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"content": "\u003cp>\u003cem>This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/affordability\">\u003cem>How We Get By\u003c/em>\u003c/a>\u003cem>, a KQED series exploring how people are coping with rising costs in the Bay Area and California. Find the \u003c/em>\u003ca href=\"https://www.kqed.org/affordability\">\u003cem>full series here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Jaelynn Walls thought it would take years of saving before they could buy their own \u003ca href=\"https://www.kqed.org/housing\">home\u003c/a> in \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a>. But after seeing an Instagram post from \u003ca href=\"https://www.artistspacetrust.org/\">Artist Space Trust\u003c/a>, home ownership went from dream to reality for the 27-year-old fiction writer, curator and visual artist.\u003c/p>\n\u003cp>Artist Space Trust, a new Bay Area organization that helps artists secure affordable housing, helped Walls secure $168,000 in downpayment assistance from CalHOME, a state program for first-time homebuyers. After a whirlwind three months of compiling financial paperwork and spending their free time at open houses, Walls and their wife got the keys to a cozy East Oakland three-bedroom.\u003c/p>\n\u003cp>“Just having a place to land, and not feeling like I could have the rug pulled out from under me at any moment by the greater powers that be, such as a landlord or a housing company, is very assuring,” Walls said during a video call from their fabric- and plant-filled home studio.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Walls used to live in a cramped Tenderloin studio apartment where most of their income went to rent. Now, a much smaller portion of their paycheck goes to their mortgage.\u003c/p>\n\u003cp>They have more space to focus on their next young-adult novel and quilting projects, and can even set aside some savings. Walls’ wife has a music studio where friends collaborate. Out-of-town artists sometimes crash with the couple when they’re in the Bay Area for gigs.\u003c/p>\n\u003cp>“This is pretty much the greatest thing that has ever happened to me in terms of my creative practice,” Walls said.\u003c/p>\n\u003cfigure id=\"attachment_13989670\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989670\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaelynn Walls, fiction writer and artist, holds their book “The Queer Girl is Going to be Okay” at their home in Oakland on May 11, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area artists have always been resilient, but in recent years, economic upheaval, the worldwide pandemic and federal funding cuts have put a financial strain on artists, and forced some to leave the region altogether.\u003c/p>\n\u003cp>As housing costs continue to rise, artists, policymakers and nonprofit leaders are testing new models to make sure the people who give the Bay Area its creative identity can afford to stay. Artist Space Trust uses a community land trust model to take homes off the for-profit real estate market and make them permanently affordable for artists. It’s part of a larger movement to create artist housing throughout the Bay Area, including projects underway in San Francisco, Berkeley and Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13989671\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989671\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaelynn Walls’ handmade quilt at their home in Oakland on May 11, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walls sees the Bay Area as their long-term home, and they’re relieved they can remain here. “I’m surrounded by artists who have unstable housing, who are not sure of \u003cem>where\u003c/em> they’re going to create, or \u003cem>how\u003c/em> they’re gonna create their work,” Walls said, “and even beyond that, where they’re going to live.”\u003c/p>\n\u003cp>Meg Shiffler, the director of Artist Space Trust, said her organization is looking generations ahead.\u003c/p>\n\u003cp>“If you lift up and look down at the Bay Area, 10, 20, 50, 100 years from now, there are gonna be artists permanently embedded all over the Bay Area,” Shiffler said.\u003c/p>\n\u003ch2>The Great Wealth Transfer creates an opening for artist housing\u003c/h2>\n\u003cp>While there isn’t enough recent data available to paint a complete picture of Bay Area artists as a workforce, it’s safe to say they’re struggling to get by.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/10960748/survey-confirms-market-forces-pushing-artists-out-of-san-francisco\">last large-scale survey of artists in San Francisco\u003c/a>, from 2015, found that 70% had been or were being displaced from their home, workspace or both. A \u003ca href=\"https://berkeleyca.gov/sites/default/files/2022-02/Berkeley%20Affordable%20Housing%20for%20Artists.pdf\">2021 survey of artists in Berkeley\u003c/a> found that the majority were low-income, and 77% were either “rent burdened” or “severely rent burdened.”\u003c/p>\n\u003cfigure id=\"attachment_13989668\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED-1536x1040.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Artist Space Trust team, Qiana Ellis, Programs Manager, and Meg Shiffler, Director, pose for a photo in Berkeley on May 14, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past decade, Bay Area artists have faced setback after setback. In 2016, the \u003ca href=\"https://www.kqed.org/ghostshipmemorial\">Ghost Ship fire\u003c/a> at a live-work artist warehouse in Oakland, during which 36 people died, prompted a wave of evictions from makeshift dwellings where artists lived because they couldn’t afford anything else.\u003c/p>\n\u003cp>Then came the 2020 pandemic shutdowns, which cut off performance income, and another wave of displacement when state and city governments lifted eviction moratoriums. In more recent years, surging gas, food and rent prices have kept artists and other workers stuck in financial precarity.[aside postID=arts_13989622 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/260512-FREE-PARKING-AT-MUSIC-VENUES-MD-03-KQED.jpg']Advocates say that securing permanently affordable housing for artists is key to ensuring that the Bay Area can remain a cultural hub. Qiana Ellis, Artist Space Trust’s programs manager, sees a rare opportunity for artists to secure a permanent place in the region. “They’re calling it the Great Wealth Transfer,” she said.\u003c/p>\n\u003cp>Over the next two decades, an estimated $124 trillion will change hands nationally as Baby Boomers and members of the Silent Generation die and pass on their assets, according to the consulting firm Cerulli Associates. “We’re really in this point that may not happen for another 100 years,” Ellis said.\u003c/p>\n\u003cp>It’s mostly members of these generations who are bequeathing their homes to Artist Space Trust. Some of them are artists and most aren’t wealthy themselves; they bought their homes decades ago, when \u003ca href=\"https://www.kqed.org/news/12078615/how-skyrocketing-housing-costs-and-policy-choices-reshaped-the-bay-area\">houses in the Bay Area went for around $23,000\u003c/a>. Today’s average home price is over $700,000 in Oakland and over $1.3 million in San Francisco.\u003c/p>\n\u003cp>“They’re looking back on their lives and saying, ‘Wow, I see how difficult it’s gotten for artists,’” Ellis said. “‘I’m in conversation with younger generations, and I know that they cannot make their work in the same way that I could and be able to afford housing anymore.’”\u003c/p>\n\u003ch2>Assessing artists’ needs\u003c/h2>\n\u003cp>Artist Space Trust is the first organization in the nation to use a community land trust model to create permanently affordable housing specifically for artists.\u003c/p>\n\u003cp>The Berkeley nonprofit takes properties off the for-profit real-estate market and sells them well below market rate. Prices are set so that an individual making 60% to 80% of the area median income — roughly $65,000 to $87,000 — would spend no more than 30% of their monthly income on housing expenses. The organization is also working to create other home ownership opportunities, such as tiny homes and condos, for artists making below 60% of the area’s median income.\u003c/p>\n\u003cfigure id=\"attachment_13989663\" class=\"wp-caption alignleft\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Sharmi Basu, Vital Arts director, poses for a portrait in downtown Oakland on May 11, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Space Trust has $15 million in properties that have either been donated or will be in the coming years. Some are single-family homes while others are more unconventional, including a property with a house, a warehouse and enough room to build another unit. So far, in partnership with the Northern California Land Trust (NCLT), the organization has helped artists purchase homes by helping them take advantage of the CalHOME downpayment-assistance program. This year, Artist Space Trust will sell the first property from its own portfolio: a duplex in San Francisco’s Mission District that will go to two artist households.\u003c/p>\n\u003cp>The nonprofit is currently doing outreach at community events to educate local artists on different pathways to affordable housing; their \u003ca href=\"https://www.eventbrite.com/e/holding-ground-models-for-artist-housing-in-a-time-of-displacement-tickets-1987660345600\">next resource fair\u003c/a> is on May 19. “The idea is that we start to get individuals, families and cooperatives ready for the opportunities that are coming,” Shiffler said.\u003c/p>\n\u003cp>Artist Space Trust is a partnership of NCLT and Vital Arts, an economic justice organization for artists that formed after the Ghost Ship fire. Vital Arts Director Sharmi Basu lost over a dozen friends in the tragedy; in the aftermath, they poured themself into organizing mutual aid for survivors.\u003c/p>\n\u003cp>Today, Vital Arts tackles affordability at several different levels. The organization helps artists cover basic living expenses through its \u003ca href=\"https://www.vitalarts.org/adpg\">Artist Displacement Prevention Grant\u003c/a>, which gives out $3,000 in emergency assistance to artists facing eviction, homelessness and sudden rent increases. At its free \u003ca href=\"https://www.vitalarts.org/alc\">Artist Legal Cafe\u003c/a>, next happening on May 19, lawyers advise artists on tenants’ rights and other issues.\u003c/p>\n\u003cp>For Basu, helping artists get permanent housing through Artist Space Trust is a crucial part of the solution. While Artist Space Trust helps artists navigate the complicated financial logistics, Vital Arts will come in when it’s time to select potential homeowners for each housing opportunity.\u003c/p>\n\u003cp>There are the features of the property to consider — ceramicists will be prioritized for a home with a pottery studio, for example — but Basu also sees this as an opportunity to address inequality. They want to make sure these housing opportunities don’t just reach people from well-off backgrounds, but go to people from Black and brown communities who have historically been locked out of homeownership because of redlining and other racist policies.\u003c/p>\n\u003cp>“[We’re] making sure that equity is built from the foundation up in that selection process,” Basu said.\u003c/p>\n\u003ch2>A movement for artist housing grows\u003c/h2>\n\u003cp>The need for artist housing is inspiring efforts across the Bay Area.\u003c/p>\n\u003cp>Artists Hub on Market and Mercy Housing of California, two nonprofits, will soon begin construction on an 100% affordable \u003ca href=\"https://www.kqed.org/arts/13957645/100-million-gift-affordable-artist-housing-mcroskey-mattress-san-francisco\">San Francisco apartment building for artists\u003c/a> that will include nearly 100 units, plus workspaces, a community center and a theater. Another nonprofit, Unity Council, has plans to develop the former Ghost Ship site in East Oakland into affordable housing, with 10% of the units set aside for artists.\u003c/p>\n\u003cfigure id=\"attachment_13989667\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED-1536x1004.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rashida Chase, board chair of Vital Arts and cultural strategist for the city of Oakland, poses for a portrait in downtown Oakland on May 11, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artists Hub on Market is slated for completion in 2028, and the Unity Council building is projected to begin construction that year. But building from the ground up is a lengthy process, so arts advocates are also exploring how to create affordable artist housing in existing properties.\u003c/p>\n\u003cp>Rashida Chase, board chair of Vital Arts, is a cultural strategist in Oakland City Councilmember Carroll Fife’s office. Chase lobbied the state to designate downtown Oakland’s Black Arts Movement and Business District as a California Cultural District, which opens up more housing opportunities.\u003c/p>\n\u003cp>Thanks to the 2023 state law AB 812, city governments can set aside 10% of locally required affordable housing units for artists within and around state-designated cultural districts, as well as within local cultural districts.[aside postID=arts_13988685 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/jewelry-making-1536x1024.jpg']The \u003ca href=\"https://www.kqed.org/news/12016292/berkeley-wants-to-create-cultural-district-where-artists-afford-to-live\">city of Berkeley is using AB 812\u003c/a> to pursue similar strategies. Artist Space Trust is currently advising multiple housing developers building in cultural districts, with the goal of holding the master lease for the units designated for artists.\u003c/p>\n\u003cp>This summer, Chase is spearheading a survey to find out whether there are city-owned properties, foreclosed homes or vacant lots that could be converted into affordable housing.\u003c/p>\n\u003cp>Chase, who grew up in West Oakland, namechecks born-and-raised Oaklanders Ryan Coogler, Zendaya and Alysa Liu when she talks about the importance of creating policy that makes it easier for artists to stay in Oakland. “Culture is our main export,” she said.\u003c/p>\n\u003cp>“We can hope [the Bay Area] won’t keep skyrocketing, but prices typically don’t come down,” Chase said. “And so we just wanna make sure that there’s enough housing available for the artists who are still here, but also artists who wanna come back.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Experts from Artist Space Trust and other nonprofits are hosting \u003c/em>\u003ca href=\"https://www.eventbrite.com/e/holding-ground-models-for-artist-housing-in-a-time-of-displacement-tickets-1987660345600\">\u003cem>Holding Ground\u003c/em>\u003c/a>\u003cem>, a panel discussion and resource fair, on May 19 at 6:30 p.m. at Root Division (1131 Mission St., San Francisco). Also on May 19, Vital Arts has its free \u003c/em>\u003ca href=\"https://www.theselc.org/legalcafe_20260519\">\u003cem>Artist Legal Cafe\u003c/em>\u003c/a>\u003cem> from 3:30-5:30 p.m. at Bandaloop Studios (1601 18th St., Oakland).\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/affordability\">\u003cem>How We Get By\u003c/em>\u003c/a>\u003cem>, a KQED series exploring how people are coping with rising costs in the Bay Area and California. Find the \u003c/em>\u003ca href=\"https://www.kqed.org/affordability\">\u003cem>full series here\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Jaelynn Walls thought it would take years of saving before they could buy their own \u003ca href=\"https://www.kqed.org/housing\">home\u003c/a> in \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a>. But after seeing an Instagram post from \u003ca href=\"https://www.artistspacetrust.org/\">Artist Space Trust\u003c/a>, home ownership went from dream to reality for the 27-year-old fiction writer, curator and visual artist.\u003c/p>\n\u003cp>Artist Space Trust, a new Bay Area organization that helps artists secure affordable housing, helped Walls secure $168,000 in downpayment assistance from CalHOME, a state program for first-time homebuyers. After a whirlwind three months of compiling financial paperwork and spending their free time at open houses, Walls and their wife got the keys to a cozy East Oakland three-bedroom.\u003c/p>\n\u003cp>“Just having a place to land, and not feeling like I could have the rug pulled out from under me at any moment by the greater powers that be, such as a landlord or a housing company, is very assuring,” Walls said during a video call from their fabric- and plant-filled home studio.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Walls used to live in a cramped Tenderloin studio apartment where most of their income went to rent. Now, a much smaller portion of their paycheck goes to their mortgage.\u003c/p>\n\u003cp>They have more space to focus on their next young-adult novel and quilting projects, and can even set aside some savings. Walls’ wife has a music studio where friends collaborate. Out-of-town artists sometimes crash with the couple when they’re in the Bay Area for gigs.\u003c/p>\n\u003cp>“This is pretty much the greatest thing that has ever happened to me in terms of my creative practice,” Walls said.\u003c/p>\n\u003cfigure id=\"attachment_13989670\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989670\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaelynn Walls, fiction writer and artist, holds their book “The Queer Girl is Going to be Okay” at their home in Oakland on May 11, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area artists have always been resilient, but in recent years, economic upheaval, the worldwide pandemic and federal funding cuts have put a financial strain on artists, and forced some to leave the region altogether.\u003c/p>\n\u003cp>As housing costs continue to rise, artists, policymakers and nonprofit leaders are testing new models to make sure the people who give the Bay Area its creative identity can afford to stay. Artist Space Trust uses a community land trust model to take homes off the for-profit real estate market and make them permanently affordable for artists. It’s part of a larger movement to create artist housing throughout the Bay Area, including projects underway in San Francisco, Berkeley and Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13989671\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989671\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-17-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaelynn Walls’ handmade quilt at their home in Oakland on May 11, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walls sees the Bay Area as their long-term home, and they’re relieved they can remain here. “I’m surrounded by artists who have unstable housing, who are not sure of \u003cem>where\u003c/em> they’re going to create, or \u003cem>how\u003c/em> they’re gonna create their work,” Walls said, “and even beyond that, where they’re going to live.”\u003c/p>\n\u003cp>Meg Shiffler, the director of Artist Space Trust, said her organization is looking generations ahead.\u003c/p>\n\u003cp>“If you lift up and look down at the Bay Area, 10, 20, 50, 100 years from now, there are gonna be artists permanently embedded all over the Bay Area,” Shiffler said.\u003c/p>\n\u003ch2>The Great Wealth Transfer creates an opening for artist housing\u003c/h2>\n\u003cp>While there isn’t enough recent data available to paint a complete picture of Bay Area artists as a workforce, it’s safe to say they’re struggling to get by.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/10960748/survey-confirms-market-forces-pushing-artists-out-of-san-francisco\">last large-scale survey of artists in San Francisco\u003c/a>, from 2015, found that 70% had been or were being displaced from their home, workspace or both. A \u003ca href=\"https://berkeleyca.gov/sites/default/files/2022-02/Berkeley%20Affordable%20Housing%20for%20Artists.pdf\">2021 survey of artists in Berkeley\u003c/a> found that the majority were low-income, and 77% were either “rent burdened” or “severely rent burdened.”\u003c/p>\n\u003cfigure id=\"attachment_13989668\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-19-KQED-1536x1040.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Artist Space Trust team, Qiana Ellis, Programs Manager, and Meg Shiffler, Director, pose for a photo in Berkeley on May 14, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past decade, Bay Area artists have faced setback after setback. In 2016, the \u003ca href=\"https://www.kqed.org/ghostshipmemorial\">Ghost Ship fire\u003c/a> at a live-work artist warehouse in Oakland, during which 36 people died, prompted a wave of evictions from makeshift dwellings where artists lived because they couldn’t afford anything else.\u003c/p>\n\u003cp>Then came the 2020 pandemic shutdowns, which cut off performance income, and another wave of displacement when state and city governments lifted eviction moratoriums. In more recent years, surging gas, food and rent prices have kept artists and other workers stuck in financial precarity.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Advocates say that securing permanently affordable housing for artists is key to ensuring that the Bay Area can remain a cultural hub. Qiana Ellis, Artist Space Trust’s programs manager, sees a rare opportunity for artists to secure a permanent place in the region. “They’re calling it the Great Wealth Transfer,” she said.\u003c/p>\n\u003cp>Over the next two decades, an estimated $124 trillion will change hands nationally as Baby Boomers and members of the Silent Generation die and pass on their assets, according to the consulting firm Cerulli Associates. “We’re really in this point that may not happen for another 100 years,” Ellis said.\u003c/p>\n\u003cp>It’s mostly members of these generations who are bequeathing their homes to Artist Space Trust. Some of them are artists and most aren’t wealthy themselves; they bought their homes decades ago, when \u003ca href=\"https://www.kqed.org/news/12078615/how-skyrocketing-housing-costs-and-policy-choices-reshaped-the-bay-area\">houses in the Bay Area went for around $23,000\u003c/a>. Today’s average home price is over $700,000 in Oakland and over $1.3 million in San Francisco.\u003c/p>\n\u003cp>“They’re looking back on their lives and saying, ‘Wow, I see how difficult it’s gotten for artists,’” Ellis said. “‘I’m in conversation with younger generations, and I know that they cannot make their work in the same way that I could and be able to afford housing anymore.’”\u003c/p>\n\u003ch2>Assessing artists’ needs\u003c/h2>\n\u003cp>Artist Space Trust is the first organization in the nation to use a community land trust model to create permanently affordable housing specifically for artists.\u003c/p>\n\u003cp>The Berkeley nonprofit takes properties off the for-profit real-estate market and sells them well below market rate. Prices are set so that an individual making 60% to 80% of the area median income — roughly $65,000 to $87,000 — would spend no more than 30% of their monthly income on housing expenses. The organization is also working to create other home ownership opportunities, such as tiny homes and condos, for artists making below 60% of the area’s median income.\u003c/p>\n\u003cfigure id=\"attachment_13989663\" class=\"wp-caption alignleft\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260511_ARTISTHOUSING_GC-2-KQED-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Sharmi Basu, Vital Arts director, poses for a portrait in downtown Oakland on May 11, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist Space Trust has $15 million in properties that have either been donated or will be in the coming years. Some are single-family homes while others are more unconventional, including a property with a house, a warehouse and enough room to build another unit. So far, in partnership with the Northern California Land Trust (NCLT), the organization has helped artists purchase homes by helping them take advantage of the CalHOME downpayment-assistance program. This year, Artist Space Trust will sell the first property from its own portfolio: a duplex in San Francisco’s Mission District that will go to two artist households.\u003c/p>\n\u003cp>The nonprofit is currently doing outreach at community events to educate local artists on different pathways to affordable housing; their \u003ca href=\"https://www.eventbrite.com/e/holding-ground-models-for-artist-housing-in-a-time-of-displacement-tickets-1987660345600\">next resource fair\u003c/a> is on May 19. “The idea is that we start to get individuals, families and cooperatives ready for the opportunities that are coming,” Shiffler said.\u003c/p>\n\u003cp>Artist Space Trust is a partnership of NCLT and Vital Arts, an economic justice organization for artists that formed after the Ghost Ship fire. Vital Arts Director Sharmi Basu lost over a dozen friends in the tragedy; in the aftermath, they poured themself into organizing mutual aid for survivors.\u003c/p>\n\u003cp>Today, Vital Arts tackles affordability at several different levels. The organization helps artists cover basic living expenses through its \u003ca href=\"https://www.vitalarts.org/adpg\">Artist Displacement Prevention Grant\u003c/a>, which gives out $3,000 in emergency assistance to artists facing eviction, homelessness and sudden rent increases. At its free \u003ca href=\"https://www.vitalarts.org/alc\">Artist Legal Cafe\u003c/a>, next happening on May 19, lawyers advise artists on tenants’ rights and other issues.\u003c/p>\n\u003cp>For Basu, helping artists get permanent housing through Artist Space Trust is a crucial part of the solution. While Artist Space Trust helps artists navigate the complicated financial logistics, Vital Arts will come in when it’s time to select potential homeowners for each housing opportunity.\u003c/p>\n\u003cp>There are the features of the property to consider — ceramicists will be prioritized for a home with a pottery studio, for example — but Basu also sees this as an opportunity to address inequality. They want to make sure these housing opportunities don’t just reach people from well-off backgrounds, but go to people from Black and brown communities who have historically been locked out of homeownership because of redlining and other racist policies.\u003c/p>\n\u003cp>“[We’re] making sure that equity is built from the foundation up in that selection process,” Basu said.\u003c/p>\n\u003ch2>A movement for artist housing grows\u003c/h2>\n\u003cp>The need for artist housing is inspiring efforts across the Bay Area.\u003c/p>\n\u003cp>Artists Hub on Market and Mercy Housing of California, two nonprofits, will soon begin construction on an 100% affordable \u003ca href=\"https://www.kqed.org/arts/13957645/100-million-gift-affordable-artist-housing-mcroskey-mattress-san-francisco\">San Francisco apartment building for artists\u003c/a> that will include nearly 100 units, plus workspaces, a community center and a theater. Another nonprofit, Unity Council, has plans to develop the former Ghost Ship site in East Oakland into affordable housing, with 10% of the units set aside for artists.\u003c/p>\n\u003cfigure id=\"attachment_13989667\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989667\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/20260514_ARTISTHOUSING_GC-18-KQED-1536x1004.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rashida Chase, board chair of Vital Arts and cultural strategist for the city of Oakland, poses for a portrait in downtown Oakland on May 11, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artists Hub on Market is slated for completion in 2028, and the Unity Council building is projected to begin construction that year. But building from the ground up is a lengthy process, so arts advocates are also exploring how to create affordable artist housing in existing properties.\u003c/p>\n\u003cp>Rashida Chase, board chair of Vital Arts, is a cultural strategist in Oakland City Councilmember Carroll Fife’s office. Chase lobbied the state to designate downtown Oakland’s Black Arts Movement and Business District as a California Cultural District, which opens up more housing opportunities.\u003c/p>\n\u003cp>Thanks to the 2023 state law AB 812, city governments can set aside 10% of locally required affordable housing units for artists within and around state-designated cultural districts, as well as within local cultural districts.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003ca href=\"https://www.kqed.org/news/12016292/berkeley-wants-to-create-cultural-district-where-artists-afford-to-live\">city of Berkeley is using AB 812\u003c/a> to pursue similar strategies. Artist Space Trust is currently advising multiple housing developers building in cultural districts, with the goal of holding the master lease for the units designated for artists.\u003c/p>\n\u003cp>This summer, Chase is spearheading a survey to find out whether there are city-owned properties, foreclosed homes or vacant lots that could be converted into affordable housing.\u003c/p>\n\u003cp>Chase, who grew up in West Oakland, namechecks born-and-raised Oaklanders Ryan Coogler, Zendaya and Alysa Liu when she talks about the importance of creating policy that makes it easier for artists to stay in Oakland. “Culture is our main export,” she said.\u003c/p>\n\u003cp>“We can hope [the Bay Area] won’t keep skyrocketing, but prices typically don’t come down,” Chase said. “And so we just wanna make sure that there’s enough housing available for the artists who are still here, but also artists who wanna come back.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Experts from Artist Space Trust and other nonprofits are hosting \u003c/em>\u003ca href=\"https://www.eventbrite.com/e/holding-ground-models-for-artist-housing-in-a-time-of-displacement-tickets-1987660345600\">\u003cem>Holding Ground\u003c/em>\u003c/a>\u003cem>, a panel discussion and resource fair, on May 19 at 6:30 p.m. at Root Division (1131 Mission St., San Francisco). Also on May 19, Vital Arts has its free \u003c/em>\u003ca href=\"https://www.theselc.org/legalcafe_20260519\">\u003cem>Artist Legal Cafe\u003c/em>\u003c/a>\u003cem> from 3:30-5:30 p.m. at Bandaloop Studios (1601 18th St., Oakland).\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/tenderloin-museum\">The Tenderloin Museum\u003c/a> — a hub for all things arts and history in the neighborhood — is \u003ca href=\"https://givebutter.com/tlm-expansion?mc_cid=fafe4c8fba&mc_eid=4f9cd40644\">asking for donations\u003c/a> in order to complete the first phase of an \u003ca href=\"https://www.kqed.org/arts/13971214/tenderloin-museum-expansion-comptons-cafeteria-riot-play\">ambitious expansion plan\u003c/a> that would see the museum triple in size.\u003c/p>\n\u003cp>“For 10 years, the Tenderloin Museum has celebrated and preserved the history of one of San Francisco’s most vibrant and misunderstood neighborhoods,” the fundraiser page states. “This expansion will … allow us to bring more of \u003ca href=\"https://www.kqed.org/arts/tag/tenderloin\">the Tenderloin\u003c/a> community’s stories, voices, and creativity to life.”\u003c/p>\n\u003cp>[aside postid='arts_13971214']The museum is hoping to raise $50,000 before the end of the year in order to complete new construction and host pop-up exhibits in 2026. One of those shows will be a collection of large-scale artworks by \u003ca href=\"https://www.instagram.com/allthingsmeng/?hl=en\">Michelle “Meng” Nguyen\u003c/a> that explore the history of the Tenderloin’s Vietnamese community.\u003c/p>\n\u003cp>“Those three or four high-impact temporary exhibitions will inform the future permanent exhibition,” explains Katie Conry, the museum’s executive director. “We want to start utilizing the space now, and not just wait for years to raise all the money we need. We want our community to be in there, learning and enjoying the space now as opposed to later. Let’s have events in there and build toward the full new vision.”\u003c/p>\n\u003cfigure id=\"attachment_13984034\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984034\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint.png\" alt=\"A blueprint shows the layout of a city building's ground floor, colored in blue, pink and white.\" width=\"2000\" height=\"1312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint-768x504.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint-1536x1008.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A blueprint of the new, expanded Tenderloin Museum. \u003ccite>(The Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Extra fundraising for the museum expansion became necessary this year after federal funding for the arts was upended by the Trump administration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A lot of the grants available for exhibitions are federal,” Conry explains. “We intended to be able to get a significant amount of funding from the \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">NEH\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13971749/nea-arts-funding-canceled-dei-trump\">NEA\u003c/a>. That funding doesn’t exist currently for an institution like ours that promotes history about immigration and LGBTQ issues and trans people.”\u003c/p>\n\u003cp>Situated on the corner of Leavenworth and Eddy, the Tenderloin Museum has long grappled with limited gallery space for art exhibits and community events.\u003c/p>\n\u003cp>“We host a lot of community events but occasionally have to turn away different groups because of space constraints,” Conry says. With the museum expansion, “we’re going to be able to host a lot more fundraisers, appreciation parties and tours with organizations in the neighborhood.”\u003c/p>\n\u003cp>[aside postid='arts_13975971']The Tenderloin Museum has been planning to expand since 2021, when it hatched plans to transform part of the basement of the Cadillac Hotel into a neon sign museum. Two years into that planning, the museum pivoted once more when a serendipitous opportunity arose. The childcare center next door to the museum closed down, making a much larger part of the building available.\u003c/p>\n\u003cp>That space, beautifully lit under an expansive skylight, isn’t just perfect for a new gallery, it’s also historically significant. Between 1924 and 1992, the rooms belonged to \u003ca href=\"https://www.sfheritage.org/news/landmark-tuesdays-the-cadillac-hotel/\">Newman’s Gym\u003c/a>, where boxers \u003ca href=\"https://www.kqed.org/arts/11647620/muhammad-ali-the-boxing-poet-who-inspired-liquid-prose\">Muhammad Ali\u003c/a>, Jack Dempsey, George Foreman and Sugar Ray Robinson all trained or competed. The Tenderloin Museum now has an exhibition about the gym planned for summer 2026.\u003c/p>\n\u003cfigure id=\"attachment_13971229\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg\" alt=\"large indoor space under glass ceiling\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The former childcare center was the Cadillac Hotel’s dining room, and later a boxing gym. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time of its official opening in late 2027 or early 2028, the expanded museum will house a bigger permanent collection (including more oral histories and personal stories from locals), a large art gallery, a neon sign gallery, a special exhibition room dedicated to local Indian American history, and a room devoted to youth-focused shows.\u003c/p>\n\u003cp>[aside postid='arts_13936204']“I think having space for more oral histories is going to have a big impact on people feeling like they’re represented in the museum and in the community,” Conry says. “We also think the neon gallery is really going to put the Tenderloin on the map as a major international destination. It will bring a lot of new people into the neighborhood to have a positive experience that will also support the [local] economy.”\u003c/p>\n\u003cp>Conry says that the museum needs to eventually find another million dollars in order to complete these goals fully. The first phase of construction was supported by money from a California state budget surplus that Conry says was secured for the Tenderloin Museum by Scott Wiener. Funding for the second phase of the museum’s expansion remains up in the air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Tenderloin Museum’s \u003ca href=\"https://givebutter.com/tlm-expansion?mc_cid=fafe4c8fba&mc_eid=4f9cd40644\">online fundraiser\u003c/a> is currently active.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/tenderloin-museum\">The Tenderloin Museum\u003c/a> — a hub for all things arts and history in the neighborhood — is \u003ca href=\"https://givebutter.com/tlm-expansion?mc_cid=fafe4c8fba&mc_eid=4f9cd40644\">asking for donations\u003c/a> in order to complete the first phase of an \u003ca href=\"https://www.kqed.org/arts/13971214/tenderloin-museum-expansion-comptons-cafeteria-riot-play\">ambitious expansion plan\u003c/a> that would see the museum triple in size.\u003c/p>\n\u003cp>“For 10 years, the Tenderloin Museum has celebrated and preserved the history of one of San Francisco’s most vibrant and misunderstood neighborhoods,” the fundraiser page states. “This expansion will … allow us to bring more of \u003ca href=\"https://www.kqed.org/arts/tag/tenderloin\">the Tenderloin\u003c/a> community’s stories, voices, and creativity to life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The museum is hoping to raise $50,000 before the end of the year in order to complete new construction and host pop-up exhibits in 2026. One of those shows will be a collection of large-scale artworks by \u003ca href=\"https://www.instagram.com/allthingsmeng/?hl=en\">Michelle “Meng” Nguyen\u003c/a> that explore the history of the Tenderloin’s Vietnamese community.\u003c/p>\n\u003cp>“Those three or four high-impact temporary exhibitions will inform the future permanent exhibition,” explains Katie Conry, the museum’s executive director. “We want to start utilizing the space now, and not just wait for years to raise all the money we need. We want our community to be in there, learning and enjoying the space now as opposed to later. Let’s have events in there and build toward the full new vision.”\u003c/p>\n\u003cfigure id=\"attachment_13984034\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984034\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint.png\" alt=\"A blueprint shows the layout of a city building's ground floor, colored in blue, pink and white.\" width=\"2000\" height=\"1312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint-768x504.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/tlm-blueprint-1536x1008.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A blueprint of the new, expanded Tenderloin Museum. \u003ccite>(The Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Extra fundraising for the museum expansion became necessary this year after federal funding for the arts was upended by the Trump administration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of the grants available for exhibitions are federal,” Conry explains. “We intended to be able to get a significant amount of funding from the \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">NEH\u003c/a> and the \u003ca href=\"https://www.kqed.org/arts/13971749/nea-arts-funding-canceled-dei-trump\">NEA\u003c/a>. That funding doesn’t exist currently for an institution like ours that promotes history about immigration and LGBTQ issues and trans people.”\u003c/p>\n\u003cp>Situated on the corner of Leavenworth and Eddy, the Tenderloin Museum has long grappled with limited gallery space for art exhibits and community events.\u003c/p>\n\u003cp>“We host a lot of community events but occasionally have to turn away different groups because of space constraints,” Conry says. With the museum expansion, “we’re going to be able to host a lot more fundraisers, appreciation parties and tours with organizations in the neighborhood.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Tenderloin Museum has been planning to expand since 2021, when it hatched plans to transform part of the basement of the Cadillac Hotel into a neon sign museum. Two years into that planning, the museum pivoted once more when a serendipitous opportunity arose. The childcare center next door to the museum closed down, making a much larger part of the building available.\u003c/p>\n\u003cp>That space, beautifully lit under an expansive skylight, isn’t just perfect for a new gallery, it’s also historically significant. Between 1924 and 1992, the rooms belonged to \u003ca href=\"https://www.sfheritage.org/news/landmark-tuesdays-the-cadillac-hotel/\">Newman’s Gym\u003c/a>, where boxers \u003ca href=\"https://www.kqed.org/arts/11647620/muhammad-ali-the-boxing-poet-who-inspired-liquid-prose\">Muhammad Ali\u003c/a>, Jack Dempsey, George Foreman and Sugar Ray Robinson all trained or competed. The Tenderloin Museum now has an exhibition about the gym planned for summer 2026.\u003c/p>\n\u003cfigure id=\"attachment_13971229\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971229\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg\" alt=\"large indoor space under glass ceiling\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The former childcare center was the Cadillac Hotel’s dining room, and later a boxing gym. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time of its official opening in late 2027 or early 2028, the expanded museum will house a bigger permanent collection (including more oral histories and personal stories from locals), a large art gallery, a neon sign gallery, a special exhibition room dedicated to local Indian American history, and a room devoted to youth-focused shows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I think having space for more oral histories is going to have a big impact on people feeling like they’re represented in the museum and in the community,” Conry says. “We also think the neon gallery is really going to put the Tenderloin on the map as a major international destination. It will bring a lot of new people into the neighborhood to have a positive experience that will also support the [local] economy.”\u003c/p>\n\u003cp>Conry says that the museum needs to eventually find another million dollars in order to complete these goals fully. The first phase of construction was supported by money from a California state budget surplus that Conry says was secured for the Tenderloin Museum by Scott Wiener. Funding for the second phase of the museum’s expansion remains up in the air.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Tenderloin Museum’s \u003ca href=\"https://givebutter.com/tlm-expansion?mc_cid=fafe4c8fba&mc_eid=4f9cd40644\">online fundraiser\u003c/a> is currently active.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For more than four decades, Hing Lung Company was one of the crown jewels of San Francisco \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">Chinatown\u003c/a>. The cramped, slightly dingy, old-school Cantonese butcher shop consistently cranked out some of the juiciest roast duck and crispiest-skinned siu yuk (roast pork belly) in town. Because the shop didn’t have any seating to speak of, popping open a takeout carton of its luscious, wonderfully fatty roast duck in your parked car, or huddled on the sidewalk, was one of those quintessential San Francisco dining experiences.\u003c/p>\n\u003cp>It was the end of an era, then, when Hing Lung \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/hing-lung-chinatown-moving-19387517.php\">shuttered its Stockton Street storefront\u003c/a> last April, citing long, drawn-out rent negotiations with the landlord that fell through in the end.\u003c/p>\n\u003cp>The closure was especially bittersweet as it came right when brothers Eric and Simon Cheung were poised to bring the legacy business — which they \u003ca href=\"https://www.sfchronicle.com/food/article/Brothers-reinvent-their-father-s-meat-shop-in-12375005.php\">took over from their father, Wing, a decade ago\u003c/a> — to a new level of mainstream success. That same month, the Cheung brothers opened Go Duck Yourself, a swanky sit-down Chinese barbecue restaurant in Bernal Heights, to \u003ca href=\"https://www.kqed.org/arts/13968986/best-dishes-bay-area-2024\">rave\u003c/a> \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/go-duck-yourself-chinatown-19797728.php\">reviews\u003c/a>. And if all goes according to plan, the newest addition to the brothers’ roast meats empire will open in the Tenderloin in the next couple of weeks: a casual deli-style barbecue counter called Quack House.\u003c/p>\n\u003cfigure id=\"attachment_13968998\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968998\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck.jpg\" alt=\"A plate of Cantonese roast duck.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Go Duck Yourself’s signature Cantonese roast duck. At Quack House, the duck will also be available as a to-go rice plate. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just like the old Hing Lung, Quack House won’t have any dine-in seating and will focus exclusively on quick-service to-go items — barbecue rice plates, whole ducks and chickens, and other Cantonese-style roast meats and charcuterie sold by the pound.\u003c/p>\n\u003cp>Patricia Tien — Eric’s wife and a spokesperson for the business — acknowledges that it was sad to leave Chinatown behind. The Cheung brothers’ father passed away three years ago, and the Stockton Street storefront was really his legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We didn’t abandon you,” she says, addressing Hing Lung’s longtime customers directly. “We fought really hard to make Chinatown work.”\u003c/p>\n\u003cp>In the end, Tien says, the building was just in too poor physical condition to justify the rent the landlords were demanding. “Every time it rained outside, it would rain in our kitchen. It would drip down into the oil pot, and you would get burned,” she recalls. “We worked like that for five or six years.”\u003c/p>\n\u003cfigure id=\"attachment_13982243\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1.jpg\" alt=\"A plate of crispy roast pork belly, cut into slics and packed in a to-go container.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A siu yuk, or crispy-skinned pork belly, rice plate packed for takeout. \u003ccite>(Courtesy of Go Duck Yourself)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, though, Quack House will mark a return to those old Hing Lung roots. The new brick-lined Tenderloin location — former home of the upscale \u003ca href=\"https://www.instagram.com/p/BqlMRaVH95d/?hl=en\">Meraki Market\u003c/a> — will be more modern-looking than the Stockton Street butcher shop and will rely on tablet stations instead of having customers line up at the counter to order deli-style. But customers who complained that you couldn’t grab a quick, affordable meal for one person at the sit-down restaurant in Bernal Heights will be heartened by the return of those rice plates, which will be priced at $18–$20 for rice, greens and a quarter pound of meat.\u003c/p>\n\u003cp>[aside postID='arts_13976695,arts_13981793,arts_13968986']Home cooks will also be able to buy a variety of Chinese cured sausages, Chinese bacon and pressed salted duck, just like they could in the old Hing Lung days. And there will be some more modern twists as well, including a pork jerky sandwich the chefs are working on.\u003c/p>\n\u003cp>The more central Tenderloin location will also allow Quack House to offer delivery service further into the Richmond and Sunset districts, where a lot of Hing Lung’s customers live. And of course it also won’t be too far away from Chinatown either.\u003c/p>\n\u003cp>Tien says that many of Hing Lung’s old customers have already trekked out to Bernal Heights to visit Go Duck Yourself at least once or twice. “When they come, we get two different reactions. One is that the prices are really high compared to what we had in Chinatown,” Tien says. “But we also have another reaction, which is, ‘Good for you guys.’ This kind of food \u003ci>should\u003c/i> be praised more, and you should really promote this to the Western world.”\u003c/p>\n\u003cp>Tien says most of the old Chinatown customers wind up feeling happy with their Go Duck Yourself experience — happy, she says, that the restaurant didn’t “white down the food.”\u003c/p>\n\u003cfigure id=\"attachment_13982244\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9.jpg\" alt=\"Two chefs work in a busy Chinese restaurant kitchen.\" width=\"2000\" height=\"1271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9-1536x976.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Cheung brothers at work in the kitchen at their Bernal Heights restaurant. \u003ccite>(Courtesy of Go Duck Yourself)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For now, the Cheung brothers are retiring the Hing Lung name — in part to mark a new beginning, and also because there are so many other Chinese businesses called “Hing Lung” (meaning “prosperous”) in the Bay Area. But the new restaurant will be an homage to the original Hing Lung in many ways, including the (newly restored) original signage and a display of old photos.\u003c/p>\n\u003cp>The Cheungs also haven’t ruled out the possibility of opening a new shop in Chinatown at some point in the future. If they do? They might just have to roll out the Hing Lung name once again.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Quack House is located at 927 Post St. in San Francisco. The owners hope to open sometime in October 2025. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For more than four decades, Hing Lung Company was one of the crown jewels of San Francisco \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">Chinatown\u003c/a>. The cramped, slightly dingy, old-school Cantonese butcher shop consistently cranked out some of the juiciest roast duck and crispiest-skinned siu yuk (roast pork belly) in town. Because the shop didn’t have any seating to speak of, popping open a takeout carton of its luscious, wonderfully fatty roast duck in your parked car, or huddled on the sidewalk, was one of those quintessential San Francisco dining experiences.\u003c/p>\n\u003cp>It was the end of an era, then, when Hing Lung \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/hing-lung-chinatown-moving-19387517.php\">shuttered its Stockton Street storefront\u003c/a> last April, citing long, drawn-out rent negotiations with the landlord that fell through in the end.\u003c/p>\n\u003cp>The closure was especially bittersweet as it came right when brothers Eric and Simon Cheung were poised to bring the legacy business — which they \u003ca href=\"https://www.sfchronicle.com/food/article/Brothers-reinvent-their-father-s-meat-shop-in-12375005.php\">took over from their father, Wing, a decade ago\u003c/a> — to a new level of mainstream success. That same month, the Cheung brothers opened Go Duck Yourself, a swanky sit-down Chinese barbecue restaurant in Bernal Heights, to \u003ca href=\"https://www.kqed.org/arts/13968986/best-dishes-bay-area-2024\">rave\u003c/a> \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/go-duck-yourself-chinatown-19797728.php\">reviews\u003c/a>. And if all goes according to plan, the newest addition to the brothers’ roast meats empire will open in the Tenderloin in the next couple of weeks: a casual deli-style barbecue counter called Quack House.\u003c/p>\n\u003cfigure id=\"attachment_13968998\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968998\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck.jpg\" alt=\"A plate of Cantonese roast duck.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/go-duck-yourself-duck-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Go Duck Yourself’s signature Cantonese roast duck. At Quack House, the duck will also be available as a to-go rice plate. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just like the old Hing Lung, Quack House won’t have any dine-in seating and will focus exclusively on quick-service to-go items — barbecue rice plates, whole ducks and chickens, and other Cantonese-style roast meats and charcuterie sold by the pound.\u003c/p>\n\u003cp>Patricia Tien — Eric’s wife and a spokesperson for the business — acknowledges that it was sad to leave Chinatown behind. The Cheung brothers’ father passed away three years ago, and the Stockton Street storefront was really his legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We didn’t abandon you,” she says, addressing Hing Lung’s longtime customers directly. “We fought really hard to make Chinatown work.”\u003c/p>\n\u003cp>In the end, Tien says, the building was just in too poor physical condition to justify the rent the landlords were demanding. “Every time it rained outside, it would rain in our kitchen. It would drip down into the oil pot, and you would get burned,” she recalls. “We worked like that for five or six years.”\u003c/p>\n\u003cfigure id=\"attachment_13982243\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1.jpg\" alt=\"A plate of crispy roast pork belly, cut into slics and packed in a to-go container.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/CE7F71C2-DF88-40EC-971B-CA7A80189AE1-1536x1536.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A siu yuk, or crispy-skinned pork belly, rice plate packed for takeout. \u003ccite>(Courtesy of Go Duck Yourself)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, though, Quack House will mark a return to those old Hing Lung roots. The new brick-lined Tenderloin location — former home of the upscale \u003ca href=\"https://www.instagram.com/p/BqlMRaVH95d/?hl=en\">Meraki Market\u003c/a> — will be more modern-looking than the Stockton Street butcher shop and will rely on tablet stations instead of having customers line up at the counter to order deli-style. But customers who complained that you couldn’t grab a quick, affordable meal for one person at the sit-down restaurant in Bernal Heights will be heartened by the return of those rice plates, which will be priced at $18–$20 for rice, greens and a quarter pound of meat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Home cooks will also be able to buy a variety of Chinese cured sausages, Chinese bacon and pressed salted duck, just like they could in the old Hing Lung days. And there will be some more modern twists as well, including a pork jerky sandwich the chefs are working on.\u003c/p>\n\u003cp>The more central Tenderloin location will also allow Quack House to offer delivery service further into the Richmond and Sunset districts, where a lot of Hing Lung’s customers live. And of course it also won’t be too far away from Chinatown either.\u003c/p>\n\u003cp>Tien says that many of Hing Lung’s old customers have already trekked out to Bernal Heights to visit Go Duck Yourself at least once or twice. “When they come, we get two different reactions. One is that the prices are really high compared to what we had in Chinatown,” Tien says. “But we also have another reaction, which is, ‘Good for you guys.’ This kind of food \u003ci>should\u003c/i> be praised more, and you should really promote this to the Western world.”\u003c/p>\n\u003cp>Tien says most of the old Chinatown customers wind up feeling happy with their Go Duck Yourself experience — happy, she says, that the restaurant didn’t “white down the food.”\u003c/p>\n\u003cfigure id=\"attachment_13982244\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9.jpg\" alt=\"Two chefs work in a busy Chinese restaurant kitchen.\" width=\"2000\" height=\"1271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/946D1353-A981-43FC-8BF2-B826D21A6BB9-1536x976.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Cheung brothers at work in the kitchen at their Bernal Heights restaurant. \u003ccite>(Courtesy of Go Duck Yourself)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For now, the Cheung brothers are retiring the Hing Lung name — in part to mark a new beginning, and also because there are so many other Chinese businesses called “Hing Lung” (meaning “prosperous”) in the Bay Area. But the new restaurant will be an homage to the original Hing Lung in many ways, including the (newly restored) original signage and a display of old photos.\u003c/p>\n\u003cp>The Cheungs also haven’t ruled out the possibility of opening a new shop in Chinatown at some point in the future. If they do? They might just have to roll out the Hing Lung name once again.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Quack House is located at 927 Post St. in San Francisco. The owners hope to open sometime in October 2025. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Immersive Play at Compton’s Cafeteria, Where Trans Women Rioted in 1966",
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"content": "\u003cp>The new immersive play \u003cem>Compton’s Cafeteria Riot\u003c/em> takes its audience back in time to 1966, and into the seats and tables of a San Francisco diner where trans women and gay hustlers faced off against abusive police.\u003c/p>\n\u003cp>This real-life riot occurred three years before a similar rebellion at New York’s Stonewall Inn, which kicked off the modern-day gay rights movement. While Stonewall became queer canon, the riot at Compton’s was all but forgotten until historian Susan Stryker brought it to the world with her \u003ca href=\"https://www.kqed.org/arts/11838357/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights\">2005 documentary \u003ci>Screaming Queens\u003c/i>\u003c/a>. In the 20 years since, the riot has become a beacon for trans people fighting for their rights in San Francisco. [aside postid='arts_11838357']\u003c/p>\n\u003cp>Yet the conflict in the play isn’t limited to trans women and the cops who routinely arrest them and brutalize them for wearing women’s clothing — it occurs among the women themselves. Some work in the sex trade because discrimination leaves them without job prospects. Others strive to pass as cis because their safety depends on it. Compton’s Cafeteria, a late-night diner, is one of the few places they can come together and be themselves, but it’s impossible to keep oppressive outside forces at bay. Under the constant threat of violence and harassment, the women apart tear each other apart with rivalries and betrayals when they need to protect each other most.\u003c/p>\n\u003cp>Rather than separating the audience from the actors, \u003cem>Compton’s Cafeteria Riot\u003c/em> puts viewers in the middle of the action. Upon entering the cafe-turned-theater on Larkin Street in the Tenderloin, just blocks from the original Compton’s location on Turk and Taylor, actors in 1960s waitress uniforms serve attendees an old-school plate of pancakes and sausage, complete with an unpretentious cup of diner coffee.\u003c/p>\n\u003cfigure id=\"attachment_13975974\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-scaled.jpeg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-scaled.jpeg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-1365x2048.jpeg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-1920x2880.jpeg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Lavale Williams-Davis as Nicki in ‘Compton’s Cafeteria Riot.’ \u003ccite>(Reese Brindisi Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the story begins, you’re a fly on the wall observing the characters’ comings and goings, and before long, you’re bantering with them between scenes, growing emotionally invested in each storyline. Compton’s regular Suki (a charismatic, confident Jaylyn Abergas) and Frankie, a Navy sailor (played by a swooning Jonah Hezekiah Bessellieu), are lovers whose romance implodes when Suki’s trans-ness becomes a threat to Frankie’s masculinity. Doe-eyed Rusty (Shane Zaldivar) is a young trans woman finding her way as the more experienced Collette (Saoirse Grace) and Nicki (Lavale Williams-Davis) warn her of the dangers on the street.\u003c/p>\n\u003cp>Haughty, egotistical Vicki (Matthew Giesecke) is hellbent on revenge when she’s outed and fired from her secretary job. But while Vicki’s Regina George-esque antagonism drives the plot, the sadistic Officer Johnson (Tony Cardoza) is the true villain. Amid all the interpersonal drama, two activists from a radical group called Vanguard, Adrian (Casimir Kotarski) and Dixie (Maurice André San-Chez), become the moral heart of the story as they desperately try to convince everyone to remember who the real enemy is.\u003c/p>\n\u003cfigure id=\"attachment_13975973\" class=\"wp-caption aligncenter\" style=\"max-width: 1664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-scaled.jpeg\" alt=\"A young man in glasses and a sweater stands next to his copy of 'Marxism.'\" width=\"1664\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-scaled.jpeg 1664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-800x1231.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-1020x1569.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-160x246.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-768x1182.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-998x1536.jpeg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-1331x2048.jpeg 1331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-1920x2954.jpeg 1920w\" sizes=\"auto, (max-width: 1664px) 100vw, 1664px\">\u003cfigcaption class=\"wp-caption-text\">Adrian (Casimir Kotarski) is an idealistic activist from Vanguard in ‘Compton’s Cafeteria Riot.’ \u003ccite>(Reese Brindisi Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Co-written by Donna Personna and Collette LeGrande — who both hung out at Compton’s Cafeteria in the ’60s — and immersive theater artist Mark Nassar, \u003cem>Compton’s Cafeteria Riot\u003c/em> brilliantly shows how conflicting perspectives arise among complicated people trying to survive a brutal world. Whether or not she passes as cis, whether she works the streets or a mainstream job, each woman finds herself in a precarious position. Each has her reasons for not wanting to make herself a target by signing a petition or joining a protest — until there’s no other option. [aside postid='arts_13960471']\u003c/p>\n\u003cp>Narrated by an older Vicki (Robyn Adams) looking back at her past, the interstitial monologues can initially seem heavy-handed as Vicki underscores the gravity of history. But the play finds its groove. With a subject matter that’s still not widely known in the mainstream public, that scene-setting is crucial to make \u003cem>Compton’s Cafeteria Riot\u003c/em> accessible. Meanwhile, historical easter eggs — such as references to Finocchio’s, the world-renowned drag club that opened in the 1920s, and Elliott Blackstone, a police officer who sided with trans women after the riot and lobbied for better treatment and resources — offer curious playgoers more to learn about after they leave the diner. [ad fullwidth]\u003c/p>\n\u003cp>To younger generations, the ’60s may seem like ancient history. But it wasn’t very long ago that dressing in gender-nonconforming clothing or dancing with someone of the same sex were arrestable offenses. We’re lucky that some of the people who lived through it are still here to tell the tale. With trans rights under attack once again, these elders and their perspectives are precious. We can all learn from them, and \u003cem>Compton’s Cafeteria Riot\u003c/em> is the perfect place to start.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Compton’s Cafeteria Riot’ is produced by the Tenderloin Museum. It runs every Friday and Saturday at 7 p.m. through July 26 (with additional dates expected) at 835 Larkin St. in San Francisco. \u003ca href=\"https://www.tickettailor.com/events/comptonscafeteriariotplay/1511421\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new immersive play \u003cem>Compton’s Cafeteria Riot\u003c/em> takes its audience back in time to 1966, and into the seats and tables of a San Francisco diner where trans women and gay hustlers faced off against abusive police.\u003c/p>\n\u003cp>This real-life riot occurred three years before a similar rebellion at New York’s Stonewall Inn, which kicked off the modern-day gay rights movement. While Stonewall became queer canon, the riot at Compton’s was all but forgotten until historian Susan Stryker brought it to the world with her \u003ca href=\"https://www.kqed.org/arts/11838357/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights\">2005 documentary \u003ci>Screaming Queens\u003c/i>\u003c/a>. In the 20 years since, the riot has become a beacon for trans people fighting for their rights in San Francisco. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet the conflict in the play isn’t limited to trans women and the cops who routinely arrest them and brutalize them for wearing women’s clothing — it occurs among the women themselves. Some work in the sex trade because discrimination leaves them without job prospects. Others strive to pass as cis because their safety depends on it. Compton’s Cafeteria, a late-night diner, is one of the few places they can come together and be themselves, but it’s impossible to keep oppressive outside forces at bay. Under the constant threat of violence and harassment, the women apart tear each other apart with rivalries and betrayals when they need to protect each other most.\u003c/p>\n\u003cp>Rather than separating the audience from the actors, \u003cem>Compton’s Cafeteria Riot\u003c/em> puts viewers in the middle of the action. Upon entering the cafe-turned-theater on Larkin Street in the Tenderloin, just blocks from the original Compton’s location on Turk and Taylor, actors in 1960s waitress uniforms serve attendees an old-school plate of pancakes and sausage, complete with an unpretentious cup of diner coffee.\u003c/p>\n\u003cfigure id=\"attachment_13975974\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975974\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-scaled.jpeg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-scaled.jpeg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-1365x2048.jpeg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-57-1920x2880.jpeg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Lavale Williams-Davis as Nicki in ‘Compton’s Cafeteria Riot.’ \u003ccite>(Reese Brindisi Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the story begins, you’re a fly on the wall observing the characters’ comings and goings, and before long, you’re bantering with them between scenes, growing emotionally invested in each storyline. Compton’s regular Suki (a charismatic, confident Jaylyn Abergas) and Frankie, a Navy sailor (played by a swooning Jonah Hezekiah Bessellieu), are lovers whose romance implodes when Suki’s trans-ness becomes a threat to Frankie’s masculinity. Doe-eyed Rusty (Shane Zaldivar) is a young trans woman finding her way as the more experienced Collette (Saoirse Grace) and Nicki (Lavale Williams-Davis) warn her of the dangers on the street.\u003c/p>\n\u003cp>Haughty, egotistical Vicki (Matthew Giesecke) is hellbent on revenge when she’s outed and fired from her secretary job. But while Vicki’s Regina George-esque antagonism drives the plot, the sadistic Officer Johnson (Tony Cardoza) is the true villain. Amid all the interpersonal drama, two activists from a radical group called Vanguard, Adrian (Casimir Kotarski) and Dixie (Maurice André San-Chez), become the moral heart of the story as they desperately try to convince everyone to remember who the real enemy is.\u003c/p>\n\u003cfigure id=\"attachment_13975973\" class=\"wp-caption aligncenter\" style=\"max-width: 1664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-scaled.jpeg\" alt=\"A young man in glasses and a sweater stands next to his copy of 'Marxism.'\" width=\"1664\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-scaled.jpeg 1664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-800x1231.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-1020x1569.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-160x246.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-768x1182.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-998x1536.jpeg 998w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-1331x2048.jpeg 1331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Compton-Cafeteria-Tech-51-1920x2954.jpeg 1920w\" sizes=\"auto, (max-width: 1664px) 100vw, 1664px\">\u003cfigcaption class=\"wp-caption-text\">Adrian (Casimir Kotarski) is an idealistic activist from Vanguard in ‘Compton’s Cafeteria Riot.’ \u003ccite>(Reese Brindisi Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Co-written by Donna Personna and Collette LeGrande — who both hung out at Compton’s Cafeteria in the ’60s — and immersive theater artist Mark Nassar, \u003cem>Compton’s Cafeteria Riot\u003c/em> brilliantly shows how conflicting perspectives arise among complicated people trying to survive a brutal world. Whether or not she passes as cis, whether she works the streets or a mainstream job, each woman finds herself in a precarious position. Each has her reasons for not wanting to make herself a target by signing a petition or joining a protest — until there’s no other option. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Narrated by an older Vicki (Robyn Adams) looking back at her past, the interstitial monologues can initially seem heavy-handed as Vicki underscores the gravity of history. But the play finds its groove. With a subject matter that’s still not widely known in the mainstream public, that scene-setting is crucial to make \u003cem>Compton’s Cafeteria Riot\u003c/em> accessible. Meanwhile, historical easter eggs — such as references to Finocchio’s, the world-renowned drag club that opened in the 1920s, and Elliott Blackstone, a police officer who sided with trans women after the riot and lobbied for better treatment and resources — offer curious playgoers more to learn about after they leave the diner. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To younger generations, the ’60s may seem like ancient history. But it wasn’t very long ago that dressing in gender-nonconforming clothing or dancing with someone of the same sex were arrestable offenses. We’re lucky that some of the people who lived through it are still here to tell the tale. With trans rights under attack once again, these elders and their perspectives are precious. We can all learn from them, and \u003cem>Compton’s Cafeteria Riot\u003c/em> is the perfect place to start.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Compton’s Cafeteria Riot’ is produced by the Tenderloin Museum. It runs every Friday and Saturday at 7 p.m. through July 26 (with additional dates expected) at 835 Larkin St. in San Francisco. \u003ca href=\"https://www.tickettailor.com/events/comptonscafeteriariotplay/1511421\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "harry-williams-tenderloin-homeless-street-photography",
"title": "In Portraits of Tenderloin Residents, a Delicate Balance of Art and Hardship",
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"headTitle": "In Portraits of Tenderloin Residents, a Delicate Balance of Art and Hardship | KQED",
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"content": "\u003cp>On the corner of Jones and Ellis Streets in San Francisco, there’s an open-air art gallery filled with images of the very people who reside in \u003ca href=\"https://www.kqed.org/arts/tag/tenderloin\">the Tenderloin\u003c/a>.\u003c/p>\n\u003cp>One block from Glide Memorial Church, right behind the sign that designates the area as Compton’s Transgender Cultural District, the images cover an entire building. The series of three-by-four-foot, black-and-white photos show residents from nearby SROs celebrating birthdays, customers patronizing local stores and folks who sleep on the streets, simply living.\u003c/p>\n\u003cp>The project is the work of photographer \u003ca href=\"https://www.instagram.com/hwilliamsjrphoto/\" target=\"_blank\" rel=\"noopener\">Harry Williams\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13973093\" class=\"wp-caption aligncenter\" style=\"max-width: 540px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973093\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/img_3899_720.jpg\" alt=\"A man in a baseball hat holds up a copy of a book while standing front of a wall covered in printed photos.\" width=\"540\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/img_3899_720.jpg 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/img_3899_720-160x213.jpg 160w\" sizes=\"auto, (max-width: 540px) 100vw, 540px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Harry Williams stands in front of some of the images he’s made while holding up a copy of his book of San Francisco street photography, titled ‘EYE SEE YOU.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He introduced me to his work exactly a year ago, around the time he first mounted the images on the wall. Initially, I had questions:\u003c/p>\n\u003cp>\u003cem>Are you parachuting into this community? Are you making money off them? What does this do for folks living there? What about the larger societal issues we’re dealing with — how does this combat anything?\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A year later, the images are still there. He’s had to repost a few, and some of the ones that remain have been weathered and tagged. Meanwhile, Williams’ work has gotten recognized on some \u003ca href=\"https://48hills.org/2024/05/photographer-documents-tenderloin-lives-dignity-harry-williams-jr/\" target=\"_blank\" rel=\"noopener\">prominent platforms\u003c/a>, he’s given a talk at the \u003ca href=\"https://www.youtube.com/watch?v=tvWoYkxVpZw&t=5s\" target=\"_blank\" rel=\"noopener\">Commonwealth Club\u003c/a>, and he currently has work hanging inside of San Francisco City Hall as a part of the \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/metaphors-recent-times\" target=\"_blank\" rel=\"noopener\">\u003cem>Metaphors of Recent Times\u003c/em> exhibition\u003c/a>.\u003c/p>\n\u003cp>Yet I’m still grappling with my quandaries, especially the one about art and the role it plays in the midst of \u003ci data-stringify-type=\"italic\">all\u003c/i> \u003ci data-stringify-type=\"italic\">that’s going on\u003c/i>.\u003c/p>\n\u003cp>To be clear, Williams hasn’t claimed to be “fighting the system” with his visual work. He’s also firmly against taking advantage of people. He insists that, as an artist, he’s simply focusing his lens on a group of people that society has turned its back on.\u003c/p>\n\u003cfigure id=\"attachment_13973230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13973230\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_4304-800x533.jpg\" alt=\"A close-up of someone's hands.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_4304-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_4304-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_4304-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_4304-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_4304.jpg 1500w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Harry Williams captured a close-up of someone’s hands in Oaxaca, Mexico. \u003ccite>(Harry Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During presentations, like his upcoming talk on March 29 at an exhibition titled \u003ca href=\"https://www.eventbrite.com/e/the-heart-is-still-here-featuring-seven-san-francisco-artist-tickets-1258843377429\" target=\"_blank\" rel=\"noopener\">\u003cem>The Heart is Still Here\u003c/em>\u003c/a>, he often explains how this project came to be, after similar projects in other states and countries.\u003c/p>\n\u003cp>Outside of his day job as a visual designer (now freelance, formerly with Williams Sonoma), Williams has created a range of images from \u003ca href=\"https://www.harrywphoto.com/oaxaca-mexico/vmkvtciu68kh2xj4yz3jm278dqnerg\" target=\"_blank\" rel=\"noopener\">the hands of workers in Oaxaca, Mexico\u003c/a> to a hill tribe group called the Black Hmong in the mountains of Northern Vietnam.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Another project, \u003cem>Lonesome Ash,\u003c/em> focuses on people in the Buckeye state. “\u003c/span>\u003cspan style=\"font-weight: 400\">It was all these Vietnam vets,” says Williams about \u003ca href=\"https://shortnorth.com/Mike'sGrill.html\" target=\"_blank\" rel=\"noopener\">the photo project\u003c/a> about battling gentrification in Columbus, Ohio. “The people that hung out in this bar were in a community that was being displaced.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13973108\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973108\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSC_6682.jpg\" alt=\"A black and white photo of a woman posed and looking at the camera.\" width=\"750\" height=\"1128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSC_6682.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSC_6682-160x241.jpg 160w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">A 2001 photo of a young woman named Sho, a member of the Black Hmong Hill Tribe in Sapa, Vietnam. \u003ccite>(Harry Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Williams, who’s lived in San Francisco for over two decades, is a Latino man who was raised in a majority-white area of rural Ohio. His coming-of-age experience allowed him to relate to people who’d been cast out of broader society, he says. \u003c/span>\u003c/p>\n\u003cp>When he started working in the Tenderloin, Williams wasn’t planning on making it a two-year project. Then he met a guy named Shorty.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was celebrating, it was his birthday,” recalls Williams. “I said, ‘Oh, well, then you gotta let me take your picture.’ And that’s kind of how it all started.”\u003c/span>\u003c/p>\n\u003cp>Williams has since taken thousands of shots in the neighborhood, mostly portraits. Sometimes he talks to people and leaves without photographing them, other times he takes photos, prints them and holds on to the prints until he runs into the person again.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s people that I haven’t seen in like a year, and then I’ll run into them,” Williams tells me. “And they’re like, ‘Oh my God, you’ve had that whole time!?'”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13972982\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972982\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-800x1032.jpeg\" alt=\"A portrait of a woman looking distraught.\" width=\"800\" height=\"1032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-800x1032.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-1020x1316.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-160x206.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-768x991.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-1190x1536.jpeg 1190w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-1587x2048.jpeg 1587w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-1920x2477.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-scaled.jpeg 1984w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Autumn Black, a former model, photographed on Jones and Ellis streets as she looks at a printed image of herself. (This photo is in the show ‘Metaphors of Recent Times’ currently on display at San Francisco’s City Hall.) \u003ccite>(Harry Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some people have broken into tears of joy, moved by the tangible image of themselves. Williams has also printed photos and held on to them for months, only to find that the person is no longer living. \u003c/span>\u003c/p>\n\u003cp>After accumulating enough photos, Williams got the idea to display them inside the liquor store-turned-family mart on the corner of Jones and Ellis. The store owner agreed to a small handful of photos, but “as soon as he saw them,” recalls Williams, “he loved them, and the people loved them.” He soon had permission to cover the whole building.\u003c/p>\n\u003cp>Unsure of how people were going to respond, Williams vowed that if anyone pictured requested it, he’d take them down.\u003c/p>\n\u003cfigure id=\"attachment_13973243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13973243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB-800x965.jpeg\" alt=\"A black and white portrait of a man with a beard and a hat. \" width=\"800\" height=\"965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB-800x965.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB-1020x1230.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB-160x193.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB-768x926.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB-1273x1536.jpeg 1273w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB-1698x2048.jpeg 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB-1920x2316.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB.jpeg 2002w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jose, who came from Cuba in the 1980s, poses for a photo on Jones and Ellis in the Tenderloin. \u003ccite>(Harry Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just after the images were mounted, it hit Williams. “Everybody that lives in the Tenderloin knows that it has this stereotype,” he says, referring to homelessness and drug use. A common sight is people driving past and taking photos of the conditions without getting out of their cars. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Williams still remembers what one person he photographed once told him. “‘Now when people come by to take pictures,'” Williams recalls the man saying, “‘they’re going to take a picture of me on this wall and they’re going to be looking up at me, not looking down at me.'”\u003c/span>\u003c/p>\n\u003cp>Once a visitor himself, Williams has become a part of the community. He’s even celebrated his birthday with folks near Jones and Ellis.\u003c/p>\n\u003cp>“I see a lot of people trying to help each other on the street,” he says. “So I feel like there’s still a lot of that humanity.”\u003c/p>\n\u003cp>And that’s the word I can’t argue with. \u003cem>Humanity\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13972987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972987\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/j-e--800x534.jpeg\" alt=\"People on the corner of Jones and Ellis in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/j-e--800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/j-e--1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/j-e--160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/j-e--768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/j-e--1536x1025.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/j-e--2048x1367.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/j-e--1920x1281.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People congregate on the corner of Jones and Ellis in San Francisco’s Tenderloin District. \u003ccite>(Harry Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve long understood that the divisions in our society aren’t just about race, gender and religion, but about class, education and the widening economic division between the “haves” and the “have nots.”\u003c/p>\n\u003cp>In the face of legislation — \u003ca href=\"https://www.kqed.org/news/12029843/san-jose-mayor-pushes-to-arrest-unhoused-who-refuse-shelter\" target=\"_blank\" rel=\"noopener\">local\u003c/a> and \u003ca href=\"https://www.npr.org/2024/06/28/nx-s1-4992010/supreme-court-homeless-punish-sleeping-encampments\" target=\"_blank\" rel=\"noopener\">federal\u003c/a> — that allows for people on the lower end of the economic scale to be treated like second-class citizens, there’s an urgency for artists to take actions that create measurable change.\u003c/p>\n\u003cp>A number of multimedia projects focus on people living in the margins, and actionable steps to change their material lives. \u003ca href=\"https://thestreetspirit.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Street Spirit\u003c/em>\u003c/a> is an independent East Bay-based publication that not only shares stories of people facing housing instability, but employs them as well. (On Friday, March 28, they’ll \u003ca href=\"https://www.eventbrite.com/e/the-history-utility-legacy-of-grassroots-media-in-the-bay-area-tickets-1284947154529?utm_experiment=test_share_listing&aff=ebdsshios\" target=\"_blank\" rel=\"noopener\">celebrate 30 years of work\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13973231\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13973231 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/untitled-416.jpg\" alt=\"A black and white photo of a man with his hands raised. \" width=\"750\" height=\"1124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/untitled-416.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/untitled-416-160x240.jpg 160w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Cedric “Buffalo $mooth” Burkes raises his hands in praise as he walks through the Tenderloin. \u003ccite>(Harry Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s also the \u003ca href=\"https://www.stolenbelonging.org/dpw-disclosure\" target=\"_blank\" rel=\"noopener\">Stolen Belonging Project\u003c/a>, which tracked people’s personal items confiscated by the Department of Public Works. Closer to Williams’ work is \u003ca href=\"https://www.sfexaminer.com/amos-gregorys-tenderloin-photo-project/collection_34dfdcdc-d29c-11ee-a8ba-67b01907a055.html#1\" target=\"_blank\" rel=\"noopener\">Amos Gregory’s 2024 Tenderloin photo project\u003c/a>, which specifically aimed to dispel stereotypes of the community’s Black residents.\u003c/p>\n\u003cp>Is lending an struggling person a bit of dignity really such a bad thing?\u003c/p>\n\u003cp>In talking to Williams about the role of art at a time like this, I’ve realized that the meaning of “a time like this” depends on your perspective. If you’ve been struggling for two or three decades, it doesn’t matter who is in the Oval Office. What matters is that there is someone who sees you as a human, who’s part of the larger community of humans.\u003c/p>\n\u003cp>For a photographer to sit on the curb and celebrate a birthday, or shed a tear over a memory, maybe that’s an important enough role for art at a time like this. It’s a tool, if used right, to make this world a little bit better.\u003c/p>\n\u003cfigure id=\"attachment_13973110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13973110\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_8619-800x600.jpeg\" alt=\"A man pasting pictures to the side of a building. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_8619-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_8619-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_8619-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_8619-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_8619-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_8619-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_8619-1920x1440.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Williams uses wheatpaste to mount his photos on the exterior walls of a business on Jones and Ellis. \u003ccite>(Courtesy of Harry Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams isn’t paid for this work, and funds his art supplies with his own money. He has a published book of photography, \u003ca href=\"https://www.harrywphoto.com/book\" target=\"_blank\" rel=\"noopener\">\u003cem>Eye See You\u003c/em>\u003c/a>, which he sells for $75. (He stresses that getting people to buy photos of other people is a hard sell.)\u003c/p>\n\u003cp>His work isn’t charity, but when he has loose change, he has no issue with sparing some dough for someone in need. At the same time, he says, “Just stopping and acknowledging somebody and talking to them is worth way more than a dollar.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As much as people need money, housing and other tangible resources, Williams’ work is a reminder: Before we can change society, we have to change how we treat other people in society — especially those on the outskirts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the corner of Jones and Ellis Streets in San Francisco, there’s an open-air art gallery filled with images of the very people who reside in \u003ca href=\"https://www.kqed.org/arts/tag/tenderloin\">the Tenderloin\u003c/a>.\u003c/p>\n\u003cp>One block from Glide Memorial Church, right behind the sign that designates the area as Compton’s Transgender Cultural District, the images cover an entire building. The series of three-by-four-foot, black-and-white photos show residents from nearby SROs celebrating birthdays, customers patronizing local stores and folks who sleep on the streets, simply living.\u003c/p>\n\u003cp>The project is the work of photographer \u003ca href=\"https://www.instagram.com/hwilliamsjrphoto/\" target=\"_blank\" rel=\"noopener\">Harry Williams\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13973093\" class=\"wp-caption aligncenter\" style=\"max-width: 540px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973093\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/img_3899_720.jpg\" alt=\"A man in a baseball hat holds up a copy of a book while standing front of a wall covered in printed photos.\" width=\"540\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/img_3899_720.jpg 540w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/img_3899_720-160x213.jpg 160w\" sizes=\"auto, (max-width: 540px) 100vw, 540px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Harry Williams stands in front of some of the images he’s made while holding up a copy of his book of San Francisco street photography, titled ‘EYE SEE YOU.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He introduced me to his work exactly a year ago, around the time he first mounted the images on the wall. Initially, I had questions:\u003c/p>\n\u003cp>\u003cem>Are you parachuting into this community? Are you making money off them? What does this do for folks living there? What about the larger societal issues we’re dealing with — how does this combat anything?\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A year later, the images are still there. He’s had to repost a few, and some of the ones that remain have been weathered and tagged. Meanwhile, Williams’ work has gotten recognized on some \u003ca href=\"https://48hills.org/2024/05/photographer-documents-tenderloin-lives-dignity-harry-williams-jr/\" target=\"_blank\" rel=\"noopener\">prominent platforms\u003c/a>, he’s given a talk at the \u003ca href=\"https://www.youtube.com/watch?v=tvWoYkxVpZw&t=5s\" target=\"_blank\" rel=\"noopener\">Commonwealth Club\u003c/a>, and he currently has work hanging inside of San Francisco City Hall as a part of the \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/metaphors-recent-times\" target=\"_blank\" rel=\"noopener\">\u003cem>Metaphors of Recent Times\u003c/em> exhibition\u003c/a>.\u003c/p>\n\u003cp>Yet I’m still grappling with my quandaries, especially the one about art and the role it plays in the midst of \u003ci data-stringify-type=\"italic\">all\u003c/i> \u003ci data-stringify-type=\"italic\">that’s going on\u003c/i>.\u003c/p>\n\u003cp>To be clear, Williams hasn’t claimed to be “fighting the system” with his visual work. He’s also firmly against taking advantage of people. He insists that, as an artist, he’s simply focusing his lens on a group of people that society has turned its back on.\u003c/p>\n\u003cfigure id=\"attachment_13973230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13973230\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_4304-800x533.jpg\" alt=\"A close-up of someone's hands.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_4304-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_4304-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_4304-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_4304-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_4304.jpg 1500w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Harry Williams captured a close-up of someone’s hands in Oaxaca, Mexico. \u003ccite>(Harry Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During presentations, like his upcoming talk on March 29 at an exhibition titled \u003ca href=\"https://www.eventbrite.com/e/the-heart-is-still-here-featuring-seven-san-francisco-artist-tickets-1258843377429\" target=\"_blank\" rel=\"noopener\">\u003cem>The Heart is Still Here\u003c/em>\u003c/a>, he often explains how this project came to be, after similar projects in other states and countries.\u003c/p>\n\u003cp>Outside of his day job as a visual designer (now freelance, formerly with Williams Sonoma), Williams has created a range of images from \u003ca href=\"https://www.harrywphoto.com/oaxaca-mexico/vmkvtciu68kh2xj4yz3jm278dqnerg\" target=\"_blank\" rel=\"noopener\">the hands of workers in Oaxaca, Mexico\u003c/a> to a hill tribe group called the Black Hmong in the mountains of Northern Vietnam.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Another project, \u003cem>Lonesome Ash,\u003c/em> focuses on people in the Buckeye state. “\u003c/span>\u003cspan style=\"font-weight: 400\">It was all these Vietnam vets,” says Williams about \u003ca href=\"https://shortnorth.com/Mike'sGrill.html\" target=\"_blank\" rel=\"noopener\">the photo project\u003c/a> about battling gentrification in Columbus, Ohio. “The people that hung out in this bar were in a community that was being displaced.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13973108\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973108\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSC_6682.jpg\" alt=\"A black and white photo of a woman posed and looking at the camera.\" width=\"750\" height=\"1128\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSC_6682.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSC_6682-160x241.jpg 160w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">A 2001 photo of a young woman named Sho, a member of the Black Hmong Hill Tribe in Sapa, Vietnam. \u003ccite>(Harry Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Williams, who’s lived in San Francisco for over two decades, is a Latino man who was raised in a majority-white area of rural Ohio. His coming-of-age experience allowed him to relate to people who’d been cast out of broader society, he says. \u003c/span>\u003c/p>\n\u003cp>When he started working in the Tenderloin, Williams wasn’t planning on making it a two-year project. Then he met a guy named Shorty.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was celebrating, it was his birthday,” recalls Williams. “I said, ‘Oh, well, then you gotta let me take your picture.’ And that’s kind of how it all started.”\u003c/span>\u003c/p>\n\u003cp>Williams has since taken thousands of shots in the neighborhood, mostly portraits. Sometimes he talks to people and leaves without photographing them, other times he takes photos, prints them and holds on to the prints until he runs into the person again.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s people that I haven’t seen in like a year, and then I’ll run into them,” Williams tells me. “And they’re like, ‘Oh my God, you’ve had that whole time!?'”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13972982\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972982\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-800x1032.jpeg\" alt=\"A portrait of a woman looking distraught.\" width=\"800\" height=\"1032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-800x1032.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-1020x1316.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-160x206.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-768x991.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-1190x1536.jpeg 1190w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-1587x2048.jpeg 1587w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-1920x2477.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/M1062131-1-2-scaled.jpeg 1984w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Autumn Black, a former model, photographed on Jones and Ellis streets as she looks at a printed image of herself. (This photo is in the show ‘Metaphors of Recent Times’ currently on display at San Francisco’s City Hall.) \u003ccite>(Harry Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some people have broken into tears of joy, moved by the tangible image of themselves. Williams has also printed photos and held on to them for months, only to find that the person is no longer living. \u003c/span>\u003c/p>\n\u003cp>After accumulating enough photos, Williams got the idea to display them inside the liquor store-turned-family mart on the corner of Jones and Ellis. The store owner agreed to a small handful of photos, but “as soon as he saw them,” recalls Williams, “he loved them, and the people loved them.” He soon had permission to cover the whole building.\u003c/p>\n\u003cp>Unsure of how people were going to respond, Williams vowed that if anyone pictured requested it, he’d take them down.\u003c/p>\n\u003cfigure id=\"attachment_13973243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13973243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB-800x965.jpeg\" alt=\"A black and white portrait of a man with a beard and a hat. \" width=\"800\" height=\"965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB-800x965.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB-1020x1230.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB-160x193.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB-768x926.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB-1273x1536.jpeg 1273w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB-1698x2048.jpeg 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB-1920x2316.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/014FDDE9-0439-4ED1-AD7B-AC68EE02B4AB.jpeg 2002w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jose, who came from Cuba in the 1980s, poses for a photo on Jones and Ellis in the Tenderloin. \u003ccite>(Harry Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just after the images were mounted, it hit Williams. “Everybody that lives in the Tenderloin knows that it has this stereotype,” he says, referring to homelessness and drug use. A common sight is people driving past and taking photos of the conditions without getting out of their cars. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Williams still remembers what one person he photographed once told him. “‘Now when people come by to take pictures,'” Williams recalls the man saying, “‘they’re going to take a picture of me on this wall and they’re going to be looking up at me, not looking down at me.'”\u003c/span>\u003c/p>\n\u003cp>Once a visitor himself, Williams has become a part of the community. He’s even celebrated his birthday with folks near Jones and Ellis.\u003c/p>\n\u003cp>“I see a lot of people trying to help each other on the street,” he says. “So I feel like there’s still a lot of that humanity.”\u003c/p>\n\u003cp>And that’s the word I can’t argue with. \u003cem>Humanity\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13972987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972987\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/j-e--800x534.jpeg\" alt=\"People on the corner of Jones and Ellis in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/j-e--800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/j-e--1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/j-e--160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/j-e--768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/j-e--1536x1025.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/j-e--2048x1367.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/j-e--1920x1281.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People congregate on the corner of Jones and Ellis in San Francisco’s Tenderloin District. \u003ccite>(Harry Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve long understood that the divisions in our society aren’t just about race, gender and religion, but about class, education and the widening economic division between the “haves” and the “have nots.”\u003c/p>\n\u003cp>In the face of legislation — \u003ca href=\"https://www.kqed.org/news/12029843/san-jose-mayor-pushes-to-arrest-unhoused-who-refuse-shelter\" target=\"_blank\" rel=\"noopener\">local\u003c/a> and \u003ca href=\"https://www.npr.org/2024/06/28/nx-s1-4992010/supreme-court-homeless-punish-sleeping-encampments\" target=\"_blank\" rel=\"noopener\">federal\u003c/a> — that allows for people on the lower end of the economic scale to be treated like second-class citizens, there’s an urgency for artists to take actions that create measurable change.\u003c/p>\n\u003cp>A number of multimedia projects focus on people living in the margins, and actionable steps to change their material lives. \u003ca href=\"https://thestreetspirit.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Street Spirit\u003c/em>\u003c/a> is an independent East Bay-based publication that not only shares stories of people facing housing instability, but employs them as well. (On Friday, March 28, they’ll \u003ca href=\"https://www.eventbrite.com/e/the-history-utility-legacy-of-grassroots-media-in-the-bay-area-tickets-1284947154529?utm_experiment=test_share_listing&aff=ebdsshios\" target=\"_blank\" rel=\"noopener\">celebrate 30 years of work\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13973231\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13973231 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/untitled-416.jpg\" alt=\"A black and white photo of a man with his hands raised. \" width=\"750\" height=\"1124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/untitled-416.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/untitled-416-160x240.jpg 160w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Cedric “Buffalo $mooth” Burkes raises his hands in praise as he walks through the Tenderloin. \u003ccite>(Harry Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s also the \u003ca href=\"https://www.stolenbelonging.org/dpw-disclosure\" target=\"_blank\" rel=\"noopener\">Stolen Belonging Project\u003c/a>, which tracked people’s personal items confiscated by the Department of Public Works. Closer to Williams’ work is \u003ca href=\"https://www.sfexaminer.com/amos-gregorys-tenderloin-photo-project/collection_34dfdcdc-d29c-11ee-a8ba-67b01907a055.html#1\" target=\"_blank\" rel=\"noopener\">Amos Gregory’s 2024 Tenderloin photo project\u003c/a>, which specifically aimed to dispel stereotypes of the community’s Black residents.\u003c/p>\n\u003cp>Is lending an struggling person a bit of dignity really such a bad thing?\u003c/p>\n\u003cp>In talking to Williams about the role of art at a time like this, I’ve realized that the meaning of “a time like this” depends on your perspective. If you’ve been struggling for two or three decades, it doesn’t matter who is in the Oval Office. What matters is that there is someone who sees you as a human, who’s part of the larger community of humans.\u003c/p>\n\u003cp>For a photographer to sit on the curb and celebrate a birthday, or shed a tear over a memory, maybe that’s an important enough role for art at a time like this. It’s a tool, if used right, to make this world a little bit better.\u003c/p>\n\u003cfigure id=\"attachment_13973110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13973110\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_8619-800x600.jpeg\" alt=\"A man pasting pictures to the side of a building. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_8619-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_8619-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_8619-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_8619-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_8619-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_8619-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/IMG_8619-1920x1440.jpeg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Williams uses wheatpaste to mount his photos on the exterior walls of a business on Jones and Ellis. \u003ccite>(Courtesy of Harry Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams isn’t paid for this work, and funds his art supplies with his own money. He has a published book of photography, \u003ca href=\"https://www.harrywphoto.com/book\" target=\"_blank\" rel=\"noopener\">\u003cem>Eye See You\u003c/em>\u003c/a>, which he sells for $75. (He stresses that getting people to buy photos of other people is a hard sell.)\u003c/p>\n\u003cp>His work isn’t charity, but when he has loose change, he has no issue with sparing some dough for someone in need. At the same time, he says, “Just stopping and acknowledging somebody and talking to them is worth way more than a dollar.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As much as people need money, housing and other tangible resources, Williams’ work is a reminder: Before we can change society, we have to change how we treat other people in society — especially those on the outskirts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "tenderloin-museum-expansion-comptons-cafeteria-riot-play",
"title": "The Tenderloin Museum to Expand, Bucking Local Trends",
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"headTitle": "The Tenderloin Museum to Expand, Bucking Local Trends | KQED",
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"content": "\u003cp>In early 2024, the \u003ca href=\"https://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a>’s plans for the future were thrown into thrilling disarray. Executive Director Katie Conry was getting ready to expand from the ground floor into the basement of the Cadillac Hotel, where the museum currently occupies about 3,200 square feet at the corner of Leavenworth and Eddy. \u003c/p>\n\u003cp>Kathy Looper, longtime owner of the Cadillac and the museum’s board president, came over with the news. The childcare center next door had closed. Would Conry be interested in taking a look?\u003c/p>\n\u003cp>“You could see the light bulbs going off in all of our heads as we walked around the space,” Looper remembers. “Much better than a basement.”\u003c/p>\n\u003cp>Underneath an elegant glass ceiling, they surveyed what had once been the hotel’s formal dining room, built in 1907, and later became \u003ca href=\"https://www.sfheritage.org/news/landmark-tuesdays-the-cadillac-hotel/\">Newman’s Gym\u003c/a>, where boxers Muhammad Ali, Jack Dempsey, George Foreman and Sugar Ray Robinson all trained or competed. (The floor still shows the boxing ring’s outline.)\u003c/p>\n\u003cfigure id=\"attachment_13971229\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg\" alt=\"large indoor space under glass ceiling\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The former childcare center was the Cadillac Hotel’s dining room, and later a boxing gym. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 6,850 square feet, it was so much more space than the museum had ever hoped to gain. And with that space, they could entertain some of their wildest dreams. The opportunity was too good to pass up. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An expansion project would be plenty of work for most museums, especially when so many other San Francisco cultural institutions are struggling with attendance and fundraising. But the Tenderloin Museum is now producing a play, building out an off-site theater venue \u003ci>and\u003c/i> launching a capital campaign that seeks to raise $4.2 million over the next three years. The plan is to open the expanded museum in early 2026. \u003c/p>\n\u003cp>All of this work aims to tell a different, more in-depth story about the Tenderloin — and those who have shaped it.\u003c/p>\n\u003cp>“For me, it’s all about enhancing people’s understanding of the community,” Looper says. “Instead of the Tenderloin being a negative thing, it could be a positive. We are \u003ci>literally\u003c/i> the best cut, the tenderloin of the city.”\u003c/p>\n\u003cfigure id=\"attachment_13971244\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed.jpg\" alt=\"white woman in black poses at table in museum gallery\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Executive Director Katie Conry at the Tenderloin Museum on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Room for a more nuanced history\u003c/h2>\n\u003cp>If Conry has learned one thing during her decade at the museum, it’s that there is so much more to the Tenderloin than the current displays can capture. The museum’s main gallery covers the neighborhood’s vibrant history as an entertainment zone, immigrant hub and center for numerous social movements. On the ceiling, a delightful three-dimensional light-up map shows the Tenderloin’s buildings and intersections. \u003c/p>\n\u003cp>But in the lobby, just one wall is available for contemporary art shows. Recent history is radically condensed. Space isn’t just an issue for displays, either; staff offices are essentially a closet, making it tricky to have private or sensitive conversations — or solicit donors.\u003c/p>\n\u003cp>With this expansion, the museum will more than triple in size. The permanent exhibition space will move into the old childcare center, to be replaced by a new neon art gallery, with pieces borrowed from Jim Rizzo’s \u003ca href=\"http://www.neonwks.com/\">Neon Works\u003c/a> collection. \u003c/p>\n\u003cfigure id=\"attachment_13971239\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed.jpg\" alt=\"framed photos and text on red patterned wallpaper\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13971239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">A display in the current main gallery of the Tenderloin Museum. After the expansion, this area will become part of a neon gallery. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two generous galleries behind the permanent exhibition will host contemporary art exhibitions and a long-term installation on South Asian immigrants in the hotel industry. There is also a kitchen, extra bathrooms, a future youth-focused library, and plenty of room to host private events (and hopefully bring in additional revenue). \u003c/p>\n\u003cp>[aside postID='arts_13970919,arts_13968003']On a tour through the emptied-out childcare center, which still boasts a diminutive door next to an adult-sized one, the word that kept coming out of my mouth was, “Wow.”\u003c/p>\n\u003cp>The museum hopes to be closed for only the loudest part of the construction process — just a month or two, this spring. And despite the challenges ahead, Conry is optimistic they can buck local trends, which see San Francisco museums closing either temporarily or permanently. “I think we’re a unique space that has a dedicated following,” she says. “We’re able to be a bit more nimble than the larger organizations.”\u003c/p>\n\u003cp>That said, she wants the museum to be even more financially stable. Enter, stage left, another income stream: \u003ca href=\"https://www.comptonscafeteriariot.com/\">an ambitious play\u003c/a> based on the indelible neighborhood story of the Compton’s Cafeteria riot.\u003c/p>\n\u003cfigure id=\"attachment_13971242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed.jpg\" alt=\"person looks at notebook of dialogue while holding chin\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Ezra Reaves works with the cast of ‘Compton’s Cafeteria Riot’ during a rehearsal on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art in service of a larger goal\u003c/h2>\n\u003cp>Five blocks away from the museum, an energetic team of theater professionals is rehearsing lines, blocking fight choreography and turning 835 Larkin St. into a semi-functional 1960s diner. \u003c/p>\n\u003cp>[aside postID='arts_13835520,arts_11838357']The play, written by Collette LeGrande, Mark Nassar and Donna Personna, initially premiered at \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\">New Village Cafe in 2018\u003c/a> and sold out its two-month-plus run.\u003c/p>\n\u003cp>\u003ci>Compton’s Cafeteria Riot\u003c/i> takes place on an August night in 1966, at a 24-hour diner on the corner of Turk and Taylor. There, fed-up trans women, drag queens and sex workers rebelled in what \u003ca href=\"https://www.kqed.org/arts/11838357/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights\">historian Susan Stryker\u003c/a> identifies as the “first known instance of collective militant queer resistance to police harassment in United States history.”\u003c/p>\n\u003cp>The play, drawn largely from LeGrande and Personna’s own experiences, collapses the distance between audience and performer, lived history and theatrical retelling. Action takes place throughout the diner as audience members sit elbow-to-elbow with actors, or get a plate of pancakes from them.\u003c/p>\n\u003cp>“This is by far the most ambitious thing I’ve ever done,” says director Ezra Reaves, who has a background in immersive theater. “Every element needs so much more time than a traditional play because we have to build it out in extreme detail.”\u003c/p>\n\u003cfigure id=\"attachment_13971235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed.jpg\" alt=\"people look at person speaking, holding hands in emphasis, in a table-filled space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Ezra Reaves (center) and the cast of ‘Compton’s Cafeteria Riot’ during rehearsal in a Larkin Street storefront converted to look like a 1960s diner. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to drag, live singing, a violent confrontation and harrowing, real stories, \u003ci>Compton’s Cafeteria Riot\u003c/i> comes with the sights, smells and tastes of breakfast (for dinner). The venue’s ongoing transformation from empty concrete box to 1960s diner is remarkable. Set designer \u003ca href=\"https://www.instagram.com/neogirlneon/\">Roxy Rose\u003c/a> is working on a neon sign for the storefront, and helped source the furnishings — booths, a cash register, bar, stools, jukebox and cigarette machine — that give the space its authentic ambiance.\u003c/p>\n\u003cp>Reaves says they brought LeGrande and Personna to Amoeba Records to select songs from the time period. “They picked a lot of Lesley Gore, which I love, and we put in a lot of Dionne Warwick,” Reaves says. “So we’ve got plenty of divas in the show.”\u003c/p>\n\u003cp>It’s been a difficult seven-year journey to bring the play back to audiences, largely due to the pandemic and the team’s commitment to immersive theater, which led to a year of permitting delays. But the importance of the production kept everyone focused on the end goal. “We died on this hill,” Conry says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13971237\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed.jpg\" alt=\"two people stand in front of jukebox looking to right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaylyn Abergas (left) and Shane Zaldivar, members of the ‘Compton’s Cafeteria Riot’ cast, rehearse on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Compton’s Cafeteria Riot\u003c/i> is, Nassar points out proudly, a “trans-centric production.” Conry sees it as an investment in the neighborhood. Reaves echoes the sentiment.\u003c/p>\n\u003cp>“It’s been my mission to not just make a show for entertainment, but to create a community here,” they say. “To create a piece of art that will continue to bring more people into the fold, and ultimately be an engine of creativity and employment for trans people in the community.”\u003c/p>\n\u003cp>As national politicians turn trans rights into a wedge issue, Conry says, works of art like \u003ci>Compton’s Cafeteria Riot\u003c/i> can bridge divides with understanding and empathy. So much of what the museum does — whether through exhibitions, walking tours, or, now, live theater — is about correcting misconceptions drawn from dominant, damaging narratives.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“There’s so many people who think they’ve never met a trans person, so they don’t know anything about their experience,” Conry says. “The arts really have the ability to change people’s hearts and minds. And when you see the play, you’re really there.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In early 2024, the \u003ca href=\"https://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a>’s plans for the future were thrown into thrilling disarray. Executive Director Katie Conry was getting ready to expand from the ground floor into the basement of the Cadillac Hotel, where the museum currently occupies about 3,200 square feet at the corner of Leavenworth and Eddy. \u003c/p>\n\u003cp>Kathy Looper, longtime owner of the Cadillac and the museum’s board president, came over with the news. The childcare center next door had closed. Would Conry be interested in taking a look?\u003c/p>\n\u003cp>“You could see the light bulbs going off in all of our heads as we walked around the space,” Looper remembers. “Much better than a basement.”\u003c/p>\n\u003cp>Underneath an elegant glass ceiling, they surveyed what had once been the hotel’s formal dining room, built in 1907, and later became \u003ca href=\"https://www.sfheritage.org/news/landmark-tuesdays-the-cadillac-hotel/\">Newman’s Gym\u003c/a>, where boxers Muhammad Ali, Jack Dempsey, George Foreman and Sugar Ray Robinson all trained or competed. (The floor still shows the boxing ring’s outline.)\u003c/p>\n\u003cfigure id=\"attachment_13971229\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg\" alt=\"large indoor space under glass ceiling\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-10-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The former childcare center was the Cadillac Hotel’s dining room, and later a boxing gym. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 6,850 square feet, it was so much more space than the museum had ever hoped to gain. And with that space, they could entertain some of their wildest dreams. The opportunity was too good to pass up. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An expansion project would be plenty of work for most museums, especially when so many other San Francisco cultural institutions are struggling with attendance and fundraising. But the Tenderloin Museum is now producing a play, building out an off-site theater venue \u003ci>and\u003c/i> launching a capital campaign that seeks to raise $4.2 million over the next three years. The plan is to open the expanded museum in early 2026. \u003c/p>\n\u003cp>All of this work aims to tell a different, more in-depth story about the Tenderloin — and those who have shaped it.\u003c/p>\n\u003cp>“For me, it’s all about enhancing people’s understanding of the community,” Looper says. “Instead of the Tenderloin being a negative thing, it could be a positive. We are \u003ci>literally\u003c/i> the best cut, the tenderloin of the city.”\u003c/p>\n\u003cfigure id=\"attachment_13971244\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed.jpg\" alt=\"white woman in black poses at table in museum gallery\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-16-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Executive Director Katie Conry at the Tenderloin Museum on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Room for a more nuanced history\u003c/h2>\n\u003cp>If Conry has learned one thing during her decade at the museum, it’s that there is so much more to the Tenderloin than the current displays can capture. The museum’s main gallery covers the neighborhood’s vibrant history as an entertainment zone, immigrant hub and center for numerous social movements. On the ceiling, a delightful three-dimensional light-up map shows the Tenderloin’s buildings and intersections. \u003c/p>\n\u003cp>But in the lobby, just one wall is available for contemporary art shows. Recent history is radically condensed. Space isn’t just an issue for displays, either; staff offices are essentially a closet, making it tricky to have private or sensitive conversations — or solicit donors.\u003c/p>\n\u003cp>With this expansion, the museum will more than triple in size. The permanent exhibition space will move into the old childcare center, to be replaced by a new neon art gallery, with pieces borrowed from Jim Rizzo’s \u003ca href=\"http://www.neonwks.com/\">Neon Works\u003c/a> collection. \u003c/p>\n\u003cfigure id=\"attachment_13971239\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed.jpg\" alt=\"framed photos and text on red patterned wallpaper\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13971239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-03-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">A display in the current main gallery of the Tenderloin Museum. After the expansion, this area will become part of a neon gallery. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two generous galleries behind the permanent exhibition will host contemporary art exhibitions and a long-term installation on South Asian immigrants in the hotel industry. There is also a kitchen, extra bathrooms, a future youth-focused library, and plenty of room to host private events (and hopefully bring in additional revenue). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On a tour through the emptied-out childcare center, which still boasts a diminutive door next to an adult-sized one, the word that kept coming out of my mouth was, “Wow.”\u003c/p>\n\u003cp>The museum hopes to be closed for only the loudest part of the construction process — just a month or two, this spring. And despite the challenges ahead, Conry is optimistic they can buck local trends, which see San Francisco museums closing either temporarily or permanently. “I think we’re a unique space that has a dedicated following,” she says. “We’re able to be a bit more nimble than the larger organizations.”\u003c/p>\n\u003cp>That said, she wants the museum to be even more financially stable. Enter, stage left, another income stream: \u003ca href=\"https://www.comptonscafeteriariot.com/\">an ambitious play\u003c/a> based on the indelible neighborhood story of the Compton’s Cafeteria riot.\u003c/p>\n\u003cfigure id=\"attachment_13971242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed.jpg\" alt=\"person looks at notebook of dialogue while holding chin\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-61-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Ezra Reaves works with the cast of ‘Compton’s Cafeteria Riot’ during a rehearsal on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art in service of a larger goal\u003c/h2>\n\u003cp>Five blocks away from the museum, an energetic team of theater professionals is rehearsing lines, blocking fight choreography and turning 835 Larkin St. into a semi-functional 1960s diner. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The play, written by Collette LeGrande, Mark Nassar and Donna Personna, initially premiered at \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\">New Village Cafe in 2018\u003c/a> and sold out its two-month-plus run.\u003c/p>\n\u003cp>\u003ci>Compton’s Cafeteria Riot\u003c/i> takes place on an August night in 1966, at a 24-hour diner on the corner of Turk and Taylor. There, fed-up trans women, drag queens and sex workers rebelled in what \u003ca href=\"https://www.kqed.org/arts/11838357/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights\">historian Susan Stryker\u003c/a> identifies as the “first known instance of collective militant queer resistance to police harassment in United States history.”\u003c/p>\n\u003cp>The play, drawn largely from LeGrande and Personna’s own experiences, collapses the distance between audience and performer, lived history and theatrical retelling. Action takes place throughout the diner as audience members sit elbow-to-elbow with actors, or get a plate of pancakes from them.\u003c/p>\n\u003cp>“This is by far the most ambitious thing I’ve ever done,” says director Ezra Reaves, who has a background in immersive theater. “Every element needs so much more time than a traditional play because we have to build it out in extreme detail.”\u003c/p>\n\u003cfigure id=\"attachment_13971235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed.jpg\" alt=\"people look at person speaking, holding hands in emphasis, in a table-filled space\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-69-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Ezra Reaves (center) and the cast of ‘Compton’s Cafeteria Riot’ during rehearsal in a Larkin Street storefront converted to look like a 1960s diner. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to drag, live singing, a violent confrontation and harrowing, real stories, \u003ci>Compton’s Cafeteria Riot\u003c/i> comes with the sights, smells and tastes of breakfast (for dinner). The venue’s ongoing transformation from empty concrete box to 1960s diner is remarkable. Set designer \u003ca href=\"https://www.instagram.com/neogirlneon/\">Roxy Rose\u003c/a> is working on a neon sign for the storefront, and helped source the furnishings — booths, a cash register, bar, stools, jukebox and cigarette machine — that give the space its authentic ambiance.\u003c/p>\n\u003cp>Reaves says they brought LeGrande and Personna to Amoeba Records to select songs from the time period. “They picked a lot of Lesley Gore, which I love, and we put in a lot of Dionne Warwick,” Reaves says. “So we’ve got plenty of divas in the show.”\u003c/p>\n\u003cp>It’s been a difficult seven-year journey to bring the play back to audiences, largely due to the pandemic and the team’s commitment to immersive theater, which led to a year of permitting delays. But the importance of the production kept everyone focused on the end goal. “We died on this hill,” Conry says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13971237\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed.jpg\" alt=\"two people stand in front of jukebox looking to right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13971237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/250129-TenderloinMuseum-45-BL_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jaylyn Abergas (left) and Shane Zaldivar, members of the ‘Compton’s Cafeteria Riot’ cast, rehearse on Jan. 30, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Compton’s Cafeteria Riot\u003c/i> is, Nassar points out proudly, a “trans-centric production.” Conry sees it as an investment in the neighborhood. Reaves echoes the sentiment.\u003c/p>\n\u003cp>“It’s been my mission to not just make a show for entertainment, but to create a community here,” they say. “To create a piece of art that will continue to bring more people into the fold, and ultimately be an engine of creativity and employment for trans people in the community.”\u003c/p>\n\u003cp>As national politicians turn trans rights into a wedge issue, Conry says, works of art like \u003ci>Compton’s Cafeteria Riot\u003c/i> can bridge divides with understanding and empathy. So much of what the museum does — whether through exhibitions, walking tours, or, now, live theater — is about correcting misconceptions drawn from dominant, damaging narratives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s so many people who think they’ve never met a trans person, so they don’t know anything about their experience,” Conry says. “The arts really have the ability to change people’s hearts and minds. And when you see the play, you’re really there.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "versoul-documentary-this-is-my-story-tenderloin-san-francisco",
"title": "Rapper Versoul Takes the Director’s Chair for ‘This is My Story: Tenderloin’",
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"headTitle": "Rapper Versoul Takes the Director’s Chair for ‘This is My Story: Tenderloin’ | KQED",
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"content": "\u003cp>In 2022, hip-hop artist \u003ca href=\"https://www.instagram.com/versoulmusic/\">Versoul\u003c/a> temporarily stepped away from the microphone and turned on a camera to capture her grandmother’s story while her grandma was around to tell it herself.\u003c/p>\n\u003cp>Her grandmother Sachiko Higa Rosa Roverso immigrated from Peru to San Francisco in the early 1970s. A single mother of two sons, she lived humbly in her 200-square-foot Mission District apartment until she passed away at 82 years old, not long after Versoul recorded her story. Throughout her life, Grandmother Sachiko felt the impacts of imperialism, war and anti-Japanese racism. The lessons she taught her granddaughter \u003cspan style=\"font-weight: 400\">—\u003c/span> that treating people well costs nothing and has lasting positive reverberations \u003cspan style=\"font-weight: 400\">—\u003c/span> became Versoul’s lens as a filmmaker. [aside postid='arts_13950855']\u003c/p>\n\u003cp>When friend and fellow hip-hop artist \u003ca href=\"https://www.instagram.com/kqed/reel/CyOmLwmJsMN/\">Dimebag Dizzy\u003c/a> informed Versoul about the Yerba Buena Center for the Arts’ \u003ca href=\"https://ybca.org/creative-corps-initiative/\">Creative Corps Initiative\u003c/a>, which funds social justice-related projects, Versoul knew exactly what story to tell. She pitched a documentary about artists whose work and lived experiences reframe a maligned and misunderstood neighborhood, San Francisco’s Tenderloin District, a home base for working class and immigrant families like Versoul’s own. That’s how Versoul became the director of the 30-minute short film \u003cem>This Is My Story: Tenderloin\u003c/em>.\u003c/p>\n\u003cp>“I just want this documentary to inspire others to look at themselves and their communities, and to also treat the Tenderloin with more compassion and respect,” says the filmmaker, whose real name is Christiana Roverso.\u003c/p>\n\u003cp>https://youtu.be/C_CXrbEp9Ak?si=0QJ4ZIhXpXkIivfn\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Versoul debuted \u003cem>This Is My Story: Tenderloin\u003c/em> on Sept. 12 at the Yerba Buena Center for the Arts in SoMa. Up next, the film screens on Nov. 19 at the Chabot Theater in Castro Valley. It features Ilyich Sato, a.k.a. \u003ca href=\"https://www.instagram.com/equipto_415/\">Equipto\u003c/a>, the tenured San Francisco hip-hop artist and activist of Solidarity Records. Musicians \u003ca href=\"https://www.instagram.com/koko.geee/\">Koko G\u003c/a>, \u003ca href=\"https://www.instagram.com/agency415/\">Agent Striknine\u003c/a>, \u003ca href=\"https://soundcloud.com/timewarpnif\">Han!f\u003c/a> and Roderick Brown round out the lineup.\u003c/p>\n\u003cp>The documentary showcases some of those young artists working out of \u003ca href=\"https://larkinstreetyouth.org/\">Larkin Street Youth Services\u003c/a>. Versoul relished the intergenerational exchange with her grandmother, and wanted to bring that approach to the documentary, captured in collaboration with her cinematographer and editor \u003ca href=\"https://www.instagram.com/lu1smontoya/\">Luis Montoya\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968175\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Hanf3-e1731693181445.png\" alt=\"\" width=\"2000\" height=\"1127\">\u003cfigcaption class=\"wp-caption-text\">Han!f in ‘This Is My Story: Tenderloin.’ \u003ccite>(Versoul)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Tenderloin is a local and national lightning rod in conversations around homelessness, drug abuse, mental health and police brutality. But Versoul wanted to “refocus the lens on the Tenderloin to a lens of beauty in the struggle, and not just the struggle.”\u003c/p>\n\u003cp>Despite the negative attention, there are “beautiful souls” there, she says. The way the film highlights its artists prompts viewers to reject voyeuristic trauma tourism, and asks them to reflect on the larger societal forces behind the dehumanizing conditions.\u003c/p>\n\u003cp>“The lack of recognizing the system is flawed is the reason the TL is the community it is. The biggest point of this documentary … is for it to reach the people that don’t know that,” Versoul says, “to give people the opportunity to experience the Tenderloin in a way that they probably wouldn’t if they walk down the street.”\u003c/p>\n\u003cfigure id=\"attachment_13968140\" class=\"wp-caption aligncenter\" style=\"max-width: 2770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto.png\" alt=\"\" width=\"2770\" height=\"1558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto.png 2770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1920x1080.png 1920w\" sizes=\"auto, (max-width: 2770px) 100vw, 2770px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and activist Equipto in ‘This Is My Story: Tenderloin.’ \u003ccite>(Versoul )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Versoul better understood her grandmother’s story, embracing one’s agency and seeking out one another’s humanity became foundational to her art, first through music and now through this \u003cem>This Is My Story: Tenderloin\u003c/em>. Versoul intends to collect the documentary’s musicians in songs together, too.\u003c/p>\n\u003cp>“We can’t sit and wait to be discovered by somebody who can come and ‘save us.’ It doesn’t work like that,” she says. “That’s what ‘the revolution starts at home’ means.” [aside postid='arts_13968060']\u003c/p>\n\u003cp>Though she faced self-doubt about helming \u003cem>This Is My Story: Tenderloin\u003c/em>, before filming started, Versoul got an unexpected affirmation. She was awarded the Creative Corps grant to direct the documentary on her grandmother Sachiko’s birthday, the first after her passing.\u003c/p>\n\u003cp>“If that isn’t a sign that I am meant to be doing this work, a sign from my grandmother in heaven proud of me, then I don’t know what it is,” Versoul says. “In a way, it was her helping me out, because as an independent artist, I have been struggling.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘This Is My Story: Tenderloin’ \u003ca href=\"https://www.eventbrite.com/e/film-screening-this-is-my-story-tenderloin-tickets-1081231886679?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">screens at the Chabot Theater in Castro Valley on Nov. 19\u003c/a>, followed by a panel discussion and performances. For updates on more screenings and events, visit \u003ca href=\"https://versoulmusic.com/\">Versoul’s website\u003c/a> and the \u003ca href=\"https://www.instagram.com/thisismystorydoc/\">film’s Instagram\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2022, hip-hop artist \u003ca href=\"https://www.instagram.com/versoulmusic/\">Versoul\u003c/a> temporarily stepped away from the microphone and turned on a camera to capture her grandmother’s story while her grandma was around to tell it herself.\u003c/p>\n\u003cp>Her grandmother Sachiko Higa Rosa Roverso immigrated from Peru to San Francisco in the early 1970s. A single mother of two sons, she lived humbly in her 200-square-foot Mission District apartment until she passed away at 82 years old, not long after Versoul recorded her story. Throughout her life, Grandmother Sachiko felt the impacts of imperialism, war and anti-Japanese racism. The lessons she taught her granddaughter \u003cspan style=\"font-weight: 400\">—\u003c/span> that treating people well costs nothing and has lasting positive reverberations \u003cspan style=\"font-weight: 400\">—\u003c/span> became Versoul’s lens as a filmmaker. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When friend and fellow hip-hop artist \u003ca href=\"https://www.instagram.com/kqed/reel/CyOmLwmJsMN/\">Dimebag Dizzy\u003c/a> informed Versoul about the Yerba Buena Center for the Arts’ \u003ca href=\"https://ybca.org/creative-corps-initiative/\">Creative Corps Initiative\u003c/a>, which funds social justice-related projects, Versoul knew exactly what story to tell. She pitched a documentary about artists whose work and lived experiences reframe a maligned and misunderstood neighborhood, San Francisco’s Tenderloin District, a home base for working class and immigrant families like Versoul’s own. That’s how Versoul became the director of the 30-minute short film \u003cem>This Is My Story: Tenderloin\u003c/em>.\u003c/p>\n\u003cp>“I just want this documentary to inspire others to look at themselves and their communities, and to also treat the Tenderloin with more compassion and respect,” says the filmmaker, whose real name is Christiana Roverso.\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/C_CXrbEp9Ak'\n title='//www.youtube.com/embed/C_CXrbEp9Ak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Versoul debuted \u003cem>This Is My Story: Tenderloin\u003c/em> on Sept. 12 at the Yerba Buena Center for the Arts in SoMa. Up next, the film screens on Nov. 19 at the Chabot Theater in Castro Valley. It features Ilyich Sato, a.k.a. \u003ca href=\"https://www.instagram.com/equipto_415/\">Equipto\u003c/a>, the tenured San Francisco hip-hop artist and activist of Solidarity Records. Musicians \u003ca href=\"https://www.instagram.com/koko.geee/\">Koko G\u003c/a>, \u003ca href=\"https://www.instagram.com/agency415/\">Agent Striknine\u003c/a>, \u003ca href=\"https://soundcloud.com/timewarpnif\">Han!f\u003c/a> and Roderick Brown round out the lineup.\u003c/p>\n\u003cp>The documentary showcases some of those young artists working out of \u003ca href=\"https://larkinstreetyouth.org/\">Larkin Street Youth Services\u003c/a>. Versoul relished the intergenerational exchange with her grandmother, and wanted to bring that approach to the documentary, captured in collaboration with her cinematographer and editor \u003ca href=\"https://www.instagram.com/lu1smontoya/\">Luis Montoya\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13968175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968175\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Hanf3-e1731693181445.png\" alt=\"\" width=\"2000\" height=\"1127\">\u003cfigcaption class=\"wp-caption-text\">Han!f in ‘This Is My Story: Tenderloin.’ \u003ccite>(Versoul)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Tenderloin is a local and national lightning rod in conversations around homelessness, drug abuse, mental health and police brutality. But Versoul wanted to “refocus the lens on the Tenderloin to a lens of beauty in the struggle, and not just the struggle.”\u003c/p>\n\u003cp>Despite the negative attention, there are “beautiful souls” there, she says. The way the film highlights its artists prompts viewers to reject voyeuristic trauma tourism, and asks them to reflect on the larger societal forces behind the dehumanizing conditions.\u003c/p>\n\u003cp>“The lack of recognizing the system is flawed is the reason the TL is the community it is. The biggest point of this documentary … is for it to reach the people that don’t know that,” Versoul says, “to give people the opportunity to experience the Tenderloin in a way that they probably wouldn’t if they walk down the street.”\u003c/p>\n\u003cfigure id=\"attachment_13968140\" class=\"wp-caption aligncenter\" style=\"max-width: 2770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968140\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto.png\" alt=\"\" width=\"2770\" height=\"1558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto.png 2770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/equipto-1920x1080.png 1920w\" sizes=\"auto, (max-width: 2770px) 100vw, 2770px\">\u003cfigcaption class=\"wp-caption-text\">Rapper and activist Equipto in ‘This Is My Story: Tenderloin.’ \u003ccite>(Versoul )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Versoul better understood her grandmother’s story, embracing one’s agency and seeking out one another’s humanity became foundational to her art, first through music and now through this \u003cem>This Is My Story: Tenderloin\u003c/em>. Versoul intends to collect the documentary’s musicians in songs together, too.\u003c/p>\n\u003cp>“We can’t sit and wait to be discovered by somebody who can come and ‘save us.’ It doesn’t work like that,” she says. “That’s what ‘the revolution starts at home’ means.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though she faced self-doubt about helming \u003cem>This Is My Story: Tenderloin\u003c/em>, before filming started, Versoul got an unexpected affirmation. She was awarded the Creative Corps grant to direct the documentary on her grandmother Sachiko’s birthday, the first after her passing.\u003c/p>\n\u003cp>“If that isn’t a sign that I am meant to be doing this work, a sign from my grandmother in heaven proud of me, then I don’t know what it is,” Versoul says. “In a way, it was her helping me out, because as an independent artist, I have been struggling.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘This Is My Story: Tenderloin’ \u003ca href=\"https://www.eventbrite.com/e/film-screening-this-is-my-story-tenderloin-tickets-1081231886679?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">screens at the Chabot Theater in Castro Valley on Nov. 19\u003c/a>, followed by a panel discussion and performances. For updates on more screenings and events, visit \u003ca href=\"https://versoulmusic.com/\">Versoul’s website\u003c/a> and the \u003ca href=\"https://www.instagram.com/thisismystorydoc/\">film’s Instagram\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "diego-gomez-go-fund-me-queer-artist-recovering-tenderloin-attack",
"title": "San Francisco Rallies Around Queer Artist Diego Gómez After Tenderloin Attack",
"publishDate": 1728072066,
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"headTitle": "San Francisco Rallies Around Queer Artist Diego Gómez After Tenderloin Attack | KQED",
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"content": "\u003cp>A fundraiser has been set up to assist beloved San Francisco artist \u003ca href=\"https://www.diegodiegodiego.com/home\">Diego Gómez\u003c/a> after he was brutally attacked in the Tenderloin on Sept. 30. Well over 300 donations have poured into the \u003ca href=\"https://www.gofundme.com/f/join-us-in-uplifting-diego-in-his-recovery\">GoFundMe page\u003c/a> since it was set up on Oct. 2, so far raising $20,000.\u003c/p>\n\u003cp>Gómez is best known for his joyful murals (including the view of the Bay that decorates \u003ca href=\"https://www.instagram.com/p/DAoe4VSyb1n/\">Oasis nightclub’s roofdeck\u003c/a>), \u003ca href=\"https://store.silversprocket.net/products/1963-is-not-an-end-but-a-beginning-by-diego-gomez?srsltid=AfmBOoqHZRHochxlt-CYSTdiUmBl5TwMvyiblLa_CwM6i69WNVRX23e_\">graphic novels\u003c/a> and drag persona, \u003ca href=\"https://www.kqed.org/arts/13835510/bearded-drag-queen-trangela-lansbury-paints-herself-into-a-comic-book-universe\">Trangela Lansbury\u003c/a> — whom KQED once described as a “bearded cosplay queen.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@designnurd/video/7074781562595937582\" data-video-id=\"7074781562595937582\">\n\u003csection>\u003ca title=\"@designnurd\" href=\"https://www.tiktok.com/@designnurd?refer=embed\" target=\"_blank\" rel=\"noopener\">@designnurd\u003c/a> \u003ca title=\"sourcandy\" href=\"https://www.tiktok.com/tag/sourcandy?refer=embed\" target=\"_blank\" rel=\"noopener\">#sourcandy\u003c/a> \u003ca title=\"sourcandychallange\" href=\"https://www.tiktok.com/tag/sourcandychallange?refer=embed\" target=\"_blank\" rel=\"noopener\">#sourcandychallange\u003c/a> \u003ca title=\"pastel\" href=\"https://www.tiktok.com/tag/pastel?refer=embed\" target=\"_blank\" rel=\"noopener\">#pastel\u003c/a> \u003ca title=\"lisafrank\" href=\"https://www.tiktok.com/tag/lisafrank?refer=embed\" target=\"_blank\" rel=\"noopener\">#lisafrank\u003c/a> \u003ca title=\"billboard\" href=\"https://www.tiktok.com/tag/billboard?refer=embed\" target=\"_blank\" rel=\"noopener\">#billboard\u003c/a> \u003ca title=\"billboardart\" href=\"https://www.tiktok.com/tag/billboardart?refer=embed\" target=\"_blank\" rel=\"noopener\">#billboardart\u003c/a> \u003ca title=\"oasis\" href=\"https://www.tiktok.com/tag/oasis?refer=embed\" target=\"_blank\" rel=\"noopener\">#oasis\u003c/a> \u003ca title=\"sfoasis\" href=\"https://www.tiktok.com/tag/sfoasis?refer=embed\" target=\"_blank\" rel=\"noopener\">#sfoasis\u003c/a> \u003ca title=\"oasissf\" href=\"https://www.tiktok.com/tag/oasissf?refer=embed\" target=\"_blank\" rel=\"noopener\">#oasissf\u003c/a> \u003ca title=\"fantasy\" href=\"https://www.tiktok.com/tag/fantasy?refer=embed\" target=\"_blank\" rel=\"noopener\">#fantasy\u003c/a> \u003ca title=\"barbie\" href=\"https://www.tiktok.com/tag/barbie?refer=embed\" target=\"_blank\" rel=\"noopener\">#barbie\u003c/a> \u003ca title=\"barbiegirl\" href=\"https://www.tiktok.com/tag/barbiegirl?refer=embed\" target=\"_blank\" rel=\"noopener\">#barbiegirl\u003c/a> \u003ca title=\"shera\" href=\"https://www.tiktok.com/tag/shera?refer=embed\" target=\"_blank\" rel=\"noopener\">#shera\u003c/a> \u003ca title=\"jemandtheholograms\" href=\"https://www.tiktok.com/tag/jemandtheholograms?refer=embed\" target=\"_blank\" rel=\"noopener\">#jemandtheholograms\u003c/a> \u003ca title=\"rainbow\" href=\"https://www.tiktok.com/tag/rainbow?refer=embed\" target=\"_blank\" rel=\"noopener\">#rainbow\u003c/a> \u003ca title=\"unicorn\" href=\"https://www.tiktok.com/tag/unicorn?refer=embed\" target=\"_blank\" rel=\"noopener\">#unicorn\u003c/a> \u003ca title=\"pegasus\" href=\"https://www.tiktok.com/tag/pegasus?refer=embed\" target=\"_blank\" rel=\"noopener\">#pegasus\u003c/a> \u003ca title=\"darkhorse\" href=\"https://www.tiktok.com/tag/darkhorse?refer=embed\" target=\"_blank\" rel=\"noopener\">#darkhorse\u003c/a> \u003ca title=\"queerart\" href=\"https://www.tiktok.com/tag/queerart?refer=embed\" target=\"_blank\" rel=\"noopener\">#queerart\u003c/a> \u003ca title=\"blackpink\" href=\"https://www.tiktok.com/tag/blackpink?refer=embed\" target=\"_blank\" rel=\"noopener\">#blackpink\u003c/a> \u003ca title=\"gaga\" href=\"https://www.tiktok.com/tag/gaga?refer=embed\" target=\"_blank\" rel=\"noopener\">#gaga\u003c/a> \u003ca title=\"ladygaga\" href=\"https://www.tiktok.com/tag/ladygaga?refer=embed\" target=\"_blank\" rel=\"noopener\">#ladygaga\u003c/a> \u003ca title=\"blackpinkinyourarea\" href=\"https://www.tiktok.com/tag/blackpinkinyourarea?refer=embed\" target=\"_blank\" rel=\"noopener\">#blackpinkinyourarea\u003c/a> @ladygaga @blackpinkofficial \u003ca title=\"psychedelic\" href=\"https://www.tiktok.com/tag/psychedelic?refer=embed\" target=\"_blank\" rel=\"noopener\">#psychedelic\u003c/a> \u003ca title=\"psychedelicart\" href=\"https://www.tiktok.com/tag/psychedelicart?refer=embed\" target=\"_blank\" rel=\"noopener\">#psychedelicart\u003c/a> \u003ca title=\"oillamp\" href=\"https://www.tiktok.com/tag/oillamp?refer=embed\" target=\"_blank\" rel=\"noopener\">#oillamp\u003c/a> \u003ca title=\"arcoiris\" href=\"https://www.tiktok.com/tag/arcoiris?refer=embed\" target=\"_blank\" rel=\"noopener\">#arcoiris\u003c/a> \u003ca title=\"🌈\" href=\"https://www.tiktok.com/tag/%F0%9F%8C%88?refer=embed\" target=\"_blank\" rel=\"noopener\">#🌈\u003c/a> \u003ca title=\"🦄\" href=\"https://www.tiktok.com/tag/%F0%9F%A6%84?refer=embed\" target=\"_blank\" rel=\"noopener\">#🦄\u003c/a> \u003ca title=\"💫\" href=\"https://www.tiktok.com/tag/%F0%9F%92%AB?refer=embed\" target=\"_blank\" rel=\"noopener\">#💫\u003c/a> \u003ca title=\"♬ Sour Candy - Lady Gaga & BLACKPINK\" href=\"https://www.tiktok.com/music/Sour-Candy-6831979598612285442?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Sour Candy – Lady Gaga & BLACKPINK\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Gómez is also well-known in local art communities for his ability to turn George Washington, Abraham Lincoln or Andrew Jackson — as seen on the one, five and 20 dollar bills, specifically — into any public figure of his choosing with a few flicks of his paint brush.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@designnurd/video/6912651051321625861\" data-video-id=\"6912651051321625861\">\n\u003csection>\u003ca title=\"@designnurd\" href=\"https://www.tiktok.com/@designnurd?refer=embed\" target=\"_blank\" rel=\"noopener\">@designnurd\u003c/a> And justice for ALL.✊🏿✊🏾✊🏽✊🏼✊🏻✊#\u003ca title=\"justiceforgeorgefloyd\" href=\"https://www.tiktok.com/tag/justiceforgeorgefloyd?refer=embed\" target=\"_blank\" rel=\"noopener\">justiceforgeorgefloyd \u003c/a>#\u003ca title=\"arrestderekchauvin\" href=\"https://www.tiktok.com/tag/arrestderekchauvin?refer=embed\" target=\"_blank\" rel=\"noopener\">arrestderekchauvin \u003c/a>#\u003ca title=\"blacklivesmatter\" href=\"https://www.tiktok.com/tag/blacklivesmatter?refer=embed\" target=\"_blank\" rel=\"noopener\">blacklivesmatter \u003c/a> #\u003ca title=\"georgefloyd\" href=\"https://www.tiktok.com/tag/georgefloyd?refer=embed\" target=\"_blank\" rel=\"noopener\">georgefloyd \u003c/a>#\u003ca title=\"20dollarbill\" href=\"https://www.tiktok.com/tag/20dollarbill?refer=embed\" target=\"_blank\" rel=\"noopener\">20dollarbill \u003c/a>#\u003ca title=\"timelapseportrait\" href=\"https://www.tiktok.com/tag/timelapseportrait?refer=embed\" target=\"_blank\" rel=\"noopener\">timelapseportrait\u003c/a> \u003ca title=\"♬ original sound - Designnurd\" href=\"https://www.tiktok.com/music/original-sound-6912650998720842502?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Designnurd\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Gómez’s friend Lauri Green, who set up the GoFundMe for Gómez’s birthday, explained on the page that Gómez had been treated for “multiple facial fractures” at the neurological ICU at San Francisco General Hospital.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Diego has a long road to recovery ahead of him and we are unsure when he will be able to return to work,” Green wrote. “Medical bills and living expenses in San Francisco can be overwhelming, and we want to ensure he has the support he needs to focus on healing.”\u003c/p>\n\u003cp>[aside postid='arts_13819139']A later update from Green stated that Gómez was sent home on Oct. 4 and was recuperating with family members. “Thank you all so much for your outpouring of support,” Green said. “It means so much to Diego! He is very grateful.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Green’s final goal is to raise $35,000 to assist Gómez.\u003c/p>\n\n",
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"excerpt": "The muralist and drag performer was recently released from SF General's neurological ICU.",
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"title": "Beloved SF Artist Diego Gómez Attacked in Tenderloin | KQED",
"description": "The muralist and drag performer was recently released from SF General's neurological ICU.",
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"headline": "San Francisco Rallies Around Queer Artist Diego Gómez After Tenderloin Attack",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A fundraiser has been set up to assist beloved San Francisco artist \u003ca href=\"https://www.diegodiegodiego.com/home\">Diego Gómez\u003c/a> after he was brutally attacked in the Tenderloin on Sept. 30. Well over 300 donations have poured into the \u003ca href=\"https://www.gofundme.com/f/join-us-in-uplifting-diego-in-his-recovery\">GoFundMe page\u003c/a> since it was set up on Oct. 2, so far raising $20,000.\u003c/p>\n\u003cp>Gómez is best known for his joyful murals (including the view of the Bay that decorates \u003ca href=\"https://www.instagram.com/p/DAoe4VSyb1n/\">Oasis nightclub’s roofdeck\u003c/a>), \u003ca href=\"https://store.silversprocket.net/products/1963-is-not-an-end-but-a-beginning-by-diego-gomez?srsltid=AfmBOoqHZRHochxlt-CYSTdiUmBl5TwMvyiblLa_CwM6i69WNVRX23e_\">graphic novels\u003c/a> and drag persona, \u003ca href=\"https://www.kqed.org/arts/13835510/bearded-drag-queen-trangela-lansbury-paints-herself-into-a-comic-book-universe\">Trangela Lansbury\u003c/a> — whom KQED once described as a “bearded cosplay queen.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@designnurd/video/7074781562595937582\" data-video-id=\"7074781562595937582\">\n\u003csection>\u003ca title=\"@designnurd\" href=\"https://www.tiktok.com/@designnurd?refer=embed\" target=\"_blank\" rel=\"noopener\">@designnurd\u003c/a> \u003ca title=\"sourcandy\" href=\"https://www.tiktok.com/tag/sourcandy?refer=embed\" target=\"_blank\" rel=\"noopener\">#sourcandy\u003c/a> \u003ca title=\"sourcandychallange\" href=\"https://www.tiktok.com/tag/sourcandychallange?refer=embed\" target=\"_blank\" rel=\"noopener\">#sourcandychallange\u003c/a> \u003ca title=\"pastel\" href=\"https://www.tiktok.com/tag/pastel?refer=embed\" target=\"_blank\" rel=\"noopener\">#pastel\u003c/a> \u003ca title=\"lisafrank\" href=\"https://www.tiktok.com/tag/lisafrank?refer=embed\" target=\"_blank\" rel=\"noopener\">#lisafrank\u003c/a> \u003ca title=\"billboard\" href=\"https://www.tiktok.com/tag/billboard?refer=embed\" target=\"_blank\" rel=\"noopener\">#billboard\u003c/a> \u003ca 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gómez is also well-known in local art communities for his ability to turn George Washington, Abraham Lincoln or Andrew Jackson — as seen on the one, five and 20 dollar bills, specifically — into any public figure of his choosing with a few flicks of his paint brush.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@designnurd/video/6912651051321625861\" data-video-id=\"6912651051321625861\">\n\u003csection>\u003ca title=\"@designnurd\" href=\"https://www.tiktok.com/@designnurd?refer=embed\" target=\"_blank\" rel=\"noopener\">@designnurd\u003c/a> And justice for ALL.✊🏿✊🏾✊🏽✊🏼✊🏻✊#\u003ca title=\"justiceforgeorgefloyd\" href=\"https://www.tiktok.com/tag/justiceforgeorgefloyd?refer=embed\" target=\"_blank\" rel=\"noopener\">justiceforgeorgefloyd \u003c/a>#\u003ca title=\"arrestderekchauvin\" href=\"https://www.tiktok.com/tag/arrestderekchauvin?refer=embed\" target=\"_blank\" rel=\"noopener\">arrestderekchauvin \u003c/a>#\u003ca title=\"blacklivesmatter\" href=\"https://www.tiktok.com/tag/blacklivesmatter?refer=embed\" target=\"_blank\" rel=\"noopener\">blacklivesmatter \u003c/a> #\u003ca title=\"georgefloyd\" href=\"https://www.tiktok.com/tag/georgefloyd?refer=embed\" target=\"_blank\" rel=\"noopener\">georgefloyd \u003c/a>#\u003ca title=\"20dollarbill\" href=\"https://www.tiktok.com/tag/20dollarbill?refer=embed\" target=\"_blank\" rel=\"noopener\">20dollarbill \u003c/a>#\u003ca title=\"timelapseportrait\" href=\"https://www.tiktok.com/tag/timelapseportrait?refer=embed\" target=\"_blank\" rel=\"noopener\">timelapseportrait\u003c/a> \u003ca title=\"♬ original sound - Designnurd\" href=\"https://www.tiktok.com/music/original-sound-6912650998720842502?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Designnurd\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gómez’s friend Lauri Green, who set up the GoFundMe for Gómez’s birthday, explained on the page that Gómez had been treated for “multiple facial fractures” at the neurological ICU at San Francisco General Hospital.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Diego has a long road to recovery ahead of him and we are unsure when he will be able to return to work,” Green wrote. “Medical bills and living expenses in San Francisco can be overwhelming, and we want to ensure he has the support he needs to focus on healing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A later update from Green stated that Gómez was sent home on Oct. 4 and was recuperating with family members. “Thank you all so much for your outpouring of support,” Green said. “It means so much to Diego! He is very grateful.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Green’s final goal is to raise $35,000 to assist Gómez.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "halloween-san-francisco-1970s-history-photos",
"title": "Revisit Halloween in 1970s San Francisco With This Photo Book",
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"headTitle": "Revisit Halloween in 1970s San Francisco With This Photo Book | KQED",
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"content": "\u003cp>For over 40 years, a slim book titled \u003ci>Halloween: A Fantasy in Three Acts\u003c/i> has been legendary in both art book and photography circles. Initially published in 1981 in an edition of 1,500, the volume of stark black-and-white photographs seems to chronicle a single night of Halloween celebrations in San Francisco. In actuality, it’s a composite — a paper movie, as photographer Ken Werner calls it — of five years worth of costume parties and balls.\u003c/p>\n\u003cp>[aside postID='arts_13962878']It’s easy to see why \u003ci>Halloween\u003c/i> developed such a cult following. Its rarity was one thing, but the subject matter — and the artistry with which Werner captured the creative, raunchy and irreverent energy of those nights — is immediately compelling.\u003c/p>\n\u003cp>It makes perfect sense, then, that Brooklyn-based Anthology Editions, an imprint of the record label Mexican Summer, would publish \u003ca href=\"https://anthology.net/book/halloween/\">a facsimile reissue of the original\u003c/a>. Now we can all flip through its pages, reliving a specific and very special era of San Francisco history, without paying rare-book-collector prices.\u003c/p>\n\u003cfigure id=\"attachment_13965950\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000.jpg\" alt=\"Cover of book with title and person in monster costume\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ken Werner’s ‘Halloween,’ originally published in 1981, republished in 2024. \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It was magical’\u003c/h2>\n\u003cp>By the time Ken Werner moved to San Francisco from New York in 1976, the city’s Halloween celebrations were well established. As he wrote in his introduction, the night was “a major civic event” in the 1920s and ’30s. The parties quieted during the war years, but reemerged in the ’50s and ’60s, reinvented by the hippies as absurdist public events.\u003c/p>\n\u003cp>“But it was the gay community, not the hippies, that was to have an enduring impact on San Francisco’s Halloween celebrations,” Werner wrote in 1981. He attended his first San Francisco Halloween in 1976.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A friend said, ‘There’s an event on Polk Street you might be interested in — bring your camera and your flash,” Werner remembers today, talking with KQED. “And that was the start.”\u003c/p>\n\u003cp>For the next five years, Werner photographed Polk Street, Castro Street, the Hooker’s Ball and the Beaux Arts Ball, capturing elaborate costumes, last-minute assemblages and what may have been just everyday, out-there outfits.\u003c/p>\n\u003cfigure id=\"attachment_13965952\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02.jpg\" alt=\"\" width=\"1800\" height=\"1691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-800x752.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-1020x958.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-768x721.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-1536x1443.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was magical. It was incredible,” he says. “I felt like Alice in Wonderland down a rabbit hole, but maybe that rabbit hole had been burrowed by Edgar Allan Poe.”\u003c/p>\n\u003cp>In Werner’s high contrast, flash-lit shots, partygoers occasionally pose for the camera, but for the most part they look more like they’ve been caught in the act: of behaving wildly, of looking ridiculous, of having a great time.\u003c/p>\n\u003cp>This is Halloween before store-bought get-ups. It’s disheveled, playful, erotic, grotesque and sometimes downright weird. In one of the most inexplicable costumes in \u003ci>Halloween\u003c/i>, a man wears pants, gym shorts \u003ci>and\u003c/i> briefs (put on in that order) while sporting a smooth, papier mâché faceless head, button-down shirt and patterned tie.\u003c/p>\n\u003cp>\u003ci>What\u003c/i> is he? It doesn’t seem to matter.\u003c/p>\n\u003cfigure id=\"attachment_13965961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200.jpg\" alt=\"person dressed as a headless in tall trench coat and someone in skull mask and hood\" width=\"2000\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1536x955.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1920x1194.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Two images from Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, Werner thought of his book as not just an artistic pursuit but a political statement. “I was terrified that there were political forces arrayed against [Halloween], that were going to crush it,” he says, referring to the Board of Supervisors’ attempts to leave Polk and Castro Streets open to traffic, pushing revelers onto cramped sidewalks. “I was truly worried that it was going to disappear and that, to me, would have been a disaster.”\u003c/p>\n\u003ch2>‘It tends to fall into the right hands’\u003c/h2>\n\u003cp>\u003ci>Halloween\u003c/i> is split into three acts: the sun goes down and the party gets started; the night takes an erotic turn (penis costumes abound); and the sun begins to come up, capturing the bedraggled remnants of the party.\u003c/p>\n\u003cp>Werner had a bit of a professional advantage when it came to printing his images and sequencing the book. He worked at \u003ci>Modern Photography\u003c/i> magazine and freelanced for other photography publications. In San Francisco he served at the editorial director of \u003ci>\u003ca href=\"https://archive.org/details/Darkroom_Photography_Volume_01_Issue_01_1979_03_Sheptow_Publishing_US/mode/2up\">Darkroom Photography\u003c/a>\u003c/i>, a national publication for amateurs and professionals alike.\u003c/p>\n\u003cfigure id=\"attachment_13965954\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07.jpg\" alt=\"people photographed in costume, including an invisible man outfit\" width=\"1800\" height=\"1355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-1536x1156.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He self-published \u003ci>Halloween\u003c/i> under the moniker Octavia Press (“she was a mad queen”) and tried to get San Francisco bookstores interested. “It was very much an experience where I did not feel that the local community, at least as represented by bookstore owners, was getting it,” he says.\u003c/p>\n\u003cp>But over the years, when he checked in on Octavia Press’ one-and-only publication, he found the ISBN in a number of significant university and museum libraries, including the Metropolitan Museum of Art. “Even though it’s a limited number of copies,” Werner says, “it tends to fall into the right hands.”\u003c/p>\n\u003cp>Anthology Editions reached out during a particularly bleak moment during the pandemic. Werner says the experience of reissuing the book has been truly validating: “To have them say this is worthy of reintroducing to the world, it meant a very great deal to me.”\u003c/p>\n\u003cfigure id=\"attachment_13965955\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04.jpg\" alt=\"person in face paint smokes a cigarette\" width=\"1800\" height=\"1385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-768x591.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-1536x1182.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy of Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I’d love to be back there’\u003c/h2>\n\u003cp>Werner kept up his documentation of San Francisco Halloweens until 2001, when he says it started to feel unsafe to be in a large crowd, walking backwards with a camera up to his face. (In 2006, nine people were wounded when a shooter opened fire at the Castro Halloween party, it returned in 2023 at a much smaller and tamer scale.)\u003c/p>\n\u003cp>Returning to the book over the years, he still feels a sense of pride. “I am amazed, honestly, that I was able to take so many strong, powerful photographs,” he says, pointing out that the entire book was made in just eight nights of shooting.\u003c/p>\n\u003cp>He also sees a beautiful moment in San Francisco’s LGBTQ+ history. “I wish I had a time machine so I could go back to those days, because it was a time of relative innocence,” he says. “The book went to the printer two months before the first very first reports of the mysterious illness that was affecting gay people. There was that positive energy and sense of freedom that soon was blighted. And so yeah, I’d love to be back there.”\u003c/p>\n\u003cp>With this new publication — now in unlimited quantities — Werner has a second chance to find and hear from his audience. On the book’s final page, a bit of text reads “Comments and correspondence invited,” just as the original did 43 years ago.\u003c/p>\n\u003cp>“I had a wonderful time taking those pictures,” he says. “I’m glad that it’s being reintroduced to a new generation.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Ken Werner’s ‘\u003ca href=\"https://anthology.net/book/halloween/\">Halloween: A Fantasy in Three Acts\u003c/a>’ is available from Anthology Editions.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For over 40 years, a slim book titled \u003ci>Halloween: A Fantasy in Three Acts\u003c/i> has been legendary in both art book and photography circles. Initially published in 1981 in an edition of 1,500, the volume of stark black-and-white photographs seems to chronicle a single night of Halloween celebrations in San Francisco. In actuality, it’s a composite — a paper movie, as photographer Ken Werner calls it — of five years worth of costume parties and balls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s easy to see why \u003ci>Halloween\u003c/i> developed such a cult following. Its rarity was one thing, but the subject matter — and the artistry with which Werner captured the creative, raunchy and irreverent energy of those nights — is immediately compelling.\u003c/p>\n\u003cp>It makes perfect sense, then, that Brooklyn-based Anthology Editions, an imprint of the record label Mexican Summer, would publish \u003ca href=\"https://anthology.net/book/halloween/\">a facsimile reissue of the original\u003c/a>. Now we can all flip through its pages, reliving a specific and very special era of San Francisco history, without paying rare-book-collector prices.\u003c/p>\n\u003cfigure id=\"attachment_13965950\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000.jpg\" alt=\"Cover of book with title and person in monster costume\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/COVER-HALLOWEEN_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ken Werner’s ‘Halloween,’ originally published in 1981, republished in 2024. \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘It was magical’\u003c/h2>\n\u003cp>By the time Ken Werner moved to San Francisco from New York in 1976, the city’s Halloween celebrations were well established. As he wrote in his introduction, the night was “a major civic event” in the 1920s and ’30s. The parties quieted during the war years, but reemerged in the ’50s and ’60s, reinvented by the hippies as absurdist public events.\u003c/p>\n\u003cp>“But it was the gay community, not the hippies, that was to have an enduring impact on San Francisco’s Halloween celebrations,” Werner wrote in 1981. He attended his first San Francisco Halloween in 1976.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A friend said, ‘There’s an event on Polk Street you might be interested in — bring your camera and your flash,” Werner remembers today, talking with KQED. “And that was the start.”\u003c/p>\n\u003cp>For the next five years, Werner photographed Polk Street, Castro Street, the Hooker’s Ball and the Beaux Arts Ball, capturing elaborate costumes, last-minute assemblages and what may have been just everyday, out-there outfits.\u003c/p>\n\u003cfigure id=\"attachment_13965952\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02.jpg\" alt=\"\" width=\"1800\" height=\"1691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-800x752.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-1020x958.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-768x721.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_02-1536x1443.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was magical. It was incredible,” he says. “I felt like Alice in Wonderland down a rabbit hole, but maybe that rabbit hole had been burrowed by Edgar Allan Poe.”\u003c/p>\n\u003cp>In Werner’s high contrast, flash-lit shots, partygoers occasionally pose for the camera, but for the most part they look more like they’ve been caught in the act: of behaving wildly, of looking ridiculous, of having a great time.\u003c/p>\n\u003cp>This is Halloween before store-bought get-ups. It’s disheveled, playful, erotic, grotesque and sometimes downright weird. In one of the most inexplicable costumes in \u003ci>Halloween\u003c/i>, a man wears pants, gym shorts \u003ci>and\u003c/i> briefs (put on in that order) while sporting a smooth, papier mâché faceless head, button-down shirt and patterned tie.\u003c/p>\n\u003cp>\u003ci>What\u003c/i> is he? It doesn’t seem to matter.\u003c/p>\n\u003cfigure id=\"attachment_13965961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200.jpg\" alt=\"person dressed as a headless in tall trench coat and someone in skull mask and hood\" width=\"2000\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1536x955.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_09_200-1920x1194.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Two images from Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, Werner thought of his book as not just an artistic pursuit but a political statement. “I was terrified that there were political forces arrayed against [Halloween], that were going to crush it,” he says, referring to the Board of Supervisors’ attempts to leave Polk and Castro Streets open to traffic, pushing revelers onto cramped sidewalks. “I was truly worried that it was going to disappear and that, to me, would have been a disaster.”\u003c/p>\n\u003ch2>‘It tends to fall into the right hands’\u003c/h2>\n\u003cp>\u003ci>Halloween\u003c/i> is split into three acts: the sun goes down and the party gets started; the night takes an erotic turn (penis costumes abound); and the sun begins to come up, capturing the bedraggled remnants of the party.\u003c/p>\n\u003cp>Werner had a bit of a professional advantage when it came to printing his images and sequencing the book. He worked at \u003ci>Modern Photography\u003c/i> magazine and freelanced for other photography publications. In San Francisco he served at the editorial director of \u003ci>\u003ca href=\"https://archive.org/details/Darkroom_Photography_Volume_01_Issue_01_1979_03_Sheptow_Publishing_US/mode/2up\">Darkroom Photography\u003c/a>\u003c/i>, a national publication for amateurs and professionals alike.\u003c/p>\n\u003cfigure id=\"attachment_13965954\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07.jpg\" alt=\"people photographed in costume, including an invisible man outfit\" width=\"1800\" height=\"1355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-1020x768.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_07-1536x1156.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He self-published \u003ci>Halloween\u003c/i> under the moniker Octavia Press (“she was a mad queen”) and tried to get San Francisco bookstores interested. “It was very much an experience where I did not feel that the local community, at least as represented by bookstore owners, was getting it,” he says.\u003c/p>\n\u003cp>But over the years, when he checked in on Octavia Press’ one-and-only publication, he found the ISBN in a number of significant university and museum libraries, including the Metropolitan Museum of Art. “Even though it’s a limited number of copies,” Werner says, “it tends to fall into the right hands.”\u003c/p>\n\u003cp>Anthology Editions reached out during a particularly bleak moment during the pandemic. Werner says the experience of reissuing the book has been truly validating: “To have them say this is worthy of reintroducing to the world, it meant a very great deal to me.”\u003c/p>\n\u003cfigure id=\"attachment_13965955\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04.jpg\" alt=\"person in face paint smokes a cigarette\" width=\"1800\" height=\"1385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-768x591.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/KW_04-1536x1182.jpg 1536w\" sizes=\"auto, (max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From Ken Werner’s ‘Halloween.’ \u003ccite>(Courtesy of Ken Werner and Anthology Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I’d love to be back there’\u003c/h2>\n\u003cp>Werner kept up his documentation of San Francisco Halloweens until 2001, when he says it started to feel unsafe to be in a large crowd, walking backwards with a camera up to his face. (In 2006, nine people were wounded when a shooter opened fire at the Castro Halloween party, it returned in 2023 at a much smaller and tamer scale.)\u003c/p>\n\u003cp>Returning to the book over the years, he still feels a sense of pride. “I am amazed, honestly, that I was able to take so many strong, powerful photographs,” he says, pointing out that the entire book was made in just eight nights of shooting.\u003c/p>\n\u003cp>He also sees a beautiful moment in San Francisco’s LGBTQ+ history. “I wish I had a time machine so I could go back to those days, because it was a time of relative innocence,” he says. “The book went to the printer two months before the first very first reports of the mysterious illness that was affecting gay people. There was that positive energy and sense of freedom that soon was blighted. And so yeah, I’d love to be back there.”\u003c/p>\n\u003cp>With this new publication — now in unlimited quantities — Werner has a second chance to find and hear from his audience. On the book’s final page, a bit of text reads “Comments and correspondence invited,” just as the original did 43 years ago.\u003c/p>\n\u003cp>“I had a wonderful time taking those pictures,” he says. “I’m glad that it’s being reintroduced to a new generation.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Ken Werner’s ‘\u003ca href=\"https://anthology.net/book/halloween/\">Halloween: A Fantasy in Three Acts\u003c/a>’ is available from Anthology Editions.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A decade ago, South African photographer \u003ca href=\"https://pieterhugo.com/\">Pieter Hugo\u003c/a> came to the Bay Area for a residency at Headlands Center for the Arts. He’d been to the city once before, as a teenager, when he had the formative experience of his first mugging. He was planning on using his time at Headlands to organize his archive, having just made the shift from film to digital photography. Instead, he photographed residents of San Francisco’s Tenderloin neighborhood.\u003c/p>\n\u003cp>[aside postID='arts_13963016']A selection from the series, titled \u003ca href=\"https://pieterhugo.com/Californian-Wildflowers\">\u003cem>Californian Wildflowers\u003c/em>\u003c/a>, is on view for the first time in San Francisco at Jonathan Carver Moore’s eponymous Market Street gallery, in the very neighborhood where the work was made. The show coincides with an expansive monograph of the same title, forthcoming from \u003ca href=\"https://tbwbooks.com/\">TBW Books\u003c/a>. The series shines an ebullient light on a neighborhood central to the high-profile narrative of San Francisco’s demise, and makes a case for its vibrant humanity.\u003c/p>\n\u003cp>The prints in the show, all untitled, offer their subjects up larger than life, both in physical scale and personal demeanor. A woman clad in a fur coat and curly blonde wig dramatically puffs a cigarette through metallic red lipstick, matching her heavy eyeshadow, echoing the orange wall behind her. A man in a bright green coat and scarf with a pattern of purple hearts practically vogues for the camera, a purse slung jauntily over one shoulder. He’s also prominently clutching keys in his hand, giving an added weight to his air of superior, if theatrical, defiance.\u003c/p>\n\u003cfigure id=\"attachment_13964948\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000.jpg\" alt=\"Black man looks over shoulder while holding bag in lime green jacket\" width=\"2000\" height=\"1503\" class=\"size-full wp-image-13964948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1920x1443.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pieter Hugo, ‘Untitled, San Francisco,’ 2014. \u003ccite>(Courtesy the artist and Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where local artists like \u003ca href=\"https://www.sfexaminer.com/culture/visual-arts/tenderloin-photo-project-aims-to-capture-neighborhood-spirit/article_b48543ec-d1ce-11ee-8133-2b3b667b073e.html\">Amos Gregory\u003c/a>, who has also photographed residents of the Tenderloin extensively, utilize the context of the studio setting to emphasize his subjects’ dignity, Hugo shoots them in their own element. A striking aspect of the series is how contemporary it looks; these pictures could have been taken yesterday.\u003c/p>\n\u003cp>One subject reclines seductively on the sidewalk, holding a dripping popsicle to their lips. Personal belongings and the corner of a tent can be seen in the background, just out of focus. In another shot, a tough-looking greaser holds his chihuahua up to his face for a kiss; his knuckle tattoos read FUCK COPS. It is in these contrasts that Hugo’s subjects reveal themselves, undefined by their circumstances as much as they remain the very fabric of the neighborhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The issues the work raises dip into both art history and local politics. Both concern the agency of the people pictured.\u003c/p>\n\u003cp>On the art historical side, there’s a question of ethics and exploitation. Some subjects — those included in this exhibition — were willing participants, clearly posing for the camera, while others in the larger series were clearly not, and can be seen experiencing episodes of mental illness. In the case of willing participants, portraiture offers its subjects an opportunity to be seen on their own terms. Even so, there’s an argument to be made that this kind of photography exploits its subject’s hardships for art’s sake. Such concerns are one of the reasons Hugo sat on the work for so long.\u003c/p>\n\u003cfigure id=\"attachment_13964952\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000.jpg\" alt=\"Corner of white-walled gallery with three large-scale color photographs\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Californian Wildflowers’ at Jonathan Carver Moore. \u003ccite>(Courtesy Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Photography is inherently voyeuristic,” Hugo says. “That’s its problem, but also its energy. And you’re never going to resolve that.”\u003c/p>\n\u003cp>In two different pictures hanging on opposite walls of the gallery, women stare earnestly at the camera, one smiling, one frowning, both less interested in the opportunity to perform than with the chance to be seen. Their elegiac expressions reveal a lack of any pretense, just an attempt to make a direct connection with the camera. Were they yearning to be seen? Could they know their likenesses would hang on a gallery wall, 10 years later? Or were they imploring Hugo for something — something more than a picture?\u003c/p>\n\u003cp>Representation, agency and their underlying power dynamics have long troubled documentary photography, and raise questions perhaps as tired as they are essential to the discourse. There’s a grand tradition of photographers turning their lenses on subjects less fortunate than themselves, including \u003ca href=\"https://fraenkelgallery.com/artists/diane-arbus\">Diane Arbus\u003c/a>, who photographed social outcasts; \u003ca href=\"https://jimgoldberg.com/\">Jim Goldberg\u003c/a>, who documented teen homelessness with \u003ci>\u003ca href=\"https://jimgoldberg.com/projects/raised-by-wolves\">Raised by Wolves\u003c/a>\u003c/i>; or Katy Grannan, whose series \u003cem>\u003ca href=\"https://fraenkelgallery.com/exhibitions/katy-grannan-boulevard\">Boulevard\u003c/a>\u003c/em> presents strangers the artist met on the streets of San Francisco and Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_13964949\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000.jpg\" alt=\"Person sits on sidewalk with popsicle in hand, looks directly at camera\" width=\"2000\" height=\"1503\" class=\"size-full wp-image-13964949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1920x1443.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pieter Hugo, ‘Untitled, San Francisco,’ 2014. \u003ccite>(Courtesy the artist and Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Questions of agency and representation are also part of the larger narrative surrounding the Tenderloin, where unhoused residents are often described with \u003ca href=\"https://www.sfexaminer.com/news/housing/jordan-neely-death-a-violent-result-of-anti-homeless-views/article_c982c2c8-ef4e-11ed-a904-2f05e1ba149a.html\">dehumanizing rhetoric\u003c/a>. San Francisco officials have recently \u003ca href=\"https://www.kqed.org/news/12000606/scenes-from-san-franciscos-unhoused-encampment-sweeps\">intensified sweeps of homeless encampments\u003c/a> under threat from Governor Gavin Newsom. In January, the city’s Department of Homelessness and Supportive Housing identified 8,323 people as unhoused in the \u003ca href=\"https://hsh.sfgov.org/about/research-and-reports/pit/\">annual point-in-time count\u003c/a>, including 1,198 unhoused youth.\u003c/p>\n\u003cp>“People are going to have to go somewhere,” Hugo says, speaking to the potential ineffectiveness of the sweeps and \u003ca href=\"https://www.kqed.org/news/11999880/we-gotta-be-somewhere-unhoused-californians-react-to-newsoms-crackdown\">echoing the sentiments\u003c/a> of unhoused individuals themselves. “You might as well actually deal with the issue because it’s not going to just go away.”\u003c/p>\n\u003cp>\u003cem>Californian Wildflowers\u003c/em> insists on the presence of people who the less marginalized apparently don’t want to see. Hugo’s photographs cast them in a multidimensional light, making clear the humanity of a community, all too often overlooked, even by fellow San Franciscans. \u003c/p>\n\u003cp>“People in the surrounding neighborhoods look at the people in the Tenderloin like they’re so different from them,” says Moore, who has lived in the neighborhood since moving to San Francisco in 2016. “I don’t see it that way. When I lived at Golden Gate and Larkin, in the thick of the Tenderloin, there was open drug dealing and things happening out there and those were the same people who would open the door for me to get into my building when I was carrying groceries.”\u003c/p>\n\u003cp>There’s beauty here, Hugo’s work shows us. What does it tell us about ourselves that it may take the reframing of that beauty as art in order for us to see it?\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.jonathancarvermoore.com/exhibitions/15-californian-wildflowers-solo-presentation-from-pieter-hugo/overview/\">Californian Wildflowers\u003c/a>’ is on view at Jonathan Carver Moore (966 Market St., San Francisco) through Nov. 9, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A selection from the series, titled \u003ca href=\"https://pieterhugo.com/Californian-Wildflowers\">\u003cem>Californian Wildflowers\u003c/em>\u003c/a>, is on view for the first time in San Francisco at Jonathan Carver Moore’s eponymous Market Street gallery, in the very neighborhood where the work was made. The show coincides with an expansive monograph of the same title, forthcoming from \u003ca href=\"https://tbwbooks.com/\">TBW Books\u003c/a>. The series shines an ebullient light on a neighborhood central to the high-profile narrative of San Francisco’s demise, and makes a case for its vibrant humanity.\u003c/p>\n\u003cp>The prints in the show, all untitled, offer their subjects up larger than life, both in physical scale and personal demeanor. A woman clad in a fur coat and curly blonde wig dramatically puffs a cigarette through metallic red lipstick, matching her heavy eyeshadow, echoing the orange wall behind her. A man in a bright green coat and scarf with a pattern of purple hearts practically vogues for the camera, a purse slung jauntily over one shoulder. He’s also prominently clutching keys in his hand, giving an added weight to his air of superior, if theatrical, defiance.\u003c/p>\n\u003cfigure id=\"attachment_13964948\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000.jpg\" alt=\"Black man looks over shoulder while holding bag in lime green jacket\" width=\"2000\" height=\"1503\" class=\"size-full wp-image-13964948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1920x1443.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pieter Hugo, ‘Untitled, San Francisco,’ 2014. \u003ccite>(Courtesy the artist and Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where local artists like \u003ca href=\"https://www.sfexaminer.com/culture/visual-arts/tenderloin-photo-project-aims-to-capture-neighborhood-spirit/article_b48543ec-d1ce-11ee-8133-2b3b667b073e.html\">Amos Gregory\u003c/a>, who has also photographed residents of the Tenderloin extensively, utilize the context of the studio setting to emphasize his subjects’ dignity, Hugo shoots them in their own element. A striking aspect of the series is how contemporary it looks; these pictures could have been taken yesterday.\u003c/p>\n\u003cp>One subject reclines seductively on the sidewalk, holding a dripping popsicle to their lips. Personal belongings and the corner of a tent can be seen in the background, just out of focus. In another shot, a tough-looking greaser holds his chihuahua up to his face for a kiss; his knuckle tattoos read FUCK COPS. It is in these contrasts that Hugo’s subjects reveal themselves, undefined by their circumstances as much as they remain the very fabric of the neighborhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The issues the work raises dip into both art history and local politics. Both concern the agency of the people pictured.\u003c/p>\n\u003cp>On the art historical side, there’s a question of ethics and exploitation. Some subjects — those included in this exhibition — were willing participants, clearly posing for the camera, while others in the larger series were clearly not, and can be seen experiencing episodes of mental illness. In the case of willing participants, portraiture offers its subjects an opportunity to be seen on their own terms. Even so, there’s an argument to be made that this kind of photography exploits its subject’s hardships for art’s sake. Such concerns are one of the reasons Hugo sat on the work for so long.\u003c/p>\n\u003cfigure id=\"attachment_13964952\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000.jpg\" alt=\"Corner of white-walled gallery with three large-scale color photographs\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Californian Wildflowers’ at Jonathan Carver Moore. \u003ccite>(Courtesy Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Photography is inherently voyeuristic,” Hugo says. “That’s its problem, but also its energy. And you’re never going to resolve that.”\u003c/p>\n\u003cp>In two different pictures hanging on opposite walls of the gallery, women stare earnestly at the camera, one smiling, one frowning, both less interested in the opportunity to perform than with the chance to be seen. Their elegiac expressions reveal a lack of any pretense, just an attempt to make a direct connection with the camera. Were they yearning to be seen? Could they know their likenesses would hang on a gallery wall, 10 years later? Or were they imploring Hugo for something — something more than a picture?\u003c/p>\n\u003cp>Representation, agency and their underlying power dynamics have long troubled documentary photography, and raise questions perhaps as tired as they are essential to the discourse. There’s a grand tradition of photographers turning their lenses on subjects less fortunate than themselves, including \u003ca href=\"https://fraenkelgallery.com/artists/diane-arbus\">Diane Arbus\u003c/a>, who photographed social outcasts; \u003ca href=\"https://jimgoldberg.com/\">Jim Goldberg\u003c/a>, who documented teen homelessness with \u003ci>\u003ca href=\"https://jimgoldberg.com/projects/raised-by-wolves\">Raised by Wolves\u003c/a>\u003c/i>; or Katy Grannan, whose series \u003cem>\u003ca href=\"https://fraenkelgallery.com/exhibitions/katy-grannan-boulevard\">Boulevard\u003c/a>\u003c/em> presents strangers the artist met on the streets of San Francisco and Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_13964949\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000.jpg\" alt=\"Person sits on sidewalk with popsicle in hand, looks directly at camera\" width=\"2000\" height=\"1503\" class=\"size-full wp-image-13964949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1920x1443.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pieter Hugo, ‘Untitled, San Francisco,’ 2014. \u003ccite>(Courtesy the artist and Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Questions of agency and representation are also part of the larger narrative surrounding the Tenderloin, where unhoused residents are often described with \u003ca href=\"https://www.sfexaminer.com/news/housing/jordan-neely-death-a-violent-result-of-anti-homeless-views/article_c982c2c8-ef4e-11ed-a904-2f05e1ba149a.html\">dehumanizing rhetoric\u003c/a>. San Francisco officials have recently \u003ca href=\"https://www.kqed.org/news/12000606/scenes-from-san-franciscos-unhoused-encampment-sweeps\">intensified sweeps of homeless encampments\u003c/a> under threat from Governor Gavin Newsom. In January, the city’s Department of Homelessness and Supportive Housing identified 8,323 people as unhoused in the \u003ca href=\"https://hsh.sfgov.org/about/research-and-reports/pit/\">annual point-in-time count\u003c/a>, including 1,198 unhoused youth.\u003c/p>\n\u003cp>“People are going to have to go somewhere,” Hugo says, speaking to the potential ineffectiveness of the sweeps and \u003ca href=\"https://www.kqed.org/news/11999880/we-gotta-be-somewhere-unhoused-californians-react-to-newsoms-crackdown\">echoing the sentiments\u003c/a> of unhoused individuals themselves. “You might as well actually deal with the issue because it’s not going to just go away.”\u003c/p>\n\u003cp>\u003cem>Californian Wildflowers\u003c/em> insists on the presence of people who the less marginalized apparently don’t want to see. Hugo’s photographs cast them in a multidimensional light, making clear the humanity of a community, all too often overlooked, even by fellow San Franciscans. \u003c/p>\n\u003cp>“People in the surrounding neighborhoods look at the people in the Tenderloin like they’re so different from them,” says Moore, who has lived in the neighborhood since moving to San Francisco in 2016. “I don’t see it that way. When I lived at Golden Gate and Larkin, in the thick of the Tenderloin, there was open drug dealing and things happening out there and those were the same people who would open the door for me to get into my building when I was carrying groceries.”\u003c/p>\n\u003cp>There’s beauty here, Hugo’s work shows us. What does it tell us about ourselves that it may take the reframing of that beauty as art in order for us to see it?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.jonathancarvermoore.com/exhibitions/15-californian-wildflowers-solo-presentation-from-pieter-hugo/overview/\">Californian Wildflowers\u003c/a>’ is on view at Jonathan Carver Moore (966 Market St., San Francisco) through Nov. 9, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Bay Area theatre world was dealt a major blow this week when San Francisco’s Cutting Ball Theater — a bastion of experimental work for the last 25 years — \u003ca href=\"https://cuttingball.com/\">announced that it would be closing its doors for good\u003c/a>.\u003c/p>\n\u003cp>When Cutting Ball ceases operations at the end of 2024, it will hardly be alone; several of its fellow Tenderloin-based theatres have closed in the last two years. But with Cutting Ball, the Bay Area loses something special: a deep commitment to experimentation, both in material presented and, in later years, in business structure, as the company shifted to a collectively run, non-hierarchical model.[aside postid='arts_13919459']\u003c/p>\n\u003cp>Founded in 1999 by Princeton graduates and married couple Rob Melrose and Paige Rogers, Cutting Ball quickly established itself as a company that challenged the parameters of what small theatres could produce. Cutting Ball’s productions were thoughtfully designed, rigorously rehearsed, and frequently challenging in terms of subject matter and in style.\u003c/p>\n\u003cp>A staple of Cutting Ball’s earlier seasons was the “Risk Is This… The Cutting Ball New Experimental Plays Festival,” a series of staged readings of cutting-edge works by mostly local playwrights. (Some of these became mainstage productions in later seasons, such as \u003cem>…and Jesus Moonwalks the Mississippi\u003c/em> by Marcus Gardley, and \u003cem>Tontlawald\u003c/em> by Eugenie Chan.)\u003c/p>\n\u003cfigure id=\"attachment_13853373\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeune%CC%81e-Simon_credit_Cheshire-Issacs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13853373\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeune%CC%81e-Simon_credit_Cheshire-Issacs.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jeunée Simon and chair in Cutting Ball Theater’s 2019 production of ‘La Ronde.’ \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New translations of classic works — frequently translated by Melrose himself — were also a mainstay. Audiences were treated to wild reimaginings of plays such as \u003cem>Pelléas and Mélisande\u003c/em> by Maurice Maeterlinck and \u003cem>Woyzeck\u003c/em> by Georg Büchner. The excitement of experimentation was only heightened by the space’s intimacy: At its maximum capacity, the room seated between 70 and 80 people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In January 2023, the company transitioned to a collective model in which everyone in the organization had an equal vote and equal say in how the company was run. While the shift was initially suggested by then-Artistic Director Ariel Craft (who stepped away from the company in 2022), it immediately made sense to company members: Education Director Cathryn Cooper says prior to the change, the core members were essentially already operating as heads of their own “piece of the pie,” and working in a self-directed manner.\u003c/p>\n\u003cp>That said, the company spent months on the transition, even engaging the services of a consultant in order to develop their operational approach. “It wasn’t just a whim,” says Cooper, adding, “It is disheartening to hear that people believe we’re in a financial struggle because of our collective.”\u003c/p>\n\u003cp>Chris Steele, Cutting Ball’s curation director, agrees. “Institutionally, we’ve acknowledged the [traditional] model doesn’t work … if you ask any artistic director or executive director how many hours they work outside of their expected work hours, it’s a lot. That’s why we have so much burnout in this field. So it only makes sense to take that workload and spread it amongst the community.”\u003c/p>\n\u003cp>Steele and Cooper both say that, since the company split two board-allotted full-time executive salaries between seven collective members, the collective model of part-time workers didn’t increase overhead.\u003c/p>\n\u003cfigure id=\"attachment_13888112\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888112\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater.jpg\" alt=\"a zoom screen showing nine people acting out a play\" width=\"1000\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-800x442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-672x372.jpg 672w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The ensemble cast of Cutting Ball Theater’s ‘Utopia,’ by Charles Mee, in a virtual performance in 2020. Pandemic-related delays and postponements contributed to the company’s financial woes in recent years. \u003ccite>(Courtesy of Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other factors led to increased expenses, including persistent pandemic-related delays and postponements of shows. Cutting Ball also went to great lengths to pay guest artists more equitably, such as compensating actors for \u003ca href=\"https://www.sfchronicle.com/entertainment/article/sf-cutting-ball-theater-closure-18663641.php\">time spent running lines outside rehearsal\u003c/a>.\u003c/p>\n\u003cp>Still, insiders say \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/205270275\">the loss of grant money over the past few years\u003c/a> was the biggest contributor to Cutting Ball’s woes, as funding the company relied on for operational costs was greatly diminished. Specifically, major funders such as Grants for the Arts have moved away from providing “unrestricted” grant funding, which companies can use on quotidian expenses.\u003c/p>\n\u003cp>“Nobody is really funding the basic day-to-day work of making theater happen,” Steele says.\u003c/p>\n\u003cp>Coma Te, director of communications for the San Francisco Arts Commission, said the Cutting Ball Theater has received about $400,000 in grants from the City, including over $312,000 from the Grants for the Arts and $90,000 from the Arts Commission, over the last five years.\u003c/p>\n\u003cp>Speaking on behalf of the mayor’s office, Te added that “transforming Downtown into a leading arts, culture, and nightlife destination is one of the key revitalization strategies laid out in Mayor Breed’s Roadmap to San Francisco’s future.” But the link included in Te’s email — Mayor Breed’s proposal for \u003ca href=\"https://www.sf.gov/news/mayor-breed-proposes-creation-first-downtown-entertainment-zone-and-announces-grants-support\">a downtown “entertainment zone”\u003c/a> — makes no mention of either the existing or the recently shuttered small theatre venues in the area. In December 2024, when Cutting Ball’s lease on their venue space, EXIT on Taylor, is up, the company will become the ninth theatre closure in the area since 2022.\u003c/p>\n\u003cfigure id=\"attachment_13929122\" class=\"wp-caption aligncenter\" style=\"max-width: 1503px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929122\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_.jpg\" alt=\"two people in brightly dressed clothing on stage\" width=\"1503\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_.jpg 1503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-768x511.jpg 768w\" sizes=\"(max-width: 1503px) 100vw, 1503px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L–R) The burglar (Patricio Becerril) and Taki (Edna Raia) team up in fear of an even bigger threat — La Karen — in Cutting Ball Theater and IN THE MARGIN’s ‘Exhaustion Arroyo: Dancin’ Trees in the Ravine’ by W. Fran Astorga. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To many in the theatre community, leaving theatre out of the conversation about revitalization is a grave missetep. “Theatres are … economic cornerstones to the communities beyond their walls, bringing in investment through tourism, increased foot traffic, and community engagement,” said Art Quiñones, a spokesperson from the 50-year-old nonprofit Theatre Bay Area, in a statement, noting that each job in California’s performing arts scene \u003ca href=\"https://cdn.actorsequity.org/docs/Report%20on%20California%20Performing%20Arts.pdf\">brings in $13,287 in state and local tax revenue\u003c/a>. But “in San Francisco, skyrocketing costs and diminishing funding have kept small theatres in precarity. We need to ensure the theatres that are here can afford to stay.”[aside postid='arts_13928279']\u003c/p>\n\u003cp>For now, Cooper and Steele say there is much to celebrate as they wrap up their tenures with the company. For Cooper, her work building the community and education arm of the company from scratch — serving Tenderloin youth via workshops and theatre enrichment cohorts — has been personally and professionally rewarding. In a larger or more traditionally-structured organization, she says, she’d never have had the freedom she had in developing these programs.\u003c/p>\n\u003cp>For Steele, adapting and directing Karel Capek’s Rossum’s \u003cem>Universal Robots\u003c/em> on the mainstage to open this now-final season was an especially proud moment. “We had a really strong mix of established (theatre) veterans and people that were almost, if not truly, brand new to the stage,” recalls Steele. “And that dynamic was just so exciting and cool.”\u003c/p>\n\u003cp>Just having been a part of Cutting Ball’s story is an experience that both will treasure: a legacy of fearlessness over the course of a quarter-century.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If we don’t experiment, and we don’t take risks, we’ll never have anything worth it,” Steele says. “You have to risk in order to achieve.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Founded in 1999 by Princeton graduates and married couple Rob Melrose and Paige Rogers, Cutting Ball quickly established itself as a company that challenged the parameters of what small theatres could produce. Cutting Ball’s productions were thoughtfully designed, rigorously rehearsed, and frequently challenging in terms of subject matter and in style.\u003c/p>\n\u003cp>A staple of Cutting Ball’s earlier seasons was the “Risk Is This… The Cutting Ball New Experimental Plays Festival,” a series of staged readings of cutting-edge works by mostly local playwrights. (Some of these became mainstage productions in later seasons, such as \u003cem>…and Jesus Moonwalks the Mississippi\u003c/em> by Marcus Gardley, and \u003cem>Tontlawald\u003c/em> by Eugenie Chan.)\u003c/p>\n\u003cfigure id=\"attachment_13853373\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeune%CC%81e-Simon_credit_Cheshire-Issacs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13853373\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeune%CC%81e-Simon_credit_Cheshire-Issacs.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jeunée Simon and chair in Cutting Ball Theater’s 2019 production of ‘La Ronde.’ \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New translations of classic works — frequently translated by Melrose himself — were also a mainstay. Audiences were treated to wild reimaginings of plays such as \u003cem>Pelléas and Mélisande\u003c/em> by Maurice Maeterlinck and \u003cem>Woyzeck\u003c/em> by Georg Büchner. The excitement of experimentation was only heightened by the space’s intimacy: At its maximum capacity, the room seated between 70 and 80 people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In January 2023, the company transitioned to a collective model in which everyone in the organization had an equal vote and equal say in how the company was run. While the shift was initially suggested by then-Artistic Director Ariel Craft (who stepped away from the company in 2022), it immediately made sense to company members: Education Director Cathryn Cooper says prior to the change, the core members were essentially already operating as heads of their own “piece of the pie,” and working in a self-directed manner.\u003c/p>\n\u003cp>That said, the company spent months on the transition, even engaging the services of a consultant in order to develop their operational approach. “It wasn’t just a whim,” says Cooper, adding, “It is disheartening to hear that people believe we’re in a financial struggle because of our collective.”\u003c/p>\n\u003cp>Chris Steele, Cutting Ball’s curation director, agrees. “Institutionally, we’ve acknowledged the [traditional] model doesn’t work … if you ask any artistic director or executive director how many hours they work outside of their expected work hours, it’s a lot. That’s why we have so much burnout in this field. So it only makes sense to take that workload and spread it amongst the community.”\u003c/p>\n\u003cp>Steele and Cooper both say that, since the company split two board-allotted full-time executive salaries between seven collective members, the collective model of part-time workers didn’t increase overhead.\u003c/p>\n\u003cfigure id=\"attachment_13888112\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888112\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater.jpg\" alt=\"a zoom screen showing nine people acting out a play\" width=\"1000\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-800x442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/utopia_ensemble_screenshot_credit_CuttingBallTheater-672x372.jpg 672w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The ensemble cast of Cutting Ball Theater’s ‘Utopia,’ by Charles Mee, in a virtual performance in 2020. Pandemic-related delays and postponements contributed to the company’s financial woes in recent years. \u003ccite>(Courtesy of Cutting Ball Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other factors led to increased expenses, including persistent pandemic-related delays and postponements of shows. Cutting Ball also went to great lengths to pay guest artists more equitably, such as compensating actors for \u003ca href=\"https://www.sfchronicle.com/entertainment/article/sf-cutting-ball-theater-closure-18663641.php\">time spent running lines outside rehearsal\u003c/a>.\u003c/p>\n\u003cp>Still, insiders say \u003ca href=\"https://projects.propublica.org/nonprofits/organizations/205270275\">the loss of grant money over the past few years\u003c/a> was the biggest contributor to Cutting Ball’s woes, as funding the company relied on for operational costs was greatly diminished. Specifically, major funders such as Grants for the Arts have moved away from providing “unrestricted” grant funding, which companies can use on quotidian expenses.\u003c/p>\n\u003cp>“Nobody is really funding the basic day-to-day work of making theater happen,” Steele says.\u003c/p>\n\u003cp>Coma Te, director of communications for the San Francisco Arts Commission, said the Cutting Ball Theater has received about $400,000 in grants from the City, including over $312,000 from the Grants for the Arts and $90,000 from the Arts Commission, over the last five years.\u003c/p>\n\u003cp>Speaking on behalf of the mayor’s office, Te added that “transforming Downtown into a leading arts, culture, and nightlife destination is one of the key revitalization strategies laid out in Mayor Breed’s Roadmap to San Francisco’s future.” But the link included in Te’s email — Mayor Breed’s proposal for \u003ca href=\"https://www.sf.gov/news/mayor-breed-proposes-creation-first-downtown-entertainment-zone-and-announces-grants-support\">a downtown “entertainment zone”\u003c/a> — makes no mention of either the existing or the recently shuttered small theatre venues in the area. In December 2024, when Cutting Ball’s lease on their venue space, EXIT on Taylor, is up, the company will become the ninth theatre closure in the area since 2022.\u003c/p>\n\u003cfigure id=\"attachment_13929122\" class=\"wp-caption aligncenter\" style=\"max-width: 1503px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929122\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_.jpg\" alt=\"two people in brightly dressed clothing on stage\" width=\"1503\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_.jpg 1503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Exhaustion.Arroyo.Press6_-768x511.jpg 768w\" sizes=\"(max-width: 1503px) 100vw, 1503px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L–R) The burglar (Patricio Becerril) and Taki (Edna Raia) team up in fear of an even bigger threat — La Karen — in Cutting Ball Theater and IN THE MARGIN’s ‘Exhaustion Arroyo: Dancin’ Trees in the Ravine’ by W. Fran Astorga. \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To many in the theatre community, leaving theatre out of the conversation about revitalization is a grave missetep. “Theatres are … economic cornerstones to the communities beyond their walls, bringing in investment through tourism, increased foot traffic, and community engagement,” said Art Quiñones, a spokesperson from the 50-year-old nonprofit Theatre Bay Area, in a statement, noting that each job in California’s performing arts scene \u003ca href=\"https://cdn.actorsequity.org/docs/Report%20on%20California%20Performing%20Arts.pdf\">brings in $13,287 in state and local tax revenue\u003c/a>. But “in San Francisco, skyrocketing costs and diminishing funding have kept small theatres in precarity. We need to ensure the theatres that are here can afford to stay.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For now, Cooper and Steele say there is much to celebrate as they wrap up their tenures with the company. For Cooper, her work building the community and education arm of the company from scratch — serving Tenderloin youth via workshops and theatre enrichment cohorts — has been personally and professionally rewarding. In a larger or more traditionally-structured organization, she says, she’d never have had the freedom she had in developing these programs.\u003c/p>\n\u003cp>For Steele, adapting and directing Karel Capek’s Rossum’s \u003cem>Universal Robots\u003c/em> on the mainstage to open this now-final season was an especially proud moment. “We had a really strong mix of established (theatre) veterans and people that were almost, if not truly, brand new to the stage,” recalls Steele. “And that dynamic was just so exciting and cool.”\u003c/p>\n\u003cp>Just having been a part of Cutting Ball’s story is an experience that both will treasure: a legacy of fearlessness over the course of a quarter-century.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If we don’t experiment, and we don’t take risks, we’ll never have anything worth it,” Steele says. “You have to risk in order to achieve.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Low Key Became the Coolest Skate Shop in San Francisco",
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"content": "\u003cp>Skateboarders do not look at the city — any city — the same way that non-skaters do.\u003c/p>\n\u003cp>Skateboarders have brains that make instant calculations using principles of geometry and physics, and are hardwired to evaluate ways around obstacles and over gaps. Present a crew of skaters with a patchwork of hostile architecture — objects specifically designed to keep them out of a space — and the problem-solving that spills forth would put professional architects to shame.\u003c/p>\n\u003cp>So what happens when a lifelong skateboarder gets a degree in architecture? \u003ca href=\"https://www.lowkeysanfrancisco.com/\">Low Key Skate Shop\u003c/a> owner Justin Marks can tell you. For seven years, the 35-year-old worked for \u003ca href=\"https://www.hornbergerworstell.com/\">Hornberger and Worstell\u003c/a>, a San Francisco architecture firm. Marks had grown up in the Lower Haight, both immersing himself in skate culture and nerding out over urban landscapes.\u003c/p>\n\u003cp>[aside postid='arts_13916267']“When you’re skateboarding, you’re at a 1:1 scale with the city and your built environment,” Marks told me on a recent visit to Low Key. “I’ve always been interested in architecture, and I’ve been advocating for skateparks since I was in high school. I would go to community meetings and wait for public comment and talk about how positive skating is for the youth.”\u003c/p>\n\u003cp>Eventually, opportunities arose that prompted Marks to leave office life behind for good. After Hornberger and Worstell, he worked with the San Francisco Planning Department, eventually becoming a contractor to help build out the skatepark Playland at 43rd Avenue. (The site has since been developed as \u003ca href=\"https://www.midpen-housing.org/shirley-chisholm-village-2024/\">affordable housing for San Francisco teachers\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2016, he was invited to take over the day-to-day operations of \u003ca href=\"https://everydaysfc.com/\">Everyday\u003c/a> — a Tenderloin skate shop that’s since moved downtown. The move made sense. Even while working as an architectural junior designer, Marks was running his own skate company \u003ca href=\"https://www.instagram.com/leftsidesf/\">Left Side\u003c/a>, selling his skateboards and shirts around the city at stores like \u003ca href=\"https://shop.ftcsf.com/\">FTC\u003c/a>, \u003ca href=\"https://dlxskateshop.com/\">DLX\u003c/a> and \u003ca href=\"https://missionsk8shop.com/\">Mission Skate Shop\u003c/a>.\u003c/p>\n\u003cp>By 2019, Marks was ready to strike out on his own. He wanted to open a storefront that would serve as both a skate shop and small art gallery. Marks’ first choice for a business partner was \u003ca href=\"https://www.instagram.com/turtlesmashersucks/?hl=en\">Zachariah “Turtle” Dawson\u003c/a>. (“If you use my actual name,” Turtle quips, “no one will know who the fuck you’re talking about.”) At the time, the two were both volunteering at Playland. Not only was Turtle a beloved sponsored skater, Marks knew he was also an SFAI graduate who would see Low Key’s potential as an art space. The pair quickly opened the shop on Geary Street.\u003c/p>\n\u003cfigure id=\"attachment_13955760\" class=\"wp-caption aligncenter\" style=\"max-width: 1820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Turtle-Low-Key-Close-Side.png\" alt=\"A white man with glasses and scruffy beard stands in the doorway of a small shop front. He is wearing a black beanie, sweater and pants.\" width=\"1820\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Turtle-Low-Key-Close-Side.png 1820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Turtle-Low-Key-Close-Side-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Turtle-Low-Key-Close-Side-1020x595.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Turtle-Low-Key-Close-Side-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Turtle-Low-Key-Close-Side-768x448.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Turtle-Low-Key-Close-Side-1536x896.png 1536w\" sizes=\"(max-width: 1820px) 100vw, 1820px\">\u003cfigcaption class=\"wp-caption-text\">Turtle, one of the owners of Low Key Skate Shop, hanging out in April 2024. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The impact the tiny new store had on the local community was immediate. From day one, Low Key has been a gathering place for skaters, as well as an outlet for local small businesses whose products are frequently handmade. (“We try and keep everything as homegrown as possible,” Turtle notes.) Low Key’s on-site screenprinting equipment is used by the shop, as well as friends and associates who have their own creative projects. (When the corner store up the street wanted to start selling its own shirts, Low Key printed them.)\u003c/p>\n\u003cp>More importantly, the skate shop fulfills its art goals by hosting monthly shows to coincide with the \u003ca href=\"https://www.instagram.com/sffirstthursday/\">Tenderloin Art Walk\u003c/a>. Artists and \u003ca href=\"https://www.instagram.com/p/CzceKQDP4AC/?hl=en&img_index=1\">photographers\u003c/a> who reflect Bay Area street culture — the likes of \u003ca href=\"https://www.kqed.org/arts/13953119/george-crampton-glassanos-has-pendletons-paint-and-passion\">George Crampton Glassanos\u003c/a>, \u003ca href=\"https://www.instagram.com/todthebunny/\">Tod the Bunny\u003c/a>, \u003ca href=\"https://www.instagram.com/hiericbro/\">Eric Broers\u003c/a> and most recently \u003ca href=\"https://www.instagram.com/austenzombres/?hl=en\">Austen Zombres\u003c/a> — take priority.\u003c/p>\n\u003cp>One of the many who’ve directly benefited from Low Key’s existence is skateboard photographer and videographer \u003ca href=\"https://www.instagram.com/excellentquestion/\">Theodore Maider\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13919506']“Low Key has given me a platform to film and photograph the skaters affiliated with their shop,” Maider says. “But they’ve also given me a place to put my artwork on display, and promoted my work on social media. I wouldn’t be in the position I’m currently in if it wasn’t for Low Key.”\u003c/p>\n\u003cp>Outside of the store, Marks and Turtle have kept mindful about donating merchandise to skateboard events around Northern California, as well as to local fundraisers, like a recent \u003ca href=\"https://www.kqed.org/arts/13936204/dave-glass-tenderloin-museum-san-franciso-street-photography\">Tenderloin Museum\u003c/a> campaign to \u003ca href=\"https://www.tenderloinmuseum.org/the-comptons-cafeteria-riot-play\">stage a play\u003c/a> about the \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\">Compton’s Cafeteria riot\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956023 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Karl-and-Justin-e1713218591580.jpg\" alt=\"A Black man with long locs stands with his arm around a white man with beard and glasses inside a skateboard shop. They are both smiling.\" width=\"1920\" height=\"1183\">\u003cfigcaption class=\"wp-caption-text\">Karl Watson, San Francisco skateboarder, video director and author, hanging at Low Key with owner Justin Marks. \u003ccite>(Courtesy of Low Key Skate Shop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From Maider’s perspective, it’s the duo of Marks and Turtle that makes Low Key such an impactful place.\u003c/p>\n\u003cp>“Turtle is very much the presence in the streets,” Maider explains. “Turtle has spent so much of his time lurking at the spots that are considered the proving grounds of the city, and because of that, he has a reputation and presence that people love and respect. And then Justin is very much the red-tape guy,” Maider continues. “He gets parks built and makes sure the skate community has a voice in a meaningful way both socially and politically.”\u003c/p>\n\u003cp>That’s not an exaggeration. In 2011, before Marks had even received his Architecture B.A. from \u003ca href=\"https://www.cca.edu/\">California College of the Arts\u003c/a>, he succeeded in getting a corner of \u003ca href=\"https://sfrecpark.org/1640/Waller-Street-Skate-Park-Project\">Waller Street established as a designated skatepark\u003c/a> by working with landscape architect John Bela (one of Marks’ teachers at the time) and Phil Ginsburg, now the general manager of San Francisco’s Recreation and Park Department.\u003c/p>\n\u003cp>[aside postid='arts_13931352']“We came up with a simple design that used repurposed granite ledges from the city yard at Waller,” Marks says, adding that later, in 2022, “working with Rec [and] Park we teamed up with DLX to make Waller what it is today — a newly paved skatepark plaza with more found skate objects.”\u003c/p>\n\u003cp>Five years into its existence, Low Key stands as a business that goes against almost every stereotype about skateboarders being destructive and hedonistic slackers. By all appearances, Marks and Turtle constantly brainstorm new ways to be of service. Currently, Marks is putting together a skate jam at the new U.N. Plaza skatepark, near the Civic Center, to be held this summer. Turtle is excited about the imminent release of a skate video that Low Key has spent years putting together. (When I ask him how many local skaters were involved in the making of the film, he half-smiles and says, “I’d say the whole city.”)\u003c/p>\n\u003cp>“Skateboarding made me an explorer of the city, its history and people,” Marks says. “But what first attracted me to skateboarding was the sense of camaraderie and creativity. I’d like to continue advocating for skateboarding, the arts and public spaces that encourage creativity and” — negative stereotypes be damned — “healthy recreation.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.lowkeysanfrancisco.com/\">Low Key Skate Shop\u003c/a> is located at 679 Geary Street. Austen Zombres’ ‘Corner Store’ exhibit is currently on display through May 2, 2024. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Skateboarders do not look at the city — any city — the same way that non-skaters do.\u003c/p>\n\u003cp>Skateboarders have brains that make instant calculations using principles of geometry and physics, and are hardwired to evaluate ways around obstacles and over gaps. Present a crew of skaters with a patchwork of hostile architecture — objects specifically designed to keep them out of a space — and the problem-solving that spills forth would put professional architects to shame.\u003c/p>\n\u003cp>So what happens when a lifelong skateboarder gets a degree in architecture? \u003ca href=\"https://www.lowkeysanfrancisco.com/\">Low Key Skate Shop\u003c/a> owner Justin Marks can tell you. For seven years, the 35-year-old worked for \u003ca href=\"https://www.hornbergerworstell.com/\">Hornberger and Worstell\u003c/a>, a San Francisco architecture firm. Marks had grown up in the Lower Haight, both immersing himself in skate culture and nerding out over urban landscapes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“When you’re skateboarding, you’re at a 1:1 scale with the city and your built environment,” Marks told me on a recent visit to Low Key. “I’ve always been interested in architecture, and I’ve been advocating for skateparks since I was in high school. I would go to community meetings and wait for public comment and talk about how positive skating is for the youth.”\u003c/p>\n\u003cp>Eventually, opportunities arose that prompted Marks to leave office life behind for good. After Hornberger and Worstell, he worked with the San Francisco Planning Department, eventually becoming a contractor to help build out the skatepark Playland at 43rd Avenue. (The site has since been developed as \u003ca href=\"https://www.midpen-housing.org/shirley-chisholm-village-2024/\">affordable housing for San Francisco teachers\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2016, he was invited to take over the day-to-day operations of \u003ca href=\"https://everydaysfc.com/\">Everyday\u003c/a> — a Tenderloin skate shop that’s since moved downtown. The move made sense. Even while working as an architectural junior designer, Marks was running his own skate company \u003ca href=\"https://www.instagram.com/leftsidesf/\">Left Side\u003c/a>, selling his skateboards and shirts around the city at stores like \u003ca href=\"https://shop.ftcsf.com/\">FTC\u003c/a>, \u003ca href=\"https://dlxskateshop.com/\">DLX\u003c/a> and \u003ca href=\"https://missionsk8shop.com/\">Mission Skate Shop\u003c/a>.\u003c/p>\n\u003cp>By 2019, Marks was ready to strike out on his own. He wanted to open a storefront that would serve as both a skate shop and small art gallery. Marks’ first choice for a business partner was \u003ca href=\"https://www.instagram.com/turtlesmashersucks/?hl=en\">Zachariah “Turtle” Dawson\u003c/a>. (“If you use my actual name,” Turtle quips, “no one will know who the fuck you’re talking about.”) At the time, the two were both volunteering at Playland. Not only was Turtle a beloved sponsored skater, Marks knew he was also an SFAI graduate who would see Low Key’s potential as an art space. The pair quickly opened the shop on Geary Street.\u003c/p>\n\u003cfigure id=\"attachment_13955760\" class=\"wp-caption aligncenter\" style=\"max-width: 1820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955760\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Turtle-Low-Key-Close-Side.png\" alt=\"A white man with glasses and scruffy beard stands in the doorway of a small shop front. He is wearing a black beanie, sweater and pants.\" width=\"1820\" height=\"1062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Turtle-Low-Key-Close-Side.png 1820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Turtle-Low-Key-Close-Side-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Turtle-Low-Key-Close-Side-1020x595.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Turtle-Low-Key-Close-Side-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Turtle-Low-Key-Close-Side-768x448.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Turtle-Low-Key-Close-Side-1536x896.png 1536w\" sizes=\"(max-width: 1820px) 100vw, 1820px\">\u003cfigcaption class=\"wp-caption-text\">Turtle, one of the owners of Low Key Skate Shop, hanging out in April 2024. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The impact the tiny new store had on the local community was immediate. From day one, Low Key has been a gathering place for skaters, as well as an outlet for local small businesses whose products are frequently handmade. (“We try and keep everything as homegrown as possible,” Turtle notes.) Low Key’s on-site screenprinting equipment is used by the shop, as well as friends and associates who have their own creative projects. (When the corner store up the street wanted to start selling its own shirts, Low Key printed them.)\u003c/p>\n\u003cp>More importantly, the skate shop fulfills its art goals by hosting monthly shows to coincide with the \u003ca href=\"https://www.instagram.com/sffirstthursday/\">Tenderloin Art Walk\u003c/a>. Artists and \u003ca href=\"https://www.instagram.com/p/CzceKQDP4AC/?hl=en&img_index=1\">photographers\u003c/a> who reflect Bay Area street culture — the likes of \u003ca href=\"https://www.kqed.org/arts/13953119/george-crampton-glassanos-has-pendletons-paint-and-passion\">George Crampton Glassanos\u003c/a>, \u003ca href=\"https://www.instagram.com/todthebunny/\">Tod the Bunny\u003c/a>, \u003ca href=\"https://www.instagram.com/hiericbro/\">Eric Broers\u003c/a> and most recently \u003ca href=\"https://www.instagram.com/austenzombres/?hl=en\">Austen Zombres\u003c/a> — take priority.\u003c/p>\n\u003cp>One of the many who’ve directly benefited from Low Key’s existence is skateboard photographer and videographer \u003ca href=\"https://www.instagram.com/excellentquestion/\">Theodore Maider\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Low Key has given me a platform to film and photograph the skaters affiliated with their shop,” Maider says. “But they’ve also given me a place to put my artwork on display, and promoted my work on social media. I wouldn’t be in the position I’m currently in if it wasn’t for Low Key.”\u003c/p>\n\u003cp>Outside of the store, Marks and Turtle have kept mindful about donating merchandise to skateboard events around Northern California, as well as to local fundraisers, like a recent \u003ca href=\"https://www.kqed.org/arts/13936204/dave-glass-tenderloin-museum-san-franciso-street-photography\">Tenderloin Museum\u003c/a> campaign to \u003ca href=\"https://www.tenderloinmuseum.org/the-comptons-cafeteria-riot-play\">stage a play\u003c/a> about the \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\">Compton’s Cafeteria riot\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13956023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956023 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Karl-and-Justin-e1713218591580.jpg\" alt=\"A Black man with long locs stands with his arm around a white man with beard and glasses inside a skateboard shop. They are both smiling.\" width=\"1920\" height=\"1183\">\u003cfigcaption class=\"wp-caption-text\">Karl Watson, San Francisco skateboarder, video director and author, hanging at Low Key with owner Justin Marks. \u003ccite>(Courtesy of Low Key Skate Shop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From Maider’s perspective, it’s the duo of Marks and Turtle that makes Low Key such an impactful place.\u003c/p>\n\u003cp>“Turtle is very much the presence in the streets,” Maider explains. “Turtle has spent so much of his time lurking at the spots that are considered the proving grounds of the city, and because of that, he has a reputation and presence that people love and respect. And then Justin is very much the red-tape guy,” Maider continues. “He gets parks built and makes sure the skate community has a voice in a meaningful way both socially and politically.”\u003c/p>\n\u003cp>That’s not an exaggeration. In 2011, before Marks had even received his Architecture B.A. from \u003ca href=\"https://www.cca.edu/\">California College of the Arts\u003c/a>, he succeeded in getting a corner of \u003ca href=\"https://sfrecpark.org/1640/Waller-Street-Skate-Park-Project\">Waller Street established as a designated skatepark\u003c/a> by working with landscape architect John Bela (one of Marks’ teachers at the time) and Phil Ginsburg, now the general manager of San Francisco’s Recreation and Park Department.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We came up with a simple design that used repurposed granite ledges from the city yard at Waller,” Marks says, adding that later, in 2022, “working with Rec [and] Park we teamed up with DLX to make Waller what it is today — a newly paved skatepark plaza with more found skate objects.”\u003c/p>\n\u003cp>Five years into its existence, Low Key stands as a business that goes against almost every stereotype about skateboarders being destructive and hedonistic slackers. By all appearances, Marks and Turtle constantly brainstorm new ways to be of service. Currently, Marks is putting together a skate jam at the new U.N. Plaza skatepark, near the Civic Center, to be held this summer. Turtle is excited about the imminent release of a skate video that Low Key has spent years putting together. (When I ask him how many local skaters were involved in the making of the film, he half-smiles and says, “I’d say the whole city.”)\u003c/p>\n\u003cp>“Skateboarding made me an explorer of the city, its history and people,” Marks says. “But what first attracted me to skateboarding was the sense of camaraderie and creativity. I’d like to continue advocating for skateboarding, the arts and public spaces that encourage creativity and” — negative stereotypes be damned — “healthy recreation.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.lowkeysanfrancisco.com/\">Low Key Skate Shop\u003c/a> is located at 679 Geary Street. Austen Zombres’ ‘Corner Store’ exhibit is currently on display through May 2, 2024. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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