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But a San Francisco drag troupe thinks she’s worthy of an even higher title.\u003c/p>\n\u003cp>\u003ca href=\"https://www.thesisters.org\" target=\"_blank\" rel=\"noopener noreferrer\">The Sisters of Perpetual Indulgence\u003c/a>, a world-renowned group of drag queen activists who dress as sacrilegious nuns, crashed Daniels’ Nov. 10 San Francisco gig at Penthouse in North Beach and “canonized” her as a saint.\u003c/p>\n\u003cp>The Sisters, who got their start in the Castro on Easter Sunday in 1979, are known for showing up to protests in elaborate, campy drag that parodies the Catholic Church. Since their inception, they’ve raised hundreds of thousands of dollars for HIV/AIDS causes, and given out tens of thousands in grants to social justice organizations. They regularly honor dead and living activists and pro-LGBT public figures by dubbing them “saints,” and Daniels joins a long list that includes Harvey Milk and Margaret Cho.\u003c/p>\n\u003cp>“She’s done quite a lot of things, and some of them maybe aren’t as remembered as her pushback on Donald Trump,” says Sister Freda Desire, The Sisters of Perpetual Indulgence’s Mistress of Saints, citing Daniels’ 2009 \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2018/01/18/porn-star-stormy-danielss-brief-political-career-as-a-u-s-senate-contender/?utm_term=.47b583a7a56c\" target=\"_blank\" rel=\"noopener noreferrer\">Senate run in Louisiana\u003c/a>, when she called out the hypocrisy of a “family values” Republican incumbent caught up in a sex scandal.\u003c/p>\n\u003cfigure id=\"attachment_13844834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-800x450.jpg\" alt=\"The Sisters of Perpetual Indulgence and Stormy Daniels at Penthouse on Nov. 10.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sisters of Perpetual Indulgence and Stormy Daniels at Penthouse on Nov. 10. \u003ccite>(Sister Desi Juana)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s a role model for women who are both sexual and smart,” Sister Freda continued. “She’s shown class and wit and charm in the face of people who have been aggressive towards her for standing up and being that role model. And she’s been standing up against tyranny and for what we want as American values, for telling the truth and being respectful no matter your party.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Sisters surprised Daniels, who performed at Penthouse last Friday and Saturday as part of her national strip-club tour—which she’s doing instead of a book tour for her tell-all, \u003cem>Full Disclosure\u003c/em>. As part of their mission to honor pot-stirring, irreverent activists, Sisters named Daniels “Saint Tempestuous, Eye of the Hurricane of Truth and Stormer of the Barricades of Intolerance.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With Trump’s former lawyer, Michael Cohen, \u003ca href=\"https://www.vanityfair.com/news/2018/09/cohen-trump-legal-fees\" target=\"_blank\" rel=\"noopener noreferrer\">awaiting prison sentencing\u003c/a> this year in part due to Daniels breaking her silence, the Sisters’ honor sounds well deserved.\u003c/p>\n\n",
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"title": "Stormy Daniels Canonized as a Saint by the Sisters of Perpetual Indulgence | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To many of Trump’s critics, adult entertainer Stormy Daniels is a \u003ca href=\"https://www.thestranger.com/slog/2018/11/12/35451698/the-patriotism-of-stormy-daniels-pouring-hot-wax-across-her-vagina-on-veterans-day\" target=\"_blank\" rel=\"noopener noreferrer\">patriot\u003c/a> and \u003ca href=\"https://www.nytimes.com/2018/08/24/opinion/sunday/stormy-daniels-michael-cohen-feminist-hero.html\" target=\"_blank\" rel=\"noopener noreferrer\">feminist hero\u003c/a> for exposing the president’s infidelities and\u003ca href=\"https://www.cnn.com/2018/08/21/politics/michael-cohen-plea-deal-talks/index.html\" target=\"_blank\" rel=\"noopener noreferrer\"> alleged violations of campaign finance laws\u003c/a>. But a San Francisco drag troupe thinks she’s worthy of an even higher title.\u003c/p>\n\u003cp>\u003ca href=\"https://www.thesisters.org\" target=\"_blank\" rel=\"noopener noreferrer\">The Sisters of Perpetual Indulgence\u003c/a>, a world-renowned group of drag queen activists who dress as sacrilegious nuns, crashed Daniels’ Nov. 10 San Francisco gig at Penthouse in North Beach and “canonized” her as a saint.\u003c/p>\n\u003cp>The Sisters, who got their start in the Castro on Easter Sunday in 1979, are known for showing up to protests in elaborate, campy drag that parodies the Catholic Church. Since their inception, they’ve raised hundreds of thousands of dollars for HIV/AIDS causes, and given out tens of thousands in grants to social justice organizations. They regularly honor dead and living activists and pro-LGBT public figures by dubbing them “saints,” and Daniels joins a long list that includes Harvey Milk and Margaret Cho.\u003c/p>\n\u003cp>“She’s done quite a lot of things, and some of them maybe aren’t as remembered as her pushback on Donald Trump,” says Sister Freda Desire, The Sisters of Perpetual Indulgence’s Mistress of Saints, citing Daniels’ 2009 \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2018/01/18/porn-star-stormy-danielss-brief-political-career-as-a-u-s-senate-contender/?utm_term=.47b583a7a56c\" target=\"_blank\" rel=\"noopener noreferrer\">Senate run in Louisiana\u003c/a>, when she called out the hypocrisy of a “family values” Republican incumbent caught up in a sex scandal.\u003c/p>\n\u003cfigure id=\"attachment_13844834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-800x450.jpg\" alt=\"The Sisters of Perpetual Indulgence and Stormy Daniels at Penthouse on Nov. 10.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/sisters-stormy-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sisters of Perpetual Indulgence and Stormy Daniels at Penthouse on Nov. 10. \u003ccite>(Sister Desi Juana)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s a role model for women who are both sexual and smart,” Sister Freda continued. “She’s shown class and wit and charm in the face of people who have been aggressive towards her for standing up and being that role model. And she’s been standing up against tyranny and for what we want as American values, for telling the truth and being respectful no matter your party.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Sisters surprised Daniels, who performed at Penthouse last Friday and Saturday as part of her national strip-club tour—which she’s doing instead of a book tour for her tell-all, \u003cem>Full Disclosure\u003c/em>. As part of their mission to honor pot-stirring, irreverent activists, Sisters named Daniels “Saint Tempestuous, Eye of the Hurricane of Truth and Stormer of the Barricades of Intolerance.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With Trump’s former lawyer, Michael Cohen, \u003ca href=\"https://www.vanityfair.com/news/2018/09/cohen-trump-legal-fees\" target=\"_blank\" rel=\"noopener noreferrer\">awaiting prison sentencing\u003c/a> this year in part due to Daniels breaking her silence, the Sisters’ honor sounds well deserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "If the Hemlock's Walls Could Talk: Looking Back at 17 Years of Shows",
"headTitle": "If the Hemlock’s Walls Could Talk: Looking Back at 17 Years of Shows | KQED",
"content": "\u003cp>On Oct. 6, the Hemlock Tavern, the longtime Tenderloin rock bar, will celebrate its 17th anniversary. But the occasion is bittersweet: the celebration is also a goodbye party, as the venue is slated for demolition and will close its doors—at least in this iteration—after its last show.\u003c/p>\n\u003cp>[contextly_sidebar id=”ruGaPjSyklxBU3WXMFCwlcKate0cwAs2″]\u003c/p>\n\u003cp>The Hemlock has, per the estimate of its longtime booker, Tony Bedard, hosted around 15,000 bands since opening in 2001. Animal Collective, Joanna Newsom, Beach House, Reggie Watts, Ty Segall and Parquet Courts are just a few of the high-caliber indie rock and pop acts that cut their teeth on the Hemlock’s intimate stage.\u003c/p>\n\u003cp>The Hemlock staff has always had an ear for the weird and obscure. Other memorable performances included the exploratory acoustic guitar work of the late Jack Rose; the heavy and beautiful droning feedback of Liz Harris’s Grouper; and, in an especially memorable combination, Captain Beefheart sideman Moris Teper alongside U.K. alternative icon PJ Harvey.\u003c/p>\n\u003cp>Dolmen Property Group purchased the Hemlock in 2015. Last week, it was announced that managing partner Don Alan has \u003ca href=\"https://www.kqed.org/arts/13839003/hemlock-tavern-to-close-in-early-october\" rel=\"noopener\" target=\"_blank\">sold the business\u003c/a> after the building’s other tenants accepted buyouts. A 54-unit commercial-residential development is slated for the Polk Street property. Dolmen currently plans to open a new Hemlock Tavern in the building, but this version won’t be affiliated with its current management.\u003c/p>\n\u003cfigure id=\"attachment_13816998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816998\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg\" alt=\"The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated 'Hemlock Tavern.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated ‘Hemlock Tavern.’ \u003ccite>(Courtesy Hemlock Tavern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a generation of musicians and fans that came to appreciate the current Hemlock’s adventurousness—its willingness to book small acts rather than aiming for big stars—the news stings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We gave shows to bands that we liked that were underappreciated,” Bedard says. “Almost all the local bands for the last 17 years at one point or another have played [here]. Some we ended up giving a lot of shows to, and some play a couple of shows and boom, they blow up and they’re on to bigger and better things.”\u003c/p>\n\u003cp>“It was to help these bands out because I felt like they needed to be heard,” says Debra Zeller, a longtime show photographer who also books bands at the Hemlock.\u003c/p>\n\u003ch2>An underground mainstay\u003c/h2>\n\u003cp>The Hemlock’s opening followed the closing of another longtime Tenderloin rock club, Kimo’s, and quickly attracted a loyal following of underground and alternative music fans. A key figure who helped get the Hemlock off the ground was musician and engineer Kyle Statham. Now living in Memphis, Statham previously owned and operated Blind Pig Studios in the Tenderloin when he learned about Alan’s plans to open a new bar and joined him as co-owner.\u003c/p>\n\u003cp>“Don was looking at these different places in the Mission,” says Statham. “I say, ‘No, no, no, no, there’s enough bars in the Mission! The Tenderloin’s a little dicey, but, man, there’s a ton of people.’”\u003c/p>\n\u003cp>Statham and Alan settled on the former location of a famed Tenderloin gay bar, The Giraffe, which had existed in one form or another since the 1950s. Stories circulate about how Statham was still coating the Hemlock’s bar with shellac just hours before the tavern formally opened. Statham’s audio engineering expertise also helped the noisy bar avoid complaints—something Kimo’s had struggled with for years.\u003c/p>\n\u003cp>“Don and Kyle and those guys sunk a bunch of money into extra soundproofing and sound reinforcement for the room,” says Bedard. “When he put that room together, he did it with the ear and the eye of an engineer. I think the fact the room sounded as good as it did, that was a bit of a calling card—one reason that we were able to attract bands to play there early on.”\u003c/p>\n\u003cp>Bedard’s hiring proved to be another crucial step. Initial show bookings were somewhat haphazard. (Bedard and Zeller recall at least one situation when three different bills of bands showed up, all thinking they were playing the same night.)\u003c/p>\n\u003cp>“Tony had been very involved in all sorts of different scenes,” remembers George Chen, whose bands Kit, 7 Year Rabbit Cycle and Common Eider King Eider performed at the Hemlock. “He was an in for the kind of scene that was Mission- and Oakland-based people. He has really broad and specific tastes. He was willing to go along with a lot of things; he was willing to take a lot more chances than a lot of other bookers in that era.”\u003c/p>\n\u003cfigure id=\"attachment_13839558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/hem4-800x535.jpg\" alt=\"Vetiver performs at the Hemlock Tavern in 2002. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4.jpg 1532w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vetiver performs at the Hemlock Tavern in 2002. \u003ccite>(Debra Zeller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even as Bedard kept his eye out for touring talent coming through town, he kept the emphasis on new, local acts, including bands like Vetiver, Kelley Stoltz, Xiu Xiu and Hunx and His Punx, not to mention other Northern California groups like Comets on Fire. The focus on unknown bands was part of the inevitable limitations of a small performance space, but also stemmed from his commitment to making sure new performers had a place to start.\u003c/p>\n\u003cp>“At the time, you would aspire to certain rooms,” Chen says. “For some people, the Hemlock became that room, but because it could be cozy, it was an attainable goal to have.”\u003c/p>\n\u003cp>“I think of all of the bands that would not have gotten a toehold otherwise,” says Bedard. “There was really a high bar. If you wanted to get into Bottom of the Hill or anything like that, it was really tough. There was this whole underground scene bubbling up, right?”\u003c/p>\n\u003cp>“That’s why with my shows, too, it was to help these bands out because I felt like they needed to be heard,” says Zeller. “Eventually they did gain a following and grew to bigger clubs.”\u003c/p>\n\u003ch2>The affordability crisis curbs the good times\u003c/h2>\n\u003cp>Bedard says he approached Zeller to help with booking because she liked bands with a cleaner sound while he preferred noise and chaos. Aside from booking emerging local favorites of the 2000s, including Film School and the Stratford 4, Zeller was also instrumental in putting on a famed secret show by Chan Marshall, who performs as Cat Power.\u003c/p>\n\u003cfigure id=\"attachment_13839559\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/hem5-800x1191.jpg\" alt=\"Cat Power at the Hemlock Tavern in 2002.\" width=\"800\" height=\"1191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-768x1143.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-240x357.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-375x558.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-520x774.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cat Power at the Hemlock Tavern in 2002. \u003ccite>(Debra Zeller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was an infamous day and night at the Hemlock,” Bedard says, recalling how, per the artist’s request, the bar had to borrow a piano from a local music store. “After that show was over, we had to roll the piano out the side door, roll it down Hemlock Alley towards Polk to the piano store. It started to get away from us! So flashing in front of our eyes, this piano’s going to go rolling into Polk Street traffic and we were trying to wrangle and manhandle this piano into the front door of the club.”\u003c/p>\n\u003cp>Bedard and Zeller have plenty of other stories about memorable shows. On a wholly separate evening in 2007, the late underground rocker Jay Reatard took offense to a clock meant to keep bands on time onstage and smashed it over his own head—to Bedard’s admitted relief, as he wasn’t fond of said clock to begin with.\u003c/p>\n\u003cp>Following the booking of surrealist anti-comic Neil Hamburger, Bedard also began booking monthly standup comedy shows under the name Club Chuckles in 2003, leading to early appearances by now-famed comedians like Ali Wong and Amy Schumer. “[We pulled] out the all the bar totals for some rock ‘n’ roll shows versus these comedy shows I had booked, and we came to the discovery that Neil Hamburger had set the all-time single bar record,” Bedard recalls.\u003c/p>\n\u003cp>With booking giant Goldenvoice recently taking over Slim’s and Great American Music Hall—as well as the Hemlock’s impending closure—independent booking is becoming increasingly scarce in San Francisco’s live music scene. But Bedard says the bigger concern for his community of musicians and fans is the city’s affordability crisis. “It maybe impacts us somewhat, but this is more about Dotcom 2.0: real estate prices, musicians and audiences and bar patrons being priced out of San Francisco,” he says.\u003c/p>\n\u003cp>Statham, for his part, takes a slightly longer view. “I moved there in the late ’80s, and by the early ’90s, I was moaning about how much it changed. But I’m sure I rented somebody’s apartment that they couldn’t afford any more and I’m sure they looked at me exactly the same way. I think different generations deserve the opportunity to make the best out of what they can make out of it.”\u003c/p>\n\u003cp>“Up-and-coming bands will find places to play, it’s just going to move somewhere else. In some way, shape or form, it’s going to exist,” says Bedard.\u003c/p>\n\u003cp>“People are asking, ‘Oh, are you going to do a big last show at the Hemlock?’” Bedard adds. “At this point, I don’t think there’d be any way to really sum it up.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Statham returns with his longtime band Fu¢k for two shows at the Hemlock on Aug. 25 and 26. The Hemlock Tavern celebrates its 17th anniversary on Oct. 6. Details \u003ca href=\"http://www.hemlocktavern.com/calendar/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Over the past 17 years, the Hemlock Tavern has hosted 15,000 bands. It will soon be demolished to make way for new development. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Oct. 6, the Hemlock Tavern, the longtime Tenderloin rock bar, will celebrate its 17th anniversary. But the occasion is bittersweet: the celebration is also a goodbye party, as the venue is slated for demolition and will close its doors—at least in this iteration—after its last show.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Hemlock has, per the estimate of its longtime booker, Tony Bedard, hosted around 15,000 bands since opening in 2001. Animal Collective, Joanna Newsom, Beach House, Reggie Watts, Ty Segall and Parquet Courts are just a few of the high-caliber indie rock and pop acts that cut their teeth on the Hemlock’s intimate stage.\u003c/p>\n\u003cp>The Hemlock staff has always had an ear for the weird and obscure. Other memorable performances included the exploratory acoustic guitar work of the late Jack Rose; the heavy and beautiful droning feedback of Liz Harris’s Grouper; and, in an especially memorable combination, Captain Beefheart sideman Moris Teper alongside U.K. alternative icon PJ Harvey.\u003c/p>\n\u003cp>Dolmen Property Group purchased the Hemlock in 2015. Last week, it was announced that managing partner Don Alan has \u003ca href=\"https://www.kqed.org/arts/13839003/hemlock-tavern-to-close-in-early-october\" rel=\"noopener\" target=\"_blank\">sold the business\u003c/a> after the building’s other tenants accepted buyouts. A 54-unit commercial-residential development is slated for the Polk Street property. Dolmen currently plans to open a new Hemlock Tavern in the building, but this version won’t be affiliated with its current management.\u003c/p>\n\u003cfigure id=\"attachment_13816998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816998\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg\" alt=\"The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated 'Hemlock Tavern.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated ‘Hemlock Tavern.’ \u003ccite>(Courtesy Hemlock Tavern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a generation of musicians and fans that came to appreciate the current Hemlock’s adventurousness—its willingness to book small acts rather than aiming for big stars—the news stings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We gave shows to bands that we liked that were underappreciated,” Bedard says. “Almost all the local bands for the last 17 years at one point or another have played [here]. Some we ended up giving a lot of shows to, and some play a couple of shows and boom, they blow up and they’re on to bigger and better things.”\u003c/p>\n\u003cp>“It was to help these bands out because I felt like they needed to be heard,” says Debra Zeller, a longtime show photographer who also books bands at the Hemlock.\u003c/p>\n\u003ch2>An underground mainstay\u003c/h2>\n\u003cp>The Hemlock’s opening followed the closing of another longtime Tenderloin rock club, Kimo’s, and quickly attracted a loyal following of underground and alternative music fans. A key figure who helped get the Hemlock off the ground was musician and engineer Kyle Statham. Now living in Memphis, Statham previously owned and operated Blind Pig Studios in the Tenderloin when he learned about Alan’s plans to open a new bar and joined him as co-owner.\u003c/p>\n\u003cp>“Don was looking at these different places in the Mission,” says Statham. “I say, ‘No, no, no, no, there’s enough bars in the Mission! The Tenderloin’s a little dicey, but, man, there’s a ton of people.’”\u003c/p>\n\u003cp>Statham and Alan settled on the former location of a famed Tenderloin gay bar, The Giraffe, which had existed in one form or another since the 1950s. Stories circulate about how Statham was still coating the Hemlock’s bar with shellac just hours before the tavern formally opened. Statham’s audio engineering expertise also helped the noisy bar avoid complaints—something Kimo’s had struggled with for years.\u003c/p>\n\u003cp>“Don and Kyle and those guys sunk a bunch of money into extra soundproofing and sound reinforcement for the room,” says Bedard. “When he put that room together, he did it with the ear and the eye of an engineer. I think the fact the room sounded as good as it did, that was a bit of a calling card—one reason that we were able to attract bands to play there early on.”\u003c/p>\n\u003cp>Bedard’s hiring proved to be another crucial step. Initial show bookings were somewhat haphazard. (Bedard and Zeller recall at least one situation when three different bills of bands showed up, all thinking they were playing the same night.)\u003c/p>\n\u003cp>“Tony had been very involved in all sorts of different scenes,” remembers George Chen, whose bands Kit, 7 Year Rabbit Cycle and Common Eider King Eider performed at the Hemlock. “He was an in for the kind of scene that was Mission- and Oakland-based people. He has really broad and specific tastes. He was willing to go along with a lot of things; he was willing to take a lot more chances than a lot of other bookers in that era.”\u003c/p>\n\u003cfigure id=\"attachment_13839558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/hem4-800x535.jpg\" alt=\"Vetiver performs at the Hemlock Tavern in 2002. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4.jpg 1532w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vetiver performs at the Hemlock Tavern in 2002. \u003ccite>(Debra Zeller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even as Bedard kept his eye out for touring talent coming through town, he kept the emphasis on new, local acts, including bands like Vetiver, Kelley Stoltz, Xiu Xiu and Hunx and His Punx, not to mention other Northern California groups like Comets on Fire. The focus on unknown bands was part of the inevitable limitations of a small performance space, but also stemmed from his commitment to making sure new performers had a place to start.\u003c/p>\n\u003cp>“At the time, you would aspire to certain rooms,” Chen says. “For some people, the Hemlock became that room, but because it could be cozy, it was an attainable goal to have.”\u003c/p>\n\u003cp>“I think of all of the bands that would not have gotten a toehold otherwise,” says Bedard. “There was really a high bar. If you wanted to get into Bottom of the Hill or anything like that, it was really tough. There was this whole underground scene bubbling up, right?”\u003c/p>\n\u003cp>“That’s why with my shows, too, it was to help these bands out because I felt like they needed to be heard,” says Zeller. “Eventually they did gain a following and grew to bigger clubs.”\u003c/p>\n\u003ch2>The affordability crisis curbs the good times\u003c/h2>\n\u003cp>Bedard says he approached Zeller to help with booking because she liked bands with a cleaner sound while he preferred noise and chaos. Aside from booking emerging local favorites of the 2000s, including Film School and the Stratford 4, Zeller was also instrumental in putting on a famed secret show by Chan Marshall, who performs as Cat Power.\u003c/p>\n\u003cfigure id=\"attachment_13839559\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/hem5-800x1191.jpg\" alt=\"Cat Power at the Hemlock Tavern in 2002.\" width=\"800\" height=\"1191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-768x1143.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-240x357.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-375x558.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-520x774.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cat Power at the Hemlock Tavern in 2002. \u003ccite>(Debra Zeller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was an infamous day and night at the Hemlock,” Bedard says, recalling how, per the artist’s request, the bar had to borrow a piano from a local music store. “After that show was over, we had to roll the piano out the side door, roll it down Hemlock Alley towards Polk to the piano store. It started to get away from us! So flashing in front of our eyes, this piano’s going to go rolling into Polk Street traffic and we were trying to wrangle and manhandle this piano into the front door of the club.”\u003c/p>\n\u003cp>Bedard and Zeller have plenty of other stories about memorable shows. On a wholly separate evening in 2007, the late underground rocker Jay Reatard took offense to a clock meant to keep bands on time onstage and smashed it over his own head—to Bedard’s admitted relief, as he wasn’t fond of said clock to begin with.\u003c/p>\n\u003cp>Following the booking of surrealist anti-comic Neil Hamburger, Bedard also began booking monthly standup comedy shows under the name Club Chuckles in 2003, leading to early appearances by now-famed comedians like Ali Wong and Amy Schumer. “[We pulled] out the all the bar totals for some rock ‘n’ roll shows versus these comedy shows I had booked, and we came to the discovery that Neil Hamburger had set the all-time single bar record,” Bedard recalls.\u003c/p>\n\u003cp>With booking giant Goldenvoice recently taking over Slim’s and Great American Music Hall—as well as the Hemlock’s impending closure—independent booking is becoming increasingly scarce in San Francisco’s live music scene. But Bedard says the bigger concern for his community of musicians and fans is the city’s affordability crisis. “It maybe impacts us somewhat, but this is more about Dotcom 2.0: real estate prices, musicians and audiences and bar patrons being priced out of San Francisco,” he says.\u003c/p>\n\u003cp>Statham, for his part, takes a slightly longer view. “I moved there in the late ’80s, and by the early ’90s, I was moaning about how much it changed. But I’m sure I rented somebody’s apartment that they couldn’t afford any more and I’m sure they looked at me exactly the same way. I think different generations deserve the opportunity to make the best out of what they can make out of it.”\u003c/p>\n\u003cp>“Up-and-coming bands will find places to play, it’s just going to move somewhere else. In some way, shape or form, it’s going to exist,” says Bedard.\u003c/p>\n\u003cp>“People are asking, ‘Oh, are you going to do a big last show at the Hemlock?’” Bedard adds. “At this point, I don’t think there’d be any way to really sum it up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Statham returns with his longtime band Fu¢k for two shows at the Hemlock on Aug. 25 and 26. The Hemlock Tavern celebrates its 17th anniversary on Oct. 6. Details \u003ca href=\"http://www.hemlocktavern.com/calendar/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "former-fillmore-west-to-host-first-event-in-45-years-for-pride-weekend",
"title": "Former Fillmore West to Host First Event in 45 Years for Pride Weekend",
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"content": "\u003cp>A piece of San Francisco musical history will be brought back to life at the end of the month, at least temporarily. The historic Fillmore West—most recently the site of a Honda dealership on the corner of Market Street and South Van Ness—is reopening under new management and will host events for the first time in 45 years. But before music fans start celebrating the reemergence of the storied venue, there’s a catch: the events company managing the former Fillmore West may only have three to five years to utilize it before the developer who owns the underlying land turns the site into a high-rise apartment tower.\u003c/p>\n\u003cp>SVN West, once a ’60s counterculture mecca, utilizes much of the Fillmore West’s original architecture and will feature a mezzanine, an approximately 25,000-square-foot ballroom with high ceilings and a similarly sized outdoor terrace. The ballroom holds 4,000 to 6,000 people—a rarity among independent venues in the city.\u003c/p>\n\u003cfigure id=\"attachment_13835051\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835051\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-800x338.jpg\" alt=\"The main ballroom at SVN West. \" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-768x325.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1020x431.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1200x508.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1180x499.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-960x406.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-240x102.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-375x159.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-520x220.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The main ballroom at SVN West. \u003ccite>(Non Plus Ultra, Inc. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://nonplusultrainc.com/\" target=\"_blank\" rel=\"noopener\">Non Plus Ultra, Inc.\u003c/a>, a local company with philanthropic roots, manages SVN West. (Its leadership team helped found \u003ca href=\"https://projectwreckless.org/\" target=\"_blank\" rel=\"noopener\">Project Wreckless\u003c/a>, which teaches at-risk youth to restore classic cars, and the company frequently donates proceeds from events to community organizations.) Non Plus Ultra (NPU) also runs The Mint, Palace of Fine Arts and The Midway.\u003c/p>\n\u003cp>Although the company hasn’t disclosed many details about upcoming booking at SVN West, NPU president Jordan Langer says he plans to host a variety of corporate and community events. The first event at the new SVN West is a \u003ca href=\"https://www.eventbrite.com/e/juanita-more-pride-saturday-night-2018-tickets-46416900198\" target=\"_blank\" rel=\"noopener\">Pride celebration\u003c/a> featuring several DJs and drag star Juanita MORE! on Saturday, June 23.\u003c/p>\n\u003cp>“We’ll do some parties, live music and art stuff including installations,” NPU President Jordan Langer said of his vision for SVN West. “Rather than the building sitting empty or underutilized, we wanted to activate it in a cool, positive light. It’s an incredible venue—and if those walls could talk!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The ballroom of 10 South Van Ness is certainly hallowed ground. Originally a big band dance hall called The Carousel Ballroom and a stop on the West Coast Chitlin’ Circuit, the network of venues where African-American artists performed during segregation, the venue became the epicenter of the San Francisco scene under the stewardship of concert impresario Bill Graham in the late ’60s. Graham renamed the venue Fillmore West after leaving his original location (today’s current Fillmore), and promoted a 1967 BB King show that became the legendary guitarist’s first performance in front of a \u003ca href=\"https://www.sfgate.com/music/article/Music-A-night-at-the-Fillmore-changed-B-B-6266457.php\" target=\"_blank\" rel=\"noopener\">majority white audience\u003c/a>.\u003c/p>\n\u003cp>The space was also briefly run by a collective formed by Jefferson Airplane, Quicksilver Messenger Service, Big Brother and the Holding Company and The Grateful Dead—all of whom would become regulars on the Fillmore West stage. The Fillmore West closed in 1971 with 14 bands performing between June 29 and July 4; an album and documentary titled \u003cem>Last Days at The Fillmore\u003c/em> was released in 1972.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_SDWjfsy-GA\u003c/p>\n\u003cp>While NPU is contacting some of those living legends from the Bay Area’s heyday for future programming, Langer noted that SVN West won’t strictly be a throwback. “We really want to keep it as a continuation of the cool stuff that’s happened in the building as opposed to re-launching the Fillmore West. Those are somewhat impossible shoes to fill.”\u003c/p>\n\u003cp>Non Plus Ultra will likely have several years to take advantage of the space. The building is owned by developers \u003ca href=\"https://www.crescentheights.com/\" target=\"_blank\" rel=\"noopener\">Crescent Heights\u003c/a>, which aims to build a 984-unit mixed-use development on the site and has undergone a years-long planning process with the city. The Miami-based company acquired the land in 2014 and Langer estimates that in three to five years, development will begin. Crescent Heights could not be reached for comment on this story.\u003c/p>\n\u003cp>“Crescent Heights is looking at this being a test run pilot program for potentially doing something more long term,” Langer said. Ultimately, NPU hopes to convince Crescent Heights that a ballroom will suit their plans.\u003c/p>\n\u003cp>In the interim, NPU is acquiring a sound system and securing its fixed-place permit from the city’s Entertainment Commission, which would allow SVN West to host events on an ongoing basis. That lengthy process involves multiple public hearings in front of the commission as well as neighborhood outreach, in addition to standard building, health and fire inspections. While it waits for a permanent permit, the company has secured multiple one-time entertainment event permits to host events such as its Pride celebration. NPU can have up to 12 such permits each year.\u003c/p>\n\u003cfigure id=\"attachment_13835052\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835052\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-800x322.jpg\" alt=\"The mezzanine of SVN West. \" width=\"800\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-800x322.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-768x309.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1020x411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1200x483.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1180x475.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-960x387.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-240x97.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-375x151.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-520x209.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The mezzanine of SVN West. \u003ccite>(Non Plus Ultra, Inc. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s great to see new places crop up, especially one that was so major in the city,” said Maggie Weiland, acting director of the city’s Entertainment Commission. “We’ve definitely seen a trend of some of those [larger capacity] venues we’ve known and loved for so many years going away. Any way we can support bringing them back and support the people who are working to bring them back is great.”\u003c/p>\n\u003cp>The opening of SVN West comes at a time of corporate consolidation in the Bay Area’s live music scene. Live Nation and Goldenvoice, which recently took control of the Great American Music Hall and Slim’s, along with Another Planet Entertainment, have an effective stronghold on booking in San Francisco; each controls small clubs, larger venues and music festivals such as Outside Lands. \u003cem>East Bay Express\u003c/em> \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\">speculated\u003c/a> whether corporate control of San Francisco’s clubs and concert halls could homogenize live music in the region at the expense of local acts and promoters.\u003c/p>\n\u003cp>Langer, however, is unfazed and surprisingly upbeat. “I’m a huge believer in the more, the merrier,” he said, adding that, while NPU works well with bigger companies, he does not intend to use any of those corporate names as full-time bookers. Instead, NPU plans to keep booking in-house and is actively hiring a booker who can bring in unique talent and national acts that aren’t quite a fit for the nearby Bill Graham Civic Auditorium, which Langer jokingly referred to as the “900 pound gorilla in the room.”\u003c/p>\n\u003cfigure id=\"attachment_13835056\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835056\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-Terrace-800x319.jpg\" alt=\"The rooftop terrace at SVN West. \" width=\"800\" height=\"319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-800x319.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-768x306.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1020x407.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1200x479.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1180x471.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-960x383.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-520x207.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rooftop terrace at SVN West. \u003ccite>(Non Plus Ultra, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not concerned about the competition. More artists and DJs and talent and events will make everything better,” Langer said. “We’re really excited to be in the booking arena. I think that San Francisco is ready for more of the unique stuff that we’re going to bring the space.”\u003c/p>\n\u003cp>Langer’s pointed to an exhibit at The Midway called “\u003ca href=\"http://www.themidwaygallery.com/current-1/\" target=\"_blank\" rel=\"noopener\">She Bends: Women in Neon\u003c/a>” as an example of future art installations that could be held at SVN West. His other dreams for the venue include the return of Aretha Franklin, who recorded \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Vyx34kgHGng\" target=\"_blank\" rel=\"noopener\">Aretha Live at the Fillmore West\u003c/a>\u003c/em> in 1971. However, Langer cautioned against pigeonholing SVN as a venue dedicated to a specific genre of music.\u003c/p>\n\u003cp>“My hope is that we knock it out of the park in the next three to five years and there’s a longer-term solution for keeping this space in San Francisco,” Langer said. “Every day, spaces are closing and changing, very often not for development, but just the cost of doing stuff in the Bay Area is crazy. Hopefully we’re going to be able to show Crescent Heights and the city as a whole that spaces are a viable business still. You don’t need a tech company to come in and fill out your space; we can make it cooler and more fun and definitely more engaging to the community.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>NPU hasn’t announced a calendar of events at SVN West (the space was scheduled to host a benefit for Project Wreckless on June 14 with a workshop, go-kart racing, rooftop zip lining and performance by local funk band The Humidors, but the event was moved to The Midway) but Langer said there are multiple projects in the pipeline. He expects to host an official grand opening party in the near future.\u003c/p>\n\n",
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"excerpt": "The company that controls the Midway, The Mint and Palace of Fine Arts is now booking the 25,000-square-foot ballroom at 10 South Van Ness. ",
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"title": "Former Fillmore West to Host First Event in 45 Years for Pride Weekend | KQED",
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"headline": "Former Fillmore West to Host First Event in 45 Years for Pride Weekend",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A piece of San Francisco musical history will be brought back to life at the end of the month, at least temporarily. The historic Fillmore West—most recently the site of a Honda dealership on the corner of Market Street and South Van Ness—is reopening under new management and will host events for the first time in 45 years. But before music fans start celebrating the reemergence of the storied venue, there’s a catch: the events company managing the former Fillmore West may only have three to five years to utilize it before the developer who owns the underlying land turns the site into a high-rise apartment tower.\u003c/p>\n\u003cp>SVN West, once a ’60s counterculture mecca, utilizes much of the Fillmore West’s original architecture and will feature a mezzanine, an approximately 25,000-square-foot ballroom with high ceilings and a similarly sized outdoor terrace. The ballroom holds 4,000 to 6,000 people—a rarity among independent venues in the city.\u003c/p>\n\u003cfigure id=\"attachment_13835051\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835051\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-800x338.jpg\" alt=\"The main ballroom at SVN West. \" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-768x325.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1020x431.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1200x508.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-1180x499.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-960x406.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-240x102.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-375x159.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-West-Main-Room-520x220.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The main ballroom at SVN West. \u003ccite>(Non Plus Ultra, Inc. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://nonplusultrainc.com/\" target=\"_blank\" rel=\"noopener\">Non Plus Ultra, Inc.\u003c/a>, a local company with philanthropic roots, manages SVN West. (Its leadership team helped found \u003ca href=\"https://projectwreckless.org/\" target=\"_blank\" rel=\"noopener\">Project Wreckless\u003c/a>, which teaches at-risk youth to restore classic cars, and the company frequently donates proceeds from events to community organizations.) Non Plus Ultra (NPU) also runs The Mint, Palace of Fine Arts and The Midway.\u003c/p>\n\u003cp>Although the company hasn’t disclosed many details about upcoming booking at SVN West, NPU president Jordan Langer says he plans to host a variety of corporate and community events. The first event at the new SVN West is a \u003ca href=\"https://www.eventbrite.com/e/juanita-more-pride-saturday-night-2018-tickets-46416900198\" target=\"_blank\" rel=\"noopener\">Pride celebration\u003c/a> featuring several DJs and drag star Juanita MORE! on Saturday, June 23.\u003c/p>\n\u003cp>“We’ll do some parties, live music and art stuff including installations,” NPU President Jordan Langer said of his vision for SVN West. “Rather than the building sitting empty or underutilized, we wanted to activate it in a cool, positive light. It’s an incredible venue—and if those walls could talk!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ballroom of 10 South Van Ness is certainly hallowed ground. Originally a big band dance hall called The Carousel Ballroom and a stop on the West Coast Chitlin’ Circuit, the network of venues where African-American artists performed during segregation, the venue became the epicenter of the San Francisco scene under the stewardship of concert impresario Bill Graham in the late ’60s. Graham renamed the venue Fillmore West after leaving his original location (today’s current Fillmore), and promoted a 1967 BB King show that became the legendary guitarist’s first performance in front of a \u003ca href=\"https://www.sfgate.com/music/article/Music-A-night-at-the-Fillmore-changed-B-B-6266457.php\" target=\"_blank\" rel=\"noopener\">majority white audience\u003c/a>.\u003c/p>\n\u003cp>The space was also briefly run by a collective formed by Jefferson Airplane, Quicksilver Messenger Service, Big Brother and the Holding Company and The Grateful Dead—all of whom would become regulars on the Fillmore West stage. The Fillmore West closed in 1971 with 14 bands performing between June 29 and July 4; an album and documentary titled \u003cem>Last Days at The Fillmore\u003c/em> was released in 1972.\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/_SDWjfsy-GA'\n title='//www.youtube.com/embed/_SDWjfsy-GA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While NPU is contacting some of those living legends from the Bay Area’s heyday for future programming, Langer noted that SVN West won’t strictly be a throwback. “We really want to keep it as a continuation of the cool stuff that’s happened in the building as opposed to re-launching the Fillmore West. Those are somewhat impossible shoes to fill.”\u003c/p>\n\u003cp>Non Plus Ultra will likely have several years to take advantage of the space. The building is owned by developers \u003ca href=\"https://www.crescentheights.com/\" target=\"_blank\" rel=\"noopener\">Crescent Heights\u003c/a>, which aims to build a 984-unit mixed-use development on the site and has undergone a years-long planning process with the city. The Miami-based company acquired the land in 2014 and Langer estimates that in three to five years, development will begin. Crescent Heights could not be reached for comment on this story.\u003c/p>\n\u003cp>“Crescent Heights is looking at this being a test run pilot program for potentially doing something more long term,” Langer said. Ultimately, NPU hopes to convince Crescent Heights that a ballroom will suit their plans.\u003c/p>\n\u003cp>In the interim, NPU is acquiring a sound system and securing its fixed-place permit from the city’s Entertainment Commission, which would allow SVN West to host events on an ongoing basis. That lengthy process involves multiple public hearings in front of the commission as well as neighborhood outreach, in addition to standard building, health and fire inspections. While it waits for a permanent permit, the company has secured multiple one-time entertainment event permits to host events such as its Pride celebration. NPU can have up to 12 such permits each year.\u003c/p>\n\u003cfigure id=\"attachment_13835052\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835052\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-800x322.jpg\" alt=\"The mezzanine of SVN West. \" width=\"800\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-800x322.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-768x309.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1020x411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1200x483.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-1180x475.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-960x387.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-240x97.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-375x151.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Mezzanine-520x209.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The mezzanine of SVN West. \u003ccite>(Non Plus Ultra, Inc. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s great to see new places crop up, especially one that was so major in the city,” said Maggie Weiland, acting director of the city’s Entertainment Commission. “We’ve definitely seen a trend of some of those [larger capacity] venues we’ve known and loved for so many years going away. Any way we can support bringing them back and support the people who are working to bring them back is great.”\u003c/p>\n\u003cp>The opening of SVN West comes at a time of corporate consolidation in the Bay Area’s live music scene. Live Nation and Goldenvoice, which recently took control of the Great American Music Hall and Slim’s, along with Another Planet Entertainment, have an effective stronghold on booking in San Francisco; each controls small clubs, larger venues and music festivals such as Outside Lands. \u003cem>East Bay Express\u003c/em> \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\">speculated\u003c/a> whether corporate control of San Francisco’s clubs and concert halls could homogenize live music in the region at the expense of local acts and promoters.\u003c/p>\n\u003cp>Langer, however, is unfazed and surprisingly upbeat. “I’m a huge believer in the more, the merrier,” he said, adding that, while NPU works well with bigger companies, he does not intend to use any of those corporate names as full-time bookers. Instead, NPU plans to keep booking in-house and is actively hiring a booker who can bring in unique talent and national acts that aren’t quite a fit for the nearby Bill Graham Civic Auditorium, which Langer jokingly referred to as the “900 pound gorilla in the room.”\u003c/p>\n\u003cfigure id=\"attachment_13835056\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835056\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SVN-Terrace-800x319.jpg\" alt=\"The rooftop terrace at SVN West. \" width=\"800\" height=\"319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-800x319.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-768x306.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1020x407.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1200x479.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-1180x471.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-960x383.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SVN-Terrace-520x207.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The rooftop terrace at SVN West. \u003ccite>(Non Plus Ultra, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not concerned about the competition. More artists and DJs and talent and events will make everything better,” Langer said. “We’re really excited to be in the booking arena. I think that San Francisco is ready for more of the unique stuff that we’re going to bring the space.”\u003c/p>\n\u003cp>Langer’s pointed to an exhibit at The Midway called “\u003ca href=\"http://www.themidwaygallery.com/current-1/\" target=\"_blank\" rel=\"noopener\">She Bends: Women in Neon\u003c/a>” as an example of future art installations that could be held at SVN West. His other dreams for the venue include the return of Aretha Franklin, who recorded \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Vyx34kgHGng\" target=\"_blank\" rel=\"noopener\">Aretha Live at the Fillmore West\u003c/a>\u003c/em> in 1971. However, Langer cautioned against pigeonholing SVN as a venue dedicated to a specific genre of music.\u003c/p>\n\u003cp>“My hope is that we knock it out of the park in the next three to five years and there’s a longer-term solution for keeping this space in San Francisco,” Langer said. “Every day, spaces are closing and changing, very often not for development, but just the cost of doing stuff in the Bay Area is crazy. Hopefully we’re going to be able to show Crescent Heights and the city as a whole that spaces are a viable business still. You don’t need a tech company to come in and fill out your space; we can make it cooler and more fun and definitely more engaging to the community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>NPU hasn’t announced a calendar of events at SVN West (the space was scheduled to host a benefit for Project Wreckless on June 14 with a workshop, go-kart racing, rooftop zip lining and performance by local funk band The Humidors, but the event was moved to The Midway) but Langer said there are multiple projects in the pipeline. He expects to host an official grand opening party in the near future.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Prince recorded his debut album \u003cem>For You\u003c/em> over 40 years ago at the Record Plant in Sausalito. By all accounts, he clashed with the producer hired by the record label throughout the recording and mixing—establishing himself as one with a dedicated musical vision right out of the gate. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=B0Rqc5uQJ_k\u003c/p>\n\u003cp>Now, the photographer hired by the record label exhibits a small exhibit of photographs of Prince, some never before seen, at a new gallery called Family Affair in the Lower Haight. These images of Prince, at just 19 years old, reveal so much about him as an artist and personality. He’s determined, he’s dripping with style, but he hasn’t yet been touched by fame, and it shows.\u003c/p>\n\u003cp>The photographer, Robert Whitman, gave us a glimpse into what it was like to document the unknown Minneapolis musician in 1977.\u003c/p>\n\u003cp>“He was very very shy,” Whitman said. “I was pretty wild and crazy at the time. We just wanted to make some cool pictures together. When we were shooting on the street I was screaming and, you know, he’s kind of shy and he didn’t want the whole world to know what he’s up to. But everybody on the street stopped and looked, and he was annoyed, but I got a lot of interesting expressions from him. And then at one point he just turned around and gave me the finger.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Always an original, Prince ultimately decided to use his own photographer for the album—but these images of him are some of our favorites.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Prince: Pre-Fame\u003c/em> is up at Family Affair gallery on Haight Street, right next to Groove Merchant records, with a grand opening on Thursday, June 7 (Prince’s birthday) and running through July 7. \u003ca href=\"https://www.eventbrite.com/e/prince-pre-fame-gallery-opening-tickets-46543054529\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prince recorded his debut album \u003cem>For You\u003c/em> over 40 years ago at the Record Plant in Sausalito. By all accounts, he clashed with the producer hired by the record label throughout the recording and mixing—establishing himself as one with a dedicated musical vision right out of the gate. \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/B0Rqc5uQJ_k'\n title='//www.youtube.com/embed/B0Rqc5uQJ_k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, the photographer hired by the record label exhibits a small exhibit of photographs of Prince, some never before seen, at a new gallery called Family Affair in the Lower Haight. These images of Prince, at just 19 years old, reveal so much about him as an artist and personality. He’s determined, he’s dripping with style, but he hasn’t yet been touched by fame, and it shows.\u003c/p>\n\u003cp>The photographer, Robert Whitman, gave us a glimpse into what it was like to document the unknown Minneapolis musician in 1977.\u003c/p>\n\u003cp>“He was very very shy,” Whitman said. “I was pretty wild and crazy at the time. We just wanted to make some cool pictures together. When we were shooting on the street I was screaming and, you know, he’s kind of shy and he didn’t want the whole world to know what he’s up to. But everybody on the street stopped and looked, and he was annoyed, but I got a lot of interesting expressions from him. And then at one point he just turned around and gave me the finger.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The four top-polling candidates in the San Francisco mayoral race provided their thoughts on the arts and arts-related issues in the city they hope to govern in new video interviews released Wednesday.\u003c/p>\n\u003cp>With a June 5 election just two weeks away, the Arts Coalition of San Francisco (ACSF) published video interviews with mayoral candidates Angela Alioto, Supervisor London Breed, Supervisor Jane Kim and former State Senator Mark Leno. All four answered questions from longtime arts critic Steven Winn on pertinent issues such as housing for artists, arts education, and the city’s hotel tax, which provides much of the city’s funding for arts.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.bettersf2018.com/\" rel=\"noopener\" target=\"_blank\">ACSF’s website\u003c/a>, the organization arranged the interviews on behalf of 100 arts organizations in San Francisco. (\u003cem>A list of the organizations backing the ACSF, provided by ACSF representatives to KQED, can be found at the end of this article.\u003c/em>)\u003c/p>\n\u003cp>“We view this as the beginning of an important conversation about the future of the arts in our city. Our city’s most vital assets and unique character lie in our cultural and artistic diversity,” ACSF representative Jonathan Moscone (pictured above) said in a statement. “We need to find a way to ensure that the communities served by artists and organizations thrive for years to come.”\u003c/p>\n\u003cp>\u003ci>Watch the interviews below and read brief summaries of the candidates and their positions:\u003c/i>\u003c/p>\n\u003ch2>Angela Alioto\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=IkSevyyQjb8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Angela Alioto is a former San Francisco supervisor and the daughter of former mayor \u003ca href=\"https://www.sfgate.com/news/article/Joseph-Alioto-Dies-at-81-Flamboyant-zestful-3014066.php\" rel=\"noopener\" target=\"_blank\">Joseph Alioto\u003c/a>. She’s also passionate about art history, mainly Italian art from 1300-1600, which she studied in college. (\u003ca href=\"http://www.bettersf2018.com/wp-content/uploads/Angela-Alioto.pdf\" rel=\"noopener\" target=\"_blank\">Transcript of interview\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Positions:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Advocates for increasing funds for the arts, whether it be public or private funding.\u003c/li>\n\u003cli>Likes idea of artist housing where rent is based on percentage of income.\u003c/li>\n\u003cli>Feels a mayor could use power to push for increases in arts education funding.\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003c/p>\n\u003ch2>Supervisor London Breed\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=lViMgyR9nss\u003c/p>\n\u003cp>Currently the president of the Board of Supervisors, Supervisor London Breed was born and raised in San Francisco’s Western Addition. One of her first jobs after college was serving as executive director for the \u003ca href=\"http://aaacc.org/\" rel=\"noopener\" target=\"_blank\">African American Art & Culture Complex\u003c/a>, where she raised over $2.5 million to expand the facility and install an art gallery, a theater space and a recording studio. (\u003ca href=\"http://www.bettersf2018.com/wp-content/uploads/London-Breed.pdf\" rel=\"noopener\" target=\"_blank\">Transcript of interview\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Positions:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Pushed to increase funding to the arts from the city’s hotel tax.\u003c/li>\n\u003cli>Wants the city’s larger arts institutions to collaborate with smaller organizations. \u003c/li>\n\u003cli>Thinks artist housing should be subsidized by private funding.\u003c/li>\n\u003cli>Feels arts education for youth should come from public schools and nonprofits.\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003c/p>\n\u003ch2>Supervisor Jane Kim\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=glyREy9u-Q0\u003c/p>\n\u003cp>Representing San Francisco’s District 6, Supervisor Jane Kim moved to San Francisco in the late ’90s and has spent most of her professional life in advocacy and grassroots organizing, working with groups such as the Greenlining Institute and the Chinatown Community Development Center (CCDC). Before becoming a supervisor, she was the first Korean American to be elected to San Francisco’s Board of Education. She’s also a civil rights attorney, has a black belt in Tae Kwon Do, and used to play bass guitar. (\u003ca href=\"http://www.bettersf2018.com/wp-content/uploads/Jane-Kim.pdf\" rel=\"noopener\" target=\"_blank\">Transcript of interview\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Positions:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Supports increased funding to the arts from the city’s hotel tax.\u003c/li>\n\u003cli>Feels arts education isn’t simply an elective and deserves more support.\u003c/li>\n\u003cli>Wants the city’s institutions to become more involved in local arts education, but also feels the city could help fund those collaborations.\u003c/li>\n\u003cli>Thinks the city could also find solutions to issues with artist housing.\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003c/p>\n\u003ch2>Mark Leno\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=0t8coAjKXFw\u003c/p>\n\u003cp>Mark Leno is a veteran of California politics who began his career in 1998, when he was appointed to the SF Board of Supervisors by then-Mayor Willie Brown. After serving as a supervisor and as a member of the California Assembly, Leno became the first openly gay state senator when he was elected to represent the state’s 3rd district in 2008. Before terming out in 2016, Leno authored several bills, including the \u003ca href=\"http://California%20Universal%20Health%20Care%20Act\" rel=\"noopener\" target=\"_blank\">California Universal Health Care Act\u003c/a> and \u003ca href=\"http://www.faireducationact.com/\" rel=\"noopener\" target=\"_blank\">the Fair Education Act\u003c/a>. He’s also a fan of musicals, and \u003ca href=\"https://www.jweekly.com/2018/05/16/mark-leno-mayoral-candidate-rabbinical-school-dropout/\" rel=\"noopener\" target=\"_blank\">recently opened up to \u003cem>J. Weekly\u003c/em>\u003c/a> about his relationship, in the 1970s, with San Francisco Symphony musical director Michael Tilson Thomas. The two remain close friends. (\u003ca href=\"http://www.bettersf2018.com/wp-content/uploads/Mark-Leno.pdf\" rel=\"noopener\" target=\"_blank\">Transcript of interview\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Positions:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>While a state legislator, worked to replenish funding for the California Arts Council.\u003c/li>\n\u003cli>Feels local arts industry is essential to tourism.\u003c/li>\n\u003cli>Wants to tax landlords who keep buildings empty and thereby contribute to local housing shortage. \u003c/li>\n\u003cli>Supports increase to arts funding from hotel tax.\u003c/li>\n\u003c/ul>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cstrong>Below is a list of Arts Coalition members, provided by the ACSF:\u003c/strong>\u003c/i>\u003cbr>\nABD Productions\u003cbr>\nAfrican-American Art & Culture Complex\u003cbr>\nAfrican-American Shakespeare Company\u003cbr>\nAfroSolo\u003cbr>\nAlonzo King LINES Ballet\u003cbr>\nAmerican Conservatory Theater\u003cbr>\nAPI Council\u003cbr>\nAPI Cultural Center\u003cbr>\nArtSpan\u003cbr>\nAsian Improv Arts\u003cbr>\nBayview Opera House\u003cbr>\nBindlestiff Studio\u003cbr>\nBrava! For Women in the Arts\u003cbr>\nCampo Santo\u003cbr>\nCenter for New Music\u003cbr>\nChinese Culture Center of San Francisco\u003cbr>\nChinese Historical Society of America\u003cbr>\nCirco Zero\u003cbr>\nCircus Center\u003cbr>\nCity Arts & Lectures\u003cbr>\nCompton’s Transgender Cultural District\u003cbr>\nContemporary Jewish Museum\u003cbr>\nCrowded Fire Theater Company\u003cbr>\nCurry Senior Center\u003cbr>\nDance Brigade\u003cbr>\nEXIT Theatre\u003cbr>\nExploratorium\u003cbr>\nFilipino-American Development Foundation\u003cbr>\nGenRyu Arts\u003cbr>\nImprint.City\u003cbr>\nKearny Street Workshop\u003cbr>\nMission Cultural Center for Latino Arts\u003cbr>\nMuseum of Craft & Design\u003cbr>\nMuseum of Performance & Design\u003cbr>\nMuseum of the African Diaspora\u003cbr>\nNew Conservatory Theatre Center\u003cbr>\nODC\u003cbr>\nPhilharmonia Baroque Orchestra & Chorale\u003cbr>\nPost:Ballet\u003cbr>\nPresidio Performing Arts Foundation\u003cbr>\nQueer Cultural Center\u003cbr>\nQuiet Lightning\u003cbr>\nRobert Moses KIN\u003cbr>\nRoot Division\u003cbr>\nSan Francisco Ballet\u003cbr>\nSan Francisco Cinematheque\u003cbr>\nSan Francisco Film Society\u003cbr>\nSan Francisco Friends of Chamber Music\u003cbr>\nSan Francisco Homeless Emergency Service Providers Association (HESPA)\u003cbr>\nSan Francisco Juneteenth\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nSan Francisco Opera\u003cbr>\nSan Francisco Opera Association\u003cbr>\nSan Francisco Performances\u003cbr>\nSan Francisco Symphony\u003cbr>\nSF Juneteenth\u003cbr>\nSFJAZZ\u003cbr>\nShipyard Trust for the Arts\u003cbr>\nSmall Press Traffic\u003cbr>\nSMUIN Ballet\u003cbr>\nSociety for Art Publications of the Americas\u003cbr>\nSoma Pilipinas\u003cbr>\nSoMARTS\u003cbr>\nThe Cutting Ball Theater\u003cbr>\nThe Lab\u003cbr>\nTheatre Bay Area\u003cbr>\nTheatre Communications Group\u003cbr>\nWomen’s Audio Mission\u003cbr>\nYerba Buena Center for the Arts\u003cbr>\nYerba Buena Gardens Festival\u003cbr>\nYouth Speaks\u003cbr>\nZ Space\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The four top-polling candidates in the San Francisco mayoral race provided their thoughts on the arts and arts-related issues in the city they hope to govern in new video interviews released Wednesday.\u003c/p>\n\u003cp>With a June 5 election just two weeks away, the Arts Coalition of San Francisco (ACSF) published video interviews with mayoral candidates Angela Alioto, Supervisor London Breed, Supervisor Jane Kim and former State Senator Mark Leno. All four answered questions from longtime arts critic Steven Winn on pertinent issues such as housing for artists, arts education, and the city’s hotel tax, which provides much of the city’s funding for arts.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.bettersf2018.com/\" rel=\"noopener\" target=\"_blank\">ACSF’s website\u003c/a>, the organization arranged the interviews on behalf of 100 arts organizations in San Francisco. (\u003cem>A list of the organizations backing the ACSF, provided by ACSF representatives to KQED, can be found at the end of this article.\u003c/em>)\u003c/p>\n\u003cp>“We view this as the beginning of an important conversation about the future of the arts in our city. Our city’s most vital assets and unique character lie in our cultural and artistic diversity,” ACSF representative Jonathan Moscone (pictured above) said in a statement. “We need to find a way to ensure that the communities served by artists and organizations thrive for years to come.”\u003c/p>\n\u003cp>\u003ci>Watch the interviews below and read brief summaries of the candidates and their positions:\u003c/i>\u003c/p>\n\u003ch2>Angela Alioto\u003c/h2>\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/IkSevyyQjb8'\n title='//www.youtube.com/embed/IkSevyyQjb8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Angela Alioto is a former San Francisco supervisor and the daughter of former mayor \u003ca href=\"https://www.sfgate.com/news/article/Joseph-Alioto-Dies-at-81-Flamboyant-zestful-3014066.php\" rel=\"noopener\" target=\"_blank\">Joseph Alioto\u003c/a>. She’s also passionate about art history, mainly Italian art from 1300-1600, which she studied in college. (\u003ca href=\"http://www.bettersf2018.com/wp-content/uploads/Angela-Alioto.pdf\" rel=\"noopener\" target=\"_blank\">Transcript of interview\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Positions:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Advocates for increasing funds for the arts, whether it be public or private funding.\u003c/li>\n\u003cli>Likes idea of artist housing where rent is based on percentage of income.\u003c/li>\n\u003cli>Feels a mayor could use power to push for increases in arts education funding.\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003c/p>\n\u003ch2>Supervisor London Breed\u003c/h2>\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/lViMgyR9nss'\n title='//www.youtube.com/embed/lViMgyR9nss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Currently the president of the Board of Supervisors, Supervisor London Breed was born and raised in San Francisco’s Western Addition. One of her first jobs after college was serving as executive director for the \u003ca href=\"http://aaacc.org/\" rel=\"noopener\" target=\"_blank\">African American Art & Culture Complex\u003c/a>, where she raised over $2.5 million to expand the facility and install an art gallery, a theater space and a recording studio. (\u003ca href=\"http://www.bettersf2018.com/wp-content/uploads/London-Breed.pdf\" rel=\"noopener\" target=\"_blank\">Transcript of interview\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Positions:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Pushed to increase funding to the arts from the city’s hotel tax.\u003c/li>\n\u003cli>Wants the city’s larger arts institutions to collaborate with smaller organizations. \u003c/li>\n\u003cli>Thinks artist housing should be subsidized by private funding.\u003c/li>\n\u003cli>Feels arts education for youth should come from public schools and nonprofits.\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003c/p>\n\u003ch2>Supervisor Jane Kim\u003c/h2>\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/glyREy9u-Q0'\n title='//www.youtube.com/embed/glyREy9u-Q0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Representing San Francisco’s District 6, Supervisor Jane Kim moved to San Francisco in the late ’90s and has spent most of her professional life in advocacy and grassroots organizing, working with groups such as the Greenlining Institute and the Chinatown Community Development Center (CCDC). Before becoming a supervisor, she was the first Korean American to be elected to San Francisco’s Board of Education. She’s also a civil rights attorney, has a black belt in Tae Kwon Do, and used to play bass guitar. (\u003ca href=\"http://www.bettersf2018.com/wp-content/uploads/Jane-Kim.pdf\" rel=\"noopener\" target=\"_blank\">Transcript of interview\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Positions:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Supports increased funding to the arts from the city’s hotel tax.\u003c/li>\n\u003cli>Feels arts education isn’t simply an elective and deserves more support.\u003c/li>\n\u003cli>Wants the city’s institutions to become more involved in local arts education, but also feels the city could help fund those collaborations.\u003c/li>\n\u003cli>Thinks the city could also find solutions to issues with artist housing.\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003c/p>\n\u003ch2>Mark Leno\u003c/h2>\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/0t8coAjKXFw'\n title='//www.youtube.com/embed/0t8coAjKXFw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mark Leno is a veteran of California politics who began his career in 1998, when he was appointed to the SF Board of Supervisors by then-Mayor Willie Brown. After serving as a supervisor and as a member of the California Assembly, Leno became the first openly gay state senator when he was elected to represent the state’s 3rd district in 2008. Before terming out in 2016, Leno authored several bills, including the \u003ca href=\"http://California%20Universal%20Health%20Care%20Act\" rel=\"noopener\" target=\"_blank\">California Universal Health Care Act\u003c/a> and \u003ca href=\"http://www.faireducationact.com/\" rel=\"noopener\" target=\"_blank\">the Fair Education Act\u003c/a>. He’s also a fan of musicals, and \u003ca href=\"https://www.jweekly.com/2018/05/16/mark-leno-mayoral-candidate-rabbinical-school-dropout/\" rel=\"noopener\" target=\"_blank\">recently opened up to \u003cem>J. Weekly\u003c/em>\u003c/a> about his relationship, in the 1970s, with San Francisco Symphony musical director Michael Tilson Thomas. The two remain close friends. (\u003ca href=\"http://www.bettersf2018.com/wp-content/uploads/Mark-Leno.pdf\" rel=\"noopener\" target=\"_blank\">Transcript of interview\u003c/a>.)\u003c/p>\n\u003cp>\u003cb>Positions:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>While a state legislator, worked to replenish funding for the California Arts Council.\u003c/li>\n\u003cli>Feels local arts industry is essential to tourism.\u003c/li>\n\u003cli>Wants to tax landlords who keep buildings empty and thereby contribute to local housing shortage. \u003c/li>\n\u003cli>Supports increase to arts funding from hotel tax.\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cstrong>Below is a list of Arts Coalition members, provided by the ACSF:\u003c/strong>\u003c/i>\u003cbr>\nABD Productions\u003cbr>\nAfrican-American Art & Culture Complex\u003cbr>\nAfrican-American Shakespeare Company\u003cbr>\nAfroSolo\u003cbr>\nAlonzo King LINES Ballet\u003cbr>\nAmerican Conservatory Theater\u003cbr>\nAPI Council\u003cbr>\nAPI Cultural Center\u003cbr>\nArtSpan\u003cbr>\nAsian Improv Arts\u003cbr>\nBayview Opera House\u003cbr>\nBindlestiff Studio\u003cbr>\nBrava! For Women in the Arts\u003cbr>\nCampo Santo\u003cbr>\nCenter for New Music\u003cbr>\nChinese Culture Center of San Francisco\u003cbr>\nChinese Historical Society of America\u003cbr>\nCirco Zero\u003cbr>\nCircus Center\u003cbr>\nCity Arts & Lectures\u003cbr>\nCompton’s Transgender Cultural District\u003cbr>\nContemporary Jewish Museum\u003cbr>\nCrowded Fire Theater Company\u003cbr>\nCurry Senior Center\u003cbr>\nDance Brigade\u003cbr>\nEXIT Theatre\u003cbr>\nExploratorium\u003cbr>\nFilipino-American Development Foundation\u003cbr>\nGenRyu Arts\u003cbr>\nImprint.City\u003cbr>\nKearny Street Workshop\u003cbr>\nMission Cultural Center for Latino Arts\u003cbr>\nMuseum of Craft & Design\u003cbr>\nMuseum of Performance & Design\u003cbr>\nMuseum of the African Diaspora\u003cbr>\nNew Conservatory Theatre Center\u003cbr>\nODC\u003cbr>\nPhilharmonia Baroque Orchestra & Chorale\u003cbr>\nPost:Ballet\u003cbr>\nPresidio Performing Arts Foundation\u003cbr>\nQueer Cultural Center\u003cbr>\nQuiet Lightning\u003cbr>\nRobert Moses KIN\u003cbr>\nRoot Division\u003cbr>\nSan Francisco Ballet\u003cbr>\nSan Francisco Cinematheque\u003cbr>\nSan Francisco Film Society\u003cbr>\nSan Francisco Friends of Chamber Music\u003cbr>\nSan Francisco Homeless Emergency Service Providers Association (HESPA)\u003cbr>\nSan Francisco Juneteenth\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nSan Francisco Opera\u003cbr>\nSan Francisco Opera Association\u003cbr>\nSan Francisco Performances\u003cbr>\nSan Francisco Symphony\u003cbr>\nSF Juneteenth\u003cbr>\nSFJAZZ\u003cbr>\nShipyard Trust for the Arts\u003cbr>\nSmall Press Traffic\u003cbr>\nSMUIN Ballet\u003cbr>\nSociety for Art Publications of the Americas\u003cbr>\nSoma Pilipinas\u003cbr>\nSoMARTS\u003cbr>\nThe Cutting Ball Theater\u003cbr>\nThe Lab\u003cbr>\nTheatre Bay Area\u003cbr>\nTheatre Communications Group\u003cbr>\nWomen’s Audio Mission\u003cbr>\nYerba Buena Center for the Arts\u003cbr>\nYerba Buena Gardens Festival\u003cbr>\nYouth Speaks\u003cbr>\nZ Space\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Clusterfest, the comedy and music festival, returns to San Francisco June 1–3 with plenty of big names—including Amy Schumer, The Lonely Island, Desus & Mero, Trevor Noah and his predecessor, Jon Stewart. With multiple stages, the lineup includes music, podcast hosts, TV stars, drag queens, and set re-creations from TV shows like \u003cem>Arrested Development\u003c/em> and Nickelodeon’s \u003cem>Double Dare\u003c/em>.\u003c/p>\n\u003cp>But we’re especially interested in Jon Stewart, and his decision to step away from surrealism. Every comedian right now gets asked, “Wow, you must have a lot of material since the election, right?” and their answer is almost always no. In fact, it’s harder to be a comedian these days, because how do you satirize satire? This is something that people talk about when they talk about Jon Stewart being off TV—that he couldn’t make up anything more ridiculous or absurd than what’s happening in Washington D.C. right now.\u003c/p>\n\u003cp>This is a rare appearance for Stewart, at a time when everyone’s saying “We need you more than ever!” Needless to say, it’ll be interesting to see what he brings.\u003c/p>\n\u003cp>\u003cem>Clusterfest runs Friday–Sunday, June 1–3, at the Civic Center and Bill Graham Civic Auditorium in San Francisco. \u003ca href=\"https://www.clusterfest.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Clusterfest, the comedy and music festival, returns to San Francisco June 1–3 with plenty of big names—including Amy Schumer, The Lonely Island, Desus & Mero, Trevor Noah and his predecessor, Jon Stewart. With multiple stages, the lineup includes music, podcast hosts, TV stars, drag queens, and set re-creations from TV shows like \u003cem>Arrested Development\u003c/em> and Nickelodeon’s \u003cem>Double Dare\u003c/em>.\u003c/p>\n\u003cp>But we’re especially interested in Jon Stewart, and his decision to step away from surrealism. Every comedian right now gets asked, “Wow, you must have a lot of material since the election, right?” and their answer is almost always no. In fact, it’s harder to be a comedian these days, because how do you satirize satire? This is something that people talk about when they talk about Jon Stewart being off TV—that he couldn’t make up anything more ridiculous or absurd than what’s happening in Washington D.C. right now.\u003c/p>\n\u003cp>This is a rare appearance for Stewart, at a time when everyone’s saying “We need you more than ever!” Needless to say, it’ll be interesting to see what he brings.\u003c/p>\n\u003cp>\u003cem>Clusterfest runs Friday–Sunday, June 1–3, at the Civic Center and Bill Graham Civic Auditorium in San Francisco. \u003ca href=\"https://www.clusterfest.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Editors Note: If Cities Could Dance captures dancers’ personal stories and their deep-rooted relationships to their communities. Watch a new episode every Tuesday through May 28, 2018.\u003c/em>\u003c/p>\n\u003cp>In the world of vogue, a pedestrian walkway can be a catwalk, an alleyway can be stage, and the sunbathers in Dolores Park can be an adoring crowd of fashion photographers.\u003c/p>\n\u003cp>According to Jocquese Whitfield (aka Sir JoQ), voguing — equal parts hard edges and soft curves — embodies the spirit of San Francisco. “San Francisco is dramatic because the rent is increasing, but it’s soft cause we’re still sitting here, unbothered,” he says.\u003c/p>\n\u003cp>Born and raised in San Francisco, Whitfield found vogue in his junior year of high school when he was looking for an alternative to the hip hop dance scene. “Vogue was that push that I needed to come out,” he says. “It shaped me to be the person I am today.”\u003c/p>\n\u003cp>Vogue balls — and the houses that formed around them — have long been sources of community and support for LGBTQ people of color. Voguing as a dance form draws from fashion poses, martial arts, gymnastics and pantomime; it gained popularity in 1970s Harlem. The style later took root in Oakland and San Francisco, and spread worldwide after Madonna’s international hit “Vogue.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, Whitfield teaches classes at Dance Mission Theater and the ODC. For him, vogue is about creating a safe space for empowerment and belonging, and spreading that message to as many people as possible. “It’s okay to be fierce, it’s okay to be fabulous, it’s okay to feel amazing about yourself!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Sir JoQ, Shea Mizrahi and DJ Spiider catwalk, duckwalk, spin, dip and drop through San Francisco — from Chinatown to the MUNI tracks to the Mission. \u003cem>–Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are also many local sound poets involved: Michael McClure, Clark Coolidge, Sheila Davies Sumner, Susan Stone, Amy X Neuburg, and Pamela Z, my new sound poetry favorite.\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/j7AZsQoD630'\n title='//www.youtube.com/embed/j7AZsQoD630'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As you can see, sound poetry is cerebral, but it’s also humorous. “Of course,” says Amirkhanian. “Because when you’re speaking, and your language doesn’t make sense, naturally, people are going to find it very funny.”\u003c/p>\n\u003cp>The Other Minds Festival runs 9-14 at ODC Theater. \u003ca href=\"https://www.otherminds.org\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Del Sol String Quartet is a Bay Area treasure and to celebrate its 25th anniversary, they’ve put together the Whole Sol Festival, which is sure to be a knockout set of shows. \u003c/p>\n\u003cp>For the festival, Del Sol’s members — Benjamin Kreith (violin), Rick Shinozaki (violin), Charlton Lee (viola), and Kathryn Bates (cello) — are playing the work of two generations of California composers. One piece comes from Terry Riley, who could be said to be the inventor of minimalism with his 1964 piece “In C.” The other piece comes from Riley’s son Gyan Riley, and is a work for string quartet and audience ukulele choir, so bring your ukulele if you have one, and arrive early to rehearse. \u003c/p>\n\u003cp>Del Sol is also playing work by the young Turkish composer Erberk Eryilmaz, Berkeley’s Theresa Wong, Daniel Wohl and Peru’s Gabriela Lena Frank. What a lineup. The festival runs from Nov. 16-18 at the Atrium Theater in at the San Francisco War Memorial Veterans Building. \u003ca href=\"http://delsolquartet.com/wholesolfestival/%7D\" target=\"_blank\" rel=\"noopener\">More details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YFDZ4D3BfXo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003ca href=\"https://www.facebook.com/asianamericanorchestra/\" target=\"_blank\" rel=\"noopener\">Anthony Brown’s\u003c/a> life’s work has been to play jazz and highlight stories about Asian Americans. “Go for Broke” is a new piece dedicated to the 442nd Infantry Regiment, a unit made up of Japanese American volunteers, who served even though their families were locked up in U.S. internment camps. The timing is apt: 2017 marks the 75th anniversary of the signing of the Executive Order which forced more than 120,000 Japanese and Japanese Americans into internment camps. “Go For Broke” features the terrific storyteller and singer Brenda Wong Aoki, and her husband, Mark Izu, who plays bass and shō (a Japanese reed instrument). The Nov. 4 show is sold out, but the orchestra also performs the work at the Presidio on Nov. 11 in a free performance. \u003ca href=\"https://www.facebook.com/events/148764439072149/?acontext=%7B%22source%22%3A5%2C%22page_id_source%22%3A286302150010%2C%22action_history%22%3A%5B%7B%22surface%22%3A%22page%22%2C%22mechanism%22%3A%22main_list%22%2C%22extra_data%22%3A%22%7B%5C%22page_id%5C%22%3A286302150010%2C%5C%22tour_id%5C%22%3Anull%7D%22%7D%5D%2C%22has_source%22%3Atrue%7D\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_-SLPBsqQZY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.facebook.com/asianamericanorchestra/\" target=\"_blank\" rel=\"noopener\">Anthony Brown’s\u003c/a> life’s work has been to play jazz and highlight stories about Asian Americans. “Go for Broke” is a new piece dedicated to the 442nd Infantry Regiment, a unit made up of Japanese American volunteers, who served even though their families were locked up in U.S. internment camps. The timing is apt: 2017 marks the 75th anniversary of the signing of the Executive Order which forced more than 120,000 Japanese and Japanese Americans into internment camps. “Go For Broke” features the terrific storyteller and singer Brenda Wong Aoki, and her husband, Mark Izu, who plays bass and shō (a Japanese reed instrument). The Nov. 4 show is sold out, but the orchestra also performs the work at the Presidio on Nov. 11 in a free performance. \u003ca href=\"https://www.facebook.com/events/148764439072149/?acontext=%7B%22source%22%3A5%2C%22page_id_source%22%3A286302150010%2C%22action_history%22%3A%5B%7B%22surface%22%3A%22page%22%2C%22mechanism%22%3A%22main_list%22%2C%22extra_data%22%3A%22%7B%5C%22page_id%5C%22%3A286302150010%2C%5C%22tour_id%5C%22%3Anull%7D%22%7D%5D%2C%22has_source%22%3Atrue%7D\" target=\"_blank\" rel=\"noopener\">Details here\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/_-SLPBsqQZY'\n title='//www.youtube.com/embed/_-SLPBsqQZY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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