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"content": "\u003cp>\u003ca href=\"http://anateresafernandez.com/\" target=\"_blank\" rel=\"noopener\">Ana Teresa Fernández\u003c/a>’ revelation came while driving on 280, as she exited the freeway.\u003c/p>\n\u003cp>Traveling between her home in the Excelsior and her studio at Hunters Point, she discovered the work of the late Oakland graffiti artist Mike “Dream” Francisco (and \u003ca href=\"https://youtu.be/cDp38sltic8\" target=\"_blank\" rel=\"noopener\">his TDK acolytes\u003c/a>) on a building by the side of the offramp. 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‘Dream’ in progress behind her. \u003ccite>(Rebeka Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not unlike Francisco, whose vital graffiti pieces spark joy and unity in places off the beaten path, Fernández creates art that disrupts our traditional idea of what exists on the fringes.\u003c/p>\n\u003cp>In her \u003ci>Borrando la Frontera (Erasing the Border)\u003c/i> series, she paints the metal posts imposed between the United States and Mexico to blend with their natural surroundings: a skyline in one, the ocean in another.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In this, she imagines the possibility of a utopia unfettered by the formation of boundaries, an allusion to the seminal works of Chicana feminist thinker \u003ca href=\"https://en.wikipedia.org/wiki/Gloria_E._Anzald%C3%BAa\" target=\"_blank\" rel=\"noopener\">Gloria Anzaldúa\u003c/a>.\u003c/p>\n\u003cp>For \u003ci>DREAM\u003c/i>, she says, she sought to create a hopeful vision for her neighborhood by transposing Francisco’s sentiment onto a larger space.\u003c/p>\n\u003cfigure id=\"attachment_13812701\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720.jpg\" alt=\"'Dream' installation in progress.\" width=\"1440\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-520x260.jpg 520w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">‘Dream’ installation in progress. \u003ccite>(Gizmo Art Production/Ariya Bunyapamai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s murals here in Alemany Market, and the Dream murals, but there wasn’t a piece that spoke louder for the community, that was visible, that was for and about the community,” Fernández says.\u003c/p>\n\u003cp>She pitched her ideas to \u003ca href=\"https://ybca.org/dream-public-art\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center of the Arts\u003c/a> and San Francisco Public Works. First, she imagined the word “DREAM” atop the building, then — with encouragement from YBCA’s civic engagement manager Rebeka Rodriguez — atop the hill. That was three years ago.\u003c/p>\n\u003cp>Fernández partnered with Dr. Martin Luther King, Jr. Middle School for the ambitious project. As part of YBCA’s Youth in the City initiative, select middle schoolers were tasked with attaching the sculpture’s individual aluminum panels. They made regular visits to her studio, working intimately with Fernández to understand the process of creating art — from conception to final product.\u003c/p>\n\u003cfigure id=\"attachment_13812693\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Dream-Install_1200.jpg\" alt=\"'Dream' installation in progress.\" width=\"1200\" height=\"633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘DREAM’ installation in progress. \u003ccite>(Gizmo Art Production/Ariya Bunyapamai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The school implemented a yearlong artistic and academic curriculum on the concept of dreams. Students designed architectural mockups, made posters, and wrote songs and poems exploring what it means to dream.\u003c/p>\n\u003cp>Then came the election — and Donald Trump’s divisive, often exclusionary campaign promises came to life, which wasn’t lost on the students.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>For the artists involved in this project, kids and adults alike, dreams often give way to the unforgiving conditions of material reality. Fernández was evicted from her home. Trump’s DACA repeal was implemented mere weeks before San Francisco officials approved the installation of her \u003cem>DREAM\u003c/em> sign.\u003c/p>\n\u003cp>Those realities, and their accompanying uncertainty, hit close to the project’s home: According to data published by the San Francisco Unified School District, 95 percent of students at Dr. Martin Luther King, Jr. are students of color, 75 percent come from “socioeconomically disadvantaged” backgrounds, and 23 percent are categorized as English learners.\u003c/p>\n\u003cfigure id=\"attachment_13812837\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200.jpg\" alt=\"Students from Martin Luther King, Jr. Middle School perform "Big Dreams" at the public unveiling of 'Dream.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Students from Martin Luther King, Jr. Middle School perform “Big Dreams” at the public unveiling of ‘DREAM.’ \u003ccite>(Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The installation itself was originally envisioned as a beacon of hope for those who travel through and reside in the Excelsior neighborhood. Now, \u003ci>DREAM\u003c/i> has taken on a more vital undercurrent of urgency and resistance.\u003c/p>\n\u003cp>“It’s a real privilege to be able to use art and the creative process to make space for young people to be critical thinkers and to be able to dream about a future that is, for the most part, not really easily visible in our current climate,” says YBCA’s Rodriguez.\u003c/p>\n\u003cp>The term itself has gained a political currency with mixed implications. Certainly, it provides a unified rallying cry for proponents of DACA and other allies of undocumented immigrants – and yet the term dismisses others who fail to meet the exhaustive hurdles of the current American immigration process.\u003c/p>\n\u003cp>When I spoke to CultureStrike filmmaker and undocumented activist \u003ca href=\"http://www.culturestrike.org/staff/jes%C3%BAs-i%C3%B1iguez\" target=\"_blank\" rel=\"noopener\">Jesús Iñiguez\u003c/a> soon after Trump’s DACA repeal, he critiqued the failure of “viral” DREAMer narratives to capture the multiplicity of the experiences of undocumented immigrants. Their heroic stories elicit sympathy, he says, but fail to create a humanizing perspective that lifts up all undocumented immigrants.\u003c/p>\n\u003cp>“There’s a narrative. There are some ‘good’ immigrants and there are some ‘bad’ immigrants,” he says. “All you need to do is make one mistake, and then you get lumped in with the ‘bad’ immigrants.”\u003c/p>\n\u003cfigure id=\"attachment_13812838\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b.jpg\" alt=\"Students from Martin Luther King, Jr. Middle School perform "Big Dreams" at the public unveiling of 'Dream.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Students from Martin Luther King, Jr. Middle School perform “Big Dreams” at the public unveiling of ‘DREAM.’ \u003ccite>(Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But on the south side of Bernal Hill, \u003ci>DREAM\u003c/i> stands not for respectability, nor for exclusion. Rather, Fernández poses it as a question of access, of who is granted the ability to dream in this current political landscape, of who is permitted to exist in particular public spaces.\u003c/p>\n\u003cp>“With the travel ban, with who can serve in the military, with DACA and DREAMers, it becomes a question of who is allowed to dream,” Fernández says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Dreams, by virtue of space and context and opportunity, are political. Mike “Dream” Francisco recognized this; every click of his aerosol can built community and solidarity through his singular graffiti art. His art was his activism.\u003c/p>\n\u003cp>Fernández’ \u003ci>DREAM\u003c/i> exists on a smaller scale, especially in comparison to her work that explicitly presents grander political possibilities.\u003c/p>\n\u003cp>The sign itself is a modest, unimposing thing. Even at its most visible vantage point — standing in the easternmost corner of the Alemany Market — it is overshadowed by a billboard hanging above it. (During the opening ceremony, the billboard advertised a developers’ conference sponsored by Samsung.)\u003c/p>\n\u003cp>It doesn’t speak loudly as much as it rings like a dull siren. Sunlight reflects onto the sculpture, reflecting onto the passerby. It is a quiet insistence of Fernández’ message not just to dream, but to reflect on these dreams.\u003c/p>\n\u003cp>With the accelerated pace of the world in 2017, \u003ci>DREAM\u003c/i> may not achieve the original vision Fernández set forth. But, now, in this political moment, the message taps into the same spirit of defiant, exuberant hope as Francisco’s graffiti. It’s an homage that befits the artist, and the community he believed in.\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\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For more information about Ana Teresa Fernández’ ‘DREAM,’ \u003ca href=\"https://ybca.org/dream-public-art\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Ana Teresa Fernández' Bernal Hill sculpture is both an invitation to the community and an homage to the hopeful art of Mike \"Dream\" Francisco.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://anateresafernandez.com/\" target=\"_blank\" rel=\"noopener\">Ana Teresa Fernández\u003c/a>’ revelation came while driving on 280, as she exited the freeway.\u003c/p>\n\u003cp>Traveling between her home in the Excelsior and her studio at Hunters Point, she discovered the work of the late Oakland graffiti artist Mike “Dream” Francisco (and \u003ca href=\"https://youtu.be/cDp38sltic8\" target=\"_blank\" rel=\"noopener\">his TDK acolytes\u003c/a>) on a building by the side of the offramp. Over and over again, multicolored tags reading “DREAM” run along the building’s concrete block wall.\u003c/p>\n\u003cp>“It was such a beautiful piece, and such an incredible moment every time I drove past it,” Fernández says, “because it says what art can do best: create a sense of introspection and awareness within ourselves.”\u003c/p>\n\u003cfigure id=\"attachment_13812694\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200.jpg\" alt=\"Ana Teresa Fernández with part of 'Dream' in progress behind her.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ana Teresa Fernández with part of ‘Dream’ in progress behind her. \u003ccite>(Rebeka Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not unlike Francisco, whose vital graffiti pieces spark joy and unity in places off the beaten path, Fernández creates art that disrupts our traditional idea of what exists on the fringes.\u003c/p>\n\u003cp>In her \u003ci>Borrando la Frontera (Erasing the Border)\u003c/i> series, she paints the metal posts imposed between the United States and Mexico to blend with their natural surroundings: a skyline in one, the ocean in another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this, she imagines the possibility of a utopia unfettered by the formation of boundaries, an allusion to the seminal works of Chicana feminist thinker \u003ca href=\"https://en.wikipedia.org/wiki/Gloria_E._Anzald%C3%BAa\" target=\"_blank\" rel=\"noopener\">Gloria Anzaldúa\u003c/a>.\u003c/p>\n\u003cp>For \u003ci>DREAM\u003c/i>, she says, she sought to create a hopeful vision for her neighborhood by transposing Francisco’s sentiment onto a larger space.\u003c/p>\n\u003cfigure id=\"attachment_13812701\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720.jpg\" alt=\"'Dream' installation in progress.\" width=\"1440\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-520x260.jpg 520w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">‘Dream’ installation in progress. \u003ccite>(Gizmo Art Production/Ariya Bunyapamai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s murals here in Alemany Market, and the Dream murals, but there wasn’t a piece that spoke louder for the community, that was visible, that was for and about the community,” Fernández says.\u003c/p>\n\u003cp>She pitched her ideas to \u003ca href=\"https://ybca.org/dream-public-art\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center of the Arts\u003c/a> and San Francisco Public Works. First, she imagined the word “DREAM” atop the building, then — with encouragement from YBCA’s civic engagement manager Rebeka Rodriguez — atop the hill. That was three years ago.\u003c/p>\n\u003cp>Fernández partnered with Dr. Martin Luther King, Jr. Middle School for the ambitious project. As part of YBCA’s Youth in the City initiative, select middle schoolers were tasked with attaching the sculpture’s individual aluminum panels. They made regular visits to her studio, working intimately with Fernández to understand the process of creating art — from conception to final product.\u003c/p>\n\u003cfigure id=\"attachment_13812693\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Dream-Install_1200.jpg\" alt=\"'Dream' installation in progress.\" width=\"1200\" height=\"633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘DREAM’ installation in progress. \u003ccite>(Gizmo Art Production/Ariya Bunyapamai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The school implemented a yearlong artistic and academic curriculum on the concept of dreams. Students designed architectural mockups, made posters, and wrote songs and poems exploring what it means to dream.\u003c/p>\n\u003cp>Then came the election — and Donald Trump’s divisive, often exclusionary campaign promises came to life, which wasn’t lost on the students.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>For the artists involved in this project, kids and adults alike, dreams often give way to the unforgiving conditions of material reality. Fernández was evicted from her home. Trump’s DACA repeal was implemented mere weeks before San Francisco officials approved the installation of her \u003cem>DREAM\u003c/em> sign.\u003c/p>\n\u003cp>Those realities, and their accompanying uncertainty, hit close to the project’s home: According to data published by the San Francisco Unified School District, 95 percent of students at Dr. Martin Luther King, Jr. are students of color, 75 percent come from “socioeconomically disadvantaged” backgrounds, and 23 percent are categorized as English learners.\u003c/p>\n\u003cfigure id=\"attachment_13812837\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200.jpg\" alt=\"Students from Martin Luther King, Jr. Middle School perform "Big Dreams" at the public unveiling of 'Dream.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Students from Martin Luther King, Jr. Middle School perform “Big Dreams” at the public unveiling of ‘DREAM.’ \u003ccite>(Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The installation itself was originally envisioned as a beacon of hope for those who travel through and reside in the Excelsior neighborhood. Now, \u003ci>DREAM\u003c/i> has taken on a more vital undercurrent of urgency and resistance.\u003c/p>\n\u003cp>“It’s a real privilege to be able to use art and the creative process to make space for young people to be critical thinkers and to be able to dream about a future that is, for the most part, not really easily visible in our current climate,” says YBCA’s Rodriguez.\u003c/p>\n\u003cp>The term itself has gained a political currency with mixed implications. Certainly, it provides a unified rallying cry for proponents of DACA and other allies of undocumented immigrants – and yet the term dismisses others who fail to meet the exhaustive hurdles of the current American immigration process.\u003c/p>\n\u003cp>When I spoke to CultureStrike filmmaker and undocumented activist \u003ca href=\"http://www.culturestrike.org/staff/jes%C3%BAs-i%C3%B1iguez\" target=\"_blank\" rel=\"noopener\">Jesús Iñiguez\u003c/a> soon after Trump’s DACA repeal, he critiqued the failure of “viral” DREAMer narratives to capture the multiplicity of the experiences of undocumented immigrants. Their heroic stories elicit sympathy, he says, but fail to create a humanizing perspective that lifts up all undocumented immigrants.\u003c/p>\n\u003cp>“There’s a narrative. There are some ‘good’ immigrants and there are some ‘bad’ immigrants,” he says. “All you need to do is make one mistake, and then you get lumped in with the ‘bad’ immigrants.”\u003c/p>\n\u003cfigure id=\"attachment_13812838\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b.jpg\" alt=\"Students from Martin Luther King, Jr. Middle School perform "Big Dreams" at the public unveiling of 'Dream.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Students from Martin Luther King, Jr. Middle School perform “Big Dreams” at the public unveiling of ‘DREAM.’ \u003ccite>(Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But on the south side of Bernal Hill, \u003ci>DREAM\u003c/i> stands not for respectability, nor for exclusion. Rather, Fernández poses it as a question of access, of who is granted the ability to dream in this current political landscape, of who is permitted to exist in particular public spaces.\u003c/p>\n\u003cp>“With the travel ban, with who can serve in the military, with DACA and DREAMers, it becomes a question of who is allowed to dream,” Fernández says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Dreams, by virtue of space and context and opportunity, are political. Mike “Dream” Francisco recognized this; every click of his aerosol can built community and solidarity through his singular graffiti art. His art was his activism.\u003c/p>\n\u003cp>Fernández’ \u003ci>DREAM\u003c/i> exists on a smaller scale, especially in comparison to her work that explicitly presents grander political possibilities.\u003c/p>\n\u003cp>The sign itself is a modest, unimposing thing. Even at its most visible vantage point — standing in the easternmost corner of the Alemany Market — it is overshadowed by a billboard hanging above it. (During the opening ceremony, the billboard advertised a developers’ conference sponsored by Samsung.)\u003c/p>\n\u003cp>It doesn’t speak loudly as much as it rings like a dull siren. Sunlight reflects onto the sculpture, reflecting onto the passerby. It is a quiet insistence of Fernández’ message not just to dream, but to reflect on these dreams.\u003c/p>\n\u003cp>With the accelerated pace of the world in 2017, \u003ci>DREAM\u003c/i> may not achieve the original vision Fernández set forth. But, now, in this political moment, the message taps into the same spirit of defiant, exuberant hope as Francisco’s graffiti. It’s an homage that befits the artist, and the community he believed in.\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\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information about Ana Teresa Fernández’ ‘DREAM,’ \u003ca href=\"https://ybca.org/dream-public-art\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "comfort-women-statue-strains-60-year-san-francisco-osaka-alliance",
"title": "'Comfort Women' Statue Strains 60-Year San Francisco-Osaka Alliance",
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"headTitle": "‘Comfort Women’ Statue Strains 60-Year San Francisco-Osaka Alliance | KQED",
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"content": "\u003cp>This year, San Francisco and the Japanese city of Osaka celebrate 60 years of their sister city alliance. But a new statue in San Francisco has angered Osaka officials, and endangers the cities’ long friendship. \u003c/p>\n\u003cp>Last Friday, a statue memorializing the “comfort women” of the Imperial Japanese Army was unveiled in San Francisco’s Chinatown. The statue, called \u003ci>Column of Strength,\u003c/i> features three girls standing on a pedestal, holding hands. They represent the hundreds of thousands of young women from China, Korea, the Philippines, and other countries that were forced into sex slavery by the Japanese military in the ’30 and ’40s. A fourth, much older woman stands before the column looking up at the girls, exemplifying the age at which the surviving comfort women finally began talking publicly about the horrors they experienced. \u003c/p>\n\u003cp>Calling the statue “Japan-bashing,” Osaka mayor Hirofumi Yoshimura said this week that if San Francisco officials continue with plans to integrate the statue into a public park, he will push to end Osaka’s sister city relationship with San Francisco. \u003c/p>\n\u003cp>“If San Francisco were to accept the donation, it will mean the city has expressed its wish to accept it in a public space,” \u003ca href=\"https://japantoday.com/category/politics/Osaka-may-end-San-Francisco-sister-city-ties-over-%27comfort-woman%27-statue\" rel=\"noopener\" target=\"_blank\">Yoshimura told reporters\u003c/a> at a press conference earlier this week. “It would be the same as the city erecting it. Therefore, I will terminate our sister city relations.”\u003c/p>\n\u003cp>[contextly_sidebar id=”nO1Yiy29IOpgLRVsXSjtBCtNZegBLMkC”]\u003c/p>\n\u003cp>Many conservatives in Japan dispute the prevailing narrative of comfort women, and many others feel the continuing campaign to recognize these atrocities is divisive — including Jun Yamada, the Consul General of Japan in San Francisco. In a public statement released the day the San Francisco memorial was unveiled, Yamada released a statement \u003ca href=\"http://www.sf.us.emb-japan.go.jp/itpr_en/17_0921.html\" rel=\"noopener\" target=\"_blank\">condemning the campaign\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The difficulty of this issue lies in the fact that there are wildly conflicting views, even today, as to what actually happened. Unfortunately, the aim of current comfort women memorial movements seems to perpetuate and fixate on certain one-sided interpretations, without presenting credible evidence, in the form of physical statues.\n\u003c/p>\u003c/blockquote>\n\u003cp>But activists like Lillian Sing and Julie Tang of the \u003ca href=\"http://remembercomfortwomen.org/\" rel=\"noopener\" target=\"_blank\">Comfort Women Justice Coalition\u003c/a> don’t see their work as being one-sided. They spent over two years raising money and pushing for the installation of the \u003ci>Column of Strength\u003c/i> in San Francisco’s St. Mary’s Square. To them, the statue represents a truth that won’t be denied.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The more Japan wants to tear down memorials, the more I want to put them up,” Sing said.\u003c/p>\n\u003ch3>Comfort Women — the Secret No One Wanted to Recognize\u003c/h3>\n\u003cp>\u003ca href=\"http://www.unc.edu/news/archives/feb97/comfort.html\" rel=\"noopener\" target=\"_blank\">Documents show\u003c/a> that in 1932, Japanese Gen. Okamura Yasuji ordered the army to establish comfort stations to alleviate the growing incidents of rape and sexually transmitted diseases amongst units fighting in China. Initially, the women were Japanese prostitutes and locals who were tricked into the work with promises of a factory job. But as the invasion of China and Korea ramped up, women were abducted and taken to stations by soldiers guided by the “Three Alls Policy”: kill all, burn all, loot all. At the comfort stations, the women were raped dozens of times a day. If they did not submit, they were beaten and tortured.\u003c/p>\n\u003cfigure id=\"attachment_13809835\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Kim-memorial1-800x1067.jpg\" alt=\"'Column of Strength,' taken at the unveiling ceremony on Sept. 22, 2017\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13809835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Column of Strength,’ taken at the unveiling ceremony on Sept. 22, 2017. \u003ccite>(Phyllis Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exact number of stationed comfort women is unknown. The most commonly accepted estimate is around 200,000, but researchers at \u003ca href=\"http://news.xinhuanet.com/english/2017-07/05/c_136419954.htm\" rel=\"noopener\" target=\"_blank\">Shanghai Normal University\u003c/a> updated the number in 2012 to between 360,000 and 410,000 women. They were mostly Korean and Chinese, but some were Filipina and Dutch. Their average age was 15 years old. \u003c/p>\n\u003cp>Stories of the comfort women and the horrors they faced didn’t reach the rest of the world until the early ’90s, when some Korean survivors began speaking out. But there were few survivors. Tang says that around 87 percent of comfort women died while in captivity, mostly from suicide.\u003c/p>\n\u003cp>“If I were a 15-year-old girl in captivity, being raped 30 to 40 times a day, I would die in a week,” Tang said. “They were commodities; they were not human beings. They were provisions that the Japanese military required.”\u003c/p>\n\u003cp>Those surviving and able to speak out about their experiences had to first overcome the shame that came from living as comfort women. Lee Yong-Soo, who was kidnapped at the age of 16 and forced into sexual slavery for two years, said she couldn’t talk about it until others began speaking out.\u003c/p>\n\u003cp>“I thought I was worthless. I didn’t talk about it, and nobody asked me,” Lee told the \u003ca href=\"https://www.washingtonpost.com/local/70-years-later-a-korean-comfort-woman-demands-apology-from-japan/2015/04/22/d1cf8794-e7ab-11e4-9767-6276fc9b0ada_story.html?utm_term=.bc9412260c3d\" rel=\"noopener\" target=\"_blank\">\u003cem>Washington Post\u003c/em> in 2015\u003c/a>. “My right to be happy, to marry, to have a family, it was all taken from me.”\u003c/p>\n\u003cp>For decades, Japan denied forcing women into sexual slavery. In 1991, Lee and other remaining comfort women demanded recognition and an apology from the Japanese government. Two years later, following a study confirming reports of coercion, Yōhei Kōno, Japan’s Chief Cabinet Secretary, \u003ca href=\"http://www.nytimes.com/1993/08/05/world/japan-admits-army-forced-women-into-war-brothels.html\" rel=\"noopener\" target=\"_blank\">released a statement\u003c/a> acknowledging the study’s findings, along with an official apology. \u003c/p>\n\u003cfigure id=\"attachment_13809919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-800x512.jpg\" alt='South Korean former \"comfort women\" Lee Yong-Soo (R) and Gil Won-Ok (C), who were forced into wartime sexual slavery for Japanese soldiers, shout slogans during an anti-Japanese rally commemorating the death of nine former sex slaves this year in front of the Japanese embassy in Seoul on December 30, 2015. South Korean \"comfort women\" and supporters vowed to step up protests against a deal between Seoul and Tokyo on resolving a long-running row over the comfort women. ' width=\"800\" height=\"512\" class=\"size-medium wp-image-13809919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-520x333.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">South Korean former “comfort women” Lee Yong-Soo (R) and Gil Won-Ok (C), who were forced into wartime sexual slavery for Japanese soldiers, shout slogans during an anti-Japanese rally commemorating the death of nine former sex slaves this year in front of the Japanese embassy in Seoul on December 30, 2015. South Korean “comfort women” and supporters vowed to step up protests against a deal between Seoul and Tokyo on resolving a long-running row over the comfort women. \u003ccite>(Jung Yeon-Je/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, both a conservative backlash against the Kono Statement and empathetic attempts to memorialize the comfort women have gained momentum. In 2007, while serving his first term as Japan’s Prime Minister, Shinzō Abe \u003ca href=\"http://www.telegraph.co.uk/news/worldnews/1544471/Japanese-PM-denies-wartime-comfort-women-were-forced.html\" rel=\"noopener\" target=\"_blank\">refuted the Kono Statement\u003c/a> and continues to do so today. And though it was Abe who reached an \u003ca href=\"http://www.bbc.com/news/world-asia-35188135\" rel=\"noopener\" target=\"_blank\">agreement with South Korea\u003c/a> to provide financial support to the 46 comfort women still living there, the Korean Government was made to remove a statue near the Japanese embassy in Seoul as part of the settlement.\u003c/p>\n\u003cp>“Japan and South Korea are now entering a new era,” Abe said at the time. “We should not drag this problem into the next generation.”\u003c/p>\n\u003cp>Now, the revisionist backlash has come the United States. In 2014, the pro-Japan \u003ca href=\"http://gaht.jp/\" rel=\"noopener\" target=\"_blank\">Global Alliance for Historical Truth\u003c/a> (GAHT) sued the southern California city of Glendale to stop the installation of a comfort women memorial. The legal battle went on for three years and finally ended when the U.S. Supreme Court \u003ca href=\"https://www.nbcnews.com/news/asian-america/supreme-court-declines-case-over-lawsuit-remove-comfort-women-memorial-n740996\" rel=\"noopener\" target=\"_blank\">refused to hear the case.\u003c/a>\u003c/p>\n\u003cp>Tang later said that the Glendale suit was “to intimidate and chill the local grassroots efforts to build ‘comfort women’ peace memorials.” But the opposition hasn’t succeeded. Since 2010, eight comfort women memorials have been erected in the United States, in smaller cities like Southfield, Michigan; Union City, New Jersey; and Fairfax, Virginia. On Sept. 22, San Francisco became the first major city to host a comfort women memorial. \u003c/p>\n\u003ch3>San Francisco Versus Osaka\u003c/h3>\n\u003cfigure id=\"attachment_13809833\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_1116-800x1067.jpg\" alt=\"The fourth woman in San Francisco's comfort women memorial, 'Column of Strength.'\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13809833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The fourth woman in San Francisco’s comfort women memorial, ‘Column of Strength.’ \u003ccite>(Phyllis Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of its 18 sister city alliances, San Francisco’s relationship with Osaka is its oldest. Established in 1957 under San Francisco Mayor George Christopher, the alliance not only allowed the fostering of commercial relationships but cultural ones as well, such as a long-running \u003ca href=\"http://www.sf-osaka.org/modules/scholarship/index.php?content_id=3\" rel=\"noopener\" target=\"_blank\">student ambassadorship\u003c/a>. In 2007, San Francisco celebrated the 50th anniversary of the alliance by re-naming a block of Buchanan Street “Osaka Way.”\u003c/p>\n\u003cp>The relationship began to fray in 2013, after Tōru Hashimoto, then mayor of Osaka, \u003ca href=\"https://www.japantimes.co.jp/news/2012/08/23/news/no-evidence-sex-slaves-were-taken-by-military-hashimoto/#.Wc1B7bKGOM8\" rel=\"noopener\" target=\"_blank\">declared that\u003c/a> “there is no evidence that people called comfort women were taken away by violence or threat by the [Japanese] military.” After an international uproar, Hashimoto \u003ca href=\"https://web.archive.org/web/20130609070505/http://ajw.asahi.com/article/behind_news/politics/AJ201305130131\" rel=\"noopener\" target=\"_blank\">updated his statement\u003c/a> to admit that there were comfort women, but that they were “necessary” so the soldiers could “rest” during the war. \u003c/p>\n\u003cp>In response, an unnamed San Francisco city official \u003ca href=\"https://www.japantimes.co.jp/news/2013/06/12/national/san-francisco-spurned-hashimoto-amid-sex-slave-outrage/#.Wc1DxrKGOM-\" rel=\"noopener\" target=\"_blank\">sent a message\u003c/a> to Hashimoto asking him to cancel a scheduled visit to the city, stating, “The people of San Francisco do not, at present, welcome Hashimoto’s trip to the U.S.” Hashimoto abandoned his travel plans. The San Francisco Board of Supervisors followed up with a resolution \u003ca href=\"http://www.nichibei.org/2013/06/s-f-board-of-supervisors-condemns-hashimotos-remarks-about-wwii-brothels/\" rel=\"noopener\" target=\"_blank\">condemning Hashimoto’s statement\u003c/a> a month later. \u003c/p>\n\u003cp>In 2015, San Francisco reignited the debate when it \u003ca href=\"https://www.japantimes.co.jp/news/2015/09/23/national/politics-diplomacy/san-francisco-unanimously-adopts-measure-to-build-comfort-women-memorial/#.WcxL-bKGOM8\" rel=\"noopener\" target=\"_blank\">unanimously approved\u003c/a> the installation of a comfort women memorial in the city’s Chinatown area. \u003c/p>\n\u003cp>With each major step in the two-year process to design and build the memorial, the city endured pushback from Osaka officials and others. For example, when the Board of Supervisors approved sculptor \u003ca href=\"https://www.facebook.com/stevenwhytecarmel/\" rel=\"noopener\" target=\"_blank\">Steven Whyte\u003c/a>‘s design for the memorial back in January, Osaka Mayor Yoshimura \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Ltr-of-Osaka-mayor-opposing-CWM-2-1-2017.pdf\">sent a letter\u003c/a> to San Francisco Mayor Ed Lee expressing concern “whether the [the statue] will negatively affect the exchange between our cities.” \u003c/p>\n\u003cp>Whyte later told the \u003ca href=\"http://www.sfchronicle.com/news/article/Memorialize-wartime-sex-slaves-known-as-12189721.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a> that he’s received over 1,000 emails demanding the project be aborted.\u003c/p>\n\u003cfigure id=\"attachment_13809933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Column-plans-800x545.jpg\" alt=\"Steven Whyte's drawings for 'Column of Strength'\" width=\"800\" height=\"545\" class=\"size-medium wp-image-13809933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-520x354.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Whyte’s drawings for ‘Column of Strength.’ \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Battle Continues\u003c/h3>\n\u003cp>This week, when asked by reporters about plans to have San Francisco representatives visit Osaka in celebration of the 60th anniversary of the sister city alliance, \u003ca href=\"http://www.scmp.com/news/asia/diplomacy/article/2113015/it-japan-bashing-osaka-may-sever-sister-city-ties-san-francisco\" rel=\"noopener\" target=\"_blank\">Yoshimura responded\u003c/a>, “If San Francisco accepts [the statue] at the municipal government level, then we cannot shake hands with them and smile.”\u003c/p>\n\u003cp>On Tuesday, the Osaka City Assembly \u003ca href=\"https://headlines.yahoo.co.jp/hl?a=20170927-00000057-mbsnewsv-l27\" rel=\"noopener\" target=\"_blank\">considered a resolution\u003c/a> ending the sister city alliance, but rejected it. For Sing and Tang, the rejection was not surprising. \u003c/p>\n\u003cfigure id=\"attachment_13809934\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-800x449.jpg\" alt=\"Lillian Sing and Julie Tang celebrate the unveiling of the 'Column of Strength'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13809934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lillian Sing and Julie Tang celebrate the unveiling of the ‘Column of Strength’ \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The people of Osaka are our greatest supporters,” Sing said. Tang says that over 25 organizations based in Osaka support their work.\u003c/p>\n\u003cp>For Sing and Tang, the San Francisco memorial is just the beginning. Both are former judges who retired from their jobs to dedicate their time to the Comfort Women Justice Coalition. They plan to push for more memorials honoring the comfort women, in the hopes that rape will stop being accepted as an inevitable result of war. \u003c/p>\n\u003cp>“I look forward to the day when there’s a memorial to the comfort women in Tokyo, Japan,” Sing said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "San Francisco's memorial to 'comfort women' — young girls forced into sexual slavery during the 1930s and 1940s — has angered the city's allies in Japan.",
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"title": "'Comfort Women' Statue Strains 60-Year San Francisco-Osaka Alliance | KQED",
"description": "San Francisco's memorial to 'comfort women' — young girls forced into sexual slavery during the 1930s and 1940s — has angered the city's allies in Japan.",
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"headline": "'Comfort Women' Statue Strains 60-Year San Francisco-Osaka Alliance",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year, San Francisco and the Japanese city of Osaka celebrate 60 years of their sister city alliance. But a new statue in San Francisco has angered Osaka officials, and endangers the cities’ long friendship. \u003c/p>\n\u003cp>Last Friday, a statue memorializing the “comfort women” of the Imperial Japanese Army was unveiled in San Francisco’s Chinatown. The statue, called \u003ci>Column of Strength,\u003c/i> features three girls standing on a pedestal, holding hands. They represent the hundreds of thousands of young women from China, Korea, the Philippines, and other countries that were forced into sex slavery by the Japanese military in the ’30 and ’40s. A fourth, much older woman stands before the column looking up at the girls, exemplifying the age at which the surviving comfort women finally began talking publicly about the horrors they experienced. \u003c/p>\n\u003cp>Calling the statue “Japan-bashing,” Osaka mayor Hirofumi Yoshimura said this week that if San Francisco officials continue with plans to integrate the statue into a public park, he will push to end Osaka’s sister city relationship with San Francisco. \u003c/p>\n\u003cp>“If San Francisco were to accept the donation, it will mean the city has expressed its wish to accept it in a public space,” \u003ca href=\"https://japantoday.com/category/politics/Osaka-may-end-San-Francisco-sister-city-ties-over-%27comfort-woman%27-statue\" rel=\"noopener\" target=\"_blank\">Yoshimura told reporters\u003c/a> at a press conference earlier this week. “It would be the same as the city erecting it. Therefore, I will terminate our sister city relations.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Many conservatives in Japan dispute the prevailing narrative of comfort women, and many others feel the continuing campaign to recognize these atrocities is divisive — including Jun Yamada, the Consul General of Japan in San Francisco. In a public statement released the day the San Francisco memorial was unveiled, Yamada released a statement \u003ca href=\"http://www.sf.us.emb-japan.go.jp/itpr_en/17_0921.html\" rel=\"noopener\" target=\"_blank\">condemning the campaign\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The difficulty of this issue lies in the fact that there are wildly conflicting views, even today, as to what actually happened. Unfortunately, the aim of current comfort women memorial movements seems to perpetuate and fixate on certain one-sided interpretations, without presenting credible evidence, in the form of physical statues.\n\u003c/p>\u003c/blockquote>\n\u003cp>But activists like Lillian Sing and Julie Tang of the \u003ca href=\"http://remembercomfortwomen.org/\" rel=\"noopener\" target=\"_blank\">Comfort Women Justice Coalition\u003c/a> don’t see their work as being one-sided. They spent over two years raising money and pushing for the installation of the \u003ci>Column of Strength\u003c/i> in San Francisco’s St. Mary’s Square. To them, the statue represents a truth that won’t be denied.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The more Japan wants to tear down memorials, the more I want to put them up,” Sing said.\u003c/p>\n\u003ch3>Comfort Women — the Secret No One Wanted to Recognize\u003c/h3>\n\u003cp>\u003ca href=\"http://www.unc.edu/news/archives/feb97/comfort.html\" rel=\"noopener\" target=\"_blank\">Documents show\u003c/a> that in 1932, Japanese Gen. Okamura Yasuji ordered the army to establish comfort stations to alleviate the growing incidents of rape and sexually transmitted diseases amongst units fighting in China. Initially, the women were Japanese prostitutes and locals who were tricked into the work with promises of a factory job. But as the invasion of China and Korea ramped up, women were abducted and taken to stations by soldiers guided by the “Three Alls Policy”: kill all, burn all, loot all. At the comfort stations, the women were raped dozens of times a day. If they did not submit, they were beaten and tortured.\u003c/p>\n\u003cfigure id=\"attachment_13809835\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Kim-memorial1-800x1067.jpg\" alt=\"'Column of Strength,' taken at the unveiling ceremony on Sept. 22, 2017\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13809835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Kim-memorial1-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Column of Strength,’ taken at the unveiling ceremony on Sept. 22, 2017. \u003ccite>(Phyllis Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exact number of stationed comfort women is unknown. The most commonly accepted estimate is around 200,000, but researchers at \u003ca href=\"http://news.xinhuanet.com/english/2017-07/05/c_136419954.htm\" rel=\"noopener\" target=\"_blank\">Shanghai Normal University\u003c/a> updated the number in 2012 to between 360,000 and 410,000 women. They were mostly Korean and Chinese, but some were Filipina and Dutch. Their average age was 15 years old. \u003c/p>\n\u003cp>Stories of the comfort women and the horrors they faced didn’t reach the rest of the world until the early ’90s, when some Korean survivors began speaking out. But there were few survivors. Tang says that around 87 percent of comfort women died while in captivity, mostly from suicide.\u003c/p>\n\u003cp>“If I were a 15-year-old girl in captivity, being raped 30 to 40 times a day, I would die in a week,” Tang said. “They were commodities; they were not human beings. They were provisions that the Japanese military required.”\u003c/p>\n\u003cp>Those surviving and able to speak out about their experiences had to first overcome the shame that came from living as comfort women. Lee Yong-Soo, who was kidnapped at the age of 16 and forced into sexual slavery for two years, said she couldn’t talk about it until others began speaking out.\u003c/p>\n\u003cp>“I thought I was worthless. I didn’t talk about it, and nobody asked me,” Lee told the \u003ca href=\"https://www.washingtonpost.com/local/70-years-later-a-korean-comfort-woman-demands-apology-from-japan/2015/04/22/d1cf8794-e7ab-11e4-9767-6276fc9b0ada_story.html?utm_term=.bc9412260c3d\" rel=\"noopener\" target=\"_blank\">\u003cem>Washington Post\u003c/em> in 2015\u003c/a>. “My right to be happy, to marry, to have a family, it was all taken from me.”\u003c/p>\n\u003cp>For decades, Japan denied forcing women into sexual slavery. In 1991, Lee and other remaining comfort women demanded recognition and an apology from the Japanese government. Two years later, following a study confirming reports of coercion, Yōhei Kōno, Japan’s Chief Cabinet Secretary, \u003ca href=\"http://www.nytimes.com/1993/08/05/world/japan-admits-army-forced-women-into-war-brothels.html\" rel=\"noopener\" target=\"_blank\">released a statement\u003c/a> acknowledging the study’s findings, along with an official apology. \u003c/p>\n\u003cfigure id=\"attachment_13809919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-800x512.jpg\" alt='South Korean former \"comfort women\" Lee Yong-Soo (R) and Gil Won-Ok (C), who were forced into wartime sexual slavery for Japanese soldiers, shout slogans during an anti-Japanese rally commemorating the death of nine former sex slaves this year in front of the Japanese embassy in Seoul on December 30, 2015. South Korean \"comfort women\" and supporters vowed to step up protests against a deal between Seoul and Tokyo on resolving a long-running row over the comfort women. ' width=\"800\" height=\"512\" class=\"size-medium wp-image-13809919\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Comfort-Women-Korea-520x333.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">South Korean former “comfort women” Lee Yong-Soo (R) and Gil Won-Ok (C), who were forced into wartime sexual slavery for Japanese soldiers, shout slogans during an anti-Japanese rally commemorating the death of nine former sex slaves this year in front of the Japanese embassy in Seoul on December 30, 2015. South Korean “comfort women” and supporters vowed to step up protests against a deal between Seoul and Tokyo on resolving a long-running row over the comfort women. \u003ccite>(Jung Yeon-Je/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, both a conservative backlash against the Kono Statement and empathetic attempts to memorialize the comfort women have gained momentum. In 2007, while serving his first term as Japan’s Prime Minister, Shinzō Abe \u003ca href=\"http://www.telegraph.co.uk/news/worldnews/1544471/Japanese-PM-denies-wartime-comfort-women-were-forced.html\" rel=\"noopener\" target=\"_blank\">refuted the Kono Statement\u003c/a> and continues to do so today. And though it was Abe who reached an \u003ca href=\"http://www.bbc.com/news/world-asia-35188135\" rel=\"noopener\" target=\"_blank\">agreement with South Korea\u003c/a> to provide financial support to the 46 comfort women still living there, the Korean Government was made to remove a statue near the Japanese embassy in Seoul as part of the settlement.\u003c/p>\n\u003cp>“Japan and South Korea are now entering a new era,” Abe said at the time. “We should not drag this problem into the next generation.”\u003c/p>\n\u003cp>Now, the revisionist backlash has come the United States. In 2014, the pro-Japan \u003ca href=\"http://gaht.jp/\" rel=\"noopener\" target=\"_blank\">Global Alliance for Historical Truth\u003c/a> (GAHT) sued the southern California city of Glendale to stop the installation of a comfort women memorial. The legal battle went on for three years and finally ended when the U.S. Supreme Court \u003ca href=\"https://www.nbcnews.com/news/asian-america/supreme-court-declines-case-over-lawsuit-remove-comfort-women-memorial-n740996\" rel=\"noopener\" target=\"_blank\">refused to hear the case.\u003c/a>\u003c/p>\n\u003cp>Tang later said that the Glendale suit was “to intimidate and chill the local grassroots efforts to build ‘comfort women’ peace memorials.” But the opposition hasn’t succeeded. Since 2010, eight comfort women memorials have been erected in the United States, in smaller cities like Southfield, Michigan; Union City, New Jersey; and Fairfax, Virginia. On Sept. 22, San Francisco became the first major city to host a comfort women memorial. \u003c/p>\n\u003ch3>San Francisco Versus Osaka\u003c/h3>\n\u003cfigure id=\"attachment_13809833\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_1116-800x1067.jpg\" alt=\"The fourth woman in San Francisco's comfort women memorial, 'Column of Strength.'\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13809833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_1116-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The fourth woman in San Francisco’s comfort women memorial, ‘Column of Strength.’ \u003ccite>(Phyllis Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of its 18 sister city alliances, San Francisco’s relationship with Osaka is its oldest. Established in 1957 under San Francisco Mayor George Christopher, the alliance not only allowed the fostering of commercial relationships but cultural ones as well, such as a long-running \u003ca href=\"http://www.sf-osaka.org/modules/scholarship/index.php?content_id=3\" rel=\"noopener\" target=\"_blank\">student ambassadorship\u003c/a>. In 2007, San Francisco celebrated the 50th anniversary of the alliance by re-naming a block of Buchanan Street “Osaka Way.”\u003c/p>\n\u003cp>The relationship began to fray in 2013, after Tōru Hashimoto, then mayor of Osaka, \u003ca href=\"https://www.japantimes.co.jp/news/2012/08/23/news/no-evidence-sex-slaves-were-taken-by-military-hashimoto/#.Wc1B7bKGOM8\" rel=\"noopener\" target=\"_blank\">declared that\u003c/a> “there is no evidence that people called comfort women were taken away by violence or threat by the [Japanese] military.” After an international uproar, Hashimoto \u003ca href=\"https://web.archive.org/web/20130609070505/http://ajw.asahi.com/article/behind_news/politics/AJ201305130131\" rel=\"noopener\" target=\"_blank\">updated his statement\u003c/a> to admit that there were comfort women, but that they were “necessary” so the soldiers could “rest” during the war. \u003c/p>\n\u003cp>In response, an unnamed San Francisco city official \u003ca href=\"https://www.japantimes.co.jp/news/2013/06/12/national/san-francisco-spurned-hashimoto-amid-sex-slave-outrage/#.Wc1DxrKGOM-\" rel=\"noopener\" target=\"_blank\">sent a message\u003c/a> to Hashimoto asking him to cancel a scheduled visit to the city, stating, “The people of San Francisco do not, at present, welcome Hashimoto’s trip to the U.S.” Hashimoto abandoned his travel plans. The San Francisco Board of Supervisors followed up with a resolution \u003ca href=\"http://www.nichibei.org/2013/06/s-f-board-of-supervisors-condemns-hashimotos-remarks-about-wwii-brothels/\" rel=\"noopener\" target=\"_blank\">condemning Hashimoto’s statement\u003c/a> a month later. \u003c/p>\n\u003cp>In 2015, San Francisco reignited the debate when it \u003ca href=\"https://www.japantimes.co.jp/news/2015/09/23/national/politics-diplomacy/san-francisco-unanimously-adopts-measure-to-build-comfort-women-memorial/#.WcxL-bKGOM8\" rel=\"noopener\" target=\"_blank\">unanimously approved\u003c/a> the installation of a comfort women memorial in the city’s Chinatown area. \u003c/p>\n\u003cp>With each major step in the two-year process to design and build the memorial, the city endured pushback from Osaka officials and others. For example, when the Board of Supervisors approved sculptor \u003ca href=\"https://www.facebook.com/stevenwhytecarmel/\" rel=\"noopener\" target=\"_blank\">Steven Whyte\u003c/a>‘s design for the memorial back in January, Osaka Mayor Yoshimura \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Ltr-of-Osaka-mayor-opposing-CWM-2-1-2017.pdf\">sent a letter\u003c/a> to San Francisco Mayor Ed Lee expressing concern “whether the [the statue] will negatively affect the exchange between our cities.” \u003c/p>\n\u003cp>Whyte later told the \u003ca href=\"http://www.sfchronicle.com/news/article/Memorialize-wartime-sex-slaves-known-as-12189721.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a> that he’s received over 1,000 emails demanding the project be aborted.\u003c/p>\n\u003cfigure id=\"attachment_13809933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Column-plans-800x545.jpg\" alt=\"Steven Whyte's drawings for 'Column of Strength'\" width=\"800\" height=\"545\" class=\"size-medium wp-image-13809933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Column-plans-520x354.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Whyte’s drawings for ‘Column of Strength.’ \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Battle Continues\u003c/h3>\n\u003cp>This week, when asked by reporters about plans to have San Francisco representatives visit Osaka in celebration of the 60th anniversary of the sister city alliance, \u003ca href=\"http://www.scmp.com/news/asia/diplomacy/article/2113015/it-japan-bashing-osaka-may-sever-sister-city-ties-san-francisco\" rel=\"noopener\" target=\"_blank\">Yoshimura responded\u003c/a>, “If San Francisco accepts [the statue] at the municipal government level, then we cannot shake hands with them and smile.”\u003c/p>\n\u003cp>On Tuesday, the Osaka City Assembly \u003ca href=\"https://headlines.yahoo.co.jp/hl?a=20170927-00000057-mbsnewsv-l27\" rel=\"noopener\" target=\"_blank\">considered a resolution\u003c/a> ending the sister city alliance, but rejected it. For Sing and Tang, the rejection was not surprising. \u003c/p>\n\u003cfigure id=\"attachment_13809934\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-800x449.jpg\" alt=\"Lillian Sing and Julie Tang celebrate the unveiling of the 'Column of Strength'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13809934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Scultpure-unveiling-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lillian Sing and Julie Tang celebrate the unveiling of the ‘Column of Strength’ \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The people of Osaka are our greatest supporters,” Sing said. Tang says that over 25 organizations based in Osaka support their work.\u003c/p>\n\u003cp>For Sing and Tang, the San Francisco memorial is just the beginning. Both are former judges who retired from their jobs to dedicate their time to the Comfort Women Justice Coalition. They plan to push for more memorials honoring the comfort women, in the hopes that rape will stop being accepted as an inevitable result of war. \u003c/p>\n\u003cp>“I look forward to the day when there’s a memorial to the comfort women in Tokyo, Japan,” Sing said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Kazuya Gojo’s square kites don’t \u003cem>look\u003c/em> like they should be able to fly. Made with bamboo and rice paper imported from Japan, the Hamamatsu tako (kite) takes hours to construct — each joint tied together with twine, every surface carefully painted.\u003c/p>\n\u003cp>Gojo was born in Hamamatsu, Japan, home to this particular style of kite-making, as well as a famous annual kite festival. Today, he works with the \u003ca href=\"http://takoageusa.org/homee.html\">International Association of Tako Age \u003c/a>to teach others the tradition, bringing Hamamatsu kites to the Berkeley Kite Festival and new generations of kite-lovers.\u003c/p>\n\u003cp>Kite-building is, by nature, an exercise in community building. As Gojo says, “Making kites takes lots of time by hand, so you need lots of hands.”\u003c/p>\n\u003cp>\u003cem>— Sarah Hotchkiss\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>Kazuya Gojo’s square kites don’t \u003cem>look\u003c/em> like they should be able to fly. Made with bamboo and rice paper imported from Japan, the Hamamatsu tako (kite) takes hours to construct — each joint tied together with twine, every surface carefully painted.\u003c/p>\n\u003cp>Gojo was born in Hamamatsu, Japan, home to this particular style of kite-making, as well as a famous annual kite festival. Today, he works with the \u003ca href=\"http://takoageusa.org/homee.html\">International Association of Tako Age \u003c/a>to teach others the tradition, bringing Hamamatsu kites to the Berkeley Kite Festival and new generations of kite-lovers.\u003c/p>\n\u003cp>Kite-building is, by nature, an exercise in community building. As Gojo says, “Making kites takes lots of time by hand, so you need lots of hands.”\u003c/p>\n\u003cp>\u003cem>— Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s 2017 in San Francisco, a \u003ca href=\"https://www.bloomberg.com/news/features/2017-04-19/silicon-valley-s-400-juicer-may-be-feeling-the-squeeze\" target=\"_blank\" rel=\"noopener\">juicer valued at $120 million just turned out to be pointless\u003c/a>, and I’m watching two twenty-somethings in startup hoodies making googly eyes at each other from the confines of a bean bag chair.\u003c/p>\n\u003cp>We’re sitting in the airy headquarters of the 13-year-old homeshare website Couchsurfing.com — one of the earliest success stories of the sharing economy. Tonight, it’s their office that’s being shared, playing host to yet another company banking on this economic system’s murky potential.\u003c/p>\n\u003cp>“Who here has been to a Sofar Sounds show?” asks a young man in a backwards cap, as a handful of the 100-plus audience members raise their hands. Nearly everyone here is in their 20s — couples, collegial friends and coworkers in groups of three and four. Waiting for the show to start, they munch on salads from the nearby Whole Foods. They Instagram. They drink wine. They Instagram themselves drinking wine.\u003c/p>\n\u003cfigure id=\"attachment_13120498\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-49.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13120498\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-800x600.jpg\" alt=\"Eyes on the Shore perform a Sofar Sounds show at Couchsurfing.com headquarters in San Francisco in April 2017.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Eyes on the Shore perform a Sofar Sounds show at Couchsurfing.com headquarters in San Francisco in April 2017. \u003ccite>(Emma Silvers / KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite knowing neither the venue’s location nor the identity of the evening’s performers at the time of purchase, each of these audience members paid $15 or $30 to get in, depending on whether they “applied” through Sofar Sounds’ \u003ca href=\"https://www.sofarsounds.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a> and in-house vetting system or bought guaranteed entry through Sofar’s new partnership with Airbnb. The element of surprise is a selling point, as is the secrecy and exclusivity, and it’s worked; this show sold out days ago.\u003c/p>\n\u003cp>Sofar Sounds, named for “\u003ca href=\"https://en.wikipedia.org/wiki/Songs_from_a_Room\" target=\"_blank\" rel=\"noopener\">Songs From a Room\u003c/a>,” is a for-profit company that hosts live music performances in 340 cities worldwide. Founded in London in 2009 by three friends who were sick of the loud, disrespectful audiences at bars and rock clubs — this origin story is recounted before every show — Sofar now has a full-time staff of at least 50, \u003ca href=\"http://www.telegraph.co.uk/business/2016/07/14/richard-branson-invests-in-secret-gig-start-up/\" target=\"_blank\" rel=\"noopener\">investors like Virgin’s Richard Branson\u003c/a>, and a team of unpaid volunteer “ambassadors” in every Sofar city. The company has grown quickly over the past eight years, largely by marketing itself as a grassroots movement for and by like-minded music lovers. Its motto is “Bringing the magic back to live music.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13120715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-800x533.jpg\" alt=\"C8g1eTmWsAUvBnf\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>But a contingent of local artists say there’s one increasingly unavoidable sour note: performers at Sofar shows don’t get paid. A first-time Sofar musician is instead compensated with a “high-quality” video of his or her four-song set; after that, a performer is considered a Sofar “alum” and offered a $50 stipend (depending on a room’s capacity, as low as three percent of the door) for an unfilmed gig. At all shows, musicians have the chance to sell merchandise, promote upcoming appearances, and make fans and social media followers out of a captive, attentive and, increasingly, upper-middle-class audience.\u003c/p>\n\u003cp>In other words: it’s great exposure.\u003c/p>\n\u003cp>[contextly_sidebar id=”8MYGa2t4aKpIJvmhypIAYLARnTFTGwjL”]\u003c/p>\n\u003cp>“I think they talk a lot about supporting local artists, but what they’re actually doing is perpetuating the idea that it’s okay for musicians to get paid shit,” says \u003ca href=\"https://madelinekenney.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Madeline Kenney\u003c/a>, an Oakland singer-songwriter whose 2016 EP \u003cem>Signals\u003c/em> landed on several critics’ year-end lists. Kenney played four Sofar shows before deciding they weren’t worth it — and, she says, before learning they weren’t free to attend.\u003c/p>\n\u003cp>“They’re projecting this kind of supportive community vibe, but that’s the complete opposite of what they’re doing,” says \u003ca href=\"https://xiomaramusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Xiomara\u003c/a>, a Berkeley-born R&B artist who, similarly, performed two Sofar shows before learning from a friend that audience members had to apply for $15 tickets.\u003c/p>\n\u003cp>“I think they’re taking advantage of artists who are at a certain place in their career, and purposefully not being upfront about [their finances].”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nqN8Rh1U110\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nAs a privately backed company, Sofar hasn’t released detailed public financial records. But the site Pitchbook.com reports that as of January 2015, Sofar Sounds LLC was valued at more than $22 million; by July 2016, the company had \u003ca href=\"http://pitchbook.com/profiles/sofar-sounds-profile-investors-funding-valuation-and-analysis\" target=\"_blank\" rel=\"noopener\">raised just under $6 million in venture capital\u003c/a>. Founders then identified San Francisco as a “Tier 1” market and launched major scaling efforts here, jumping from one show every other week to 20 per month (still largely organized and executed by around 100 volunteers), increasingly holding shows in office spaces to keep that pace, and charging a flat $15 ticket rate for shows as opposed to their earlier pay-what-you-want donations. (The controversial Airbnb partnership — more on that in a moment — was introduced in January.)\u003c/p>\n\u003caside class=\"pullquote alignright\">‘[Sofar Sounds] says ‘Hey, we appreciate you showing up, keeping on doing this’… but if you’re not paying me, you don’t care if I can keep doing this or not.’ \u003ccite>Xiomara\u003c/cite>\u003c/aside>\n\u003cp>Still, Sofar staff say the company isn’t profitable yet. “Our founders have been doing this as a hobby for the past five or six years, and we spend a lot more money than we earn,” says Sofar’s San Francisco director Dean Davis. Asked if the company could simply pay a flat percentage of the door charge to artists — the way traditional venues handle payment — Davis says that at the moment, “we can’t offer that.” When the company does turn a profit, he says, one of their goals is increasing compensation for artists.\u003c/p>\n\u003cp>Laced clearly throughout the company’s marketing, however, is a familiar kind of philosophy. It’s one that views a jump in Twitter followers as interchangeable with rent money — a model that treats artist pay like an afterthought, arguably normalizing the expectation that artists should work for free while co-opting the aesthetics of DIY house shows for profit. In the process, many local industry insiders say Sofar Sounds is taking advantage not only of struggling artists but unwitting fans — many of whom are young, new to the city and unfamiliar with its live music scene.\u003c/p>\n\u003cp>They’re unfamiliar as well, perhaps, with a larger concept: much like you don’t need a wifi-enabled juicer to squeeze a bag of juice, you don’t need a tech company to go to a house show.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13120075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Microphone.Break_-800x97.jpg\" alt=\"Microphone.Break\" width=\"800\" height=\"97\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-160x19.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-768x93.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-240x29.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-375x45.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-520x63.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The tradition of performing music in private homes is, of course, as old as music itself, running from the Medieval period’s wandering minstrels to the seeds of hip-hop, nurtured at Kool Herc’s house parties in the Bronx.\u003c/p>\n\u003cp>The modern-day house show might look a little different, but it’s left its mark on nearly every kind of music. In 1970s New York, jazz flourished at “rent parties” in Soho’s former industrial loft spaces. The ’90s punk and grunge movements would have looked much different without Olympia, Washington’s Phoenix House, which showcased early, scrappy versions of Nirvana and Bikini Kill; in cities around the world, punk houses still comprise much of the genre’s touring circuit. Folk music all but invented the term “listening room,” and the tradition is still going strong: indie acts like Rocky Votolato, David Bazan and Langhorne Slim have all gone on national house-concert-only tours in recent years.\u003c/p>\n\u003cp>“I would rather play in someone’s living room to six or seven people that want to be there than to 200 people who don’t care in a bar,” says Dan Weiss, frontman for the San Francisco indie pop band \u003ca href=\"https://theyellowdress.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The Yellow Dress\u003c/a>. \u003cspan style=\"font-weight: 400\">For one thing, “Often those six or seven people will cook you dinner afterwards, and maybe offer you a place to stay.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13120712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13120712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-800x536.jpg\" alt=\"Dan Weiss (left) and The Yellow Dress\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dan Weiss (left) and The Yellow Dress\u003c/figcaption>\u003c/figure>\n\u003cp>From 2012 to 2016, Weiss helped run a house show venue in the Richmond District; he still regularly books shows and mini-festivals at other houses in San Francisco and Oakland. And when The Yellow Dress tours, he makes a point of playing roughly 80 percent house shows and DIY venues.\u003c/p>\n\u003cp>He recalls a show he played in Chattanooga, Tennessee a few years ago, where there were maybe 12 people in attendance. “The host didn’t ask anyone to give money at the door, but then he felt bad, so he went to the ATM and pulled out $400 for us. And of those 12 people, I’m active friends with all of them,” he says.\u003c/p>\n\u003cp>“It’s a very organic and real fostering of community. It’s not forced,” he adds pointedly. “Or created by tech overlords.”\u003c/p>\n\u003cp>Weiss acknowledges that, in terms of compensation, a typical DIY house show may not pay much more than the $50 stipend Sofar offers alumni for non-filmed shows. On the other hand, there’s no middleman. Hosts don’t take a cut, and whatever’s collected at the door goes straight to the artists at the end of the night, divvied up by the bylaws of punk and common sense: the lion’s share goes to the touring band, the people who need food and gas to make their next gig.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xiAMPeVecdM\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThe local folk scene operates in a similar if separate ecosystem. A number of singer-songwriter house show series have been functioning (if not flourishing) in the Bay Area for years.\u003c/p>\n\u003cp>\u003ca href=\"http://kcturnerpresents.com/\" target=\"_blank\" rel=\"noopener\">KC Turner\u003c/a> might be their unofficial king. A promoter, artist manager and musician, he’s hosted an acoustic house concert series since 2006, booking primarily folk artists for living room shows in San Francisco, the East Bay and Marin. Though he also books at regular venues, Turner will be the first to tell you there’s something special about the house shows. He still remembers the moment in 2006 when, sitting in a living room in San Rafael listening to \u003ca href=\"http://www.matttheelectrician.com/\" target=\"_blank\" rel=\"noopener\">Matt the Electrician\u003c/a>, he felt so inspired that he decided to throw his own.\u003c/p>\n\u003cp>“It’s the lack of barriers between artist and the audience,” says Turner. “Especially with an unplugged living room performance, there’s the lack of a stage or a microphone — you’re all on one platform together, the same playing field, connected. That’s hard to recreate in a music venue.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uldZYkzlfwc\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nOn Turner’s website, would-be attendees can RSVP to house shows with a $20 suggested donation. His hosts don’t take a cut, and Turner says he takes only enough to cover a show’s basic costs.\u003c/p>\n\u003cp>“The rest goes to the artist,” he says. “Private shows are a direct fan-to-artist supporting system.”\u003c/p>\n\u003cp>Turner had mixed feelings about Sofar Sounds when the company first showed up in San Francisco in 2012. But he’s since come around, especially since attending a few shows — initially, he notes, at the urging of friends who work for Facebook.\u003c/p>\n\u003cp>“The bottom line is I think I’m okay with it,” says the promoter. Their demographics are different, for one: Turner’s shows tend to attract people over 30, while Sofar Sounds taps a younger market. “I’ve had people come to my house concerts because they went to a Sofar Sounds show and Googled ‘house concerts’ in the area afterward. It’s helping young people discover this world, and this whole way of experiencing shows, and that’s great.”\u003c/p>\n\u003cfigure id=\"attachment_13120710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13120710\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/2012-kc-turner-126-22-800x533.jpg\" alt=\"KC Turner.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2012-kc-turner-126-22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2012-kc-turner-126-22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2012-kc-turner-126-22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2012-kc-turner-126-22-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2012-kc-turner-126-22-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2012-kc-turner-126-22-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2012-kc-turner-126-22.jpg 843w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KC Turner. \u003ccite>(Emily Sevin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also appreciates Sofar’s emphasis on attentiveness; the standard pre-show spiel about the company’s founding is usually followed by directions not to talk or text during a performance. Turner thinks this atmosphere, combined with the average income level of attendees — anecdotally, there’s a higher ratio of tech employees at Sofar Sounds SF shows than at, say, your average Friday at Thee Parkside — is good for the music scene at the end of the day.\u003c/p>\n\u003cp>“They’re targeting the demographic that can spend money on shows and wants to, and if that trickles back down to me as a concert host, or a promoter of a show that’s a different vibe, that’s great too,” he says, noting that he booked the soul-rock band Tumbleweed Wanderers for a well-paying club show after seeing them at a Sofar show in 2014. “I don’t think it’s the quote-unquote exposure gig. There’s a real connective experience.”\u003c/p>\n\u003cp>“My biggest critique,” he says thoughtfully, recalling a Sofar show he had to leave because it felt too crowded and hot, “is they don’t rent chairs.”\u003c/p>\n\u003cp>He laughs. “My audience would shit their pants if there were no chairs.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13120075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Microphone.Break_-800x97.jpg\" alt=\"Microphone.Break\" width=\"800\" height=\"97\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-160x19.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-768x93.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-240x29.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-375x45.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-520x63.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Sofar Sounds audiences, as my beanbag-dwelling friends might attest, don’t care about chairs. Sofar Sounds audiences, the company likes to say, care about \u003cem>community\u003c/em>. The word appears constantly in Sofar’s marketing, and for diehard fans and volunteers, the shows do appear to be a major social connector: The company boasts at least one married couple who met through Sofar Sounds; on social media, ambassadors often refer to their “Sofar family.” When \u003ca href=\"https://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito\u003c/a>, a Sofar alum, won a Grammy earlier this year, Sofar Sounds volunteers posted proudly about it on Facebook with an unmistakable sense of ownership.\u003c/p>\n\u003cfigure id=\"attachment_13121365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13121365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n-800x393.jpg\" alt=\"Fantastic Negrito performs at a Sofar Sounds show in Austin in March 2015.\" width=\"800\" height=\"393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n-800x393.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n-768x377.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n-240x118.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n-375x184.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n-520x255.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fantastic Negrito performs at a Sofar Sounds show in Austin in March 2015. \u003ccite>(Fantastic Negrito / Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dean Davis, the city director and only paid staff member of Sofar Sounds San Francisco, believes in the Sofar community. An erstwhile drummer and graduate of Boston’s Berklee College of Music, Davis started Sofar Sounds Boston as a volunteer in 2013. He got hired as the company’s “global ambassador” the following year, and moved to San Francisco for his current position in August of 2016. That was around the time the company increased its San Francisco show frequency, and changed the ticketing process; the Airbnb partnership was announced in January 2017.\u003c/p>\n\u003cp>“The whole idea [behind the growth] was to make Sofar available to everyone,” says Davis. “We had 500 to 600 people RSVPing to shows that could only hold 60 or 80 community members. So we said ‘Let’s ramp it up.’”\u003c/p>\n\u003cp>Davis says that with 20 shows a month, Sofar SF still sees about 200 people applying for each show, which means each audience is selected — “curated” — by the company based on applications. In response to a \u003ca href=\"http://www.sfchronicle.com/music/article/There-s-no-venue-like-home-for-Sofar-s-pop-up-10863546.php\" target=\"_blank\" rel=\"noopener\">recent slew\u003c/a> of \u003ca href=\"http://www.7x7.com/airbnb-teams-up-with-sofar-sounds-to-offer-secret-shows-in-sf-2318384636.html\" target=\"_blank\" rel=\"noopener\">positive press\u003c/a>, he says, they’ve seen a lot of new faces.\u003c/p>\n\u003cp>“We can see how many times someone has been to a Sofar show before, and we try to make sure 60 to 70 percent of each show is completely new,” he says. First-time applicants are also asked for their age and gender. Davis agrees that the shows tend to attract people who are new to San Francisco: “It’s a fun place to meet new people who are like-minded,” he says. “People definitely treat it as a networking event.”\u003c/p>\n\u003cp>Davis walks me through the changes in the ticketing process, emphasizing that “Our shows were never free.” Previously, tickets were “pay what you want,” with a $10 suggested donation. Last fall, they moved to a flat $15 ticket fee, with an announcement to would-be attendees on the website. (No artist I spoke with recalled receiving word of the change.)\u003c/p>\n\u003cp>But what if you don’t want to be “curated”? Never fear: via the four-month-old Airbnb partnership, attendees can also purchase \u003ca href=\"https://www.airbnb.com/experiences/47182\" target=\"_blank\" rel=\"noopener\">a $30 ticket through Airbnb’s new “experiences” platform\u003c/a>. This ticket is aimed at out-of-town travelers, says Davis, and guarantees entry to a Sofar show. The company sets aside 20 tickets per show for sale through this platform; Davis says Airbnb takes no cut of the $30.\u003c/p>\n\u003cp>“All our Airbnb tickets have been selling out,” he adds, “which has been incredible.”\u003c/p>\n\u003cfigure id=\"attachment_13121580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13121580\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-800x513.png\" alt=\"Sofar's listing on Airbnb, where a guaranteed entry ticket costs $30.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-1020x655.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-960x616.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-240x154.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-375x241.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-520x334.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM.png 1111w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sofar’s listing on Airbnb, where a guaranteed entry ticket costs $30.\u003c/figcaption>\u003c/figure>\n\u003cp>Airbnb did not return requests for an interview. But a person close to the situation who has worked for Airbnb confirmed that the company does not take a cut from one-off experiences listed on the new platform, which was introduced in November 2016. Single-experience “hosts” — chefs, urban farmers, bike tour guides, and in this case Sofar Sounds — reportedly also set the price point.\u003c/p>\n\u003cp>But while Airbnb might not be reaping huge financial rewards with Sofar Sounds, they’re certainly benefitting in cool points: the appearance of supporting independent artists is invaluable cultural capital for a brand like Airbnb. In the Bay Area, where an already crunched housing market has been impacted in recent years by the \u003ca href=\"https://ww2.kqed.org/news/2015/05/27/short-term-rentals-are-squeezing-out-berkeley-renters/\" target=\"_blank\" rel=\"noopener\">proliferation of short-term rentals\u003c/a> (and \u003ca href=\"http://www.antievictionmap.com/airbnb/\" target=\"_blank\" rel=\"noopener\">related evictions\u003c/a>), Airbnb’s positioning itself as a company on the side of the struggling artist is shrewd to say the least.\u003c/p>\n\u003cp>If Davis is aware of the potential PR drawbacks from partnering Sofar’s ostensibly grassroots community with a corporation seen by grassroots activists as predatory, he’s not saying it. (Sofar founder Rafe Offer previously held senior marketing positions for Coca-Cola and Disney; to those in the know, a corporate partnership can’t have come as much of a surprise.)\u003c/p>\n\u003cp>“The vibe of the room still stays the same, as our communities are so similar,” Davis says of Airbnb users. “The Airbnb customer is a very curious, global customer, and when they travel the world they’re looking for that global experience. There’s so much synergy between their guests and our guests, it just made the best sense.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘It bothered me that they acted like they invented the house show, but they were definitely ‘disrupting’ the living room space, if you want to call it that. The Starbucks of living room shows.’ \u003ccite>Scott McDowell\u003c/cite>\u003c/aside>\n\u003cp>If either company is sincere about listening to artists — Davis told me several times that Sofar welcomes feedback, with “an open-door policy” — they might do well to talk to someone like Dan Weiss, who in 2016 actively campaigned for Proposition F, the legislation that would have further regulated short-term rentals in San Francisco. (You may recall Airbnb’s \u003ca href=\"http://www.huffingtonpost.com/entry/airbnb-signs-apology_us_5628495fe4b02f6a900f9a59\" target=\"_blank\" rel=\"noopener\">snarky billboard responses\u003c/a>.) For Weiss, who was already skeptical of Sofar Sounds’ unpaid-show business model, the Airbnb alliance was the final straw.\u003c/p>\n\u003cp>“It felt very weird not to disclose that [partnership],” Weiss says of the email he received asking his band to play a show. “You’re basically tricking people into working for Airbnb.”\u003c/p>\n\u003cp>Davis says finding a way to increase payment for musicians is part of the company’s long-term plan. Paying artists a percentage of the door is something they could “explore in the future,” he says, noting that they “are going to be an artist-centric organization.”\u003c/p>\n\u003cp>Some quick back-of-the-napkin math: The show I attended in Potrero Hill was at capacity with 150 people. About 70 percent of those people were paying attendees, according to Davis, while the other 30 were volunteers, employees of the host company, musicians or friends of the band. That means at least 95 paying customers, 75 of whom paid $15 to get in, 20 of whom paid $30. Credit card processing site Stripe takes 2.9 percent plus 30 cents of every transaction, which comes out to about $80. There was no A/V team to pay out at this show, which leaves an intake of about $1,650 for Sofar Sounds. Assuming each of the bands was paid the standard $50 stipend for an unfilmed show, this means $1,500 — thirty times more than each band’s pay — went to Sofar Sounds.\u003c/p>\n\u003cfigure id=\"attachment_13120499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-48.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13120499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-800x1067.jpg\" alt=\"No texting or talking during a Sofar Sounds show -- but social media posting is highly encouraged.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-1020x1361.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-1920x2561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-960x1281.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-520x694.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48.jpg 1535w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Sofar Sounds lineup from April 2017. There’s no texting or talking during a Sofar Sounds show — but social media posting is highly encouraged.\u003c/figcaption>\u003c/figure>\n\u003cp>Davis says that money goes back into infrastructure: buying equipment (they purchased PAs last year as opposed to asking musicians to bring their own), paying A/V teams, “artist relations,” and marketing. The company also pays for a basic event insurance policy that covers damages at shows, though they forego costly event permits. Hosts receive no compensation for opening their homes or offices.\u003c/p>\n\u003cp>Sofar Sounds also emphasizes the money that goes into training and hosting social events — camping trips, happy hours — for unpaid ambassadors. “These are people who work 9 to 5, and this is what they want to do in their free time,” says Davis. “They’re learning how to book shows, they’re getting up close and personal experiences with their favorite artists.”\u003c/p>\n\u003cp>It’s natural that keeping volunteers happy is a priority, considering the venture seems to lean heavily on unpaid work.\u003c/p>\n\u003cp>“I was confused why all these volunteers would just help without asking questions,” says one local artist manager and DJ, who spoke on the condition of anonymity, of his first encounter with Sofar Sounds circa 2013. “[But] on some level this was a beautiful thing. I just assumed it was a non-profit organization, with community support on every level.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I have friends who love going to these shows, and they’re not bad people. I think the great majority of people involved are just misinformed.’ \u003ccite>Madeline Kenney\u003c/cite>\u003c/aside>\n\u003cp>Then he went to an industry lunch with a “West Coast rep” for Sofar Sounds. “The question came up of how the company was structured, and when she said they were a for-profit company, a few of us at the table, myself included, had a jaw-drop moment,” he says. At that time, the company was beginning to seek investors; another potential revenue stream discussed, he says, was placements for music recorded at the gigs. (Sofar Sounds now says artists retain all the rights to their video and audio material from shows.)\u003c/p>\n\u003cp>Like others interviewed for this story, this source believed most local people involved with Sofar — i.e., volunteers — “have the best intentions.” But he questions who all has been clued in on the big-picture strategy, and since when. (My request to interview a Sofar Sounds founder for more perspective on the company’s longterm plan went unanswered.)\u003c/p>\n\u003cp>On the day of our conversation, this manager has just received an offer for a Sofar show for a young performer he manages. “I’m leaning toward a pass,” he says. “Even though I know the show will offer real value to our artist.”\u003c/p>\n\u003cp>And there, truly, is the rub. What \u003cem>is\u003c/em> the value of an unpaid gig? Of a video? \u003cem>Are\u003c/em> Instagram followers as good as gas money?\u003c/p>\n\u003cp>There are certainly artists who say yes: performers who love the Sofar Sounds experience, and find the benefits outweigh the lack of compensation. \u003ca href=\"https://iamtravishayes.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Travis Hayes\u003c/a>, an alt-country singer, has played about half a dozen Sofar shows over the past two years. After attending a few shows as an audience member — it became a regular date night for him and his now-fiancée — he submitted his band for consideration.\u003c/p>\n\u003cp>“Touring alone, you play so many shows where you’re in the back of the bar, playing to no one… It’s kind of soul-destroying,” says Hayes with a laugh. “So to have a show where everyone is there with the intent to actively listen to what you’re presenting musically is really phenomenal.”\u003c/p>\n\u003cfigure id=\"attachment_13120497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13120497\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM-800x536.png\" alt=\"\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM-240x161.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM-375x251.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM-520x348.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM.png 827w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Travis Hayes performs at a Sofar Sounds house show in San Francisco. \u003ccite>(Max Claus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hayes has also seen Sofar shows’ value in terms of promoting larger gigs. Since the bills aren’t announced ahead of time, a Sofar show won’t break an artist’s radius clause. That meant when he played a stripped-down Sofar show a week before his band’s first show at Great American Music Hall last year, he was “playing for 50 to 100 people that had probably never even heard of me” without breaking the terms of his contract with the larger venue.\u003c/p>\n\u003cp>And on tour, looped into the company’s cross-country network, his band booked Sofar shows in other cities en route to and from South By Southwest — sold-out rooms in places where they might not have otherwise had any draw. Hayes hopes Sofar’s new ticket prices translate into better artist pay. But regardless of payment, he says, as a result of his experiences thus far, “I would never turn down a Sofar show.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I’ve been playing house shows since I was 13, so I know what they’re commodifying, and it’s something very special.’ \u003ccite>Madeline Kenney\u003c/cite>\u003c/aside>\n\u003cp>Dean Davis says the company aims to pay artists more in the future. But he’s also adamant that this focus on money is nearsighted.\u003c/p>\n\u003cp>“People are taught to think money is the only way artists can be treated well,” he says. “But as a musician, having had experiences on tour where we work tirelessly to bring people in and then you’re treated like crap, and the promoter just sits back and collects, there’s a ton in a Sofar show for artists. They get an incredible video, they get new fans, they’re connected to our network from then on, and they’re treated with respect.” Early on, he says, the company sought feedback from artists about what drives them, and “a lot of it really isn’t money. They just like being listened to.”\u003c/p>\n\u003cp>As for accusations that the company is co-opting elements of DIY culture for profit, Davis laughs. “You know, the thing about the ‘oh, we’re punk rock, we’re a real DIY scene’ — DIY honestly just means that it has to do with the community,” he says. “DIY means a show that has a very warm, comforting intimacy to it, a connecting element, a scene. Sofar has all of that at our shows. We’re just a little more organized with it.\u003c/p>\n\u003cp>“What is DIY?” he says. “It’s an interesting question to ask.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13120075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Microphone.Break_-800x97.jpg\" alt=\"Microphone.Break\" width=\"800\" height=\"97\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-160x19.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-768x93.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-240x29.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-375x45.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-520x63.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s 2017 in San Francisco, and much like there are now about a half a dozen apps that help walk your dog, Sofar isn’t the only tech company dealing in house shows. Relative newcomer Roomtone, which launched here last year, also offers artists videos of their performances, plays up the secrecy and exclusivity element on social media, and has partnered with Airbnb, adding value to their “experiences” platform. In one recent outreach email to a local band, a Roomtone booker also promised show attendance by “top brass” from the homeshare company.\u003c/p>\n\u003cp>Scott McDowell, a recording engineer who worked as a Sofar A/V team member for a little over a year, stepped away from the company just as it ramped up operations in San Francisco. But he remains conflicted on the value of this dangled carrot from the tech world.\u003c/p>\n\u003cp>“You do get a room filled with San Francisco’s young urban professionals, and if you connect with these people…They’re the non-music-scene people your band needs to get to the next level. \u003cem>And\u003c/em> they’re going to pay attention,” says McDowell, who has also run live sound at traditional venues. “Do you know how hard it is to get people to pay attention if you’re the main support at Bottom of the Hill?”\u003c/p>\n\u003cp>On the other hand, “Part of the reason bands are being exploited is there are bands that are willing to be exploited. If you’re an artist who comes from money or you have a job and you’re just doing this for fun, great. But not all good bands have that financial security,” he says. “We need to be working to make sure music isn’t just an upper middle-class hobby.”\u003c/p>\n\u003cp>Exposure gigs, he adds, create an uneven playing field for artists trying to make it in an already-ruthless industry. “You can say a band that’s really good is going to get big based on merit [anyway], and in the short term maybe that’s fine,” he says. “But in the long term? You’re basically ruining the scene.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BExmUxkLcXT/?taken-by=lili_barelli\u003c/p>\n\u003cp>Some artists spoke to me about their philosophical opposition to or negative experiences with Sofar, but didn’t want to go on the record, citing possible backlash or loss of other opportunities for gigs. Others, like Lalin St. Juste from the electronic soul band \u003ca href=\"http://www.theseshen.com/\" target=\"_blank\" rel=\"noopener\">The Seshen\u003c/a>, told me they felt conflicted about Sofar gigs, but have kept playing them anyway.\u003c/p>\n\u003cp>“It’s helpful in new regions, like when I was in London — because the shows are always full and you get to meet a new audience. And the video is okay,” says St. Juste, who’s done two Sofar shows. “But overall, this whole artists not getting paid thing is ridiculous. I don’t think the model can last.”\u003c/p>\n\u003cp>Several artists interviewed for this piece were unaware that Sofar Sounds was a for-profit company.\u003c/p>\n\u003cp>“I’m confused, because SoFar is supposed to operate on a free model,” wrote Nate Salman of the band Waterstrider on an online thread about Sofar ticket prices in March 2017, noting that he’d always had positive experiences with the company despite not getting paid. “Tickets are a lottery but they are supposed to always be free,” he wrote. “When did they start charging money for these gigs?”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-50.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13121137\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-50.jpg\" alt=\"FullSizeRender (50)\" width=\"750\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-50.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-50-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-50-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-50-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-50-520x363.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003c/p>\n\u003cp>In the same thread, Sonny Smith of \u003ca href=\"http://www.sonnysmith.com/\" target=\"_blank\" rel=\"noopener\">Sonny and the Sunsets\u003c/a> recounted his experience of his band’s Sofar New York show, and the introduction they were given by a Sofar emcee: “She asked us, with the mic on, who we were after she called us something else, which felt a little embarrassing. Once that happened, and as I looked around and took in that we were playing a free show at a generic boutique in Manhattan that sold $400 jeans and not much else, I just figured it wasn’t an experience that had much soul or had much to do with anything that matters.”\u003c/p>\n\u003cp>“I feel duped,” says \u003ca href=\"https://liarose.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Lia Rose\u003c/a>, a singer-songwriter and activist who makes a point of playing benefit shows, paid and unpaid, for social justice causes. As a performer who prefers intimate spaces to loud bar gigs, she’s played three Sofar shows since mid-2015 and says they’ve been mostly positive experiences.\u003c/p>\n\u003cfigure id=\"attachment_13120714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13120714 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-800x1247.jpg\" alt=\"Lia Rose at a Sofar Sounds show in San Francisco. \" width=\"800\" height=\"1247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-800x1247.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-768x1197.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-1020x1590.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-960x1496.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-240x374.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-375x584.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-520x810.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o.jpg 1155w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lia Rose at a Sofar Sounds show in San Francisco. \u003ccite>(Evan Tchelepi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She was under the impression, however, that the company was not-for-profit. “If you’re trying to build an empire on the backs of artists, at least be transparent about it,” says Rose. “You’re dealing with a vulnerable population: a lot of artists are so hungry for a space where people will listen that they’ll do anything.”\u003c/p>\n\u003cp>That is, until they can’t take it anymore.\u003c/p>\n\u003cp>When Madeline Kenney played her fourth Sofar Sounds show in January, she decided halfway through her set that she would never play one again. It was about a month after the Ghost Ship fire, she says, and she was thinking philosophically about the whole nature of secret shows, what it meant to put her “heart and soul out there,” and what she was getting in return. So when it was her turn to play, she decided to say something.\u003c/p>\n\u003cp>“I think it’s great that you guys like this type of thing,” she remembers saying to the crowd of 40 to 50 people. “And you should also know there’s a lot more where that came from. There’s a big DIY community in Oakland and in San Francisco, and artists really need your support.”\u003c/p>\n\u003cp>Recalls Kenney: “You could hear a pin drop.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio//2017/05/Emma2way.mp3\" title=\"Emma Silvers on SoFar\" program=\"Two Way\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-960x639.jpg\"]\u003c/p>\n\n",
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"excerpt": "Valued at $22 million, Sofar Sounds books house shows, selectively 'curates' a paying audience, and takes the lion's share of the door money. Musicians ask: What's the deal?",
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"description": "Valued at $22 million, Sofar Sounds books house shows, selectively 'curates' a paying audience, and takes the lion's share of the door money. Musicians ask: What's the deal?",
"title": "A New Guest at Your House Show: The Middleman | KQED",
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"headline": "A New Guest at Your House Show: The Middleman",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s 2017 in San Francisco, a \u003ca href=\"https://www.bloomberg.com/news/features/2017-04-19/silicon-valley-s-400-juicer-may-be-feeling-the-squeeze\" target=\"_blank\" rel=\"noopener\">juicer valued at $120 million just turned out to be pointless\u003c/a>, and I’m watching two twenty-somethings in startup hoodies making googly eyes at each other from the confines of a bean bag chair.\u003c/p>\n\u003cp>We’re sitting in the airy headquarters of the 13-year-old homeshare website Couchsurfing.com — one of the earliest success stories of the sharing economy. Tonight, it’s their office that’s being shared, playing host to yet another company banking on this economic system’s murky potential.\u003c/p>\n\u003cp>“Who here has been to a Sofar Sounds show?” asks a young man in a backwards cap, as a handful of the 100-plus audience members raise their hands. Nearly everyone here is in their 20s — couples, collegial friends and coworkers in groups of three and four. Waiting for the show to start, they munch on salads from the nearby Whole Foods. They Instagram. They drink wine. They Instagram themselves drinking wine.\u003c/p>\n\u003cfigure id=\"attachment_13120498\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-49.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13120498\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-800x600.jpg\" alt=\"Eyes on the Shore perform a Sofar Sounds show at Couchsurfing.com headquarters in San Francisco in April 2017.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-49.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Eyes on the Shore perform a Sofar Sounds show at Couchsurfing.com headquarters in San Francisco in April 2017. \u003ccite>(Emma Silvers / KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite knowing neither the venue’s location nor the identity of the evening’s performers at the time of purchase, each of these audience members paid $15 or $30 to get in, depending on whether they “applied” through Sofar Sounds’ \u003ca href=\"https://www.sofarsounds.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a> and in-house vetting system or bought guaranteed entry through Sofar’s new partnership with Airbnb. The element of surprise is a selling point, as is the secrecy and exclusivity, and it’s worked; this show sold out days ago.\u003c/p>\n\u003cp>Sofar Sounds, named for “\u003ca href=\"https://en.wikipedia.org/wiki/Songs_from_a_Room\" target=\"_blank\" rel=\"noopener\">Songs From a Room\u003c/a>,” is a for-profit company that hosts live music performances in 340 cities worldwide. Founded in London in 2009 by three friends who were sick of the loud, disrespectful audiences at bars and rock clubs — this origin story is recounted before every show — Sofar now has a full-time staff of at least 50, \u003ca href=\"http://www.telegraph.co.uk/business/2016/07/14/richard-branson-invests-in-secret-gig-start-up/\" target=\"_blank\" rel=\"noopener\">investors like Virgin’s Richard Branson\u003c/a>, and a team of unpaid volunteer “ambassadors” in every Sofar city. The company has grown quickly over the past eight years, largely by marketing itself as a grassroots movement for and by like-minded music lovers. Its motto is “Bringing the magic back to live music.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13120715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-800x533.jpg\" alt=\"C8g1eTmWsAUvBnf\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/C8g1eTmWsAUvBnf.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>But a contingent of local artists say there’s one increasingly unavoidable sour note: performers at Sofar shows don’t get paid. A first-time Sofar musician is instead compensated with a “high-quality” video of his or her four-song set; after that, a performer is considered a Sofar “alum” and offered a $50 stipend (depending on a room’s capacity, as low as three percent of the door) for an unfilmed gig. At all shows, musicians have the chance to sell merchandise, promote upcoming appearances, and make fans and social media followers out of a captive, attentive and, increasingly, upper-middle-class audience.\u003c/p>\n\u003cp>In other words: it’s great exposure.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I think they talk a lot about supporting local artists, but what they’re actually doing is perpetuating the idea that it’s okay for musicians to get paid shit,” says \u003ca href=\"https://madelinekenney.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Madeline Kenney\u003c/a>, an Oakland singer-songwriter whose 2016 EP \u003cem>Signals\u003c/em> landed on several critics’ year-end lists. Kenney played four Sofar shows before deciding they weren’t worth it — and, she says, before learning they weren’t free to attend.\u003c/p>\n\u003cp>“They’re projecting this kind of supportive community vibe, but that’s the complete opposite of what they’re doing,” says \u003ca href=\"https://xiomaramusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Xiomara\u003c/a>, a Berkeley-born R&B artist who, similarly, performed two Sofar shows before learning from a friend that audience members had to apply for $15 tickets.\u003c/p>\n\u003cp>“I think they’re taking advantage of artists who are at a certain place in their career, and purposefully not being upfront about [their finances].”\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/nqN8Rh1U110'\n title='//www.youtube.com/embed/nqN8Rh1U110'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nAs a privately backed company, Sofar hasn’t released detailed public financial records. But the site Pitchbook.com reports that as of January 2015, Sofar Sounds LLC was valued at more than $22 million; by July 2016, the company had \u003ca href=\"http://pitchbook.com/profiles/sofar-sounds-profile-investors-funding-valuation-and-analysis\" target=\"_blank\" rel=\"noopener\">raised just under $6 million in venture capital\u003c/a>. Founders then identified San Francisco as a “Tier 1” market and launched major scaling efforts here, jumping from one show every other week to 20 per month (still largely organized and executed by around 100 volunteers), increasingly holding shows in office spaces to keep that pace, and charging a flat $15 ticket rate for shows as opposed to their earlier pay-what-you-want donations. (The controversial Airbnb partnership — more on that in a moment — was introduced in January.)\u003c/p>\n\u003caside class=\"pullquote alignright\">‘[Sofar Sounds] says ‘Hey, we appreciate you showing up, keeping on doing this’… but if you’re not paying me, you don’t care if I can keep doing this or not.’ \u003ccite>Xiomara\u003c/cite>\u003c/aside>\n\u003cp>Still, Sofar staff say the company isn’t profitable yet. “Our founders have been doing this as a hobby for the past five or six years, and we spend a lot more money than we earn,” says Sofar’s San Francisco director Dean Davis. Asked if the company could simply pay a flat percentage of the door charge to artists — the way traditional venues handle payment — Davis says that at the moment, “we can’t offer that.” When the company does turn a profit, he says, one of their goals is increasing compensation for artists.\u003c/p>\n\u003cp>Laced clearly throughout the company’s marketing, however, is a familiar kind of philosophy. It’s one that views a jump in Twitter followers as interchangeable with rent money — a model that treats artist pay like an afterthought, arguably normalizing the expectation that artists should work for free while co-opting the aesthetics of DIY house shows for profit. In the process, many local industry insiders say Sofar Sounds is taking advantage not only of struggling artists but unwitting fans — many of whom are young, new to the city and unfamiliar with its live music scene.\u003c/p>\n\u003cp>They’re unfamiliar as well, perhaps, with a larger concept: much like you don’t need a wifi-enabled juicer to squeeze a bag of juice, you don’t need a tech company to go to a house show.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13120075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Microphone.Break_-800x97.jpg\" alt=\"Microphone.Break\" width=\"800\" height=\"97\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-160x19.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-768x93.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-240x29.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-375x45.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-520x63.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The tradition of performing music in private homes is, of course, as old as music itself, running from the Medieval period’s wandering minstrels to the seeds of hip-hop, nurtured at Kool Herc’s house parties in the Bronx.\u003c/p>\n\u003cp>The modern-day house show might look a little different, but it’s left its mark on nearly every kind of music. In 1970s New York, jazz flourished at “rent parties” in Soho’s former industrial loft spaces. The ’90s punk and grunge movements would have looked much different without Olympia, Washington’s Phoenix House, which showcased early, scrappy versions of Nirvana and Bikini Kill; in cities around the world, punk houses still comprise much of the genre’s touring circuit. Folk music all but invented the term “listening room,” and the tradition is still going strong: indie acts like Rocky Votolato, David Bazan and Langhorne Slim have all gone on national house-concert-only tours in recent years.\u003c/p>\n\u003cp>“I would rather play in someone’s living room to six or seven people that want to be there than to 200 people who don’t care in a bar,” says Dan Weiss, frontman for the San Francisco indie pop band \u003ca href=\"https://theyellowdress.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The Yellow Dress\u003c/a>. \u003cspan style=\"font-weight: 400\">For one thing, “Often those six or seven people will cook you dinner afterwards, and maybe offer you a place to stay.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13120712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13120712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-800x536.jpg\" alt=\"Dan Weiss (left) and The Yellow Dress\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/yellow-dress-band-5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dan Weiss (left) and The Yellow Dress\u003c/figcaption>\u003c/figure>\n\u003cp>From 2012 to 2016, Weiss helped run a house show venue in the Richmond District; he still regularly books shows and mini-festivals at other houses in San Francisco and Oakland. And when The Yellow Dress tours, he makes a point of playing roughly 80 percent house shows and DIY venues.\u003c/p>\n\u003cp>He recalls a show he played in Chattanooga, Tennessee a few years ago, where there were maybe 12 people in attendance. “The host didn’t ask anyone to give money at the door, but then he felt bad, so he went to the ATM and pulled out $400 for us. And of those 12 people, I’m active friends with all of them,” he says.\u003c/p>\n\u003cp>“It’s a very organic and real fostering of community. It’s not forced,” he adds pointedly. “Or created by tech overlords.”\u003c/p>\n\u003cp>Weiss acknowledges that, in terms of compensation, a typical DIY house show may not pay much more than the $50 stipend Sofar offers alumni for non-filmed shows. On the other hand, there’s no middleman. Hosts don’t take a cut, and whatever’s collected at the door goes straight to the artists at the end of the night, divvied up by the bylaws of punk and common sense: the lion’s share goes to the touring band, the people who need food and gas to make their next gig.\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/xiAMPeVecdM'\n title='//www.youtube.com/embed/xiAMPeVecdM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThe local folk scene operates in a similar if separate ecosystem. A number of singer-songwriter house show series have been functioning (if not flourishing) in the Bay Area for years.\u003c/p>\n\u003cp>\u003ca href=\"http://kcturnerpresents.com/\" target=\"_blank\" rel=\"noopener\">KC Turner\u003c/a> might be their unofficial king. A promoter, artist manager and musician, he’s hosted an acoustic house concert series since 2006, booking primarily folk artists for living room shows in San Francisco, the East Bay and Marin. Though he also books at regular venues, Turner will be the first to tell you there’s something special about the house shows. He still remembers the moment in 2006 when, sitting in a living room in San Rafael listening to \u003ca href=\"http://www.matttheelectrician.com/\" target=\"_blank\" rel=\"noopener\">Matt the Electrician\u003c/a>, he felt so inspired that he decided to throw his own.\u003c/p>\n\u003cp>“It’s the lack of barriers between artist and the audience,” says Turner. “Especially with an unplugged living room performance, there’s the lack of a stage or a microphone — you’re all on one platform together, the same playing field, connected. That’s hard to recreate in a music venue.”\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/uldZYkzlfwc'\n title='//www.youtube.com/embed/uldZYkzlfwc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nOn Turner’s website, would-be attendees can RSVP to house shows with a $20 suggested donation. His hosts don’t take a cut, and Turner says he takes only enough to cover a show’s basic costs.\u003c/p>\n\u003cp>“The rest goes to the artist,” he says. “Private shows are a direct fan-to-artist supporting system.”\u003c/p>\n\u003cp>Turner had mixed feelings about Sofar Sounds when the company first showed up in San Francisco in 2012. But he’s since come around, especially since attending a few shows — initially, he notes, at the urging of friends who work for Facebook.\u003c/p>\n\u003cp>“The bottom line is I think I’m okay with it,” says the promoter. Their demographics are different, for one: Turner’s shows tend to attract people over 30, while Sofar Sounds taps a younger market. “I’ve had people come to my house concerts because they went to a Sofar Sounds show and Googled ‘house concerts’ in the area afterward. It’s helping young people discover this world, and this whole way of experiencing shows, and that’s great.”\u003c/p>\n\u003cfigure id=\"attachment_13120710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13120710\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/2012-kc-turner-126-22-800x533.jpg\" alt=\"KC Turner.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2012-kc-turner-126-22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2012-kc-turner-126-22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2012-kc-turner-126-22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2012-kc-turner-126-22-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2012-kc-turner-126-22-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2012-kc-turner-126-22-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2012-kc-turner-126-22.jpg 843w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KC Turner. \u003ccite>(Emily Sevin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also appreciates Sofar’s emphasis on attentiveness; the standard pre-show spiel about the company’s founding is usually followed by directions not to talk or text during a performance. Turner thinks this atmosphere, combined with the average income level of attendees — anecdotally, there’s a higher ratio of tech employees at Sofar Sounds SF shows than at, say, your average Friday at Thee Parkside — is good for the music scene at the end of the day.\u003c/p>\n\u003cp>“They’re targeting the demographic that can spend money on shows and wants to, and if that trickles back down to me as a concert host, or a promoter of a show that’s a different vibe, that’s great too,” he says, noting that he booked the soul-rock band Tumbleweed Wanderers for a well-paying club show after seeing them at a Sofar show in 2014. “I don’t think it’s the quote-unquote exposure gig. There’s a real connective experience.”\u003c/p>\n\u003cp>“My biggest critique,” he says thoughtfully, recalling a Sofar show he had to leave because it felt too crowded and hot, “is they don’t rent chairs.”\u003c/p>\n\u003cp>He laughs. “My audience would shit their pants if there were no chairs.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13120075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Microphone.Break_-800x97.jpg\" alt=\"Microphone.Break\" width=\"800\" height=\"97\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-160x19.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-768x93.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-240x29.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-375x45.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-520x63.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Sofar Sounds audiences, as my beanbag-dwelling friends might attest, don’t care about chairs. Sofar Sounds audiences, the company likes to say, care about \u003cem>community\u003c/em>. The word appears constantly in Sofar’s marketing, and for diehard fans and volunteers, the shows do appear to be a major social connector: The company boasts at least one married couple who met through Sofar Sounds; on social media, ambassadors often refer to their “Sofar family.” When \u003ca href=\"https://ww2.kqed.org/arts/2015/02/12/fantastic-negrito-xavier-dphrepaulezz-second-act/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito\u003c/a>, a Sofar alum, won a Grammy earlier this year, Sofar Sounds volunteers posted proudly about it on Facebook with an unmistakable sense of ownership.\u003c/p>\n\u003cfigure id=\"attachment_13121365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13121365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n-800x393.jpg\" alt=\"Fantastic Negrito performs at a Sofar Sounds show in Austin in March 2015.\" width=\"800\" height=\"393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n-800x393.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n-768x377.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n-240x118.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n-375x184.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11102960_837010016382950_4875273208459003854_n-520x255.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fantastic Negrito performs at a Sofar Sounds show in Austin in March 2015. \u003ccite>(Fantastic Negrito / Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dean Davis, the city director and only paid staff member of Sofar Sounds San Francisco, believes in the Sofar community. An erstwhile drummer and graduate of Boston’s Berklee College of Music, Davis started Sofar Sounds Boston as a volunteer in 2013. He got hired as the company’s “global ambassador” the following year, and moved to San Francisco for his current position in August of 2016. That was around the time the company increased its San Francisco show frequency, and changed the ticketing process; the Airbnb partnership was announced in January 2017.\u003c/p>\n\u003cp>“The whole idea [behind the growth] was to make Sofar available to everyone,” says Davis. “We had 500 to 600 people RSVPing to shows that could only hold 60 or 80 community members. So we said ‘Let’s ramp it up.’”\u003c/p>\n\u003cp>Davis says that with 20 shows a month, Sofar SF still sees about 200 people applying for each show, which means each audience is selected — “curated” — by the company based on applications. In response to a \u003ca href=\"http://www.sfchronicle.com/music/article/There-s-no-venue-like-home-for-Sofar-s-pop-up-10863546.php\" target=\"_blank\" rel=\"noopener\">recent slew\u003c/a> of \u003ca href=\"http://www.7x7.com/airbnb-teams-up-with-sofar-sounds-to-offer-secret-shows-in-sf-2318384636.html\" target=\"_blank\" rel=\"noopener\">positive press\u003c/a>, he says, they’ve seen a lot of new faces.\u003c/p>\n\u003cp>“We can see how many times someone has been to a Sofar show before, and we try to make sure 60 to 70 percent of each show is completely new,” he says. First-time applicants are also asked for their age and gender. Davis agrees that the shows tend to attract people who are new to San Francisco: “It’s a fun place to meet new people who are like-minded,” he says. “People definitely treat it as a networking event.”\u003c/p>\n\u003cp>Davis walks me through the changes in the ticketing process, emphasizing that “Our shows were never free.” Previously, tickets were “pay what you want,” with a $10 suggested donation. Last fall, they moved to a flat $15 ticket fee, with an announcement to would-be attendees on the website. (No artist I spoke with recalled receiving word of the change.)\u003c/p>\n\u003cp>But what if you don’t want to be “curated”? Never fear: via the four-month-old Airbnb partnership, attendees can also purchase \u003ca href=\"https://www.airbnb.com/experiences/47182\" target=\"_blank\" rel=\"noopener\">a $30 ticket through Airbnb’s new “experiences” platform\u003c/a>. This ticket is aimed at out-of-town travelers, says Davis, and guarantees entry to a Sofar show. The company sets aside 20 tickets per show for sale through this platform; Davis says Airbnb takes no cut of the $30.\u003c/p>\n\u003cp>“All our Airbnb tickets have been selling out,” he adds, “which has been incredible.”\u003c/p>\n\u003cfigure id=\"attachment_13121580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13121580\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-800x513.png\" alt=\"Sofar's listing on Airbnb, where a guaranteed entry ticket costs $30.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-1020x655.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-960x616.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-240x154.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-375x241.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM-520x334.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-28-at-1.45.21-AM.png 1111w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sofar’s listing on Airbnb, where a guaranteed entry ticket costs $30.\u003c/figcaption>\u003c/figure>\n\u003cp>Airbnb did not return requests for an interview. But a person close to the situation who has worked for Airbnb confirmed that the company does not take a cut from one-off experiences listed on the new platform, which was introduced in November 2016. Single-experience “hosts” — chefs, urban farmers, bike tour guides, and in this case Sofar Sounds — reportedly also set the price point.\u003c/p>\n\u003cp>But while Airbnb might not be reaping huge financial rewards with Sofar Sounds, they’re certainly benefitting in cool points: the appearance of supporting independent artists is invaluable cultural capital for a brand like Airbnb. In the Bay Area, where an already crunched housing market has been impacted in recent years by the \u003ca href=\"https://ww2.kqed.org/news/2015/05/27/short-term-rentals-are-squeezing-out-berkeley-renters/\" target=\"_blank\" rel=\"noopener\">proliferation of short-term rentals\u003c/a> (and \u003ca href=\"http://www.antievictionmap.com/airbnb/\" target=\"_blank\" rel=\"noopener\">related evictions\u003c/a>), Airbnb’s positioning itself as a company on the side of the struggling artist is shrewd to say the least.\u003c/p>\n\u003cp>If Davis is aware of the potential PR drawbacks from partnering Sofar’s ostensibly grassroots community with a corporation seen by grassroots activists as predatory, he’s not saying it. (Sofar founder Rafe Offer previously held senior marketing positions for Coca-Cola and Disney; to those in the know, a corporate partnership can’t have come as much of a surprise.)\u003c/p>\n\u003cp>“The vibe of the room still stays the same, as our communities are so similar,” Davis says of Airbnb users. “The Airbnb customer is a very curious, global customer, and when they travel the world they’re looking for that global experience. There’s so much synergy between their guests and our guests, it just made the best sense.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘It bothered me that they acted like they invented the house show, but they were definitely ‘disrupting’ the living room space, if you want to call it that. The Starbucks of living room shows.’ \u003ccite>Scott McDowell\u003c/cite>\u003c/aside>\n\u003cp>If either company is sincere about listening to artists — Davis told me several times that Sofar welcomes feedback, with “an open-door policy” — they might do well to talk to someone like Dan Weiss, who in 2016 actively campaigned for Proposition F, the legislation that would have further regulated short-term rentals in San Francisco. (You may recall Airbnb’s \u003ca href=\"http://www.huffingtonpost.com/entry/airbnb-signs-apology_us_5628495fe4b02f6a900f9a59\" target=\"_blank\" rel=\"noopener\">snarky billboard responses\u003c/a>.) For Weiss, who was already skeptical of Sofar Sounds’ unpaid-show business model, the Airbnb alliance was the final straw.\u003c/p>\n\u003cp>“It felt very weird not to disclose that [partnership],” Weiss says of the email he received asking his band to play a show. “You’re basically tricking people into working for Airbnb.”\u003c/p>\n\u003cp>Davis says finding a way to increase payment for musicians is part of the company’s long-term plan. Paying artists a percentage of the door is something they could “explore in the future,” he says, noting that they “are going to be an artist-centric organization.”\u003c/p>\n\u003cp>Some quick back-of-the-napkin math: The show I attended in Potrero Hill was at capacity with 150 people. About 70 percent of those people were paying attendees, according to Davis, while the other 30 were volunteers, employees of the host company, musicians or friends of the band. That means at least 95 paying customers, 75 of whom paid $15 to get in, 20 of whom paid $30. Credit card processing site Stripe takes 2.9 percent plus 30 cents of every transaction, which comes out to about $80. There was no A/V team to pay out at this show, which leaves an intake of about $1,650 for Sofar Sounds. Assuming each of the bands was paid the standard $50 stipend for an unfilmed show, this means $1,500 — thirty times more than each band’s pay — went to Sofar Sounds.\u003c/p>\n\u003cfigure id=\"attachment_13120499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-48.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13120499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-800x1067.jpg\" alt=\"No texting or talking during a Sofar Sounds show -- but social media posting is highly encouraged.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-1020x1361.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-1920x2561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-1180x1574.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-960x1281.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48-520x694.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-48.jpg 1535w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Sofar Sounds lineup from April 2017. There’s no texting or talking during a Sofar Sounds show — but social media posting is highly encouraged.\u003c/figcaption>\u003c/figure>\n\u003cp>Davis says that money goes back into infrastructure: buying equipment (they purchased PAs last year as opposed to asking musicians to bring their own), paying A/V teams, “artist relations,” and marketing. The company also pays for a basic event insurance policy that covers damages at shows, though they forego costly event permits. Hosts receive no compensation for opening their homes or offices.\u003c/p>\n\u003cp>Sofar Sounds also emphasizes the money that goes into training and hosting social events — camping trips, happy hours — for unpaid ambassadors. “These are people who work 9 to 5, and this is what they want to do in their free time,” says Davis. “They’re learning how to book shows, they’re getting up close and personal experiences with their favorite artists.”\u003c/p>\n\u003cp>It’s natural that keeping volunteers happy is a priority, considering the venture seems to lean heavily on unpaid work.\u003c/p>\n\u003cp>“I was confused why all these volunteers would just help without asking questions,” says one local artist manager and DJ, who spoke on the condition of anonymity, of his first encounter with Sofar Sounds circa 2013. “[But] on some level this was a beautiful thing. I just assumed it was a non-profit organization, with community support on every level.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I have friends who love going to these shows, and they’re not bad people. I think the great majority of people involved are just misinformed.’ \u003ccite>Madeline Kenney\u003c/cite>\u003c/aside>\n\u003cp>Then he went to an industry lunch with a “West Coast rep” for Sofar Sounds. “The question came up of how the company was structured, and when she said they were a for-profit company, a few of us at the table, myself included, had a jaw-drop moment,” he says. At that time, the company was beginning to seek investors; another potential revenue stream discussed, he says, was placements for music recorded at the gigs. (Sofar Sounds now says artists retain all the rights to their video and audio material from shows.)\u003c/p>\n\u003cp>Like others interviewed for this story, this source believed most local people involved with Sofar — i.e., volunteers — “have the best intentions.” But he questions who all has been clued in on the big-picture strategy, and since when. (My request to interview a Sofar Sounds founder for more perspective on the company’s longterm plan went unanswered.)\u003c/p>\n\u003cp>On the day of our conversation, this manager has just received an offer for a Sofar show for a young performer he manages. “I’m leaning toward a pass,” he says. “Even though I know the show will offer real value to our artist.”\u003c/p>\n\u003cp>And there, truly, is the rub. What \u003cem>is\u003c/em> the value of an unpaid gig? Of a video? \u003cem>Are\u003c/em> Instagram followers as good as gas money?\u003c/p>\n\u003cp>There are certainly artists who say yes: performers who love the Sofar Sounds experience, and find the benefits outweigh the lack of compensation. \u003ca href=\"https://iamtravishayes.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Travis Hayes\u003c/a>, an alt-country singer, has played about half a dozen Sofar shows over the past two years. After attending a few shows as an audience member — it became a regular date night for him and his now-fiancée — he submitted his band for consideration.\u003c/p>\n\u003cp>“Touring alone, you play so many shows where you’re in the back of the bar, playing to no one… It’s kind of soul-destroying,” says Hayes with a laugh. “So to have a show where everyone is there with the intent to actively listen to what you’re presenting musically is really phenomenal.”\u003c/p>\n\u003cfigure id=\"attachment_13120497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13120497\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM-800x536.png\" alt=\"\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM-240x161.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM-375x251.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM-520x348.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Screen-Shot-2017-04-27-at-9.01.11-PM.png 827w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Travis Hayes performs at a Sofar Sounds house show in San Francisco. \u003ccite>(Max Claus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hayes has also seen Sofar shows’ value in terms of promoting larger gigs. Since the bills aren’t announced ahead of time, a Sofar show won’t break an artist’s radius clause. That meant when he played a stripped-down Sofar show a week before his band’s first show at Great American Music Hall last year, he was “playing for 50 to 100 people that had probably never even heard of me” without breaking the terms of his contract with the larger venue.\u003c/p>\n\u003cp>And on tour, looped into the company’s cross-country network, his band booked Sofar shows in other cities en route to and from South By Southwest — sold-out rooms in places where they might not have otherwise had any draw. Hayes hopes Sofar’s new ticket prices translate into better artist pay. But regardless of payment, he says, as a result of his experiences thus far, “I would never turn down a Sofar show.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I’ve been playing house shows since I was 13, so I know what they’re commodifying, and it’s something very special.’ \u003ccite>Madeline Kenney\u003c/cite>\u003c/aside>\n\u003cp>Dean Davis says the company aims to pay artists more in the future. But he’s also adamant that this focus on money is nearsighted.\u003c/p>\n\u003cp>“People are taught to think money is the only way artists can be treated well,” he says. “But as a musician, having had experiences on tour where we work tirelessly to bring people in and then you’re treated like crap, and the promoter just sits back and collects, there’s a ton in a Sofar show for artists. They get an incredible video, they get new fans, they’re connected to our network from then on, and they’re treated with respect.” Early on, he says, the company sought feedback from artists about what drives them, and “a lot of it really isn’t money. They just like being listened to.”\u003c/p>\n\u003cp>As for accusations that the company is co-opting elements of DIY culture for profit, Davis laughs. “You know, the thing about the ‘oh, we’re punk rock, we’re a real DIY scene’ — DIY honestly just means that it has to do with the community,” he says. “DIY means a show that has a very warm, comforting intimacy to it, a connecting element, a scene. Sofar has all of that at our shows. We’re just a little more organized with it.\u003c/p>\n\u003cp>“What is DIY?” he says. “It’s an interesting question to ask.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13120075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Microphone.Break_-800x97.jpg\" alt=\"Microphone.Break\" width=\"800\" height=\"97\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-160x19.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-768x93.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-240x29.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-375x45.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Microphone.Break_-520x63.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s 2017 in San Francisco, and much like there are now about a half a dozen apps that help walk your dog, Sofar isn’t the only tech company dealing in house shows. Relative newcomer Roomtone, which launched here last year, also offers artists videos of their performances, plays up the secrecy and exclusivity element on social media, and has partnered with Airbnb, adding value to their “experiences” platform. In one recent outreach email to a local band, a Roomtone booker also promised show attendance by “top brass” from the homeshare company.\u003c/p>\n\u003cp>Scott McDowell, a recording engineer who worked as a Sofar A/V team member for a little over a year, stepped away from the company just as it ramped up operations in San Francisco. But he remains conflicted on the value of this dangled carrot from the tech world.\u003c/p>\n\u003cp>“You do get a room filled with San Francisco’s young urban professionals, and if you connect with these people…They’re the non-music-scene people your band needs to get to the next level. \u003cem>And\u003c/em> they’re going to pay attention,” says McDowell, who has also run live sound at traditional venues. “Do you know how hard it is to get people to pay attention if you’re the main support at Bottom of the Hill?”\u003c/p>\n\u003cp>On the other hand, “Part of the reason bands are being exploited is there are bands that are willing to be exploited. If you’re an artist who comes from money or you have a job and you’re just doing this for fun, great. But not all good bands have that financial security,” he says. “We need to be working to make sure music isn’t just an upper middle-class hobby.”\u003c/p>\n\u003cp>Exposure gigs, he adds, create an uneven playing field for artists trying to make it in an already-ruthless industry. “You can say a band that’s really good is going to get big based on merit [anyway], and in the short term maybe that’s fine,” he says. “But in the long term? You’re basically ruining the scene.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some artists spoke to me about their philosophical opposition to or negative experiences with Sofar, but didn’t want to go on the record, citing possible backlash or loss of other opportunities for gigs. Others, like Lalin St. Juste from the electronic soul band \u003ca href=\"http://www.theseshen.com/\" target=\"_blank\" rel=\"noopener\">The Seshen\u003c/a>, told me they felt conflicted about Sofar gigs, but have kept playing them anyway.\u003c/p>\n\u003cp>“It’s helpful in new regions, like when I was in London — because the shows are always full and you get to meet a new audience. And the video is okay,” says St. Juste, who’s done two Sofar shows. “But overall, this whole artists not getting paid thing is ridiculous. I don’t think the model can last.”\u003c/p>\n\u003cp>Several artists interviewed for this piece were unaware that Sofar Sounds was a for-profit company.\u003c/p>\n\u003cp>“I’m confused, because SoFar is supposed to operate on a free model,” wrote Nate Salman of the band Waterstrider on an online thread about Sofar ticket prices in March 2017, noting that he’d always had positive experiences with the company despite not getting paid. “Tickets are a lottery but they are supposed to always be free,” he wrote. “When did they start charging money for these gigs?”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-50.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13121137\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/FullSizeRender-50.jpg\" alt=\"FullSizeRender (50)\" width=\"750\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-50.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-50-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-50-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-50-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/FullSizeRender-50-520x363.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003c/p>\n\u003cp>In the same thread, Sonny Smith of \u003ca href=\"http://www.sonnysmith.com/\" target=\"_blank\" rel=\"noopener\">Sonny and the Sunsets\u003c/a> recounted his experience of his band’s Sofar New York show, and the introduction they were given by a Sofar emcee: “She asked us, with the mic on, who we were after she called us something else, which felt a little embarrassing. Once that happened, and as I looked around and took in that we were playing a free show at a generic boutique in Manhattan that sold $400 jeans and not much else, I just figured it wasn’t an experience that had much soul or had much to do with anything that matters.”\u003c/p>\n\u003cp>“I feel duped,” says \u003ca href=\"https://liarose.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Lia Rose\u003c/a>, a singer-songwriter and activist who makes a point of playing benefit shows, paid and unpaid, for social justice causes. As a performer who prefers intimate spaces to loud bar gigs, she’s played three Sofar shows since mid-2015 and says they’ve been mostly positive experiences.\u003c/p>\n\u003cfigure id=\"attachment_13120714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13120714 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-800x1247.jpg\" alt=\"Lia Rose at a Sofar Sounds show in San Francisco. \" width=\"800\" height=\"1247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-800x1247.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-768x1197.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-1020x1590.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-960x1496.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-240x374.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-375x584.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o-520x810.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/11406247_1010092119001111_4295215937927920317_o.jpg 1155w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lia Rose at a Sofar Sounds show in San Francisco. \u003ccite>(Evan Tchelepi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She was under the impression, however, that the company was not-for-profit. “If you’re trying to build an empire on the backs of artists, at least be transparent about it,” says Rose. “You’re dealing with a vulnerable population: a lot of artists are so hungry for a space where people will listen that they’ll do anything.”\u003c/p>\n\u003cp>That is, until they can’t take it anymore.\u003c/p>\n\u003cp>When Madeline Kenney played her fourth Sofar Sounds show in January, she decided halfway through her set that she would never play one again. It was about a month after the Ghost Ship fire, she says, and she was thinking philosophically about the whole nature of secret shows, what it meant to put her “heart and soul out there,” and what she was getting in return. So when it was her turn to play, she decided to say something.\u003c/p>\n\u003cp>“I think it’s great that you guys like this type of thing,” she remembers saying to the crowd of 40 to 50 people. “And you should also know there’s a lot more where that came from. There’s a big DIY community in Oakland and in San Francisco, and artists really need your support.”\u003c/p>\n\u003cp>Recalls Kenney: “You could hear a pin drop.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "de-young-summer-of-love-50th-anniversary",
"title": "At the de Young, the 'Summer of Love Experience' Is a Broken Record",
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"content": "\u003cp>It was a stormy evening on Thursday, April 6, but inside the lobby of the \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>, a warm glow emanated from lava lamps propped on the makeshift bar. Large, flower-adorned peace signs topped a pair of appetizer tables (pita and hummus, couscous salads, goblets of shrimp) while an ambiguous psychedelic tribute band—decked out in bell-bottoms, colorful vests and questionable Afro wigs—swayed on platforms and played bongos in front of a neon-lit wall.\u003c/p>\n\u003cp>Yes, this was the press preview/donor reception for the museum’s new exhibit celebrating the 50th anniversary of the Summer of Love. \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Summer of Love Experience: Art, Fashion, and Rock & Roll\u003c/i>\u003c/a>, on view now through Aug. 20, is the kind of programming every San Francisco institution is apparently required to produce by law (a.k.a. a strong promotion from \u003ca href=\"http://www.sftravel.com/summer-love-2017\" target=\"_blank\" rel=\"noopener noreferrer\">the city’s tourism bureau\u003c/a>) during the summer of 2017. Haven’t you heard? There are concerts, talks, and photo shows. There’s a \u003ca href=\"https://magicbussf.com/tour/anniversary-summer-of-love/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Bus Experience\u003c/a>. There’s an ongoing \u003ca href=\"http://summerof.love/event/love-boutique-opening-reception-penthouse-five-inside-neiman-marcus-union-square/\" target=\"_blank\" rel=\"noopener noreferrer\">’60s fashion boutique at the Neiman Marcus penthouse in Union Square\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13042303\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg\" alt=\"Performers "protesting" at 'The Summer of Love Experience' donor reception at de Young Museum.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Performers “protesting” at ‘The Summer of Love Experience’ donor reception at de Young Museum. \u003ccite>(Devlin Shand for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, for an hour or so on Thursday night at the de Young—as the band turned into a team of cutesy, costumed “protesters” who picked up “Make Love Not War” signs and paraded groovily through the party with their bongos \u003ci>at the precise moment\u003c/i> every journalist in the room got a push notification announcing the U.S. had just launched missiles into Syria—there was a degree of tone-deafness that bordered on surreal. It was, in fact, the perfect encapsulation of the entire exhibition’s myopia.\u003c/p>\n\u003cp>Let’s get one thing out of the way: We are not convinced any of this summer’s grand re-telling is necessary. As California natives in our early 30s, we’ve grown up in the persistent shadow of the Summer of Love, a specter of San Francisco in the sixties as sacred text—the prophets Jerry Garcia, Ken Kesey and Bill Graham untouchable in their retroactive glory. These people, and this era, are not lacking memorialization: the stories of the Haight-Ashbury, the Human Be-In, the drugs, the free love—they have been told many times, by many people, in books and movies and American history courses.\u003c/p>\n\u003cfigure id=\"attachment_13042313\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042313\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg\" alt=\"Installation view of Haight Street Gallery in 'The Summer of Love Experience.'\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-520x390.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Haight Street Gallery in ‘The Summer of Love Experience.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The way yet another rehashing might justify itself, then, is by adding something new to this fairly recent history. (See BAMPFA’s excellent \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/28/at-bampfa-hippie-modernism-proves-the-fight-for-utopia-is-far-from-over/\" target=\"_blank\" rel=\"noopener noreferrer\">Hippie Modernism: The Struggle for Utopia\u003c/a>\u003c/i>, for example.) Give us an exhibit that offers a clear-eyed critique of what truthfully was a brief social experiment, notes its shortcomings along with its joys. Give us context. At the very least, give us some intellectual honesty: an exploration of what really happened, who it affected, why it ended, and how it shaped the San Francisco (and United States) we currently inhabit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps some of this summer’s yet-unopened exhibits will offer this. \u003ci>The Summer of Love Experience\u003c/i> at the de Young does not.\u003c/p>\n\u003cfigure id=\"attachment_13042304\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg\" alt=\"A museum-goer inside Bill Ham's 'Kinetic Light Painting, 2016-2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A museum-goer inside Bill Ham’s ‘Kinetic Light Painting, 2016-2017. \u003ccite>(Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What it does provide is a bright, colorful celebration of the aesthetics of the time period, and if you are fascinated by those, as many will be, by all means go see it. Over the long, weaving course of 10 galleries—including one selfie-ready space designed by liquid light show veteran Bill Ham—we get psychedelic rock show posters on top of posters, a giant bedspread once intended for Grateful Dead guitarist Bob Weir, record sleeves, book covers, and pins (so many pins). Somehow overwhelming without diving beneath the surface of the era’s aesthetics, the show seems intent on proving it’s possible to have, at the same time, too much and not enough.\u003c/p>\n\u003cp>We’ll allow there are interesting artifacts to behold: The collection of nearly 150 posters and handbills from Bay Area music venues anchors the exhibition, and many of them are indeed beautiful. The area devoted to demonstrating the lithographic process by which they were made is also worthwhile; Stanley Mouse, Wes Wilson and their compatriots from this era of poster art deserve all the recognition they’ve received over the past 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13042306\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042306\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg\" alt=\"Left: Bob Schnepf, 'Summer of Love/City of San Francisco,' 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967.\" width=\"1200\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-520x348.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Bob Schnepf, ‘Summer of Love/City of San Francisco,’ 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after reading a short explanation of \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound/\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Sound\u003c/a>, one is also left with the feeling that we’re being asked (yet again) to revere this era for the sake of reverence, in the name of pure rose-colored folklore, and in the dullest kind of vacuum. Sure, the Grateful Dead and Jefferson Airplane have come to represent not just a musical moment but a tribe, a lifestyle. Can we discuss what came after? What bands they influenced, or even what they stood for? Where can their nonconformist message still be felt in present-day San Francisco, where capitalism run amok has made it difficult if not impossible for artists to survive? Put bluntly: \u003cem>Why are we still talking about this\u003c/em>? If it’s for reasons other than to tickle donors and tourists who came of age during this period and will smile fondly at the memories, please show us those.\u003c/p>\n\u003cp>In the meantime: Right this way, please. We have Jerry Garcia’s hat.\u003c/p>\n\u003cp>\u003ci>The Summer of Love Experience\u003c/i> does devote a considerable amount of floorspace to the era’s clothing designers and trends, a welcome bit of tangibility in an otherwise ephemera-filled exhibition. Mannequins sport customized jeans, maxi peasant dresses and Native American-inspired leather fringe; Birgitta Bjerke’s crocheted work is a standout. Behind this vitrine—drumroll please—we even have the companion piece to Garcia’s Uncle Sam headgear: Janis Joplin’s handbag, intricately embroidered by Linda Gravenites.\u003c/p>\n\u003cfigure id=\"attachment_13042314\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg\" alt=\"Linda Gravenites, Handbag, ca. 1967.\" width=\"1200\" height=\"1883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-160x251.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-800x1255.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-768x1205.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1020x1601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1180x1852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-960x1506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-240x377.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-375x588.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-520x816.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Linda Gravenites, Handbag, ca. 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in these textiles, another missed opportunity: The exhibition catalog mentions the San Francisco Redevelopment Agency’s 1960s campaign to destroy the historically black Fillmore neighborhood—but only in the context of the boon this displacement provided to the city’s thrift stores, and hence, to the hippies fashioning creative costumes from flea market finds. Really. In the exhibition itself, this shameful “urban renewal” in the Fillmore bears no mention. (Also in the catalog but not in the show: the draft-dodging origins of tie-dye at the Haight’s Free Store, explored in Detour’s immersive \u003ca href=\"https://ww2.kqed.org/arts/2016/01/13/haight-ashbury-peter-coyote-tour/\" target=\"_blank\" rel=\"noopener noreferrer\">Haight-Ashbury Walking Tour\u003c/a>.)\u003c/p>\n\u003cp>The final gallery, before the exhibition empties into \u003ci>The Summer of Love Experience\u003c/i> gift shop, tries to sum up the politics of the era in a grab-bag of issues: the Black Panthers, the Pill, Vietnam War protests, draft resistance, sex positivity. If it’s intended to be a summation, a nod to the era’s enduring legacy and a connecting thread to the present, the result is tepid at best—especially with the wall text’s vague rah-rah claim that “fifty years later, government policies resulting from such interventions render a way of life in the West that would have been unimaginable to all but the surest of sixties visionaries.” This final gallery would have benefited from a few more pieces and a lot more breathing room, especially considering the overwhelming whiteness and maleness of the characters we’ve been taught to celebrate from this time period in San Francisco’s history—none of whom receive substantial critique in the preceding rooms.\u003c/p>\n\u003cfigure id=\"attachment_13042305\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg\" alt=\"Birgitta Bjerke (100% Birgitta), 'Pioneer,' ca. 1972-1973.\" width=\"1200\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-520x416.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Birgitta Bjerke (100% Birgitta), ‘Pioneer,’ ca. 1972-1973. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Panthers, in particular—who had, by the summer of 1967, opened a storefront in Oakland, published their Ten-Point Program, and garnered national attention for entering the California State Assembly carrying guns to protest the Mulford Act—are represented only by a handful of Ruth Marion Baruch and Pirkle Jones photographs, unless we missed something. The movement was far better represented in the \u003ca href=\"http://museumca.org/gallery/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California’s sprawling and comprehensive 2016 exhibit\u003c/a>.\u003c/p>\n\u003cp>Back upstairs on Thursday night, the party—“anti-war protesters” and all—was just getting going. While attendees drank lime green Midori-and-tequila cocktails labeled “battery acid” to the sounds of “White Rabbit,” we asked one of the sign-carrying protesters if he was, in fact, pulling double duty as part of the band. The be-wigged gentleman, carrying light-up bowling pins, answered, “We’re all in the band called life, man.”\u003c/p>\n\u003cp>Near the exit, a de Young employee handed us each a bright Gerbera daisy. Then we made our way through the rain and wind to the faux street signs marking the entrance to the building—each one noting an “intersection” of the past and present: hippie and hipster, free love and marriage equality. A strong gust whipped the flowers from our hands right about then, which was fine. There were new notifications on our phones to check. Likely, there was something fresh worth protesting.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘The Summer of Love Experience: Art, Fashion, and Rock & Roll’ is on view at San Francisco’s de Young Museum through Aug. 20. For tickets and more information, \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In honor of the Summer of Love's 50th anniversary, the museum rehashes surface-level aesthetics, fashion and ephemera from 1967 — with barely any connection to today.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a stormy evening on Thursday, April 6, but inside the lobby of the \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>, a warm glow emanated from lava lamps propped on the makeshift bar. Large, flower-adorned peace signs topped a pair of appetizer tables (pita and hummus, couscous salads, goblets of shrimp) while an ambiguous psychedelic tribute band—decked out in bell-bottoms, colorful vests and questionable Afro wigs—swayed on platforms and played bongos in front of a neon-lit wall.\u003c/p>\n\u003cp>Yes, this was the press preview/donor reception for the museum’s new exhibit celebrating the 50th anniversary of the Summer of Love. \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Summer of Love Experience: Art, Fashion, and Rock & Roll\u003c/i>\u003c/a>, on view now through Aug. 20, is the kind of programming every San Francisco institution is apparently required to produce by law (a.k.a. a strong promotion from \u003ca href=\"http://www.sftravel.com/summer-love-2017\" target=\"_blank\" rel=\"noopener noreferrer\">the city’s tourism bureau\u003c/a>) during the summer of 2017. Haven’t you heard? There are concerts, talks, and photo shows. There’s a \u003ca href=\"https://magicbussf.com/tour/anniversary-summer-of-love/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Bus Experience\u003c/a>. There’s an ongoing \u003ca href=\"http://summerof.love/event/love-boutique-opening-reception-penthouse-five-inside-neiman-marcus-union-square/\" target=\"_blank\" rel=\"noopener noreferrer\">’60s fashion boutique at the Neiman Marcus penthouse in Union Square\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13042303\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg\" alt=\"Performers "protesting" at 'The Summer of Love Experience' donor reception at de Young Museum.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Performers “protesting” at ‘The Summer of Love Experience’ donor reception at de Young Museum. \u003ccite>(Devlin Shand for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, for an hour or so on Thursday night at the de Young—as the band turned into a team of cutesy, costumed “protesters” who picked up “Make Love Not War” signs and paraded groovily through the party with their bongos \u003ci>at the precise moment\u003c/i> every journalist in the room got a push notification announcing the U.S. had just launched missiles into Syria—there was a degree of tone-deafness that bordered on surreal. It was, in fact, the perfect encapsulation of the entire exhibition’s myopia.\u003c/p>\n\u003cp>Let’s get one thing out of the way: We are not convinced any of this summer’s grand re-telling is necessary. As California natives in our early 30s, we’ve grown up in the persistent shadow of the Summer of Love, a specter of San Francisco in the sixties as sacred text—the prophets Jerry Garcia, Ken Kesey and Bill Graham untouchable in their retroactive glory. These people, and this era, are not lacking memorialization: the stories of the Haight-Ashbury, the Human Be-In, the drugs, the free love—they have been told many times, by many people, in books and movies and American history courses.\u003c/p>\n\u003cfigure id=\"attachment_13042313\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042313\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg\" alt=\"Installation view of Haight Street Gallery in 'The Summer of Love Experience.'\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-520x390.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Haight Street Gallery in ‘The Summer of Love Experience.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The way yet another rehashing might justify itself, then, is by adding something new to this fairly recent history. (See BAMPFA’s excellent \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/28/at-bampfa-hippie-modernism-proves-the-fight-for-utopia-is-far-from-over/\" target=\"_blank\" rel=\"noopener noreferrer\">Hippie Modernism: The Struggle for Utopia\u003c/a>\u003c/i>, for example.) Give us an exhibit that offers a clear-eyed critique of what truthfully was a brief social experiment, notes its shortcomings along with its joys. Give us context. At the very least, give us some intellectual honesty: an exploration of what really happened, who it affected, why it ended, and how it shaped the San Francisco (and United States) we currently inhabit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps some of this summer’s yet-unopened exhibits will offer this. \u003ci>The Summer of Love Experience\u003c/i> at the de Young does not.\u003c/p>\n\u003cfigure id=\"attachment_13042304\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg\" alt=\"A museum-goer inside Bill Ham's 'Kinetic Light Painting, 2016-2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A museum-goer inside Bill Ham’s ‘Kinetic Light Painting, 2016-2017. \u003ccite>(Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What it does provide is a bright, colorful celebration of the aesthetics of the time period, and if you are fascinated by those, as many will be, by all means go see it. Over the long, weaving course of 10 galleries—including one selfie-ready space designed by liquid light show veteran Bill Ham—we get psychedelic rock show posters on top of posters, a giant bedspread once intended for Grateful Dead guitarist Bob Weir, record sleeves, book covers, and pins (so many pins). Somehow overwhelming without diving beneath the surface of the era’s aesthetics, the show seems intent on proving it’s possible to have, at the same time, too much and not enough.\u003c/p>\n\u003cp>We’ll allow there are interesting artifacts to behold: The collection of nearly 150 posters and handbills from Bay Area music venues anchors the exhibition, and many of them are indeed beautiful. The area devoted to demonstrating the lithographic process by which they were made is also worthwhile; Stanley Mouse, Wes Wilson and their compatriots from this era of poster art deserve all the recognition they’ve received over the past 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13042306\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042306\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg\" alt=\"Left: Bob Schnepf, 'Summer of Love/City of San Francisco,' 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967.\" width=\"1200\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-520x348.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Bob Schnepf, ‘Summer of Love/City of San Francisco,’ 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after reading a short explanation of \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound/\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Sound\u003c/a>, one is also left with the feeling that we’re being asked (yet again) to revere this era for the sake of reverence, in the name of pure rose-colored folklore, and in the dullest kind of vacuum. Sure, the Grateful Dead and Jefferson Airplane have come to represent not just a musical moment but a tribe, a lifestyle. Can we discuss what came after? What bands they influenced, or even what they stood for? Where can their nonconformist message still be felt in present-day San Francisco, where capitalism run amok has made it difficult if not impossible for artists to survive? Put bluntly: \u003cem>Why are we still talking about this\u003c/em>? If it’s for reasons other than to tickle donors and tourists who came of age during this period and will smile fondly at the memories, please show us those.\u003c/p>\n\u003cp>In the meantime: Right this way, please. We have Jerry Garcia’s hat.\u003c/p>\n\u003cp>\u003ci>The Summer of Love Experience\u003c/i> does devote a considerable amount of floorspace to the era’s clothing designers and trends, a welcome bit of tangibility in an otherwise ephemera-filled exhibition. Mannequins sport customized jeans, maxi peasant dresses and Native American-inspired leather fringe; Birgitta Bjerke’s crocheted work is a standout. Behind this vitrine—drumroll please—we even have the companion piece to Garcia’s Uncle Sam headgear: Janis Joplin’s handbag, intricately embroidered by Linda Gravenites.\u003c/p>\n\u003cfigure id=\"attachment_13042314\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg\" alt=\"Linda Gravenites, Handbag, ca. 1967.\" width=\"1200\" height=\"1883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-160x251.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-800x1255.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-768x1205.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1020x1601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1180x1852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-960x1506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-240x377.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-375x588.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-520x816.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Linda Gravenites, Handbag, ca. 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in these textiles, another missed opportunity: The exhibition catalog mentions the San Francisco Redevelopment Agency’s 1960s campaign to destroy the historically black Fillmore neighborhood—but only in the context of the boon this displacement provided to the city’s thrift stores, and hence, to the hippies fashioning creative costumes from flea market finds. Really. In the exhibition itself, this shameful “urban renewal” in the Fillmore bears no mention. (Also in the catalog but not in the show: the draft-dodging origins of tie-dye at the Haight’s Free Store, explored in Detour’s immersive \u003ca href=\"https://ww2.kqed.org/arts/2016/01/13/haight-ashbury-peter-coyote-tour/\" target=\"_blank\" rel=\"noopener noreferrer\">Haight-Ashbury Walking Tour\u003c/a>.)\u003c/p>\n\u003cp>The final gallery, before the exhibition empties into \u003ci>The Summer of Love Experience\u003c/i> gift shop, tries to sum up the politics of the era in a grab-bag of issues: the Black Panthers, the Pill, Vietnam War protests, draft resistance, sex positivity. If it’s intended to be a summation, a nod to the era’s enduring legacy and a connecting thread to the present, the result is tepid at best—especially with the wall text’s vague rah-rah claim that “fifty years later, government policies resulting from such interventions render a way of life in the West that would have been unimaginable to all but the surest of sixties visionaries.” This final gallery would have benefited from a few more pieces and a lot more breathing room, especially considering the overwhelming whiteness and maleness of the characters we’ve been taught to celebrate from this time period in San Francisco’s history—none of whom receive substantial critique in the preceding rooms.\u003c/p>\n\u003cfigure id=\"attachment_13042305\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg\" alt=\"Birgitta Bjerke (100% Birgitta), 'Pioneer,' ca. 1972-1973.\" width=\"1200\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-520x416.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Birgitta Bjerke (100% Birgitta), ‘Pioneer,’ ca. 1972-1973. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Panthers, in particular—who had, by the summer of 1967, opened a storefront in Oakland, published their Ten-Point Program, and garnered national attention for entering the California State Assembly carrying guns to protest the Mulford Act—are represented only by a handful of Ruth Marion Baruch and Pirkle Jones photographs, unless we missed something. The movement was far better represented in the \u003ca href=\"http://museumca.org/gallery/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California’s sprawling and comprehensive 2016 exhibit\u003c/a>.\u003c/p>\n\u003cp>Back upstairs on Thursday night, the party—“anti-war protesters” and all—was just getting going. While attendees drank lime green Midori-and-tequila cocktails labeled “battery acid” to the sounds of “White Rabbit,” we asked one of the sign-carrying protesters if he was, in fact, pulling double duty as part of the band. The be-wigged gentleman, carrying light-up bowling pins, answered, “We’re all in the band called life, man.”\u003c/p>\n\u003cp>Near the exit, a de Young employee handed us each a bright Gerbera daisy. Then we made our way through the rain and wind to the faux street signs marking the entrance to the building—each one noting an “intersection” of the past and present: hippie and hipster, free love and marriage equality. A strong gust whipped the flowers from our hands right about then, which was fine. There were new notifications on our phones to check. Likely, there was something fresh worth protesting.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Summer of Love Experience: Art, Fashion, and Rock & Roll’ is on view at San Francisco’s de Young Museum through Aug. 20. For tickets and more information, \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s not the sort of dancing the folks at \u003ca href=\"http://counterpulse.org/\" target=\"_blank\" rel=\"noopener\">Counterpulse \u003c/a>normally program. But it’s a start.\u003c/p>\n\u003cp>Reporters soft-shoed around debris piles and skipped between the raw steel framing as artistic director Julie Phelps gave a hard hat tour of Counterpulse’s new home at 80 Turk Street in San Francisco’s Tenderloin neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_10878414\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2526.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2526-1180x885.jpg\" alt=\"A future apartment for visiting artists at Counterpulse's new space\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A future apartment for visiting artists at Counterpulse’s new space \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dance presenter is planning to open its fall season there in October — the gods of construction permitting.\u003c/p>\n\u003cp>The building dates back to 1922, and most recently housed a porn theater named the Dollhouse.\u003c/p>\n\u003cp>Phelps said the two-story building with full basement would be an upgrade on Counterpulse’s old home on Mission Street. “Our offices won’t be in what should be the lobby,” Phelps said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s not to mention the three rehearsal studios, state-of-the-art performance space with a 30 by 30 foot stage, new audio system donated by Meyer Sound of Berkeley, and sprung hardwood floor. The building also includes an apartment on the second floor that will house visiting artists working at Counterpulse and neighboring organizations like the Yerba Buena Center for the Arts.\u003c/p>\n\u003cfigure id=\"attachment_10878411\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2523.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878411\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2523-1180x885.jpg\" alt=\"Silhouettes of exotic dancers, artifacts of 80 Turk Street's former life as a porn theater\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Silhouettes of exotic dancers, artifacts of 80 Turk Street’s former life as a porn theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new theater will feature 115 seats — 20 more than in Counterpulse’s old home. The number, Phelps said, is perfect for the kind of experimental work the company likes to present.\u003c/p>\n\u003cp>“We aren’t on the road to a 300 seat house,” Phelps said. “The intimacy and scale of our venue is key.”\u003c/p>\n\u003cp>The real news though, is that Counterpulse will own its new home here, despite San Francisco’s toxic real estate market. That’s the result of an intervention of sorts by the \u003ca href=\"http://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund,\u003c/a> the\u003ca href=\"http://cast-sf.org/\" target=\"_blank\" rel=\"noopener\"> Community Arts Stabilization Trust (CAST)\u003c/a>, and the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a>.\u003c/p>\n\u003cp>CAST, an offshoot of the \u003ca href=\"http://krfoundation.org/\" target=\"_blank\" rel=\"noopener\">Kenneth Rainin Foundation\u003c/a>, negotiated and underwrote the purchase of 80 Turk on Counterpulse’s behalf. CAST Executive Director Moy Eng said the purchase is part of a project to find long term solutions to the loss of non-profit arts organizations in San Francisco. “Not just a finger in the dike,” Eng said during the tour. “To create permanent space so arts and culture remains and endures.”\u003c/p>\n\u003cfigure id=\"attachment_10878412\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2525.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2525-1180x885.jpg\" alt=\"CAST Executive Director Moy Eng, with Counterpulse's Executive Director Tomas Riley, and Artistic Director Julie Phelps\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">CAST Executive Director Moy Eng, with Counterpulse’s Executive Director Tomas Riley, and Artistic Director Julie Phelps \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CAST is providing a similar service for mid-market’s \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">Luggage Store Gallery\u003c/a>, another non-profit arts presenter.\u003c/p>\n\u003cp>The purchase is not a gift. “It’s a fancy lease to own agreement,” Phelps said. Counterpulse has five years to pay off the $6 million loan, with no interest, and it’s already raised nearly half of that loan with help from Market Street neighbors Twitter and Zendesk.\u003c/p>\n\u003cp>One unusual aspect of the loan is that once Counterpulse pays it off, CAST will redistribute the money to another non-profit arts group in need of help finding a home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not the sort of dancing the folks at \u003ca href=\"http://counterpulse.org/\" target=\"_blank\" rel=\"noopener\">Counterpulse \u003c/a>normally program. But it’s a start.\u003c/p>\n\u003cp>Reporters soft-shoed around debris piles and skipped between the raw steel framing as artistic director Julie Phelps gave a hard hat tour of Counterpulse’s new home at 80 Turk Street in San Francisco’s Tenderloin neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_10878414\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2526.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2526-1180x885.jpg\" alt=\"A future apartment for visiting artists at Counterpulse's new space\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A future apartment for visiting artists at Counterpulse’s new space \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dance presenter is planning to open its fall season there in October — the gods of construction permitting.\u003c/p>\n\u003cp>The building dates back to 1922, and most recently housed a porn theater named the Dollhouse.\u003c/p>\n\u003cp>Phelps said the two-story building with full basement would be an upgrade on Counterpulse’s old home on Mission Street. “Our offices won’t be in what should be the lobby,” Phelps said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s not to mention the three rehearsal studios, state-of-the-art performance space with a 30 by 30 foot stage, new audio system donated by Meyer Sound of Berkeley, and sprung hardwood floor. The building also includes an apartment on the second floor that will house visiting artists working at Counterpulse and neighboring organizations like the Yerba Buena Center for the Arts.\u003c/p>\n\u003cfigure id=\"attachment_10878411\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2523.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878411\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2523-1180x885.jpg\" alt=\"Silhouettes of exotic dancers, artifacts of 80 Turk Street's former life as a porn theater\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Silhouettes of exotic dancers, artifacts of 80 Turk Street’s former life as a porn theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new theater will feature 115 seats — 20 more than in Counterpulse’s old home. The number, Phelps said, is perfect for the kind of experimental work the company likes to present.\u003c/p>\n\u003cp>“We aren’t on the road to a 300 seat house,” Phelps said. “The intimacy and scale of our venue is key.”\u003c/p>\n\u003cp>The real news though, is that Counterpulse will own its new home here, despite San Francisco’s toxic real estate market. That’s the result of an intervention of sorts by the \u003ca href=\"http://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund,\u003c/a> the\u003ca href=\"http://cast-sf.org/\" target=\"_blank\" rel=\"noopener\"> Community Arts Stabilization Trust (CAST)\u003c/a>, and the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a>.\u003c/p>\n\u003cp>CAST, an offshoot of the \u003ca href=\"http://krfoundation.org/\" target=\"_blank\" rel=\"noopener\">Kenneth Rainin Foundation\u003c/a>, negotiated and underwrote the purchase of 80 Turk on Counterpulse’s behalf. CAST Executive Director Moy Eng said the purchase is part of a project to find long term solutions to the loss of non-profit arts organizations in San Francisco. “Not just a finger in the dike,” Eng said during the tour. “To create permanent space so arts and culture remains and endures.”\u003c/p>\n\u003cfigure id=\"attachment_10878412\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2525.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2525-1180x885.jpg\" alt=\"CAST Executive Director Moy Eng, with Counterpulse's Executive Director Tomas Riley, and Artistic Director Julie Phelps\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">CAST Executive Director Moy Eng, with Counterpulse’s Executive Director Tomas Riley, and Artistic Director Julie Phelps \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CAST is providing a similar service for mid-market’s \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">Luggage Store Gallery\u003c/a>, another non-profit arts presenter.\u003c/p>\n\u003cp>The purchase is not a gift. “It’s a fancy lease to own agreement,” Phelps said. Counterpulse has five years to pay off the $6 million loan, with no interest, and it’s already raised nearly half of that loan with help from Market Street neighbors Twitter and Zendesk.\u003c/p>\n\u003cp>One unusual aspect of the loan is that once Counterpulse pays it off, CAST will redistribute the money to another non-profit arts group in need of help finding a home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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