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"title": "Rightnowish: Don Tamaki on Japanese Internment and 'Then They Came For Me'",
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"content": "\u003cp>On a summer day in San Francisco clear enough to see beyond the Golden Gate Bridge from the Presidio, I walked into the building at 100 Montgomery Street for an exhibition of photos taken from a particularly ugly time period in America’s history—during Japanese internment.\u003c/p>\n\u003cp>The exhibition, \u003cem>Then They Came For Me\u003c/em>, not only shows images from the mass roundup and internment of Japanese Americans during World War II, but also acknowledges the connection to the current day as the United States keeps thousands of people immigrating to the U.S. in facilities best described as concentration camps.\u003c/p>\n\u003cp>One of the people who sees that connection quite clearly is civil rights lawyer Don Tamaki, who guided me around the exhibition. His family lived through internment in the early 40s; he told how his father’s degree from UC Berkeley was mailed to a horse stable at the Tanforan Racetrack in San Bruno, where the family had been forced to live.\u003c/p>\n\u003cfigure id=\"attachment_13862296\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-800x535.jpg\" alt='Don Tamaki at the \"And Then They Came for Me\" exhibition' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don Tamaki at the ‘And Then They Came for Me’ exhibition. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years later, informed by his family’s experience, Tamaki used his education to bring light to the wrongdoings of the U.S. government. He was a part of the team to reopen the landmark Supreme Court case \u003cem>Korematsu v. the United States\u003c/em>, and to help Fred Korematsu win exoneration for refusing to be interred due to his race.\u003c/p>\n\u003cp>As Tamaki and I walked and talked among the exhibition’s photos—the majority taken by \u003ca href=\"https://www.kqed.org/arts/13156032/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia\" target=\"_blank\" rel=\"noopener\">Dorothea Lange\u003c/a>—he pointed out their mostly Northern Californian locales. Tamaki noted how the Japanese Americans in the photos wore their “Sunday best,” in attempt to look like the dignified Americans they were. And he made it clear that while the events happened 75 years ago, it is still chillingly relevant to this day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To hear this story, click the audio link above.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>‘Then They Came For Me’ runs through Sept. 1, 2019. \u003ca href=\"https://thentheycame.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[ad=fullwidth]\u003c/p>\n\n",
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"excerpt": "The Bay Area leader discusses internment camps his family was forced to inhabit and their ominous similarities to today's border.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a summer day in San Francisco clear enough to see beyond the Golden Gate Bridge from the Presidio, I walked into the building at 100 Montgomery Street for an exhibition of photos taken from a particularly ugly time period in America’s history—during Japanese internment.\u003c/p>\n\u003cp>The exhibition, \u003cem>Then They Came For Me\u003c/em>, not only shows images from the mass roundup and internment of Japanese Americans during World War II, but also acknowledges the connection to the current day as the United States keeps thousands of people immigrating to the U.S. in facilities best described as concentration camps.\u003c/p>\n\u003cp>One of the people who sees that connection quite clearly is civil rights lawyer Don Tamaki, who guided me around the exhibition. His family lived through internment in the early 40s; he told how his father’s degree from UC Berkeley was mailed to a horse stable at the Tanforan Racetrack in San Bruno, where the family had been forced to live.\u003c/p>\n\u003cfigure id=\"attachment_13862296\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-800x535.jpg\" alt='Don Tamaki at the \"And Then They Came for Me\" exhibition' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don Tamaki at the ‘And Then They Came for Me’ exhibition. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years later, informed by his family’s experience, Tamaki used his education to bring light to the wrongdoings of the U.S. government. He was a part of the team to reopen the landmark Supreme Court case \u003cem>Korematsu v. the United States\u003c/em>, and to help Fred Korematsu win exoneration for refusing to be interred due to his race.\u003c/p>\n\u003cp>As Tamaki and I walked and talked among the exhibition’s photos—the majority taken by \u003ca href=\"https://www.kqed.org/arts/13156032/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia\" target=\"_blank\" rel=\"noopener\">Dorothea Lange\u003c/a>—he pointed out their mostly Northern Californian locales. Tamaki noted how the Japanese Americans in the photos wore their “Sunday best,” in attempt to look like the dignified Americans they were. And he made it clear that while the events happened 75 years ago, it is still chillingly relevant to this day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To hear this story, click the audio link above.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>‘Then They Came For Me’ runs through Sept. 1, 2019. \u003ca href=\"https://thentheycame.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "sfs-first-black-owned-gay-bar-offered-refuge-from-racism-in-the-90s-queer-scene",
"title": "SF's First Black-Owned Gay Bar Offered Refuge from Racism in the '90s Queer Scene",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>One Saturday evening last month, dozens of people hovered around a horseshoe-shaped bar in the Mission District of San Francisco. Diffuse blue and fuchsia lights shone on white patent leather sofas, and a DJ played vinyl—mostly throwback funk and disco beating with a steady pulse. Arched over the scene was a pink neon sign with the words “Eagle Creek.”\u003c/p>\n\u003cp>As the music quieted, \u003ca href=\"http://www.sadiebarnette.com/\" target=\"_blank\" rel=\"noopener\">Sadie Barnette\u003c/a> and her father Rodney sat on stools beneath the neon, and explained why this art space, usually known as \u003ca href=\"https://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">the Lab\u003c/a>, looked and felt like a nightclub. In the 1970s and 1980s, Rodney recalled, gay bars were among the least hospitable places in San Francisco for black people such as himself. There was hardly a place for gay black people to dance, let alone throw a fundraiser for a gay black political candidate.\u003c/p>\n\u003cp>“That’s why I bought the Eagle Creek,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13858718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-800x533.jpg\" alt=\"Sadie Barnette (L) used her residency at The Lab to honor San Francisco's first black-owned gay bar the Eagle Creek Saloon, which her father Rodney (R) opened in 1990.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sadie Barnette (L) used her residency at The Lab to honor San Francisco’s first black-owned gay bar the Eagle Creek Saloon, which her father Rodney (R) opened in 1990. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sadie was five years old in 1990 when her father acquired the bar that for the next three years provided gay people of color a site of protest, refuge and revelry on Market Street—”a friendly place with a funky bass for every race,” as its slogan went. Now the Oakland artist is using her \u003ca href=\"https://www.thelab.org/projects/2019/5/11/sadie-barnette-the-new-eagle-creek-saloon\" target=\"_blank\" rel=\"noopener\">residency\u003c/a> at the Lab to to honor her father’s venture with “something living, something more than a referential archive,” she said. “I want this to channel Eagle Creek, not just be about it.” [aside postid='arts_13858167']\u003c/p>\n\u003cp>Sadie’s most vivid memory of the city’s first black-owned gay bar is from 1992, when the Eagle Creek sponsored what Rodney calls the first black float in the San Francisco Pride parade. The theme was black people through the ages, and Sadie stood alongside pharaohs and astronauts in an ornately tasseled ensemble created by a bar regular. Her residency at the Lab culminates with this year’s parade on June 30, when the entire bar will be hoisted onto a float. Until then, the bar is on view every Wednesday 5-8pm.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size='large' align='right' citation='Rodney Barnette, owner of Eagle Creek Saloon']“The bigger the community got, the worse the discrimination was. I started avoiding even driving through the Castro.”[/pullquote]\u003c/span>\u003c/p>\n\u003cp>“The New Eagle Creek Saloon” is not a reproduction of Eagle Creek so much as a fondly embellished memory. Sadie called the aesthetic “disco limbo,” saying in a recent interview that it connects to her work in terms of familiar objects or scenes portrayed with a hyperbolic grandeur to suggest their liberatory potential. The bar is part altar, with photos of the Barnette family from the time, and part sculpture, with crushed cans and stereo equipment enameled in glitter. There are branded matchbooks and coasters, and the bar itself is sturdy enough for people to dance on.\u003c/p>\n\u003cfigure id=\"attachment_13858711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-800x618.jpg\" alt='L to R: Alvin and Carl Barnette, Eagle Creek regulars Sammy \"La Creek\" and Frank \"Lady F,\" and Rodney Barnette.' width=\"800\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-1020x788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-1200x928.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Alvin and Carl Barnette, Eagle Creek regulars Sammy “La Creek” and Frank “Lady F,” and Rodney Barnette. \u003ccite>(Courtesy Sadie Barnette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sadie aims for the installation to also be a queer social space, inviting organizations such as the Black Aesthetic film collective to contribute programming. This way, the project at once enhances the historical record, gathering memories and materials related to a little-documented bar, and addresses a still-urgent need for black-centered queer spaces. “Discrimination at clubs doesn’t take the same forms now,” she said. “But we shouldn’t relegate the struggle to the past.”\u003c/p>\n\u003cp>Rodney was wounded in the Vietnam War, and upon returning to Los Angeles realized American police occupied the black community the way American soldiers occupied Vietnam. He founded the Compton chapter of the Black Panther Party in 1968, landing on the Federal Bureau of Investigation’s Counterintelligence Program (COINTELPRO) watchlist. [aside postid='arts_13858829']\u003c/p>\n\u003cp>Sadie incorporated his FBI file, acquired via a public records request, into her installation \u003cem>My Father’s FBI File, Project I\u003c/em>, which debuted in 2016 at the Oakland Museum of California’s exhibition \u003cem>All Power to the People: Black Panthers at 50\u003c/em>. She had in mind a piece inspired by Eagle Creek even before that project, but it wasn’t until the Lab residency that she had the opportunity. “Something that’s as much performance as shrine or nightclub needs somewhere as flexible as the Lab,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13858712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-800x450.jpg\" alt=\"The bar is part altar, with photos of the Barnette family from the time, and part sculpture, with crushed cans and stereo equipment enameled in glitter.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The bar is part altar, with photos of the Barnette family from the time, and part sculpture, with crushed cans and stereo equipment enameled in glitter. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rodney, who moved to San Francisco in 1969, said he was surprised to find racism in the gay scene to be more pronounced than in the city over all. As he recalls, the Rendezvous cut the music when black people started to dance, citing a rule against bodily contact, and the Stud removed the black music from the jukebox. At the Mineshaft, like other gay bars, black people were often asked for three forms of identification at the door. “And the bigger the community got, the worse the discrimination was,” Rodney said. “I started avoiding even driving through the Castro.”\u003c/p>\n\u003cp>Even the opening of the Eagle Creek, in 1990, was followed by what Rodney considered a racist smear in San Francisco’s LGBTQ+ newspaper, \u003cem>Bay Area Reporter\u003c/em>. A news item on a white gay man found strangled to death at home noted that he was an Eagle Creek regular with a “sexual preference for black males,” unsubtly implying a connection. Rodney wrote the newspaper expressing sympathy for the victim and outrage at the innuendo, prompting a retraction.\u003c/p>\n\u003cfigure id=\"attachment_13858710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858710\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Bar-by-day-800x507.jpg\" alt='Sadie Barnette aims for \"The New Eagle Creek Saloon\" to be a queer social space. ' width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-1200x760.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sadie Barnette aims for “The New Eagle Creek Saloon” to be a queer social space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A hub of gay rights activism, the bar hosted fundraisers for groups such as Lesbians and Gays of African Descent for Democratic Action, which in turn pressured the San Francisco Board of Supervisors to pass legislation forestalling the discriminatory identification checks. The bar closed during candlelight vigils on Market Street for community members lost to the AIDS epidemic. Rodney said it also brought him closer to his two straight brothers. [aside postid='arts_13858699']\u003c/p>\n\u003cp>The Eagle Creek shuttered in 1993 because business tapered during an economic downturn, and another short-lived bar aimed at straight people, The Drunk Tank, opened in its place. But it left deep impressions on its patrons, many of whom turned out to the opening last month at the Lab. After the Barnettes’ presentation, one former regular lyrically recalled a muscular bartender with a tiny chihuahua. Another, choking up, remembered himself as painfully closeted, at all times withdrawn into his hoodie.\u003c/p>\n\u003cp>“I was hiding,” he said. “At the Eagle Creek, I opened up.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article is part of KQED Arts’ story series \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener\">Pride as Protest\u003c/a>, which chronicles the past and present of LGBTQ+ activism in honor of the 50th anniversary of the Stonewall riots. Learn more about the series \u003ca href=\"https://www.kqed.org/arts/13858609/welcome-to-pride-as-protest-a-new-kqed-arts-story-series\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>One Saturday evening last month, dozens of people hovered around a horseshoe-shaped bar in the Mission District of San Francisco. Diffuse blue and fuchsia lights shone on white patent leather sofas, and a DJ played vinyl—mostly throwback funk and disco beating with a steady pulse. Arched over the scene was a pink neon sign with the words “Eagle Creek.”\u003c/p>\n\u003cp>As the music quieted, \u003ca href=\"http://www.sadiebarnette.com/\" target=\"_blank\" rel=\"noopener\">Sadie Barnette\u003c/a> and her father Rodney sat on stools beneath the neon, and explained why this art space, usually known as \u003ca href=\"https://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">the Lab\u003c/a>, looked and felt like a nightclub. In the 1970s and 1980s, Rodney recalled, gay bars were among the least hospitable places in San Francisco for black people such as himself. There was hardly a place for gay black people to dance, let alone throw a fundraiser for a gay black political candidate.\u003c/p>\n\u003cp>“That’s why I bought the Eagle Creek,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13858718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-800x533.jpg\" alt=\"Sadie Barnette (L) used her residency at The Lab to honor San Francisco's first black-owned gay bar the Eagle Creek Saloon, which her father Rodney (R) opened in 1990.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Sadie-and-Rodney-Barnette-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sadie Barnette (L) used her residency at The Lab to honor San Francisco’s first black-owned gay bar the Eagle Creek Saloon, which her father Rodney (R) opened in 1990. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sadie was five years old in 1990 when her father acquired the bar that for the next three years provided gay people of color a site of protest, refuge and revelry on Market Street—”a friendly place with a funky bass for every race,” as its slogan went. Now the Oakland artist is using her \u003ca href=\"https://www.thelab.org/projects/2019/5/11/sadie-barnette-the-new-eagle-creek-saloon\" target=\"_blank\" rel=\"noopener\">residency\u003c/a> at the Lab to to honor her father’s venture with “something living, something more than a referential archive,” she said. “I want this to channel Eagle Creek, not just be about it.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sadie’s most vivid memory of the city’s first black-owned gay bar is from 1992, when the Eagle Creek sponsored what Rodney calls the first black float in the San Francisco Pride parade. The theme was black people through the ages, and Sadie stood alongside pharaohs and astronauts in an ornately tasseled ensemble created by a bar regular. Her residency at the Lab culminates with this year’s parade on June 30, when the entire bar will be hoisted onto a float. Until then, the bar is on view every Wednesday 5-8pm.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "“The bigger the community got, the worse the discrimination was. I started avoiding even driving through the Castro.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>“The New Eagle Creek Saloon” is not a reproduction of Eagle Creek so much as a fondly embellished memory. Sadie called the aesthetic “disco limbo,” saying in a recent interview that it connects to her work in terms of familiar objects or scenes portrayed with a hyperbolic grandeur to suggest their liberatory potential. The bar is part altar, with photos of the Barnette family from the time, and part sculpture, with crushed cans and stereo equipment enameled in glitter. There are branded matchbooks and coasters, and the bar itself is sturdy enough for people to dance on.\u003c/p>\n\u003cfigure id=\"attachment_13858711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-800x618.jpg\" alt='L to R: Alvin and Carl Barnette, Eagle Creek regulars Sammy \"La Creek\" and Frank \"Lady F,\" and Rodney Barnette.' width=\"800\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-1020x788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon-1200x928.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Barnette-family-and-regulars-eagle-creek-saloon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Alvin and Carl Barnette, Eagle Creek regulars Sammy “La Creek” and Frank “Lady F,” and Rodney Barnette. \u003ccite>(Courtesy Sadie Barnette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sadie aims for the installation to also be a queer social space, inviting organizations such as the Black Aesthetic film collective to contribute programming. This way, the project at once enhances the historical record, gathering memories and materials related to a little-documented bar, and addresses a still-urgent need for black-centered queer spaces. “Discrimination at clubs doesn’t take the same forms now,” she said. “But we shouldn’t relegate the struggle to the past.”\u003c/p>\n\u003cp>Rodney was wounded in the Vietnam War, and upon returning to Los Angeles realized American police occupied the black community the way American soldiers occupied Vietnam. He founded the Compton chapter of the Black Panther Party in 1968, landing on the Federal Bureau of Investigation’s Counterintelligence Program (COINTELPRO) watchlist. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sadie incorporated his FBI file, acquired via a public records request, into her installation \u003cem>My Father’s FBI File, Project I\u003c/em>, which debuted in 2016 at the Oakland Museum of California’s exhibition \u003cem>All Power to the People: Black Panthers at 50\u003c/em>. She had in mind a piece inspired by Eagle Creek even before that project, but it wasn’t until the Lab residency that she had the opportunity. “Something that’s as much performance as shrine or nightclub needs somewhere as flexible as the Lab,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13858712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-800x450.jpg\" alt=\"The bar is part altar, with photos of the Barnette family from the time, and part sculpture, with crushed cans and stereo equipment enameled in glitter.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-sculpture-Eagle-Creek.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The bar is part altar, with photos of the Barnette family from the time, and part sculpture, with crushed cans and stereo equipment enameled in glitter. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rodney, who moved to San Francisco in 1969, said he was surprised to find racism in the gay scene to be more pronounced than in the city over all. As he recalls, the Rendezvous cut the music when black people started to dance, citing a rule against bodily contact, and the Stud removed the black music from the jukebox. At the Mineshaft, like other gay bars, black people were often asked for three forms of identification at the door. “And the bigger the community got, the worse the discrimination was,” Rodney said. “I started avoiding even driving through the Castro.”\u003c/p>\n\u003cp>Even the opening of the Eagle Creek, in 1990, was followed by what Rodney considered a racist smear in San Francisco’s LGBTQ+ newspaper, \u003cem>Bay Area Reporter\u003c/em>. A news item on a white gay man found strangled to death at home noted that he was an Eagle Creek regular with a “sexual preference for black males,” unsubtly implying a connection. Rodney wrote the newspaper expressing sympathy for the victim and outrage at the innuendo, prompting a retraction.\u003c/p>\n\u003cfigure id=\"attachment_13858710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858710\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Bar-by-day-800x507.jpg\" alt='Sadie Barnette aims for \"The New Eagle Creek Saloon\" to be a queer social space. ' width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day-1200x760.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Bar-by-day.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sadie Barnette aims for “The New Eagle Creek Saloon” to be a queer social space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A hub of gay rights activism, the bar hosted fundraisers for groups such as Lesbians and Gays of African Descent for Democratic Action, which in turn pressured the San Francisco Board of Supervisors to pass legislation forestalling the discriminatory identification checks. The bar closed during candlelight vigils on Market Street for community members lost to the AIDS epidemic. Rodney said it also brought him closer to his two straight brothers. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Eagle Creek shuttered in 1993 because business tapered during an economic downturn, and another short-lived bar aimed at straight people, The Drunk Tank, opened in its place. But it left deep impressions on its patrons, many of whom turned out to the opening last month at the Lab. After the Barnettes’ presentation, one former regular lyrically recalled a muscular bartender with a tiny chihuahua. Another, choking up, remembered himself as painfully closeted, at all times withdrawn into his hoodie.\u003c/p>\n\u003cp>“I was hiding,” he said. “At the Eagle Creek, I opened up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "love-finds-ali-wong-and-randall-park-in-always-be-my-maybe",
"title": "Love Finds Ali Wong And Randall Park In 'Always Be My Maybe'",
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"content": "\u003cp>With San Francisco as its backdrop, Ali Wong and Randall Park’s latest project is so much more than a romantic comedy.\u003c/p>\n\u003cp>\u003cem>Always Be My Maybe \u003c/em>is an enormously refreshing rom-com in a couple of ways that people who have covered its release have talked about a lot. Specifically, it’s an American rom-com (released on Netflix) that features two Asian American characters from a Korean American and Vietnamese American families who have sex, fall in love, break up, date other people and then find each other again. It stars Randall Park, who \u003ca href=\"https://www.npr.org/2015/10/14/448278570/actor-randall-park-says-fresh-off-the-boat-is-comedy-without-the-clich\">has spent the last several years\u003c/a> on ABC’s \u003cem>Fresh Off the Boat \u003c/em>but has had a long and varied career in comedy, and Ali Wong, \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">whose career boomed after\u003c/a> the release of her comedy specials \u003cem>Baby Cobra \u003c/em>and then \u003cem>Hard Knock Wife\u003c/em>. Park and Wong have known each other a long time, and they have eager fan excitement to thank (at least in part) for the fact that they decided to actually go ahead with the project.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Always Be My Maybe | Trailer | Netflix\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/iHBcWHY9lN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As romantic comedies have contracted after their post-’90s boom, those featuring leads of color have been, regrettably but predictably, hit especially hard. And while \u003cem>Crazy Rich Asians \u003c/em>in 2018 \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/14/637168347/opinion-dont-sweat-the-repsweats-and-let-crazy-rich-asians-be-what-it-is\">brought welcome representation\u003c/a> for Asian American actors in both romance and comedy, it was not really quite a romantic comedy in the traditional sense.\u003c/p>\n\u003cp>This is one. Straight-up, down-the-middle, glorious romantic comedy for people who really and truly love and miss that kind of movie — and the fact that both leads are Asian American isn’t the only way in which it’s fresh-faced. It’s also noteworthy that Park is 45 and Wong is 37, making them significantly older than rom-com leads often are. (When Billy Crystal and Meg Ryan appeared in \u003cem>When Harry Met Sally…,\u003c/em> also a long-relationship film and the one Wong and Park have often cited as inspiration, Crystal was just over 40 and Ryan was in her late 20s.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The two play Marcus and Sasha, who become best pals as kids in San Francisco’s Richmond district. They share one awkward sexual experience and then go their separate ways. Years later, when he’s still working with his father and she’s a celebrity chef, they meet up again. But he has a new and unusual girlfriend (a very funny Vivian Bang), and she’s dating a fancypants rich guy played by the always welcome Daniel Dae Kim.\u003c/p>\n\u003cp>I love what Wong is doing here with the idea of the very driven and successful romantic comedy heroine. Sasha is unapologetic about being ambitious, with the only conflict about her work coming from what feel like very fresh conversations with Marcus about whom she’s trying to please with “elevated Asian cuisine.” While discussing the menu with a consultant, she opts for rice paper because “white people eat it up.” There’s no sense that she needs to give up her job, and it’s clear that she’s probably going to remain famous while he remains not famous, no matter what else happens. Marcus is in a band, but while it would be easy to wrap this up by making his band a big hit, it would … not be particularly believable. (His band is called Hello Peril, which is just \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/09/27/647989652/if-we-called-ourselves-yellow\">a great, great joke\u003c/a>.) For those who grew up in the Bay Area, the bonus nod to DJ star Lyrics Born and a nearly-miss-it cameo with DJ Q-bert add to that San Francisco pride.\u003c/p>\n\u003cp>[aside postID='arts_13812554' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/10/ARTS_FILIPINODJS_1.jpg' target='_blank']\u003c/p>\n\u003cp>Sasha’s best friend, Veronica (Michelle Buteau, because the great comedy people just keep on coming), is super-pregnant for most of the film (perhaps significantly, the same way Wong was when she shot both her comedy specials), and she’s spared just about every bad best-friend cliché. In fact, Veronica’s pregnancy almost operates like a subtle assurance that although she loves her friend, this love story is not the most important thing going on in her life at the moment.\u003c/p>\n\u003cp>Park, too, is just marvelously appealing, supportive and still sometimes kind of foolish in the way you have to be for a rom-com not to end until it’s time for it to end. His dad is played by the marvelous James Saito, and the two of them have an easy and funny chemistry. Both Marcus’ and Sasha’s parents certainly have some culturally specific touchstones, but it’s embarrassing how unusual it is to see Asian American characters with parents firmly outside any super-driven or super-silly stereotypes. (This was also a marvelous aspect of \u003ca href=\"https://www.npr.org/2019/03/13/703140118/cringing-through-hulus-pen15-in-a-good-way\">Hulu’s coming-of-age series\u003c/a> \u003cem>PEN15\u003c/em> and its portrayal of Maya’s mom.)\u003c/p>\n\u003cp>We have to talk about Keanu Reeves, though, because Keanu Reeves is in the marketing.\u003c/p>\n\u003cp>One of the tricks with a film like this is that the middle often drags. After you get through the first part, in which you meet the characters and set up their lives and their love story (SPOILER ALERT), and before you get to the end, as they begin to approach a happy ending (SPOILER ALERT!!), there’s a section in the middle where it can feel like you’re just … waiting. You’re waiting for the people to figure out that they love each other or that their current partners are wrong for them. You’re waiting for obstacles to clear. And that section often needs something. The people who made \u003cem>Always Be My Maybe\u003c/em> very wisely concluded that what it needed was Keanu Reeves.\u003c/p>\n\u003cp>Without saying too much about his role, let’s say that Reeves here is riffing on what you might call the Keanu Reeves Cultural Ideal — this notion that he’s a fighter and a poet and a paragon of decency who probably meditates in the shower. And of all the times I’ve seen an actor goof around with his own image, this just might be my very favorite — even above the Neil Patrick Harris appearance in \u003cem>Harold & Kumar Go to White Castle\u003c/em>. Reeves is a tremendously good sport and a fabulous comic actor, and every tiny decision he makes in these scenes is exactly right. It would be unfair to say he steals the film, because he doesn’t. But what you can say is that his appearance helps enormously in kicking the middle of the film in the pants to keep it from sagging.\u003c/p>\n\u003cp>It’s a film that delivers on all its promises, gives a lot of funny people a chance to shine and — yes indeed — provides some much-needed representation to a lot of potential love-story leads who don’t see themselves in Hollywood nearly often enough.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And let me add: If you don’t stick around at least through the part of the credits with … the surprise audio, you may be sad later. Because later, someone will show you what you missed, and you will say, “I should have listened to that NPR critic.” Stay at least through the childhood photos. They’re pretty fun anyway.\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Love+Finds+Ali+Wong+And+Randall+Park+In+%27Always+Be+My+Maybe%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With San Francisco as its backdrop, Ali Wong and Randall Park’s latest project is so much more than a romantic comedy.\u003c/p>\n\u003cp>\u003cem>Always Be My Maybe \u003c/em>is an enormously refreshing rom-com in a couple of ways that people who have covered its release have talked about a lot. Specifically, it’s an American rom-com (released on Netflix) that features two Asian American characters from a Korean American and Vietnamese American families who have sex, fall in love, break up, date other people and then find each other again. It stars Randall Park, who \u003ca href=\"https://www.npr.org/2015/10/14/448278570/actor-randall-park-says-fresh-off-the-boat-is-comedy-without-the-clich\">has spent the last several years\u003c/a> on ABC’s \u003cem>Fresh Off the Boat \u003c/em>but has had a long and varied career in comedy, and Ali Wong, \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">whose career boomed after\u003c/a> the release of her comedy specials \u003cem>Baby Cobra \u003c/em>and then \u003cem>Hard Knock Wife\u003c/em>. Park and Wong have known each other a long time, and they have eager fan excitement to thank (at least in part) for the fact that they decided to actually go ahead with the project.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Always Be My Maybe | Trailer | Netflix\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/iHBcWHY9lN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As romantic comedies have contracted after their post-’90s boom, those featuring leads of color have been, regrettably but predictably, hit especially hard. And while \u003cem>Crazy Rich Asians \u003c/em>in 2018 \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/14/637168347/opinion-dont-sweat-the-repsweats-and-let-crazy-rich-asians-be-what-it-is\">brought welcome representation\u003c/a> for Asian American actors in both romance and comedy, it was not really quite a romantic comedy in the traditional sense.\u003c/p>\n\u003cp>This is one. Straight-up, down-the-middle, glorious romantic comedy for people who really and truly love and miss that kind of movie — and the fact that both leads are Asian American isn’t the only way in which it’s fresh-faced. It’s also noteworthy that Park is 45 and Wong is 37, making them significantly older than rom-com leads often are. (When Billy Crystal and Meg Ryan appeared in \u003cem>When Harry Met Sally…,\u003c/em> also a long-relationship film and the one Wong and Park have often cited as inspiration, Crystal was just over 40 and Ryan was in her late 20s.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The two play Marcus and Sasha, who become best pals as kids in San Francisco’s Richmond district. They share one awkward sexual experience and then go their separate ways. Years later, when he’s still working with his father and she’s a celebrity chef, they meet up again. But he has a new and unusual girlfriend (a very funny Vivian Bang), and she’s dating a fancypants rich guy played by the always welcome Daniel Dae Kim.\u003c/p>\n\u003cp>I love what Wong is doing here with the idea of the very driven and successful romantic comedy heroine. Sasha is unapologetic about being ambitious, with the only conflict about her work coming from what feel like very fresh conversations with Marcus about whom she’s trying to please with “elevated Asian cuisine.” While discussing the menu with a consultant, she opts for rice paper because “white people eat it up.” There’s no sense that she needs to give up her job, and it’s clear that she’s probably going to remain famous while he remains not famous, no matter what else happens. Marcus is in a band, but while it would be easy to wrap this up by making his band a big hit, it would … not be particularly believable. (His band is called Hello Peril, which is just \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/09/27/647989652/if-we-called-ourselves-yellow\">a great, great joke\u003c/a>.) For those who grew up in the Bay Area, the bonus nod to DJ star Lyrics Born and a nearly-miss-it cameo with DJ Q-bert add to that San Francisco pride.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sasha’s best friend, Veronica (Michelle Buteau, because the great comedy people just keep on coming), is super-pregnant for most of the film (perhaps significantly, the same way Wong was when she shot both her comedy specials), and she’s spared just about every bad best-friend cliché. In fact, Veronica’s pregnancy almost operates like a subtle assurance that although she loves her friend, this love story is not the most important thing going on in her life at the moment.\u003c/p>\n\u003cp>Park, too, is just marvelously appealing, supportive and still sometimes kind of foolish in the way you have to be for a rom-com not to end until it’s time for it to end. His dad is played by the marvelous James Saito, and the two of them have an easy and funny chemistry. Both Marcus’ and Sasha’s parents certainly have some culturally specific touchstones, but it’s embarrassing how unusual it is to see Asian American characters with parents firmly outside any super-driven or super-silly stereotypes. (This was also a marvelous aspect of \u003ca href=\"https://www.npr.org/2019/03/13/703140118/cringing-through-hulus-pen15-in-a-good-way\">Hulu’s coming-of-age series\u003c/a> \u003cem>PEN15\u003c/em> and its portrayal of Maya’s mom.)\u003c/p>\n\u003cp>We have to talk about Keanu Reeves, though, because Keanu Reeves is in the marketing.\u003c/p>\n\u003cp>One of the tricks with a film like this is that the middle often drags. After you get through the first part, in which you meet the characters and set up their lives and their love story (SPOILER ALERT), and before you get to the end, as they begin to approach a happy ending (SPOILER ALERT!!), there’s a section in the middle where it can feel like you’re just … waiting. You’re waiting for the people to figure out that they love each other or that their current partners are wrong for them. You’re waiting for obstacles to clear. And that section often needs something. The people who made \u003cem>Always Be My Maybe\u003c/em> very wisely concluded that what it needed was Keanu Reeves.\u003c/p>\n\u003cp>Without saying too much about his role, let’s say that Reeves here is riffing on what you might call the Keanu Reeves Cultural Ideal — this notion that he’s a fighter and a poet and a paragon of decency who probably meditates in the shower. And of all the times I’ve seen an actor goof around with his own image, this just might be my very favorite — even above the Neil Patrick Harris appearance in \u003cem>Harold & Kumar Go to White Castle\u003c/em>. Reeves is a tremendously good sport and a fabulous comic actor, and every tiny decision he makes in these scenes is exactly right. It would be unfair to say he steals the film, because he doesn’t. But what you can say is that his appearance helps enormously in kicking the middle of the film in the pants to keep it from sagging.\u003c/p>\n\u003cp>It’s a film that delivers on all its promises, gives a lot of funny people a chance to shine and — yes indeed — provides some much-needed representation to a lot of potential love-story leads who don’t see themselves in Hollywood nearly often enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And let me add: If you don’t stick around at least through the part of the credits with … the surprise audio, you may be sad later. Because later, someone will show you what you missed, and you will say, “I should have listened to that NPR critic.” Stay at least through the childhood photos. They’re pretty fun anyway.\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Love+Finds+Ali+Wong+And+Randall+Park+In+%27Always+Be+My+Maybe%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This coming weekend is 4/20, and all around the nation, people will toke up in celebration.\u003c/p>\n\u003cp>In California, where recreational marijuana has been legal for just over a year, there’s a strong push from advocates to see that marijuana dispensary ownership is rolled out in an equitable fashion. Along with this push is the effort to help people adversely impacted by the “War On Drugs” to not only get their records expunged, but have some sort of agency in this burgeoning industry.\u003c/p>\n\u003cp>That push for equity is where Nina Parks comes in.\u003c/p>\n\u003cfigure id=\"attachment_13854907\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Image-from-iOS-1-800x535.jpg\" alt=\"Nina Parks and the Equity Sessions motto\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Image-from-iOS-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Image-from-iOS-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Image-from-iOS-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Image-from-iOS-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Image-from-iOS-1-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Image-from-iOS-1.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nina Parks and the Equity Sessions motto. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a San Francisco native, Nina grew up watching people close to her criminalized for their involvement with marijuana. After her brother was incarcerated for a weed-related charge, Nina got involved in the industry. Now, she’s the force behind \u003ca href=\"http://www.equitysessions.com/\">Equity Sessions\u003c/a>, a series of workshops that offers guidance on thriving in the legal marijuana sector to those historically disenfranchised from it.\u003c/p>\n\u003cp>For this week’s \u003cem>Rightnowish\u003c/em>, I caught up with Nina right before one of her workshops—and, coincidentally, right before her birthday. It’s almost too perfect: Nina was born on 4/20.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Click the link above to hear about the great work she’s doing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This coming weekend is 4/20, and all around the nation, people will toke up in celebration.\u003c/p>\n\u003cp>In California, where recreational marijuana has been legal for just over a year, there’s a strong push from advocates to see that marijuana dispensary ownership is rolled out in an equitable fashion. Along with this push is the effort to help people adversely impacted by the “War On Drugs” to not only get their records expunged, but have some sort of agency in this burgeoning industry.\u003c/p>\n\u003cp>That push for equity is where Nina Parks comes in.\u003c/p>\n\u003cfigure id=\"attachment_13854907\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Image-from-iOS-1-800x535.jpg\" alt=\"Nina Parks and the Equity Sessions motto\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Image-from-iOS-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Image-from-iOS-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Image-from-iOS-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Image-from-iOS-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Image-from-iOS-1-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Image-from-iOS-1.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nina Parks and the Equity Sessions motto. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a San Francisco native, Nina grew up watching people close to her criminalized for their involvement with marijuana. After her brother was incarcerated for a weed-related charge, Nina got involved in the industry. Now, she’s the force behind \u003ca href=\"http://www.equitysessions.com/\">Equity Sessions\u003c/a>, a series of workshops that offers guidance on thriving in the legal marijuana sector to those historically disenfranchised from it.\u003c/p>\n\u003cp>For this week’s \u003cem>Rightnowish\u003c/em>, I caught up with Nina right before one of her workshops—and, coincidentally, right before her birthday. It’s almost too perfect: Nina was born on 4/20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A Great Depression-era mural depicting George Washington as a slave owner and promoter of the United States’ genocidal westward expansion is the latest public artwork to draw controversy in San Francisco.\u003c/p>\n\u003cp>\u003cem>Life of Washington\u003c/em>, a 13-panel fresco by Russian-born painter Victor Arnautoff, has greeted visitors to the lobby of George Washington High School in the Outer Richmond district since 1936. Now it’s complicating a nationwide referendum on public monuments to past exploitation.\u003c/p>\n\u003cp>Two panels of the Works Progress Administration-funded mural are primarily at issue: One shows Washington among his slaves at Mount Vernon, while in another, the country’s first president directs white men with guns westward, over the body of an apparently slain Native American. Artaunoff, a committed communist, intended the artwork as a corrective rebuke to the United States’ origin story.\u003c/p>\n\u003cp>Opponents of the mural, including the school board president and students, say it offensively shows oppressed minorities in an undignified light. Their criticism echoes activists’ \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\">successful call\u003c/a> last year to remove “Early Days,” a statue depicting a Native American kneeling beneath a Spanish colonizer, from the \u003cem>Pioneer Monument\u003c/em> sculptural group near San Francisco City Hall.\u003c/p>\n\u003cp>But supporters of the mural, including the George Washington High School Alumni Association and art scholars and critics, argue that \u003cem>Life of Washington\u003c/em> clearly critiques, instead of glorifies, colonization and racism. Arnautoff’s “daring murals,” \u003ca href=\"https://livingnewdeal.org/new-deal-murals-spur-controversy/\">wrote\u003c/a> New Deal scholar Gray Brechin, “depict the father of our country as also being the father of a genocide later claimed by the victors as Manifest Destiny.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brechin noted that Anton Refregier, another Russian-born leftist painter, received intense pushback for his relatively tame handling of similar themes in his Rincon Annex Post Office mural. \u003cem>Life of Washington\u003c/em> is “so contrary to the national mythology of the time that I have often wondered how the artist got away with such criticism in a public place,” Brechin wrote.\u003c/p>\n\u003cfigure id=\"attachment_13854564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854564\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-800x321.jpg\" alt=\"A WPA-era mural by Victor Arnautoff depicting slave ownership and Native American genocide is part of a new controversy at George Washington High School in San Francisco.\" width=\"800\" height=\"321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-800x321.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-768x308.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WPA-era mural by Victor Arnautoff depicting slave ownership and Native American genocide is part of a new controversy at George Washington High School in San Francisco. \u003ccite>(George Washington High School Alumni Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But some students at George Washington, \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Offensive-or-important-Debate-flares-anew-over-13748800.php\">speaking\u003c/a> to the \u003cem>San Francisco Chronicle\u003c/em>, criticized the imagery as unavoidable and distressing, regardless of the artist’s intentions. San Francisco Board of Education President Stevon Cook has asked the superintendent to determine the cost of removing \u003cem>Life of Washington\u003c/em> by the end of the school year in May.\u003c/p>\n\u003cp>Officials have also proposed changing the name of George Washington High School. Last year the school board cited the two panels in its rejection of a proposal to pursue landmark status for the building. The board then convened an 11-person “Reflection and Action Panel,” which recommended painting over or otherwise removing the entire mural.\u003c/p>\n\u003cp>Alumni association Vice President Lope Yap Jr., a Marin filmmaker and 1970 graduate, was a dissenting panelist. He said he sympathizes with students who have a “viscerally negative” reaction to the mural, but supports an alternative that obscures the disturbing panels.\u003c/p>\n\u003cp>“I’m not trying to criticize anyone’s emotional pain,” he said. “Where we part is the recommendation to whitewash or permanently remove the murals.”\u003c/p>\n\u003cp>Yap Jr. and the alumni association instead \u003ca href=\"https://sfrichmondreview.com/2019/03/29/george-washington-high-school-alumni-oppose-censoring-controversial-murals/\">propose\u003c/a> installing screening over the two panels “to prevent inadvertent viewing,” placing didactic plaques to clarify the artist’s intent, and complementing \u003cem>Life of Washington\u003c/em> with new, prominently installed murals positively depicting Native Americans.\u003c/p>\n\u003cp>In a statement, the alumni association called \u003cem>Life of Washington\u003c/em> a “radical and critical” artwork. “There are many New Deal murals depicting the founding of our country; very few even acknowledge slavery or the Native genocide. The Arnautoff murals should be preserved for their artistic, historical, and educational value.”\u003c/p>\n\u003cp>\u003cem>Life of Washington\u003c/em>‘s depiction of black people as slaves has long been controversial. In the 1960s, students pressured the school district to commission new murals by the black painter Dewey Crumpler; his \u003cem>Multi-Ethnic Heritage: Black, Asian, Native/Latin American\u003c/em> works, completed in 1974, show empowered minority figures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Arnautoff, who studied under Diego Rivera, also contributed artwork to the lobby of Coit Tower and several post offices in California. He was a Stanford University art professor from 1938-1962. In 1955, the House Un-American Activities Committee unsuccessfully sought to oust him from the teaching post because of his communist political beliefs.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Great Depression-era mural depicting George Washington as a slave owner and promoter of the United States’ genocidal westward expansion is the latest public artwork to draw controversy in San Francisco.\u003c/p>\n\u003cp>\u003cem>Life of Washington\u003c/em>, a 13-panel fresco by Russian-born painter Victor Arnautoff, has greeted visitors to the lobby of George Washington High School in the Outer Richmond district since 1936. Now it’s complicating a nationwide referendum on public monuments to past exploitation.\u003c/p>\n\u003cp>Two panels of the Works Progress Administration-funded mural are primarily at issue: One shows Washington among his slaves at Mount Vernon, while in another, the country’s first president directs white men with guns westward, over the body of an apparently slain Native American. Artaunoff, a committed communist, intended the artwork as a corrective rebuke to the United States’ origin story.\u003c/p>\n\u003cp>Opponents of the mural, including the school board president and students, say it offensively shows oppressed minorities in an undignified light. Their criticism echoes activists’ \u003ca href=\"https://www.kqed.org/arts/13840748/early-days-statue-in-sf-deemed-racist-will-be-removed-following-re-vote\">successful call\u003c/a> last year to remove “Early Days,” a statue depicting a Native American kneeling beneath a Spanish colonizer, from the \u003cem>Pioneer Monument\u003c/em> sculptural group near San Francisco City Hall.\u003c/p>\n\u003cp>But supporters of the mural, including the George Washington High School Alumni Association and art scholars and critics, argue that \u003cem>Life of Washington\u003c/em> clearly critiques, instead of glorifies, colonization and racism. Arnautoff’s “daring murals,” \u003ca href=\"https://livingnewdeal.org/new-deal-murals-spur-controversy/\">wrote\u003c/a> New Deal scholar Gray Brechin, “depict the father of our country as also being the father of a genocide later claimed by the victors as Manifest Destiny.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brechin noted that Anton Refregier, another Russian-born leftist painter, received intense pushback for his relatively tame handling of similar themes in his Rincon Annex Post Office mural. \u003cem>Life of Washington\u003c/em> is “so contrary to the national mythology of the time that I have often wondered how the artist got away with such criticism in a public place,” Brechin wrote.\u003c/p>\n\u003cfigure id=\"attachment_13854564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854564\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-800x321.jpg\" alt=\"A WPA-era mural by Victor Arnautoff depicting slave ownership and Native American genocide is part of a new controversy at George Washington High School in San Francisco.\" width=\"800\" height=\"321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-800x321.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1-768x308.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gwhs-mural-1.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WPA-era mural by Victor Arnautoff depicting slave ownership and Native American genocide is part of a new controversy at George Washington High School in San Francisco. \u003ccite>(George Washington High School Alumni Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But some students at George Washington, \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Offensive-or-important-Debate-flares-anew-over-13748800.php\">speaking\u003c/a> to the \u003cem>San Francisco Chronicle\u003c/em>, criticized the imagery as unavoidable and distressing, regardless of the artist’s intentions. San Francisco Board of Education President Stevon Cook has asked the superintendent to determine the cost of removing \u003cem>Life of Washington\u003c/em> by the end of the school year in May.\u003c/p>\n\u003cp>Officials have also proposed changing the name of George Washington High School. Last year the school board cited the two panels in its rejection of a proposal to pursue landmark status for the building. The board then convened an 11-person “Reflection and Action Panel,” which recommended painting over or otherwise removing the entire mural.\u003c/p>\n\u003cp>Alumni association Vice President Lope Yap Jr., a Marin filmmaker and 1970 graduate, was a dissenting panelist. He said he sympathizes with students who have a “viscerally negative” reaction to the mural, but supports an alternative that obscures the disturbing panels.\u003c/p>\n\u003cp>“I’m not trying to criticize anyone’s emotional pain,” he said. “Where we part is the recommendation to whitewash or permanently remove the murals.”\u003c/p>\n\u003cp>Yap Jr. and the alumni association instead \u003ca href=\"https://sfrichmondreview.com/2019/03/29/george-washington-high-school-alumni-oppose-censoring-controversial-murals/\">propose\u003c/a> installing screening over the two panels “to prevent inadvertent viewing,” placing didactic plaques to clarify the artist’s intent, and complementing \u003cem>Life of Washington\u003c/em> with new, prominently installed murals positively depicting Native Americans.\u003c/p>\n\u003cp>In a statement, the alumni association called \u003cem>Life of Washington\u003c/em> a “radical and critical” artwork. “There are many New Deal murals depicting the founding of our country; very few even acknowledge slavery or the Native genocide. The Arnautoff murals should be preserved for their artistic, historical, and educational value.”\u003c/p>\n\u003cp>\u003cem>Life of Washington\u003c/em>‘s depiction of black people as slaves has long been controversial. In the 1960s, students pressured the school district to commission new murals by the black painter Dewey Crumpler; his \u003cem>Multi-Ethnic Heritage: Black, Asian, Native/Latin American\u003c/em> works, completed in 1974, show empowered minority figures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Arnautoff, who studied under Diego Rivera, also contributed artwork to the lobby of Coit Tower and several post offices in California. He was a Stanford University art professor from 1938-1962. In 1955, the House Un-American Activities Committee unsuccessfully sought to oust him from the teaching post because of his communist political beliefs.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco punk scene of the late 1970s is perhaps remembered almost as well by its imagery and as by its recordings: Crime frontman \u003ca href=\"https://www.kqed.org/arts/13840626/johnny-strike-frontman-of-sf-punk-pioneers-crime-dead-at-70\" rel=\"noopener\" target=\"_blank\">Johnny Strike’s gaunt mug\u003c/a> against the wall at Powell Street BART station, or Sex Pistols bassist Sid Vicious splayed backstage at the Mabuhay Gardens on the cusp of his group’s dissolution. The latter photograph is by Ruby Ray, who chronicled the scene as a staffer at the groundbreaking fanzine \u003cem>Search & Destroy\u003c/em>.\u003c/p>\n\u003cp>Ray is among the first-wave San Francisco punk photographers to attract renewed interest and publication in recent years. In 2009, she showed prints at the San Francisco Public Library, gaining the attention of archival record label Super Viaduct, which published her first book, \u003cem>From the Edge of the World\u003c/em>, in 2013. In the book’s introduction, English rock critic Jon Savage called Ray’s photos “a record of a lost moment that is finally receiving the attention it was always due.” [contextly_sidebar id=”nla06NdxEuBNisCcTkWLuNK1ie1pqYdq”]\u003c/p>\n\u003cp>\u003cem>Kalifornia Kool: Photographs 1976-1982\u003c/em>, recently published by Swedish writer Carl Abrahamsson via Trapart, collects many of the same photographs as Ray’s earlier, out-of-print volume, but this hardbound, 200-page book also features unseen material. Abrahamsson and V. Vale, the \u003cem>Search & Destroy\u003c/em> publisher who gave Ray her first photo assignment (The Dils, who she photographed on a pile of rubble), wrote introductions.\u003c/p>\n\u003cp>Ray launches the book Thursday, March 28, at 7pm at \u003ca href=\"http://www.citylights.com/bookstore/?fa=event&event_id=3395\">City Lights Bookstore\u003c/a> in North Beach. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco punk scene of the late 1970s is perhaps remembered almost as well by its imagery and as by its recordings: Crime frontman \u003ca href=\"https://www.kqed.org/arts/13840626/johnny-strike-frontman-of-sf-punk-pioneers-crime-dead-at-70\" rel=\"noopener\" target=\"_blank\">Johnny Strike’s gaunt mug\u003c/a> against the wall at Powell Street BART station, or Sex Pistols bassist Sid Vicious splayed backstage at the Mabuhay Gardens on the cusp of his group’s dissolution. The latter photograph is by Ruby Ray, who chronicled the scene as a staffer at the groundbreaking fanzine \u003cem>Search & Destroy\u003c/em>.\u003c/p>\n\u003cp>Ray is among the first-wave San Francisco punk photographers to attract renewed interest and publication in recent years. In 2009, she showed prints at the San Francisco Public Library, gaining the attention of archival record label Super Viaduct, which published her first book, \u003cem>From the Edge of the World\u003c/em>, in 2013. In the book’s introduction, English rock critic Jon Savage called Ray’s photos “a record of a lost moment that is finally receiving the attention it was always due.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Kalifornia Kool: Photographs 1976-1982\u003c/em>, recently published by Swedish writer Carl Abrahamsson via Trapart, collects many of the same photographs as Ray’s earlier, out-of-print volume, but this hardbound, 200-page book also features unseen material. Abrahamsson and V. Vale, the \u003cem>Search & Destroy\u003c/em> publisher who gave Ray her first photo assignment (The Dils, who she photographed on a pile of rubble), wrote introductions.\u003c/p>\n\u003cp>Ray launches the book Thursday, March 28, at 7pm at \u003ca href=\"http://www.citylights.com/bookstore/?fa=event&event_id=3395\">City Lights Bookstore\u003c/a> in North Beach. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It was a standing room-only crowd as supporters of Stephen Buescher, the plaintiff in a discrimination lawsuit against his former employer American Conservatory Theater (ACT), gathered Wednesday evening to discuss racism in the theater world.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/13851200/former-american-conservatory-theater-actor-files-racial-discrimination-lawsuit\" target=\"_blank\" rel=\"noopener noreferrer\">a complaint filed a day prior\u003c/a>, Buescher alleges that ACT, where he held faculty and creative roles for ten years until 2018, created a racially hostile environment and systematically discriminated against black artists, staff and students.\u003c/p>\n\u003cp>[contextly_sidebar id=”flaueC6OR4YAZwC6XQROSareU5dK0Gtj”]\u003c/p>\n\u003cp>The event in the 92-seat theater at Pianofight in San Francisco was billed “#LiftTheCurtain on Racial Inequity in the Arts.” For more than an hour, Buescher, current staff and students at American Conservatory Theater and other theater figures passed a microphone to share their frustrations with being typecast, tokenized and silenced as black artists.\u003c/p>\n\u003cp>It began with poems from Jerrie Johnson, one of several ACT graduate students present, followed by Buescher. Choking up, he called his experience at the company a “long, silent, lonely road” before saying that, in the wake of the lawsuit, he’s heard from many theater figures with similar accounts. Most of the following speakers said they now felt emboldened.\u003c/p>\n\u003cfigure id=\"attachment_13851345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851345\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/MArgo-Hall-800x533.jpg\" alt=\"Margo Hall encouraged the audience to complicate black stereotypes.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall encouraged the audience to complicate black stereotypes. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stephanie Wilborn, community programs manager at ACT, read a prepared piece about being one of few black workers at the company, including references to colleagues inappropriately touching and commenting on her hair. “It means having a board member ask you your name for the fifth time and then ask what year you’re graduating,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’ve worked at ACT for three years and what Stephen has courageously said to [the media] is true.” Wilborn continued, “I’ve seen it happen and it’s happened to me.”\u003c/p>\n\u003cp>Margo Hall, the prominent local actor and educator who recently appeared in \u003cem>Blindspotting\u003c/em>, drew shouts and applause as she encouraged the audience to complicate black stereotypes. “Hell, my uncle was a pimp—but he had a life, he had a story,” she said. “Don’t be afraid to embrace your stories because someone has created a narrative around those stories. We get to tell the truth about them. Keep thinking about that.” [contextly_sidebar id=”SxQaArjM4knABlFrFzPhB63EHl6NBVrd”]\u003c/p>\n\u003cp>Ellen Sebastian Chang, the longtime local theater fixture who co-created the site-specific ritual performance series \u003cem>House/Full of Black Women\u003c/em> with Amara Tabor-Smith, emphasized how the racial wealth gap colors the arts. And at the same time black people are alienated from arts organizations, she said, black cultural products are in demand.\u003c/p>\n\u003cp>“So when I get triggered by \u003cem>Fairview\u003c/em> at Berkeley Rep and the spirit comes over me and I jump up and say, ‘Look at how black women are doing CPR on the failing heart of America’—and doing it for fucking minimum wage—and then the white folks run up to me and go, ‘Are you okay?’” She continued, “Then I say fuck off, ‘cus I’m not okay!”\u003c/p>\n\u003cfigure id=\"attachment_13851344\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851344\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-800x533.jpg\" alt=\"Ellen Sebastian Chang emphasized how the racial wealth gap impacts the arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Sebastian Chang emphasized how the racial wealth gap impacts the arts. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the lawsuit, ACT issued a statement describing institutional changes including hiring a diversity, equity and inclusion consultant and a new human resources director. Buescher called the changes “superficial,” and other speakers made it a refrain.\u003c/p>\n\u003cp>“How many folks in this space are currently involved in some kind of diversity, equity and inclusion work?” asked artist and activist Claudia Alick. Dozens of hands shot up. “Okay, so, this is the question that I’ve been holding on to this week: Are we helping organizations perform the optics of justice while maintaining systems of injustice?”\u003c/p>\n\u003cp>Buescher’s complaint, filed by Oakland civil rights firm Medina Orthwein LLP, alleges ACT subjected him and other black instructors and students to “racial profiling, tokenism, exploitation, racial casting, disparate treatment and retaliation.”\u003c/p>\n\u003cfigure id=\"attachment_13851342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Claudia-Alick-800x533.jpg\" alt='Artist and activist Claudia Alick asked listeners if they were only helping organizations \"perform the optics of justice.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and activist Claudia Alick asked listeners if they were only helping organizations “perform the optics of justice.” \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The complaint singles out former Artistic Director Carey Perloff and director Melissa Smith for making racially insensitive comments, explicitly refusing to advance black artists, and dismissing formal complaints from staff and students. After Buescher took his concerns to the board, the suit alleges, his pay and credit were withheld in retaliation.\u003c/p>\n\u003cp>“We are deeply saddened by the legal complaint we received from Mr. Buescher this morning,” ACT said in a statement. “As a former valued member of the American Conservatory Theater faculty, Mr. Buescher significantly contributed to the success of the institution, so much so that we made multiple efforts to retain him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a standing room-only crowd as supporters of Stephen Buescher, the plaintiff in a discrimination lawsuit against his former employer American Conservatory Theater (ACT), gathered Wednesday evening to discuss racism in the theater world.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/13851200/former-american-conservatory-theater-actor-files-racial-discrimination-lawsuit\" target=\"_blank\" rel=\"noopener noreferrer\">a complaint filed a day prior\u003c/a>, Buescher alleges that ACT, where he held faculty and creative roles for ten years until 2018, created a racially hostile environment and systematically discriminated against black artists, staff and students.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The event in the 92-seat theater at Pianofight in San Francisco was billed “#LiftTheCurtain on Racial Inequity in the Arts.” For more than an hour, Buescher, current staff and students at American Conservatory Theater and other theater figures passed a microphone to share their frustrations with being typecast, tokenized and silenced as black artists.\u003c/p>\n\u003cp>It began with poems from Jerrie Johnson, one of several ACT graduate students present, followed by Buescher. Choking up, he called his experience at the company a “long, silent, lonely road” before saying that, in the wake of the lawsuit, he’s heard from many theater figures with similar accounts. Most of the following speakers said they now felt emboldened.\u003c/p>\n\u003cfigure id=\"attachment_13851345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851345\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/MArgo-Hall-800x533.jpg\" alt=\"Margo Hall encouraged the audience to complicate black stereotypes.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall encouraged the audience to complicate black stereotypes. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stephanie Wilborn, community programs manager at ACT, read a prepared piece about being one of few black workers at the company, including references to colleagues inappropriately touching and commenting on her hair. “It means having a board member ask you your name for the fifth time and then ask what year you’re graduating,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve worked at ACT for three years and what Stephen has courageously said to [the media] is true.” Wilborn continued, “I’ve seen it happen and it’s happened to me.”\u003c/p>\n\u003cp>Margo Hall, the prominent local actor and educator who recently appeared in \u003cem>Blindspotting\u003c/em>, drew shouts and applause as she encouraged the audience to complicate black stereotypes. “Hell, my uncle was a pimp—but he had a life, he had a story,” she said. “Don’t be afraid to embrace your stories because someone has created a narrative around those stories. We get to tell the truth about them. Keep thinking about that.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Ellen Sebastian Chang, the longtime local theater fixture who co-created the site-specific ritual performance series \u003cem>House/Full of Black Women\u003c/em> with Amara Tabor-Smith, emphasized how the racial wealth gap colors the arts. And at the same time black people are alienated from arts organizations, she said, black cultural products are in demand.\u003c/p>\n\u003cp>“So when I get triggered by \u003cem>Fairview\u003c/em> at Berkeley Rep and the spirit comes over me and I jump up and say, ‘Look at how black women are doing CPR on the failing heart of America’—and doing it for fucking minimum wage—and then the white folks run up to me and go, ‘Are you okay?’” She continued, “Then I say fuck off, ‘cus I’m not okay!”\u003c/p>\n\u003cfigure id=\"attachment_13851344\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851344\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-800x533.jpg\" alt=\"Ellen Sebastian Chang emphasized how the racial wealth gap impacts the arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Sebastian Chang emphasized how the racial wealth gap impacts the arts. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the lawsuit, ACT issued a statement describing institutional changes including hiring a diversity, equity and inclusion consultant and a new human resources director. Buescher called the changes “superficial,” and other speakers made it a refrain.\u003c/p>\n\u003cp>“How many folks in this space are currently involved in some kind of diversity, equity and inclusion work?” asked artist and activist Claudia Alick. Dozens of hands shot up. “Okay, so, this is the question that I’ve been holding on to this week: Are we helping organizations perform the optics of justice while maintaining systems of injustice?”\u003c/p>\n\u003cp>Buescher’s complaint, filed by Oakland civil rights firm Medina Orthwein LLP, alleges ACT subjected him and other black instructors and students to “racial profiling, tokenism, exploitation, racial casting, disparate treatment and retaliation.”\u003c/p>\n\u003cfigure id=\"attachment_13851342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Claudia-Alick-800x533.jpg\" alt='Artist and activist Claudia Alick asked listeners if they were only helping organizations \"perform the optics of justice.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and activist Claudia Alick asked listeners if they were only helping organizations “perform the optics of justice.” \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The complaint singles out former Artistic Director Carey Perloff and director Melissa Smith for making racially insensitive comments, explicitly refusing to advance black artists, and dismissing formal complaints from staff and students. After Buescher took his concerns to the board, the suit alleges, his pay and credit were withheld in retaliation.\u003c/p>\n\u003cp>“We are deeply saddened by the legal complaint we received from Mr. Buescher this morning,” ACT said in a statement. “As a former valued member of the American Conservatory Theater faculty, Mr. Buescher significantly contributed to the success of the institution, so much so that we made multiple efforts to retain him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Slim’s, Great American Music Hall Workers Axed as Goldenvoice Expands",
"headTitle": "Slim’s, Great American Music Hall Workers Axed as Goldenvoice Expands | KQED",
"content": "\u003cp>In 1988, Bill Graham’s former assistant Queenie Taylor hired Tanya Pinkerton to help publicize events and distribute concert listings for a new venue called Slim’s. In 2000, when Slim’s acquired the Great American Music Hall, Pinkerton gladly added the historic venue to her client list.\u003c/p>\n\u003cp>But a year after Slim’s and the Great American Music Hall inked a booking agreement with corporate promoter Goldenvoice, Pinkerton was recently told her work is redundant.\u003c/p>\n\u003cp>She was let go in January, shortly after manager Dana Smith and promoter Tracey Buck were also laid off. Goldenvoice, Pinkerton was told by email, already had concert listings covered. “What’s funny is, after 30 years I decided to increase my price, by about $15 a month,” she said. “So finally I got the chutzpah to ask for a raise, and I was fired instead.”\u003c/p>\n\u003cp>The layoffs came one year after Slim’s and GAMH, for years considered two of the city’s flagship independent venues, \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\" target=\"_blank\" rel=\"noopener\">outsourced booking\u003c/a> to Goldenvoice, the Coachella promoter that, like competitor Live Nation, has dramatically expanded in the Bay Area. [contextly_sidebar id=”M02WlLvasLOY4Nr5liulnoTByM8DUWqb”]\u003c/p>\n\u003cp>Based in Los Angeles, Goldenvoice first entered San Francisco when it \u003ca href=\"https://www.sfgate.com/bayarea/article/Battle-of-the-Bay-Area-concert-promoters-3278473.php\" target=\"_blank\" rel=\"noopener\">took over\u003c/a> the Warfield and the Regency Ballroom in 2008. Last year, it launched the Blurry Vision music festival in Oakland. Recently the company also announced a concert series at Stanford University’s Frost Amphitheater. With Slim’s and GAMH, Goldenvoice now runs concert promotions at every level—from a small club to a large festival—in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The company is not without controversy. AEG, Goldenvoice’s parent company, is owned by Philip Anschutz, a multibillionaire conservative philanthropist with \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\" target=\"_blank\" rel=\"noopener\">an anti-LGBTQ record\u003c/a>. Corporate saturation of the local concert market is also detrimental, critics say, to a healthy local scene of independent venues and promoters, as well as local bands and fans.\u003c/p>\n\u003cp>Jamie Zawinski, the owner of Slim’s neighbor DNA Lounge, is among the local music industry figures sounding the alarm about Goldenvoice and Live Nation. In response to the Slim’s and GAMH partnership, he wrote a \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">widely shared blog post\u003c/a> arguing that the companies’ expansive concert and ticketing holdings are monopolistic and “bad for our culture as a whole.”\u003c/p>\n\u003cfigure id=\"attachment_13846954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846954\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg\" alt=\"Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters' expansion in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters’ expansion in San Francisco. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pinkerton likened her relationship with Slim’s and GAMH workers to a familial bond, calling them friends and a steady source of referrals. It was a tight-knit operation that \u003ca href=\"http://www.ampthemag.com/the-real/dawn-holliday-im-not-retiring-im-resisting/\" target=\"_blank\" rel=\"noopener\">until 2017\u003c/a> was overseen by talent buyer Dawn Holliday, who last year \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707&showFullText=true\">called\u003c/a> the Goldenvoice partnership a “great source of sadness.”\u003c/p>\n\u003cp>Since Goldenvoice took over the calendars, venue management left its SoMa office. Anthony Bedard, the junior talent buyer and longtime Hemlock Tavern booker, was let go early last year. The most recent layoffs, according to Pinkerton, reflect Goldenvoice’s regional workers taking on more promotions and marketing duties for the venues.\u003c/p>\n\u003cp>Pinkerton said Buck and Smith, who declined to be interviewed, were laid off Monday, Jan. 7, and cleared out that day. The next Tuesday, Pinkerton received an email from Kent Jamieson, the venues’ new general manager, saying the partnership with Goldenvoice made her company, Bay Area Entertainment Listings, a “redundancy.” [contextly_sidebar id=”PK16JBKPiZNgDb9e5ewQLNLkdKFK9QEA”]\u003c/p>\n\u003cp>“It was crappy,” she said. “After 30 years I would’ve liked to have been told in person.”\u003c/p>\n\u003cp>Jamieson declined to discuss the cutbacks, calling the layoffs “unfortunate decisions.” Previously the manager of long-running punk band NOFX, Jamieson said the venue owners, a group including Boz Scaggs, hired him last year. “I was brought on separate from Goldenvoice,” he said.\u003c/p>\n\u003cp>Scaggs, the famed musician and songwriter who founded Slim’s, appears to be stepping back from the venues himself. In a 2017 document he was listed as the sole director of his company, Big Billy Inc. But his name doesn’t appear on the corporation’s most recent statement of information, which lists directors Jamieson plus David Fortune and Alexander Levy.\u003c/p>\n\u003cp>Pinkerton said she still has plenty of clients, and added that losing Slim’s and GAMH gives her more time to spend with her husband during his second bout with cancer. She also stressed her sympathy for Buck and Harrison.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They were professionals,” she said. “They were also warm and kind people, which is rare these days in the music business.”\u003c/p>\n\n",
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"excerpt": "The Los Angeles-based concert giant pushes further into the Bay Area—while laying off more workers at local venues.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1988, Bill Graham’s former assistant Queenie Taylor hired Tanya Pinkerton to help publicize events and distribute concert listings for a new venue called Slim’s. In 2000, when Slim’s acquired the Great American Music Hall, Pinkerton gladly added the historic venue to her client list.\u003c/p>\n\u003cp>But a year after Slim’s and the Great American Music Hall inked a booking agreement with corporate promoter Goldenvoice, Pinkerton was recently told her work is redundant.\u003c/p>\n\u003cp>She was let go in January, shortly after manager Dana Smith and promoter Tracey Buck were also laid off. Goldenvoice, Pinkerton was told by email, already had concert listings covered. “What’s funny is, after 30 years I decided to increase my price, by about $15 a month,” she said. “So finally I got the chutzpah to ask for a raise, and I was fired instead.”\u003c/p>\n\u003cp>The layoffs came one year after Slim’s and GAMH, for years considered two of the city’s flagship independent venues, \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\" target=\"_blank\" rel=\"noopener\">outsourced booking\u003c/a> to Goldenvoice, the Coachella promoter that, like competitor Live Nation, has dramatically expanded in the Bay Area. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Based in Los Angeles, Goldenvoice first entered San Francisco when it \u003ca href=\"https://www.sfgate.com/bayarea/article/Battle-of-the-Bay-Area-concert-promoters-3278473.php\" target=\"_blank\" rel=\"noopener\">took over\u003c/a> the Warfield and the Regency Ballroom in 2008. Last year, it launched the Blurry Vision music festival in Oakland. Recently the company also announced a concert series at Stanford University’s Frost Amphitheater. With Slim’s and GAMH, Goldenvoice now runs concert promotions at every level—from a small club to a large festival—in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The company is not without controversy. AEG, Goldenvoice’s parent company, is owned by Philip Anschutz, a multibillionaire conservative philanthropist with \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\" target=\"_blank\" rel=\"noopener\">an anti-LGBTQ record\u003c/a>. Corporate saturation of the local concert market is also detrimental, critics say, to a healthy local scene of independent venues and promoters, as well as local bands and fans.\u003c/p>\n\u003cp>Jamie Zawinski, the owner of Slim’s neighbor DNA Lounge, is among the local music industry figures sounding the alarm about Goldenvoice and Live Nation. In response to the Slim’s and GAMH partnership, he wrote a \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">widely shared blog post\u003c/a> arguing that the companies’ expansive concert and ticketing holdings are monopolistic and “bad for our culture as a whole.”\u003c/p>\n\u003cfigure id=\"attachment_13846954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846954\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg\" alt=\"Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters' expansion in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters’ expansion in San Francisco. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pinkerton likened her relationship with Slim’s and GAMH workers to a familial bond, calling them friends and a steady source of referrals. It was a tight-knit operation that \u003ca href=\"http://www.ampthemag.com/the-real/dawn-holliday-im-not-retiring-im-resisting/\" target=\"_blank\" rel=\"noopener\">until 2017\u003c/a> was overseen by talent buyer Dawn Holliday, who last year \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707&showFullText=true\">called\u003c/a> the Goldenvoice partnership a “great source of sadness.”\u003c/p>\n\u003cp>Since Goldenvoice took over the calendars, venue management left its SoMa office. Anthony Bedard, the junior talent buyer and longtime Hemlock Tavern booker, was let go early last year. The most recent layoffs, according to Pinkerton, reflect Goldenvoice’s regional workers taking on more promotions and marketing duties for the venues.\u003c/p>\n\u003cp>Pinkerton said Buck and Smith, who declined to be interviewed, were laid off Monday, Jan. 7, and cleared out that day. The next Tuesday, Pinkerton received an email from Kent Jamieson, the venues’ new general manager, saying the partnership with Goldenvoice made her company, Bay Area Entertainment Listings, a “redundancy.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It was crappy,” she said. “After 30 years I would’ve liked to have been told in person.”\u003c/p>\n\u003cp>Jamieson declined to discuss the cutbacks, calling the layoffs “unfortunate decisions.” Previously the manager of long-running punk band NOFX, Jamieson said the venue owners, a group including Boz Scaggs, hired him last year. “I was brought on separate from Goldenvoice,” he said.\u003c/p>\n\u003cp>Scaggs, the famed musician and songwriter who founded Slim’s, appears to be stepping back from the venues himself. In a 2017 document he was listed as the sole director of his company, Big Billy Inc. But his name doesn’t appear on the corporation’s most recent statement of information, which lists directors Jamieson plus David Fortune and Alexander Levy.\u003c/p>\n\u003cp>Pinkerton said she still has plenty of clients, and added that losing Slim’s and GAMH gives her more time to spend with her husband during his second bout with cancer. She also stressed her sympathy for Buck and Harrison.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They were professionals,” she said. “They were also warm and kind people, which is rare these days in the music business.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Tom Guido, Purple Onion Manager and SF Counterculture Legend",
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"content": "\u003cp>Friends describe Tom Guido as the type of quirky character one could only find in San Francisco.\u003c/p>\n\u003cp>From 1993 to 1999, he ran North Beach nightclub the \u003ca href=\"http://bethzombie.com/purpleonion/stories.html\" target=\"_blank\" rel=\"noopener\">Purple Onion\u003c/a>, revitalizing the standup comedy landmark as a destination for the city’s booming garage-rock scene and a home for his own eccentric persona. As manager, bartender, doorman, talent buyer and emcee, Guido operated the venue almost singlehandedly, and his strong personality permeated the basement club.\u003c/p>\n\u003cp>Tony Bedard, a longtime talent buyer for the recently shuttered Hemlock Tavern, remembers Guido flitting about the Purple Onion, jumping on stage to interrupt the bands whenever he felt like interjecting his opinions about the music. During those years, Guido was a North Beach legend who attracted admiration and ire in equal measure.\u003c/p>\n\u003cp>“He had this manic, crazy personality,” says Bedard. “The Purple Onion was infused with this spirit of roiling chaos. How the whole thing existed for that long—no one could figure it out. Tom was so mercurial and charismatic, but he also irritated people and pissed people off.” [contextly_sidebar id=”tLYHgPL8q5Q0YFvAQwI6binFgiSjvHsM”]\u003c/p>\n\u003cp>Bedard and others in the Bay Area music community learned Wednesday that Guido died in a Jan. 8 slaying in the Tenderloin. On Tuesday, police responded to a call about a man who jumped out of a window on the 900 block of Post Street. They found Guido, 58, inside the building with gashes to the neck and head; he was transported to a hospital, where he succumbed to his wounds. The medical examiner ruled Guido’s death a homicide.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Friends describe Guido as a music purist obsessed with ’60s garage rock, apparent in his uniform of Beatles-style boots, a shaggy pageboy haircut and striped, long-sleeved T-shirt. He referred to himself and his friends as “Charmkins,” which he defined as people of the ’60s, and published a fanzine called \u003cem>Charmkin Rebellion\u003c/em>. [contextly_sidebar id=”RXJs65LwYsfCRB27jKmK8HgNwmXoyj5I”]\u003c/p>\n\u003cp>The Purple Onion, which opened in 1952 and famously hosted the likes of Phyllis Diller, the Kingston Trio and the Smothers Brothers throughout the 1960s, had a dilapidated vintage decor in the 1990s that matched Guido’s throwback aesthetic. Rickshaw Stop talent buyer Dan Strachota describes its vibe as “fallen grandeur.” At the Purple Onion, Guido booked contemporary groups like The Mummies and The Trashwomen, and Strachota remembers that he had a catch phrase—”That’s not ’60s!”—that he’d yell when he didn’t think the music was up to par.\u003c/p>\n\u003cp>“If the band was playing and he was sick of it, he would say, ‘The beer is all gone and everybody go home,'” Strachota says. “It definitely led to an atmosphere of anything goes at the Purple Onion.”\u003c/p>\n\u003cp>https://youtu.be/VY1nw94Evj8\u003c/p>\n\u003cp>Jonnie Fellman, who was a record store employee when he met Guido in the late ’80s, says that Guido was originally from Texas, later attending Kent State University in Ohio. Fellman recalls that before the Purple Onion, Guido had a graphic design business. The Purple Onion shuttered in 1999—the club would reopen under various identities afterward—but Guido didn’t go on to run another club. Several people who knew him say that he didn’t talk much about what he did for a living, and that he fluctuated in and out of homelessness over the years.\u003c/p>\n\u003cp>“There was definitely some mental health stuff going on,” recalls Tina Lucchesi, the drummer of The Trashwomen. She had been friends with Guido since the ’80s, when he booked a ’60s night called Fuzz Club at The Chameleon, known today as Amnesia. “He was in and out of taking his meds, he would get confrontational with people and get in fights. He ended up living in the club with his cat, Timid. It ended up kind of falling apart.” [contextly_sidebar id=”RB3Cli1WnbpSBmonPokzQEtTOB7ulmIZ”]\u003c/p>\n\u003cp>Lucchesi recalls that the Purple Onion grew into a destination for touring bands, but as Guido’s behavior became more erratic, he sometimes failed to pay musicians and began to burn bridges with his peers. “It was a bummer to see the Purple Onion end, but it was time,” she says.\u003c/p>\n\u003cp>Still, she says that Guido and the Purple Onion left plenty of memories that speak to a bygone time in San Francisco, when a lower cost of living fostered a thriving, out-there creative scene. “We were lucky that to be a part of that, and Tom made it happen,” she says.\u003c/p>\n\u003cp>As Bedard sums it up, “It was a legendary rock club in the United States and it existed by the force of his personality.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Friends describe Tom Guido as the type of quirky character one could only find in San Francisco.\u003c/p>\n\u003cp>From 1993 to 1999, he ran North Beach nightclub the \u003ca href=\"http://bethzombie.com/purpleonion/stories.html\" target=\"_blank\" rel=\"noopener\">Purple Onion\u003c/a>, revitalizing the standup comedy landmark as a destination for the city’s booming garage-rock scene and a home for his own eccentric persona. As manager, bartender, doorman, talent buyer and emcee, Guido operated the venue almost singlehandedly, and his strong personality permeated the basement club.\u003c/p>\n\u003cp>Tony Bedard, a longtime talent buyer for the recently shuttered Hemlock Tavern, remembers Guido flitting about the Purple Onion, jumping on stage to interrupt the bands whenever he felt like interjecting his opinions about the music. During those years, Guido was a North Beach legend who attracted admiration and ire in equal measure.\u003c/p>\n\u003cp>“He had this manic, crazy personality,” says Bedard. “The Purple Onion was infused with this spirit of roiling chaos. How the whole thing existed for that long—no one could figure it out. Tom was so mercurial and charismatic, but he also irritated people and pissed people off.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Bedard and others in the Bay Area music community learned Wednesday that Guido died in a Jan. 8 slaying in the Tenderloin. On Tuesday, police responded to a call about a man who jumped out of a window on the 900 block of Post Street. They found Guido, 58, inside the building with gashes to the neck and head; he was transported to a hospital, where he succumbed to his wounds. The medical examiner ruled Guido’s death a homicide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Friends describe Guido as a music purist obsessed with ’60s garage rock, apparent in his uniform of Beatles-style boots, a shaggy pageboy haircut and striped, long-sleeved T-shirt. He referred to himself and his friends as “Charmkins,” which he defined as people of the ’60s, and published a fanzine called \u003cem>Charmkin Rebellion\u003c/em>. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Purple Onion, which opened in 1952 and famously hosted the likes of Phyllis Diller, the Kingston Trio and the Smothers Brothers throughout the 1960s, had a dilapidated vintage decor in the 1990s that matched Guido’s throwback aesthetic. Rickshaw Stop talent buyer Dan Strachota describes its vibe as “fallen grandeur.” At the Purple Onion, Guido booked contemporary groups like The Mummies and The Trashwomen, and Strachota remembers that he had a catch phrase—”That’s not ’60s!”—that he’d yell when he didn’t think the music was up to par.\u003c/p>\n\u003cp>“If the band was playing and he was sick of it, he would say, ‘The beer is all gone and everybody go home,'” Strachota says. “It definitely led to an atmosphere of anything goes at the Purple Onion.”\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/VY1nw94Evj8'\n title='//www.youtube.com/embed/VY1nw94Evj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jonnie Fellman, who was a record store employee when he met Guido in the late ’80s, says that Guido was originally from Texas, later attending Kent State University in Ohio. Fellman recalls that before the Purple Onion, Guido had a graphic design business. The Purple Onion shuttered in 1999—the club would reopen under various identities afterward—but Guido didn’t go on to run another club. Several people who knew him say that he didn’t talk much about what he did for a living, and that he fluctuated in and out of homelessness over the years.\u003c/p>\n\u003cp>“There was definitely some mental health stuff going on,” recalls Tina Lucchesi, the drummer of The Trashwomen. She had been friends with Guido since the ’80s, when he booked a ’60s night called Fuzz Club at The Chameleon, known today as Amnesia. “He was in and out of taking his meds, he would get confrontational with people and get in fights. He ended up living in the club with his cat, Timid. It ended up kind of falling apart.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Lucchesi recalls that the Purple Onion grew into a destination for touring bands, but as Guido’s behavior became more erratic, he sometimes failed to pay musicians and began to burn bridges with his peers. “It was a bummer to see the Purple Onion end, but it was time,” she says.\u003c/p>\n\u003cp>Still, she says that Guido and the Purple Onion left plenty of memories that speak to a bygone time in San Francisco, when a lower cost of living fostered a thriving, out-there creative scene. “We were lucky that to be a part of that, and Tom made it happen,” she says.\u003c/p>\n\u003cp>As Bedard sums it up, “It was a legendary rock club in the United States and it existed by the force of his personality.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1968, \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones \u003c/a>were at the top of their game. Aretha Franklin released two great records. \u003ca href=\"https://www.npr.org/artists/15420606/the-kinks\">The Kinks\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15396571/van-morrison\">Van Morrison\u003c/a> put out some of their best work, too.\u003c/p>\n\u003cp>One of the most tumultuous years of the 20th century also produced some of its greatest popular music. And it’s not just baby boomers who are nostalgic for the sounds of their youth: Even to people born decades later, the music of 1968 stands out.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/681227625/681287015\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“There’s this kind of blossoming in what was possible,” says \u003ca href=\"https://www.npr.org/artists/128065995/meg-baird\">Meg Baird\u003c/a>, a singer and musician who performs under her own name and in the band \u003ca href=\"https://www.npr.org/artists/467690865/heron-oblivion\">Heron Oblivion\u003c/a>. She lives in San Francisco, the city that nurtured a flowering of psychedelic rock bands half a century ago, including Quicksilver Messenger Service, \u003ca href=\"https://www.npr.org/artists/16318788/jefferson-airplane\">Jefferson Airplane\u003c/a> and the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\">Grateful Dead\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”hi7lYwEpOEAdzR2MqfAMR6P1QQ9qOKRv”]\u003c/p>\n\u003cp>“I really don’t know what was the magic formula,” Baird says. But she’s not the only who’d like to recapture it. “I think everybody is always trying to go back there, to be honest.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maybe part of the fascination is hearing musicians trying to break free from the industry’s formulas. “There was a cookie-cutter aspect to most pop music at the time,” says John Simon, an in-demand producer during the 1960s and author of the 2018 book \u003cem>Truth, Lies & Hearsay: A Memoir of a Musical Life In & Out Of Rock and Roll\u003c/em>. “People wanted to make hits,” he says.\u003c/p>\n\u003cp>[contextly_sidebar id=”nnyx0Rrk26ilOHaBEmZXUwU64Zk7yxkL”]\u003c/p>\n\u003cp>By 1968, that was changing. The world outside of the recording studio was in upheaval. And musicians wanted to capture of the spirit of what was going on.\u003c/p>\n\u003cp>“I realized that I was part of the rebellion, and not part of the establishment,” says Simon, who earned a degree in music from Princeton University before getting a staff job at Columbia Records. “Part of being the rebellion is, you could rebel musically in the studio. You didn’t have to be as formulaic as in the past.”\u003c/p>\n\u003cp>John Simon worked on some of the most acclaimed albums of 1968, including \u003cem>Bookends\u003c/em> by \u003ca href=\"https://www.npr.org/artists/98847896/simon-garfunkel\">Simon & Garfunkel\u003c/a>. He produced \u003cem>Cheap Thrills\u003c/em> by Big Brother & the Holding Company — the record that introduced \u003ca href=\"https://www.npr.org/artists/15394826/janis-joplin\">Janis Joplin\u003c/a> to a wide audience.\u003c/p>\n\u003cp>[contextly_sidebar id=”TQWMJtTK2qs5Bu4tjU8iXIGckkWRfoCM”]\u003c/p>\n\u003cp>And he produced the first record by a group of musicians who were best known for backing up \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>. He remembers the first time he heard the demos that became \u003cem>Music from Big Pink\u003c/em> by The Band.\u003c/p>\n\u003cp>“What I heard was just great. It was just so different,” Simon says. “The forms were different, the instrumentation was different, the attitudes. And so I said, yeah, count me in.”\u003c/p>\n\u003cp>The Band recorded live in the center of the studio, trying to recreate the magic of the basement of “Big Pink,” the house in the Hudson Valley where they’d spent much of the last year honing their material. They knocked out almost half of the album in a day, while other bands spent hours obsessing over a single track.\u003c/p>\n\u003cp>But no one pushed the recording studio — or the electric guitar — further than \u003ca href=\"https://www.npr.org/artists/15696782/jimi-hendrix\">Jimi Hendrix\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”Z1UPm5PLzDNyQbToK3tY0vKpIc5nsp3Y”]\u003c/p>\n\u003cp>“Nobody had recorded guitar sounds like that,” says \u003ca href=\"https://www.npr.org/artists/17089989/vernon-reid/about-npr/183726490/awards\">Vernon Reid\u003c/a>, founder and guitarist of the band \u003ca href=\"https://www.npr.org/artists/15680696/living-colour\">Living Colour\u003c/a>. “No one had made sounds like that in the studio.”\u003c/p>\n\u003cp>When Hendrix started out, he was a sideman who was supposed to play second fiddle to others. “He played in rock and roll and R&B bands where the lead singer was the was the king,” Reid says. “He got fired all the time.”\u003c/p>\n\u003cp>But Hendrix’s very first album of his own was a Top 10 hit. So in 1968, he was free to pursue the sounds in his head on a groundbreaking double album called \u003cem>Electric Ladyland\u003c/em> that brought together blues and R&B with jazz and space rock.\u003c/p>\n\u003cp>“He took this notion of freedom seriously,” Reid says. “He was one of the great musical liberators.”\u003c/p>\n\u003cp>Sometimes the musical rebellion of 1968 was about sonic abstraction. Sometimes, it was more direct.\u003c/p>\n\u003cp>[contextly_sidebar id=”pO3kTlIFvu3TygHfg5oU8avvn02oiTsi”]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15316566/james-brown\">James Brown\u003c/a> recorded the song “Say It Loud — I’m Black and I’m Proud” in August of 1968. Saxophone player and bandleader Pee Wee Ellis co-wrote the song. He says it was Brown’s idea to bring in a bunch of neighborhood kids to sing the chorus.\u003c/p>\n\u003cp>“Their part was very simple,” Ellis recalls. “All they had to say was, ‘I’m black and I’m proud.’ It was done in one take.”\u003c/p>\n\u003cp>Ellis says audiences across the country learned their part quickly, too. The band recorded the song in Los Angeles, and played a gig at New York’s Apollo Theater a few weeks later.\u003c/p>\n\u003cp>“James Brown came on stage and said, ‘Say it loud!’ And the whole entire audience said, ‘I’m black and I’m proud,’ ” Ellis says. “That gave me goosebumps.”\u003c/p>\n\u003cp>So why does the music of 1968 still give audiences goosebumps half a century later?\u003c/p>\n\u003cp>[contextly_sidebar id=”wVi9mCobBvKoU5HhG7X0SmfiZXXMCRub”]\u003c/p>\n\u003cp>“People were making music they wanted to be make,” says Meg Baird. One of her favorite records of 1968 is not on many top-10 lists from that year. It’s a double album — half live, half studio — by the British folk-jazz band Pentangle, called \u003cem>Sweet Child\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can feel how fun it must be to be in that band,” Baird says. “They’re so good, and the way they’re playing together, it gets shared with the listener and the audience. This is music that was meant to be heard in a hall. It’s not meant to be in a rock club, or a folk club. It was allowed to be art.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Is+The+Music+Of+1968+So+Enduring%3F+%27It+Was+Allowed+To+Be+Art%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1968, \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones \u003c/a>were at the top of their game. Aretha Franklin released two great records. \u003ca href=\"https://www.npr.org/artists/15420606/the-kinks\">The Kinks\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15396571/van-morrison\">Van Morrison\u003c/a> put out some of their best work, too.\u003c/p>\n\u003cp>One of the most tumultuous years of the 20th century also produced some of its greatest popular music. And it’s not just baby boomers who are nostalgic for the sounds of their youth: Even to people born decades later, the music of 1968 stands out.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/681227625/681287015\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“There’s this kind of blossoming in what was possible,” says \u003ca href=\"https://www.npr.org/artists/128065995/meg-baird\">Meg Baird\u003c/a>, a singer and musician who performs under her own name and in the band \u003ca href=\"https://www.npr.org/artists/467690865/heron-oblivion\">Heron Oblivion\u003c/a>. She lives in San Francisco, the city that nurtured a flowering of psychedelic rock bands half a century ago, including Quicksilver Messenger Service, \u003ca href=\"https://www.npr.org/artists/16318788/jefferson-airplane\">Jefferson Airplane\u003c/a> and the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\">Grateful Dead\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I really don’t know what was the magic formula,” Baird says. But she’s not the only who’d like to recapture it. “I think everybody is always trying to go back there, to be honest.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe part of the fascination is hearing musicians trying to break free from the industry’s formulas. “There was a cookie-cutter aspect to most pop music at the time,” says John Simon, an in-demand producer during the 1960s and author of the 2018 book \u003cem>Truth, Lies & Hearsay: A Memoir of a Musical Life In & Out Of Rock and Roll\u003c/em>. “People wanted to make hits,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>By 1968, that was changing. The world outside of the recording studio was in upheaval. And musicians wanted to capture of the spirit of what was going on.\u003c/p>\n\u003cp>“I realized that I was part of the rebellion, and not part of the establishment,” says Simon, who earned a degree in music from Princeton University before getting a staff job at Columbia Records. “Part of being the rebellion is, you could rebel musically in the studio. You didn’t have to be as formulaic as in the past.”\u003c/p>\n\u003cp>John Simon worked on some of the most acclaimed albums of 1968, including \u003cem>Bookends\u003c/em> by \u003ca href=\"https://www.npr.org/artists/98847896/simon-garfunkel\">Simon & Garfunkel\u003c/a>. He produced \u003cem>Cheap Thrills\u003c/em> by Big Brother & the Holding Company — the record that introduced \u003ca href=\"https://www.npr.org/artists/15394826/janis-joplin\">Janis Joplin\u003c/a> to a wide audience.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And he produced the first record by a group of musicians who were best known for backing up \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>. He remembers the first time he heard the demos that became \u003cem>Music from Big Pink\u003c/em> by The Band.\u003c/p>\n\u003cp>“What I heard was just great. It was just so different,” Simon says. “The forms were different, the instrumentation was different, the attitudes. And so I said, yeah, count me in.”\u003c/p>\n\u003cp>The Band recorded live in the center of the studio, trying to recreate the magic of the basement of “Big Pink,” the house in the Hudson Valley where they’d spent much of the last year honing their material. They knocked out almost half of the album in a day, while other bands spent hours obsessing over a single track.\u003c/p>\n\u003cp>But no one pushed the recording studio — or the electric guitar — further than \u003ca href=\"https://www.npr.org/artists/15696782/jimi-hendrix\">Jimi Hendrix\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Nobody had recorded guitar sounds like that,” says \u003ca href=\"https://www.npr.org/artists/17089989/vernon-reid/about-npr/183726490/awards\">Vernon Reid\u003c/a>, founder and guitarist of the band \u003ca href=\"https://www.npr.org/artists/15680696/living-colour\">Living Colour\u003c/a>. “No one had made sounds like that in the studio.”\u003c/p>\n\u003cp>When Hendrix started out, he was a sideman who was supposed to play second fiddle to others. “He played in rock and roll and R&B bands where the lead singer was the was the king,” Reid says. “He got fired all the time.”\u003c/p>\n\u003cp>But Hendrix’s very first album of his own was a Top 10 hit. So in 1968, he was free to pursue the sounds in his head on a groundbreaking double album called \u003cem>Electric Ladyland\u003c/em> that brought together blues and R&B with jazz and space rock.\u003c/p>\n\u003cp>“He took this notion of freedom seriously,” Reid says. “He was one of the great musical liberators.”\u003c/p>\n\u003cp>Sometimes the musical rebellion of 1968 was about sonic abstraction. Sometimes, it was more direct.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15316566/james-brown\">James Brown\u003c/a> recorded the song “Say It Loud — I’m Black and I’m Proud” in August of 1968. Saxophone player and bandleader Pee Wee Ellis co-wrote the song. He says it was Brown’s idea to bring in a bunch of neighborhood kids to sing the chorus.\u003c/p>\n\u003cp>“Their part was very simple,” Ellis recalls. “All they had to say was, ‘I’m black and I’m proud.’ It was done in one take.”\u003c/p>\n\u003cp>Ellis says audiences across the country learned their part quickly, too. The band recorded the song in Los Angeles, and played a gig at New York’s Apollo Theater a few weeks later.\u003c/p>\n\u003cp>“James Brown came on stage and said, ‘Say it loud!’ And the whole entire audience said, ‘I’m black and I’m proud,’ ” Ellis says. “That gave me goosebumps.”\u003c/p>\n\u003cp>So why does the music of 1968 still give audiences goosebumps half a century later?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“People were making music they wanted to be make,” says Meg Baird. One of her favorite records of 1968 is not on many top-10 lists from that year. It’s a double album — half live, half studio — by the British folk-jazz band Pentangle, called \u003cem>Sweet Child\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can feel how fun it must be to be in that band,” Baird says. “They’re so good, and the way they’re playing together, it gets shared with the listener and the audience. This is music that was meant to be heard in a hall. It’s not meant to be in a rock club, or a folk club. It was allowed to be art.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Is+The+Music+Of+1968+So+Enduring%3F+%27It+Was+Allowed+To+Be+Art%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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