800x497.png\" alt=\"The photo that 'Technical World Magazine' used in its March 1914 report on the opium bonfire shows a plume of black smoke rising up, outside San Francisco's City Hall.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-05-at-3.48.11-PM.png 1007w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The photo that ‘Technical World Magazine’ used in its report on the opium bonfire outside San Francisco’s City Hall. \u003ccite>(Technical World Magazine, March 1914, P.392.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This drug blaze was the result of an 18-month crackdown by California’s State Board of Pharmacy. During that time, 1,200 people were successfully prosecuted on narcotics-related charges, a multitude of pipes and syringes were seized, and $20,000 (in 1914 money) of opium, morphine and cocaine (around “10,000 packages”) was confiscated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At around 2pm, Mayor Rolph set all of it alight, including, according to \u003cem>Technical World Magazine\u003c/em>, “several hundred pipes, centuries old, beautifully carved and ornamented with gold and jewels.” (Thankfully, Rolph did make a last minute call to rescue “several pipes, known to be more than two hundred years old” to be sent to “the Golden Gate Museum.”) The \u003cem>Chronicle\u003c/em> later \u003ca href=\"https://www.newstimes.com/sfhistory/article/San-Francisco-opium-burning-1914-13031409.php\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a>, “It was only a matter of moments ere the entire monument of potential degeneracy and vice was sending its smoke up to heaven.”\u003c/p>\n\u003cp>Thankfully someone had the good sense to capture it on film:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5ForrNJLv0A'\n title='//www.youtube.com/embed/5ForrNJLv0A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the time of the burning, the State Board of Pharmacy had been holding public drug-related burnings for five years. A year earlier, one bonfire set to destroy 1,300 pipes ($25,000 worth) came dangerously close to igniting several buildings on the corner of Washington Street and Ross Alley. After that close call, the wide open space outside City Hall must have seemed like a much safer option. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These kinds of dramatic clampdowns came after decades of San Francisco mostly turning a blind eye to the opium boom. What started with the arrival of \u003ca href=\"https://www.foundsf.org/index.php?title=Chinatown%27s_Opium_Dens\" target=\"_blank\" rel=\"noopener noreferrer\">52 boxes of opium in 1861\u003c/a> had created around 300 opium dens by the end of the 1880s. While the city served as the \u003ca href=\"https://immigrants.harpweek.com/chineseamericans/Items/Item061L.htm\" target=\"_blank\" rel=\"noopener noreferrer\">primary American gateway\u003c/a> for drug imports from China, law enforcement was slow to do anything about it. Commissioner Jesse B. Cook, a former chief of SFPD and a sergeant of the “Chinatown Squad” before the 1906 earthquake, wrote in 1931 about his experience with opium in the city at the turn of the century.\u003c/p>\n\u003cp>“At that time nearly every store in Chinatown had an opium layout in the rear for their customers,” \u003ca href=\"http://www.sfmuseum.org/hist9/cook.html\" target=\"_blank\" rel=\"noopener noreferrer\">he reported\u003c/a>. “In those days the Chinese were allowed to smoke opium, provided they did not do so in the presence of a white man. If a white man was present it meant the arrest of all who were in the room at the time.”\u003c/p>\n\u003cp>Cook said that some dens could accommodate as many as 100 opium smokers. “The opium smoke was sometimes so thick in those dens that the gas jets looked like small matches burning. Opium has a peculiar, sweet smell, not at all distasteful, and many times when coming home from Chinatown after going through dens, people in the cars sitting near me, would be sniffing, smelling the opium in my clothes and wondering what it was. When I got home it would be necessary to undress in an outer room and air my clothes to get the opium fumes out of them.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the end of the 19th century, messages about opium were fairly mixed, with some advocates viewing the narcotic as positively medicinal. One journal article titled “\u003ca href=\"https://jamanetwork.com/journals/jama/article-abstract/468857\" target=\"_blank\" rel=\"noopener noreferrer\">Opium Smoking\u003c/a>” from March 5, 1892 quoted one enthusiast as saying: “Opium smoking is not only innocuous, but positively beneficial to the system. It is a complete preservative against drunkenness.”\u003c/p>\n\u003cp>After the 1906 earthquake decimated much of Chinatown, many of the city’s opium dens disappeared literally overnight. And by 1914, public attitudes to narcotics entered a major shift on a national level. In 1908, Hamilton Wright had become United States Opium Commissioner and launched a passionate and concerted campaign to stamp out opium. In March 1911, \u003ca href=\"https://www.nytimes.com/1911/03/12/archives/-uncle-sam-is-the-worst-drug-fiend-in-the-world-dr-hamilton-wright-.html\" target=\"_blank\" rel=\"noopener noreferrer\">he told the \u003cem>New York Times\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Of all the nations of the world, the United States consumes most habit-forming drugs per capita … China now guards [opium] with much greater care than we do; Japan preserves her people from it far more intelligently than we do ours, who can buy it, in almost any form, in every tenth one of our drug stores. Our physicians use it recklessly in remedies and thus become responsible for making numberless ‘dope fiends’ … The habit has this Nation in its grip to an astonishing extent. Our prisons and our hospitals are full of victims of it.\u003c/p>\u003c/blockquote>\n\u003cp>Heeding Wright’s warnings, America tip-toed into the war on drugs via the Harrison Narcotics Tax Act of 1914. The legislation imposed “a special tax on all persons who produce, import, manufacture, compound, deal in, dispense, sell, distribute, or give away opium or coca leaves, their salts, derivatives, or preparations, and for other purposes.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The act quickly reduced the amount of opium in circulation—without anyone having to publicly set it on fire.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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